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Reviews (4)

THE BROADWAY DIVA IN CONCERT (higlights)
For more than 25 years Patti LuPone has been one of the greatest female performers in the modern musical theatre. During that time she became renown not only for her capability to portray strong characters, but also for her amazing vocal power, which enabled her to sing the most demanding scores the musical business has to offer. Before we get to the CD at issue here, here is the basic info about Ms. LuPone's career.

After completing her training with the first class of the Drama Division of New York's Juilliard School, she began her career as a founding member of John Houseman's The Acting Company playing a variety of leading roles, both on and off-Broadway and on tour throughout the United States. Among her first roles were Rosamund in the 1976 production of Robert Waldman's and Alfred Uhry's "The Robber Bridegroom" and "The baker's wife" in the Stephen Schwartz's piece of the same title. Her big brake came in 1979 when she wowed New York audiences with her stunning portrayal of Eva Peron in the 1979 Broadway production of Andrew Lloyd Webber's Evita. The electrifying magnetism of her vocals and her strong stage presence earned her the Tony award as a best actress in a musical for 1980. The 80-is saw her tackling a large variety of parts, such as Vera Simpson in "Pal Joey", Nancy in "Oliver", a truly moving Fantine in the London production of "Les Miserables" and a charming Reno Sweeney in the 1987 revival of Cole Porter's "Anything goes". She was also no stranger to the TV screen at the same time, appearing, among other things, for four seasons of "Life goes on".

So at the beginning of the 90-is, Patti decided it was time to do a solo show. Los Angles was chosen and she began conceiving a program with Scott Wittman, who is nowadays known as a lyricist for one of the current Broadway hit musicals, "Hairspray". This double CD is thusly a live recording of that Patti's LA concert. The repertoire, together with her unique interpretation, guaranteed a sold out show. To start with, the first disc features Patti tackling some of the classics, from Kurt Weill, Cole Porter, Irving Berlin, and Billy Strayhorn to her full-lunged rendition of Stephen Sondheim's "Being Alive". One of the things that impresses on this CD is the fact that she makes all these songs sound as if they were written especially for her; she gave each of them a new life. The arrangements are neatly made and carried out by a well played orchestra and powerful back vocals of an African-American vocalist group, "The Merman", who give Patti a strong backing.

The heated atmosphere gets even more ecstatic on the second disc on which Patti performs the most noted songs from the shows she starred in up until that time. There is no mistake here: from her overpowering deliverance of "Don't cry for me Argentina", through gentle and lullaby-tuned "Sleepy man" from "The Robber Bridegroom" till the comic beats of "Anything goes", you can't help but be amazed by the sheer strength that shines out of every note Patti belts here. Add to that the fact that all the songs on this disc are cleverly interwoven with Patti's witty and funny monologues about each of the shows she was in and you end up with an immensely enjoyable musical and comical experience all wrapped up in this 2-disc set. By and large, this recording shows that Ms. LuPone is not only an outstanding singer and actress, but a consummate entertainer as well.

My only regret would be that here we are not treated with Patti's breath-taking interpretation as Norma Desmond in Andrew Lloyd Webber's "Sunset Boulevard", which premiered in July that year in London. She sang those notes like no one else managed afterwards and my favorite composer should have known better before canceling her contract for the Broadway production, only to replace her with a "bigger name", namely Glenn Close, who never came near of bringing that character to life, neither vocally nor in terms of good and convincible acting.


This is a single CD of the concert's highlights, so a full, double CD version is much more plausible to get the whole picture.

Taking everything into account, this CD captures the very essence of Patti LuPone's appeal to the avid musical theatre connoisseurs: amazing vocal range and power, in addition to humorous life attitude and acting ability. This recording proves that real talent can conquer and endure at the same time.

The Queen of the Stage!!!!!!!!!!!!!!!!!!!!
Ms. LuPone is a great talent. Her voice is powerful and as clear as water. I have been a fan of hers for a long time and will always be loyal. If you listen to this album you to will feel the same. All of her most popular songs are here, "Being Alive","Anything Goes" I Dreamed a Dream" and "Don't Cry For me Argentina". You simple can't go wrong with this album. As I always say, It's a must have for any Patti LuPone fan!!!!!! I LOVE IT!!!!!!!!!!!!!!

The DIVA Patti LuPone. 4 1/2 Stars!
In 1975 Patti wowed audiences as Rosamund in "The Robber Bridegroom." In 1976, she won the role of Genevieve, over Betty Buckley to sing the now infamous "Meadowlark" from the Musical"The Baker's Wife." She next landed her groundbreaking role ofEVITA in 1978. And she has been wowing audiences ever since with herinterpretations of Fantine "Les Miz", Nancy "Oliver",Reno "Anything Goes", and Norma "Sunset Blvd." In thisCD we get a touch of her Musical Theatre career and also her Cabaretsongs.

This is the HIGHLIGHTS CD to her 1993 Double Disc Concert CD. Itfeatures 17 songs. The CD opens with Cole Porter's "I Get A Kick OutOf You", the show opener for "Anything Goes." She is strong,and her voice is full. Next up are the comical "Everything Happens ToMe" (Matt Dennis and Thomas Blair) and the sultry "LushLife" (Billy Strayhorn). Then she busts out into the crowd rousing"Ain't Nobody Here But Us Chickens" (Alex Kramer and JoanWhitney). It's an old fashioned, finger snapping, toe tappin' song. Pattidoes extremely well with these 1940's style songs. Her Back Up Singers areTHE MERMAN, featuring John West, Josef Powell, Gene Van Buren, and ByronMotley who nicely compliment Miss LuPone. Next is "My Ship" byKurt Weill and Ira Gershwin. Patti Then does a heartwrenchinginterpretation of Kurt Weill and Bertolt Brecht's "SurabayaJohnny." Listen to the agony in Patti's voice. Just by listening toher acting, it's no surprize she graduated from Juliard. Then Patti doescontemporary with "Calling You" blended with "GetHere."Just hear the power behind her voice.

Then Patti warms us upto her Broadway section with the amazing Sondheim song "BeingAlive" from the Muscial "Company." (She also blows theaudience over on the "Sondheim Celebration CD, her FIRST LIVEperformance where she sang this song!)Patti is the first woman to singthis song that was originally sung by a man! And boy does she knock oursocks off!She begins nice and gentle and sends it Sky rocketing into theAir!She teases us with "Looking For Love On Broadway" only tolead directly into "Don't Cry For Me Argentina" her signaturetune from EVITA. I think this particular version is the BEST recording ofthe song. Her voice is nice and solid, her belt is strong, and her actingis very clear. She then goes on to tell the story of Broadway flops, onlyto thrill us with "Meadowlark" from the short lived, ill-fated"The Baker's Wife." Patti is the ONLY woman that does Meadowlarkit's justice. (For anyone who really loves this song, I highly recommendthe Original Broadway Cast of "The Baker's Wife." It has a wholebeginning seagment that's NOT in this recording!) She then graces us withthe gutwrenching "I Dreamed A Dream." Just when three sad piecesin a row seem to dampen our spirits she electrifies us with the rousing"Anything Goes." Patti soars, and has way too much fun with hersingers, The Merman. But that's what it's all about, having a good time!

As the Cd comes to a close we are treated to a beautiful melody entitled"Heaven." I've never heard it before, and I don't think it's aBroadway song, but it's pretty and catchy! The last song of the CD is"Lost In The Stars" by Kurt Weill and Maxwell Anderson. Just waittill the end of the song where she gives us a taste of her (then) upcomingrole of the World Premiere of ALW's "Sunset Blvd.""I can'tgo on with the scene....I'm too happy!..." Her endingmonologue!

Reviews (5)

Stick with it, it grows on you
There is definitely an adjustment in store for opera fans used to listening to Mr. Ramey's always sublime opera recordings.Play this a few times, and your ears will adjust, and you will find it just as enjoyable as the rest (not to mention that you'll be humming it to yourself after the disc is done playing).In the first place, there isn't a bad selection on the list, and as stated in the liner notes, consideration has been given in the orchestrations to the fact that Ramey is frankly, "vocally overqualified" to sing some of them.Still, beatiful music + beautiful voice can IN NO WAY = BAD RECORDING.I'd take an overqualified Sam Ramey "crossing over" to Broadway before an underqualified Boccelli "crossing over" to opera ANY DAY!So purchase and enjoy!

Worst opera/Broadway cross over ever.
I love Sam Ramey doing opera, having seen him do The Ring live and Don Giovanni on TV and love his voice.When he does opera he has an incredible warmth and presence, as well as a way with the text that I thought would carry over to Broadway music.

Unfortunately, this is not the case and his renditions rival the Three Tenors in terms of being horrible interpretations of classic showtunes.He sings everything in an overblown manner without a trace of subtlety or lyric sensibility.The arrangements do a disservice to the numbers as well. All in all, this is one of the worst albums I have ever purchased, and I instantly gave it away after my first listening.

If you want to hear opera folk sing Broadway and do it well, buy Dawn Upshaw's I Wish It So or one of Jerry Hadley's cross over albums.Avoid this one at all costs.

Reviews (8)

~"You'reTheTop"ColePorter~AwesomeSelections!!!~
Romantic, rhythmic, sophisicated and incredibly brilliant are the classic works of 20th Century legendary composer Cole Porter who is represented here by an impressive array of Capitol recordings artists.The smooth sophisicated swing of "All Of You" kick off a program of greatly diverse and fascinating performances and always true to her legendary fashion is a superb Peggy Lee while Tony Bennett does a stunning "Anything Goes" with Count Basie."I Happen To Like New York" smolders and soars with the haunting intensity of a soulful Judy Garland vocal that is a truly stunning masterpiece!!!A mesmerizing Nancy Wilson vocal make "You'd Be So Nice To Come Home To" a memorable listening experience and this collection is a keeper for those who love the finest songs and singers that music has to offer.Thanks to Cole Porter and all those great Capitol Recording Artists for making this great collection possible...highly recommended!!!!!!!

What fun these artists had!
Most of the recordings of Porter's songs on this CD were cut in the 1950s and 1960s, and are vintage Capitol of that time.That means that most of them have jazzy background music that almost always accentuates rather than detracts from the songs.Whether or not one likes all the recordings, one thing comes across clearly: the singers are having a great time.Their sheer fun really is infectious.

For my money, the single best number on the CD is Peggy Lee's "Always True to You in My Fashion."Dinah Shore sings an incredibly sultry "It's All Right with Me," and Louis Prima and Keely Smith are fantastic in their own idiosyncratic version of "I've Got You Under My Skin."Tony Bennett's classic version of "Anything Goes" will never grow old, and it's wonderful to have it included on this CD.Judy Garland's "I Happen to Like New York City" is awful, as is Dean Martin's "True Love," but they're awful in the wonderfully kitschy way of 1950s overdone tunes.Trudy Richards can't be beat when it comes to "Let's Do It," and the great Nancy Wilson croons a "You'd Be So Nice to Come Home To" that you won't forget.

Like an earlier reviewer, I was surprised that Sinatra isn't one of the featured artists here.But there are plenty of other places to hear him sing Porter.

All in all, a great CD.It'll put you in a different place and time.

Reviews (4)

Are you kidding?
I will agree that the sound quality on this CD is outstanding (especially compared to most compilations of vocal artists).The songs, however, are gruesome renditions of classic material that are no better than the average swill pitched on late night TV.If you love Jim Nabors and Anne Murray, knock yourself out, but I thought Damone was better than this.

An older/goldey
As Sinata once said "The best pipes in the business". Some songs associated with other arists done in the Damone way. A must for his fans.

Reviews (8)

Two reviews in one
The title to this review refers to the fact that I consider this album the perfect companion of Anita O'day Sings Rodgers and Hart so I'm speaking here about the two albums and I suggest to everyone the purchase of both. Anita was accompanied here like in the R&H album by Billy May who has been a spectular choice for Anita. Some people seem unable to catch impressive Anita's vocal genius. She's one of the best Jazz singers in the whole history of Jazz music. She's so personal, so charismatic, so graced with talent that hearing her singing Little Girl Blue or Bewitched (R&H album) is incredibly rewarding. She flies over May's powerful or tender arrangements like only a master Jazz musician can do. She hadn't Vaughan unreachable instrument and her black attitude (Vaughan has been the greatest of them all, no doubt about it), she wasn't divine. She was human, but with an impressive talent of her own. She hadn't Holiday black tragedies to tell. She was white, she wasn't discriminated (even if she surely saw some bad things travelling with black people in those days) so she sang like a white girl, with a white blues feeling, with perfect intonation, perfect time and an originality that hook me every time I hear her sing. She can really enlight a song or a lyric. She's incredible. I really love Anita and probably the two albums (Cole Porter and R&H) are some of the best music she's ever recorded. Billy May prepared for her thunderous arrangements with her voice in mind and the results of course became legendary.

ANITA TAKES CHANCES
You probably heard PORTER tunes done by ELLA or SINATRA,and that's interesting.With ANITA ,the approach is more risqué but so rewarding in the end.ANITA is a singer who likes to takes chances,and on this 1959 session,she is matched with BILLY MAY,who was born to work with the often difficult O'DAY.What fun it is to hear them do relectures of the famous PORTER tunes,even if you know them by heart!So, you may like that album a lot if you are game ,or hate it if you are not,it's just as simple as that.The lyrics to YOU'RE THE TOP are not the originals,but work just the same with YOU'RE THE BOP,SARAH and YARDBIRD among the word changes made to the song.One wonders though what PORTER thought of the liberties taken with his songs.This is ANITA O'DAY in full command and in her prime.A message to VERVE:will you please release the 1960 ANITA O'DAY swings RODGERS AND HART with BILLY MAY in north AMERICA?

Easier to Love
I've always felt Anita O'Day deserved better from me.Her inerrant ear,impressive vocal technique and sexy, intimate sound all should have added up to recordings that would get no fewer playings than Ella's.But Ella's simplicity and transparency always did better by the song to my ears.

Reviews (1)

Reviews (5)

Please mr. Mathis
This album is a landmark and is a showing of JonMat voiceand style.It is superb! When his mentor at this time (and for years to follow) said to not fall into this category and I feel she denied the public of his originality.He never even came close to this production and there is not one flaw in this recording!He did manage to have several pop listening songs and albums to enjoy but I regret that not one time he he attempt to restore the impact of this particular LP. Just listening to this LP and you know what we've missed.This is 50 years almost and will stand up to anything between 1955 and today and will probaly remain so after year 2055. Thanks Johnny!Your choice of the songs and Your VOICE and delivery are 12 stars out of five...

If only he had kept going like this!
I bought this album in '59 after hearing Mathis' more popular tunes on the radio.Simply the most creative of his work, with emotions and style far beyond his later commercial efforts.The backup personnel are some of the greats of jazz - and Mathis matches their talent with musical and technical bravado.After a while, Johnny became a parody of himself, but this album is the opposite of the later stuff - totally artistic.Eventually, I gave away every other one of his albums but this one.

Editorial Review

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• Original recording remastered

Asin: B0000641PW
Sales Rank: 92226
Subjects:  1. Easy Listening/Vocal   

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Reviews (2)

Quality music at a budget price
This European budget release has no booklet but the sound quality is fine for the age of the recordings. So there are no liner notes but the tracks (with songwriters) are listed on the back of the jewel case.

Compiled from her recordings for Decca, this contains a generous selection of her thirties and forties recordings. Considering her brilliance as a singer, her record as a hit-maker is really quite modest, with only six American top ten hits during the period covered. Charts never tell the whole story. Over the rainbow (the song for which Judy is best remembered) stalled at five, with versions by Glenn Miller and Bob Crosby both selling better at the time. Glenn's version spent seven weeks at number one. Having heard both, I can understand why Glenn's version was a more successful single, but Judy's version is the one that the public wants most these days. This song closes the collection.

Judy's other big hits are all here, these being I'm nobody's baby, For me and my gal, The trolley song (all three being bigger hits for Judy than Over the rainbow), Yah-ta-ta Yah-ta-ta (with Bing Crosby) and On the Atchison Topeka and Santa Fe. Most but not all of her minor hits are also here.

The first CD ends with a trio of Christmas songs, two of which (The birthday of a king, The star of the east) were new to me when I bought this. The other is the standard Have yourself a merry little Christmas.

Plenty of famous songs from the era are included, quite apart from those already mentioned, with Judy's versions being as good as any I've heard. Among them are I got rhythm, Embraceable you, I wish I were in love again, Swanee, Meet me in St Louis, I'm just wild about Harry, That old black magic, Fascinating rhythm, Blues in the night, Alexander's ragtime band, Easter parade, Zing went the strings of my heart, But not for me, When you wore a tulip, The boy next door and You'll never walk alone. You will probably recognize a few others too.

With 72 tracks, there is plenty of room for obscure but delightful songs. One of these is titled A pretty girl milking her cow. Can you imagine anybody writing a song these days with a title like that? I can't. An equally unusual song title is |Groaner canary and nose. But whatever Judy sings, she performs it superbly.

Anybody with any interest in the music of the forties needs some Judy Garland. This comprehensive collection fulfils that need at a reasonable price.

Asin: B000002TOZ
Sales Rank: 240321
Subjects:  1. Pop    2. Pop Vocals    3. Show Tunes    4. Traditional Pop    5. Vocal Pop   

Asin: B00004UFD2
Sales Rank: 163088
Subjects:  1. Dance Bands    2. Jazz    3. Nostalgia    4. Pop    5. Sweet Bands   

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Editorial Review

Reviews (4)

Great music, for a great man
This album was my first of Mr. Short's, and I eventually worked my way backwards.I was introduced to him about four or five years ago (I'm only twenty six) by someone I met while seeing Woody at The Carlyle.This album is the closest one can get to seeing Mr. Short, and what his modern shows are like.Great brass, intimate setting and wonderful songs performed by Mr. Short with his legendary phrasing and delievery, are soon to be no more after this year.For the past three years I have been around the world in the military, two or three times a year traveling back home to see him.But when I cannot, I put on this album, grab a drink, and listen to this wonderful recording. No one with any musical taste that I have played this album to did not enjoy it.Must buy.

Sad Short, blue Short, old Short, new Short
If you don't smile seeing and hearing Bobby Short perform, check yourself for a pulse.Just hearing him on CDs like this one are enough to get me grinning for hours.After 30 years at the Cafe Carlyle, and at least 60 inthe business, he still infuses each performance, each song, each phrasewith an honest joy whose infectiousness is communicable by CD.Getyourself some.

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Editorial Review

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Reviews (5)

Two excellent albums from 1959
I have said elsewhere that Jeri Southern is my favorite torch singer and while these two albums are not my favorites of hers (I prefer her earlier, more sparsely backed, music recorded for Decca), they are of an incredibly high standard. Jeri's performance cannot be faulted - she knows her limitations and stays within them. The first album is a set of Cole Porter compositions, mostly avoiding the obvious songs. Indeed, the most famous Cole Porter to be found on this twofer is on the second album, a live set recorded at the Crescendo in Hollywood.

On the first album, Jeri sticks faithfully to the original lyrics, the arrangements are sometimes different to the way Cole Porter intended. The song I am most familiar with is It's all right with me, a song that I first came across via Crystal Gayle's 1977 cover. Jeri's version is much slower but equally brilliant. Other highlights include Don't look at me that way, Looking at you, I concentrate on you and It's bad for me - but every track here is wonderful. Billy May arranged and conducted the orchestra, which sometimes gets a little busy (mostly when Jeri is not actually singing) but is generally restrained and supports Jeri superbly.

The second album, although it features some clapping, does not feature any narrative. Jeri let her music speak for her. Here, you will find some familiar songs including I get a kick out of you (the only Cole Porter song on this set), When I fall in love, Nice work if you can get it, Dancing on the ceiling and You better go now. The music marks a return to the sparser backing of her Decca years, with just piano (played by Jeri), bass, drums and cello supporting Jeri's lovely singing. On some tracks, Jeri is left alone with her piano - now that's how I like Jeri best.

If you are a fan of Jeri's music, you will love this twofer.

At her best
Jeri Southern's two albums for Capitol were the best work ofher career.The Cole Porter album is unusually imaginative.She and Billy May toiled thoughtfully over each arrangement with remarkable results.All your preconceptions about these songs are reordered as you hear their approaches to them. As a whole the album achieves a distinctive pulse and flavor that has made it a worldwide favorite.The Crescendo album likely was recorded at the Capitol Tower.Why?First, the sound of about five people providing the applause is a tipoff.Second, the Crescendo was a noisy place with chatter and clanking dishes which made live recording a difficult proposition.And the sound of a dance band from the floor above the cabaret was forever seeping through.Likewise, the cover almost certainly was shot at the Capitol Tower--it has the look.Finally, the program is one I can't imagine actually taking place in a supper club--it's almost classical in sound and quite somber in nature.In reality if she'd done this in a night club some drunk would have poured a Manhattan on her head for not doing "Melancholy Baby."It is a lovely album, even if it's fiction, and reprises many of Jeri's hits on Decca nicely.You will play this terrific C.D. over and over.

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Reviews (34)

It simply doesn't get any better than this.....
....and that's all I have to say!
Apart from Thanks to the late, great Alan Dell on BBC Radio Two for introducing us to this magical music, that gave us so much pleasure at home.

I note that Len Dressler commented on an earlier review.If he sees this one, then I hope he will accept my humble and sincere thanks for making such beautiful music and for so enriching our lives; you gave us so much joy.

Five stars just isn't enough!!

Possibly the best vocal Jazz group on the planet ever.
Well, it really is too bad that this phenomenal group stop putting out new music after 1980.Gene Puerling's arrangements on those old standard tunes will pierce open your heart.As for John's comments on stylistic crime and the disco tune (and you all know which one we are talking about), all you have to do is fast forward 2 numbers, and you will hear Bonnie's amazing solo against the walking bass line.Bonnie's phrasing at times even better than the stand up bass.

All the numbers are excellent and I cannot get enough of it.The poster just below me was right: God was working through the singers and the arranger of these songs...Yes, only God can give such beautiful melodies and harmonies to the people He loves.Listening to ballads like "where or when" etc literally brings tears to my eyes.I was fortunate enough to have collected all of the Singers releases on vinyl LPs (including their Christmas LP).The dynamics on these old analog records are incredible.For the vinyl collectors: go after the German pressings (they cannot be beaten), second choice would be Dutch pressings, the Dutch pressings are tied with the PA USA pressings (in terms of ambience, soundstage and over naturalness in the tones), and I would stay away from the USA/BASF pressings (although the German BASF is very good).You will not hear how good the Singers Unlimited can sound until you hear them on vinyl.

It would be interesting if MPS records release this group on Super Audio CD (SACD), but even with SACD's high resolution (96/24 2 channels), it still falls short of the true analog wavelengths you found on vinyl LPs.All of us have been duped by the music industry for selling us the snake oil "perfect sound of ever" silver disc.Just think about it: if cd really is "perfect sound of ever", we wouldn't have SACD now, would we?Anyhow, the music industry is all about marketing, bottom lines etc, and sound quality is last on their list, even Gene Puerling openly admits to this.I heard that the music industry is actively seeking sub-par bands right now, and the upcoming grammy award is a joke.In case you haven't noticed, way back before this group was formed, jingle singers such as Bonnie Herman, Kacey Cysik (do you know who she is?), etc, can sing circles around the best pop female vocalists at the time.They can certainly sing circles around today's Norah Jones and the like (and Ms Jones won multiple Grammies recently).You tell me if this is fair.And I haven't mention singers like June Christy and Chris Connors, Ella, etc.Sorry for the rant.

And last but not least: thank you, Gene Puerling, Bonnie Herman, Len Dresslar and Don Shelton for sharing your music with us.We miss the old times.