1 comments about In Memoriam.

1. The audio quality of this CD is very poor. It sounds like it derived from a pirated taping of a Burl Ives college sing along. While the audience participation is clearly recorded, Mr. Ives singing and guitar playing are mushy and seem to be the results of poor microphone placement. The only redeeming factors are the unavailability of some of this material on other Ives collections and the ability to hear Mr. Ives work an audience. Buy this only if you are a Burl Ives groupee and simply must have anything ever done by Mr. Ives. Even as a Burl Ives fan, I am constantly tempted to simply discard this disc.

5 comments about Christmas Present.

1. This is one of my Top 10 Favorite Christmas Albums ever. Too bad it is out of print. I'll just have to be careful with my cassette version.



2. This is simply one of the best Christmas albums ever.Such a pleasure to listen to while your putting up the tree or when you turn of all the house lights with only the holiday lights going. A must buy if you enjoy Christmas music.If they have gone out of stock, you should periodically check back for their return or[...] may prove fruitful for you.



3. I love Andy Williams' Christmas Album. It's my favorite Christmas album ever, so when I spotted a CD version of "Christmas Present," I jumped all over it. Unfortunately, while Andy's singing is still excellent, the album is troubled in spots by really bad 70's music production: "wacka wacka" guitars, heavy-handed basslines, and some hippie-dippie flute solos.
   
   The good thing is that it doesn't persist across all the songs--the way it does with Dean Martin's later albums. Many of the songs have nicer baroquish guitars in them. For my money, I prefer the big beautiful band orchestrations of the 50's and 60's Christmas albums. If Amazon offered a half-point rating scale, I'd give this 3.5.



4. Andy Williams' first two Christmas albums from the 1960's are probably his most successful and best known holiday recordings. However, this excellent 1974 effort is another masterpiece that ranks alongside the finest Christmas albums ever made.
   
   Christmas Present is a more mellow Christmas album than his first two recordings, and the 70's era musical arrangments and production sound a little more modern while still retaining the authentic Christmas flavor that made Andy's Christmas recordings of the 60's so great. The result is one of the most soothing and tranquil Christmas albums of all time.
   
   Williams focuses on a great set of religious carols instead of the often-covered secular Christmas classics. Each one of these songs flows smooth and gentle, including "Hark the Herald Angels Sing" and "Joy to the World" which are often bold and dramatic in other versions. "Christmas Bells" is the only song that picks up the tempo at all. "O come all ye Faithful", "O little town of Bethleham", "I heard the bells on Christmas Day", and "It came upon a midnight clear" are some of the most serene and relaxing versions of these standards you will ever hear.
   
   The soft, angelic voice of Andy Williams only enhances the relaxing mood of the album. If you prefer the easy listening style of Christmas music, this great CD belongs in your collection.



5. The title says it all - it is a Christmas Present - Andy is in super-FINE voice - very smooth vocals; wonderful small orchestra arrangements; wonderful guitar, flute and musical quality is top-notch. This album is so much better than Andy's first two Christmas albums, in my opinion. Many of these songs start out very slowly, very softly with just a guitar and Andy's great voice then build into a spectacular song. Two great versions of Ave Maria to choose from. Little Town, O Come all Ye Faithful and Angels We Have Heard on High are really, really grand, and will be your favorites. I cannot say enough good things about this album. This is not your typical Las Vegas crooner LP, but a very classy, peaceful album. This is Andy's best album of all, and if you can only have one Andy Williams Christmas album, this is it. Merry Christmas everyone.

5 comments about Together Again.

1. The first Bennett and Evans duo album, recorded in 1975, was a highly successful collaboration, and `Together Again' is a worthy successor with the same impressive qualities. It's another imaginatively chosen programme, sung with such commitment and sincerity that even those lyrics which are relatively uninspired are invested with meaning and feeling. A good example is "Make Someone Happy": on paper the sentiments would look trite ("Make someone happy... then you will be happy too", etc.), but Bennett sings them as if they are profound truths.

   As with the first album, listeners will discover their own favourites. For me the standout numbers are the classic blues-tinged ballad, "You Don't Know What Love Is", "Make Someone Happy", "Lucky to Be Me" and "You Must Believe in Spring". The latter is a particularly affecting performance; it's one of the better, more poetic lyrics and the melody is a typical piece of tuneful Gallic romanticism by Michel Legrand. Bennett sings it quietly, with great tenderness and wistful feeling. As a kind of prelude to the `recital' of songs, Evans begins with a lyrical piano solo - a movie theme "The Bad and the Beautiful" (by the composer of "Laura") - demonstrating the beauty of his touch and tone and setting up the warmly romantic atmosphere of the album.By the way, this version on the Rhino label is the one to buy if you want value for money, as it has alternate takes of the original tracks as well as two bonus tracks.

   * On the subject of "You Must Believe in Spring": there's a wonderful Bill Evans Trio album of that title - it's one of the most beautiful jazz piano albums ever, and ought to appeal to anyone who likes the Bennett-Evans collaborations. Again, the version on the Rhino label has bonus tracks: three further pieces (not alternate takes) recorded at the sessions but previously unreleased and well worth having.




2. This album is one of the prettiest things i've have ever been privilaged to hear. Tony and Bill Evans make you want to cry the songs are done wonderful and bill evens arranging is a masterpiece the only thing I didn't like was on some of the tunes Tony was singing WAY TO LOUD and over powering the piano. My favorite track on this album is "You Must Believe In Spring" Tony sings just right and Bill Evans plays [great]. I like this album alot and Iam telling anyone who Likes Tony Bennett or JAZZ to pick up this masterpiece.



3. This is singing at its very BEST.
   
   I have always admired Bennett's sheer guts (not to mention CHOPS) The man is as fearless as Pavarotti in going after the big notes, but NEVER at the expense of a lyric or sentiment. And, as with Pavarotti, Bennett is impeccable in his choice of material.
   
   These songs, as well as those on the first collaboration, are American popular classics-- the finest of their genre. Many of them are rarely heard today.
   
   I'll be hit hard as "not helpful" by the Bill Evans worshippers, but I prefer Bennett's singing to Evan's solos on both discs, with the exception of Evans' solo piece, "The Bad and the Beautiful." IMO, on these discs Evans plays best when he's backing Bennett. Solo, I find him a bit lounge-lizardy at times. Granted; he's had so many imitators since that it's hard to keep in mind that he was an innovator in his day.
   
   Unlike many, I like the first recording every bit as much as this second collaboration.
   
   A MUST for any jazz collection.



4. As an ardent champion of both Bill Evans and "the great American Songbook," I purchased the first Evans-Bennett collaboration, only to be somewhat disappointed in the final result--an incomplete, ultimately unsatisfying "compromise" between two inimitable voices and a rather bland middle ground between the worlds of quality pop and acoustic jazz. This second session, recorded more than a year after the first, is not only of a higher aesthetic order, but the CD version, with additional tracks and alternate takes amounting to nearly two hours of recorded music, is a particularly instructive recording and undeniable value.

   The congeniality and accommodation on the part of both artists is highly evident. Evans' playing is more extroverted and fully textured while Bennett's trademark enthusiasm and sincerity are tempered by more thoughtful, text-centered readings of the songs. At times, in fact, it sounds as though Bennett is trying too hard to match Evans' romantic lyricism and passionate intensity, as on the alternate take of "Make Someone Happy," where his "over-reaching" leads to some sloppy vocal elocution, no doubt the reason for the rejection of Bill's inspired solo on the first release. On "You Must Believe in Spring," on the other hand, the two achieve a more successful result by going their separate ways. Bennett keeps the entire lyric carefully contained, singing "sotte voce" all the way, while Bill quickly becomes engaged in complex, building, emotive rhapsody during his solo turn.

   Not content to stop with a comparison of original tracks and alternate takes, I did side-by-side analyses of some of these tracks and the same tunes on Jack Jones' recent tribute to Tony Bennett, an album which finds the "new" Jones accompanied by the Bill Evans-influenced Mike Renzi. It's a bit of a stunner: Jones brings to the songs an interpretive depth and maturity along with story-telling phrasing and full-bodied, consistent vocal texture that Bennett, for all of his well-intentioned honesty and bel canto upper-register tones, cannot match. Comparing the two of them on "Who Can I Turn To" is like comparing a Streisand to a Billie Holiday. Bennett may temporarily impress you, but Jones evinces the chills and tears, the sadness and wisdom, that leave absolutely no doubt which is the real thing.

   Few listeners, including fans of the "old" Tony Bennett or Jack Jones, still have ears for interpretive subtleties of this kind, especially in the genre of "popular" music. And sadly there will be no Jack Jones-Bill Evans album, all the more reason to pick up this one.




5. ...and that's saying something, considering that I'm a jazz percussionist, and not a pianist or a vocalist. I bought this album after years of loving the first Tony Bennett/Bill Evans Album. It's got all of the subtlety, sensitivity, and intensity of the first one-- and Bill and Tony recreate that symbiotic relationship they had in '75 perfectly. I say this one's my favorite, but there's very little difference for me between the two albums besides repertoire. The songs here are choice, and many are quite obscure. The first track with vocals, "Lucky to Be Me," has a happy, optimistic, (but not sappy,) vibe that is matched on the last track, "Dream Dancing." In-between there are tracks that feel like pure love, ("You're Nearer," "Make Someone Happy," and "A Child is Born,") and others that remind you what it feels like to lose love. ("Who Can I Turn To," "You Don't Know What Love Is," and "Two Lonely People,") The other tracks speak of loss, but also of hope. (Like "Lonely Girl," "Maybe September," and an incredibly haunting version of Michel Legrand's "You Must Believe in Spring.")

   The only one I left out was the vocal-less theme from "The Bad and the Beautiful." Very hip, starting out a piano-vocal duet album with solo piano, especially if your pianist is possibly the greatest solo player ever. But Bill is not the only huge talent shown off here. Tony Bennett is often thought of as a lounge singer, a pop singer, or an 'Italian crooner.' He can be all of these things, but the power he displays on the endings of "A Child is Born" and "You Don't Know What Love Is," and the advanced concept of harmony that he must posess simply to sing the melody of "The Two Lonely People" show that he is much more than a Rat Pack alternate.

   Having almost the entire album over in alternate takes may seem like overkill, but each extra track gives us insight into the way the duo worked together, and the second version of "You're Nearer" brings us the song's simple but sweet verse.

   This album and its predecessor are great examples of two master musicians communicating on the highest of levels. This one is beautiful in that it offers plenty of musical moments that will knock the most advanced musicians' socks off, and yet the beautifully sung and played messages in the wealth of great lyrics can touch everyone.

4 comments about I Had a Ball (1964 Original Broadway Cast).

1. God love a belter! Karen Morrow's strong, clear voice is one that instantly makes my soul smile. Listening to her is like what I would imagine sunshine should sound like.
   
   All that being said, she's really the only reason to buy this score. A good reason... but the only reason.



2. I Had a Ball has, truly, only one powerful thing going for it but as that thing is Karen Morrow it is one truly blessed jewel. When she launches into I Had a Ball or wails through Almost and I've Got Everything I Want it is to hear the magical sound of olden days when belters ruled the stages. She does not have quite the control of a Dolores Gray but half the fun of listening to her is to hear her heading to over the top and holding it there, ever so briefly, and just barely pulling it back. Buddy Hackett's name recieves top billing but the CD does not belong to him. Richard Kiley, Luba Lisa, and Rosetta Le Noire give able support in weaker numbers. This is in no way a good show or a good score but that did not stop the singers from giving good performances.



3. I HAD A BALL is another of those fascinating Broadway flops that one can't help but fall in love with. A bouncy and tuneful score by Stan Freeman and Jack Lawrence and a cast led by Karen Morrow, Richard Kiley, Luba Lisa and Buddy Hackett are the main draw-cards of this musical.

   The only really memorable songs of this score are those sung by veteran Broadway belter Karen Morrow: "I've Got Everything I Want", "Almost" and the Title Song. Luba Lisa impresses with the comical number "Addie's At It Again", while Richard Kiley (MAN OF LA MANCHA) sings delightfully in "The Other Half of Me".

   Composer Jack Lawrence has recently come forth with some rather-startling stories of the late Buddy Hackett. Hackett apparently loved upstaging Karen Morrow during her big number "I've Got Everything I Want", refused to have an understudy and demanded over-the-title billing. He also stipulated that his should be the only picture on the posters and cast-album cover.

   Included on this reissue are additional cover versions of "I Had a Ball" and "Almost", recorded by Karen Morrow for the Mercury label, and two trunk songs that were cut during out-of-town tryouts.

   Highly-recommended.




4. It's about time.

   Fun, uneven, weird, anything but boring, and featuring the talents of Richard Kiley and the underrrrrated Karen Morrow.

   Thanks to Lypsinka for unearthing this gem in her show. Lyppie incorporates "I've Got Everything I Want" by Morrow into the act and it is never a drag. Find this track and hit "repeat!"

5 comments about Phantom of the Opera and Other Broadway Hits.

1. This CD contains music from Phantom of the Opera AND OTHER BROADWAY HITS, performed by the Orlando Pops Orchestra. Singing is by Marguerite Krull and Justin White.
   
   These are NOT the singers mentioned in the majority of reviews for this item. I am sure that those reviews reflect reasonable opinions for performances not on this CD, but their appearance here do a great injustice to great songs which are well sung.Phantom of the Opera and Other Broadway Hits



2. ISBN 056775077723 is not the cd with Charles Hart, John Barrowman and Claire Moore.
   This isbn is for a terrible version with the Orlando Pops conducted by Andrew Lane with mezzo soprano; Marguerite Krull and baritone; Justin White. This version the singing lacks passion and is grating and the orchestra is disjointed and thoroughly unmelodic.
   Thank goodness I bought used for only a $1. I still want the one with Barrowman and Moore.



3. Well, I was looking up my favorite Phantom music when I found this CD. I listened to the samples of music they gave, and was entranced by the lovely Phantom and the voice of Christine. I bought it without a second thought.
   
   Though I assumed that it was a mistake that the song 'Memory' from Cats played as 'Music of the Night' I assumed that was simply a mistake and dismissed it.
   
   However, I got the CD today, and eagerly put it into my walkman. Out came a Christine and Phantom duet I had never heard before. And was eager to avoid!!!
   
   They were horrid singers!! Definetly NOT the Angels I had anticipated....
   
   Let the buyer beware... I'm terribly disappointed.



4. I first discovered this CD hidden well beneath the depths of my father's collection. after seeing the play on broadway, i decided to pop it in. that was my mistake.

   THIS WILL NEVER COMPARE TO THE ORIGINAL RECORDING!!! who picked Graham Bickley to be the Phantom? i mean, come on! he's a singing joke next to Michael Crawford, anyone would understand that. I mean, sure, the guy can sing, but simply being able to pull off a few notes does NOT make you one of the most immortal charecters of all time. this is something that Michael Crawford does, and pulls it off with perfection. BUUUT, unfortunately, Graham is not a strong candidate. there's no interest in his singing. it's all wooden and boring.

   claire moore, on the other hand, i rather liked. i read what some people have said before, but i slightly disagree. i thought that she had a wonderfully passionate voice. she actually has charecter to it that even sarah brightman could never have. i'm sorry, but sarah is suffering a simmilar affliction that graham is unfortunate to be influenced by. both are good singers, with all the technicalities correct. but when it comes to a truly passionate performance, moore and crawford have it right.

   so buy this, if you wish. it's a good cd, though the orchestrations are not that "WOW" either. the rest of the cast is adequate. but i would recommend the highlights of the original recording. sorry, i'm a purist.




5. FYI: The version of this CD that I have is all Phantom songs.

   This recording of Phantom was not that great. First of all, the orchestrations were so unbelievable weak for the first 4 songs, then got better.
   I really did not like Claire Moore's voice on this recording. Her voice is weak, and unemotional, besides the fact that she is not a strong soprano (at least not here), she truly sounds like a shrill mezzo-soprano. When she sings the high E at the end of POTO, she sounds like me trying to hit it anywhere but the shower. She can't compare to Rebecca Caine (Canada recording) or even Sarah Brightman (London Recording).

   Graham Bickley as the Phantom was slightly better, but not as strong as Michael Crawford, and he can't even hold a candle to Phantom I saw live, Brad Little. His Music Of The Night is better than some, but not great.

   John Barrowman is okay as Raoul, but I've heard much better. He has slightly more emotion than his cast mates, but loses it during All I Ask Of You.

   The Good Thing About It:
   1. Another Phantom CD!!!!!

   2. It switches back and forth from bad to good.
   3. During Prima Donna you can actually understand what someone besides Carlotta is singing!

2 comments about Look My Way/Nice to Be Around.

1. Rosemary Clooney is one of my three favorite singers, so it is no surprise that I enjoyed this album. Her big hits were recorded on Columbia Records, and later on she enjoyed a long relationship with Concord, a jazz-oriented company. But the two albums included in this compilation were made after she left Columbia and before she signed on to Concord. They were made for United Artists, whose rights apparently passed to EMI-Capitol, the company which released this CD.
   
   The first album, "Look My Way," is described by another reviewer as a country album. I would disagree somewhat; this was apparently a very eclectic collection, ranging from country to calypso, showcasing the great flexibility and versatility that Rosemary Clooney had as a singer. It includes a remake of one of her earliest hits, "Half as Much," and listening to it showed that her voice was still very good after all those years. I agree with the other reviewer who said that the version on this album is almost as good as the original. Many of the songs on this first album are quite obscure, and only "Half as Much" and "Singing the Blues" are really familiar to me. But all are a pleasure to listen to.
   
   "Nice to Be Around," like "Look My Way," is a collection of mostly obscure songs, with only a couple of well-known songs like "Send In the Clowns," but it differs from the first album in being more purely straight pop. The combination of the two, however, is a really good demonstration of just how much Rosemary Clooney could do as a singer, even many years past her prime. (Of course, she was singing, and sounding very good, even just a few months before her death!)



2. The two albums paired here were recorded in the seventies for United Artists. The first of them (Look my way) is a country album recorded in Nashville. This should not come as a surprise to Rosie's fans, for although the Great American Songbook provided a large part of her repertoire, Rosie recorded many different types of song, and several of her early pop hits were originally written as country songs, including Half as much and This ole house.

   Look my way begins with a re-recording of Half as much, which is at least as good as her first recording of the song. Among the other songs are two by Jessi Colter (Storms never last and I'm not Lisa) and two by Don Gibson (When you got love and The very thought of losing you). Don wrote several songs (including I can't stop loving you, Sweet dreams, Oh lonesome me, Sea of heartbreak)which became famous, but Rosie ignored all those, instead choosing these two lovely but obscure songs. The album also includes When will I be loved (an Everly brothers song) and Singing the blues, originally a Marty Robbins song but best remembered via covers by Guy Mitchell and Tommy Steele.

   Rosie obviously loves Paul Simon's music as she included the obscure 'Twas a sunny day on Look my way, and two more of his songs (50 ways to leave your lover and My little town) on the second album here - Nice to be around.

   Nice to be around is an album of pop songs, including Send in the clowns (Judy Collins), All by myself (an Irving Berlin song from 1921 which became a 70's pop hit for Eric Carmen), The hungry years (Neil Sedaka) and I won't last a day without you (Carpenters).

   These are both excellent easy-listening albums which sit together well. Perhaps Rosie was out of fashion at the time they were recorded, but each album, in their way, show what a wonderful singer she was.

1 comments about Give My Regards to Broadway.

1. I bought this album many years ago and just about wore the vinyl out playing it. If you like Previn on the Piano, you MUST have this album. It's a shame he quit performing/doing this style (Jazz) music and went to being a conductor. I know, I know. A conductor has a hard job, but his genius on the "88" is without equal.
   
   Just so you'll know my Jazz piano tastes, they include Ahmad Jamal (1960's style), Peter Nero, Oscar Peterson, Dave Brubeck, and Errol Garner. that's not all, but just a few. Previn is the tops.

4 comments about Witch Craft: The Songs of Carolyn Leigh.

1. I came across this while searching for material on Carolyn Leigh after purchasing a CD by Julie Wilson singing the songs of Cy Coleman (Leigh's most notable collaborator). I had never heard of Sarah Zahn, but I took a chance, and I'm so glad I did. She's a fine singer and her love for this music comes across in every note. I confess, I didnt know much about Leigh before the Wilson CD, only that she'd written some Broadway shows. You will recognize some of the Coleman songs here, but there is so much more to Leigh than that. There are so many gems on here, it would take too long to list them. Suffice it to say, there isnt a dud on here. My only complaint is Zahn didnt sing Witchcraft and Come Summer (my favorite Leigh song) as solo pieces. I cant praise this CD enough. Its one of my all time favs. I wish Leigh were better known, she never received the success she deserved. I'd give this ten stars if I could....Fantastic.



2. This album really combines all the pieces that anyone that appreciates show tunes or the American songbook could ask for. Start with the focus on songs of lyricist Carolyn Leigh, one of the greats but someone who hasn't previously received a great deal of attention. The song list mixes in well-known standards with a large sprinkling of unrecorded or little known songs--nearly every track either brings back a fond memory or creates a pleasant surprise (I especially enjoyed "Bouncing Back For More', "Six O'Clock News", "Nightlife in Santa Rosa" and "Killing Time"). The arrangements are right on the mark, featuring enough instruments to delight the listner, but staying true to the intent of the songs and not overwhelming them. Finally, but most important, Sara Zahn is a wonderful singer and puts all the numbers over with style, intelligence and feeling. This is one witch's brew I would love to get more magic out of.



3. I was looking for something else and tripped over this CD. I didn't know a thing about either Sara Zahn or Carolyn Leigh. I just took a flier.

   This is a wonderful album, particularly for those who love the showtune tradition. There is a scattering of well-known tunes from the American songbook, but it is the new songs by Leigh that really make this album special. Zahn has warm and expressive voice and seems to excel at every type of song found on the CD.

   Take a flier like I did.




4. The CD Witch Craft intoduces the poignient and brilliant lyrics of Carolyn Leigh. It also introduces the listener to the amazing song stylings of Sara Zahn. An artist who I was totally unfamiliar with until I read a review of this singer by Rex Reed. She totally blew me away with her Passion. Don't hesitate with this one, you will not be disappointed.

1 comments about The Stephen Sondheim Songbook.

1. This is not a great collection. All of the selections are just from the original recordings. Songs from his earlier works inclding: West Side Story, Gypsy, Anyone Can Whistle, Do I Hear a waltz, The Mad Show, Company, A Little Night Music. If you like the hits from these musicals, the collection is worth it. True Sondheim fans are better off getting the whole sondtrack for each show.

5 comments about Sings Fred Astaire.

1. THIS IS ABSOLUTELY A SUPERB ALBUM MADE ALL THE MORE SPECIAL VIA THE EXCELLENT JAPANESE REMASTERING ON THIS DISC. THIS RECORDING IS ONE OF MEL'S BEST EVER SESSIONS AND IT FINALLY SOUNDS THE WAY IT WAS ORIGINALLY RECORDED. GET IT IF YOU WANT TO HEAR MEL AND THE MARTY PAICH ENSEMBLE AT THEIR BEST MUSICALLY AND SONICALLY.



2. There's not much to dislike here. The Great American Songbook provide the classic songs, and although you may miss Astaire's visual delivery, Torme handles the material with casual elegance. However it's the band that sets this one apart: the small ensemble has tight, interesting arrangements more reminiscent of Birth of the Cool than any Sinatra. If you like Torme's voice, don't let anything stop you getting this album!



3. When I started collecting Mel Torme CDs late in 2004, this CD "Sings Fred Astaire" was way down on my list. Why? I guess because I had never seen a Fred Astaire movie and figured it would just be a batch of crooner songs, and jazz was what I wanted most from Mel. Boy was I ever wrong! This album is fabulous from start to finish, so good in fact that since I've heard it most of my vast collection newly acquired Mel Torme CDs has been put on the back burner for months. First of all, it may have been recorded at Mel's vocal peak, not in terms of the complexity of his singing (for that I go with Mel Torme At The Red Hill), but in terms of the flawlessness of his vocal cords. Secondly, the horn arrangements (by a ten piece "Dek-tette" orchestrated by Marty Paich) are superb and complex, and a big improvement over the big band style in my honest opinion. Before I had heard the dek-tette, I preferred Mel with just a trio over the big bands, but this album has made me reconsider. Listen to that incredible instrumental break in "The Piccolino," the jazz assault on "The Way You Look Tonight," or the two sax solos on "A Fine Romance." And that's just the instrumental highlights! You add Mel's voice just floating on top of these flawless arrangements, with not just good but great songs by the Gershwins, Fields/Kern, Mercer, and Berlin, and you have one of those obvious moments in pop history where a perfect merger of talents just peaks before your eyes, er, ears. It's almost impossible to pick favorites, but some titles that come to mind along with the above are "They All Laughed," "Top Hat, White Ties and Tails," "Nice Work If You Can Get It," and "Let's Call The Whole Thing Off' (probably the only familiar melody to me before hearing the CD).
   Let me reemphasize-- this is a classic album. You don't need to be of this generation or familiar with this genre to recognize the genius that oozes out of this recording. The only drawback at the moment (April 2005) is that this CD is so rare they are going for over $44. Let's just hope we can get Bethlehem records to reprint it or give the rights to some other label that doesn't want to see this work relegated to obscurity. ----=- om---=-= Nick (SoulQuest7@aol.com)



4. Mel Tormé has provided us with many exceptional recordings -- including "Mel Tormé Swings Shubert Alley," "Best of the Concord Years," and "Lulu's Back in Town," to name just a few -- and "Mel Tormé Sings Fred Astaire" ranks among them, among his best. Featuring classics from the Gershwins, Mercer, and Berlin, the arrangements are inspired and inspiring. The sound quality is outstanding. And most importantly, Tormé's singing is stunning. His voice is crisp, clean, and multi-dimensional. And there's absolutely none of the I've-fallen-in-love-with-my-voice affectations that have plagued him now and then in his later years. (Of course, if I sang like him, I'd have the same affectations... even more so; but then, I can't -- and no one else can either.)



5. This is Torme at his best. Paiche and Torme is another one of those musical collaborations that was perfect.(like Sinatra and Riddle) Marty Paich is a genius arranger. The musicianship on this album is hard to beat. This album swings hard, the band really cooks . Check out "The way you look tonight", turn it up a little and dig the solos - it will have you jumping! The bass line will bring a tear to your eye! . "Cheek to cheek" is another hard swinging number. Paiche subtely quotes "jeepers creepers" in the middle of the unusual arrangement..it's great stuff. Torme effortlessly delivers amazing vocals throughout. This album is a must for anyone into jazz, vocals, arranging.. Buy it!