Past Reviews Sound Advice Reviews Two Grammy-nominated recordings |
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The Grammy Awards are this Sunday, February 2, so let's consider a pair of the notable nominated recordings, both of which feature well-matched pairs. Another twosome, while new to the world of recordings, has already enjoyed several years of musical collaboration and friendship.
A well-deserved Grammy nomination has acknowledged the love lavished on Impossible Dream, a themed collection of empowering performances featuring musical theatre leading man Aaron Lazar. He shares one duet with each of eight vocalists (mostly Broadway peers, some adding choral groups in the mix) and then there's a glorious gargantuan finale. The category is Traditional Pop. It's a prize usually won by albums from such career recording artists as Tony Bennett, Frank Sinatra, Willie Nelson, and Michael Bublé. Mr. Lazar is in sterling, strong voice–magnetic in this parade of passion. His duet partners include five stars who had key roles on Grammy-winning cast albums. This sumptuous package ends grandly with Charlie Rosen's dazzling orchestral arrangement of "The Impossible Dream" with Mr. Lazar joined by dozens and dozens of harmonizing celebrities and friends, some given brief solo lines in the iconic anthem from Man of La Mancha about determination and goals. But it's not by any means the only selection with an inspiring or affirmative message. Josh Groban, a Grammy nominee himself for Traditional Pop three times for his solo recordings (and star of the recently nominated Sweeney Todd revival cast recording), is a perfect choice for the persuasive, empathetic message of "Let Your Soul Be Your Pilot" written by Sting. Recognizing, but not accepting, a paucity of possibility for an easy path through trouble, the two men move from hope to resolve, building strength upon strength, ultimately willing each other to triumph and have faith. The go-to Golden Age musical theatre number preaching persevering–risking cliché status after 80 years–is Carousel's "You'll Never Walk Alone." But some wise choices in its treatment here make the old musical medicine still potent: Lazar starts off gently, and Loren Allred's sweet timbre can be balm-like instead of stiff-upper-lip lecture; the innocent voices of a children's choir bring sincerity; the ending is a soothing cooling-down instead of the typical build-build-build stentorian climax. A big blast of optimism to the point of professing that actual miracles can happen "When You Believe." It might seem like an over-the-top theory, but, hey, it convinced Moses to lead his people in The Prince of Egypt and what better inspiration than The Broadway Inspirational Voices and the motivational voices of Aaron Lazar and Norm Lewis as our life coaches? The two choirs both lend support in a sweeping "Make Our Garden Grow" with Kelli O'Hara in operetta-like form for this Candide gem. The mix of "Get Happy" and "Happy Days Are Here Again," memorably performed by a young Barbra Streisand and Judy Garland on the latter's TV series, seems to be something so many want to emulate. Aaron Lazar and Leslie Odom Jr. don't slavishly copy the ladies' treatment as others do (except for the ending); there's less sung in counterpoint, and a perkier pace makes more cheer appear. The collection features numerous arrangers. Two of the showtunes are arranged by the men who wrote them. One is Jason Robert Brown's "I'd Give It All for You" with its unabashed intensity soaring with powerhouse vocals by the album's star matched by the on-fire Kate Baldwin. The other is in calmer mode as composer/lyricist Andrew Lippa contributes the contours for "Fight the Dragons" from Big Fish, a welcome choice that suits versatile Mr. L. and likeable Neil Patrick Harris, both fit for the fight. All of this fighting, fortitude and faith blooms from a sad seed: Aaron Lazar being diagnosed with ALS, also known as Lou Gehrig's Disease. He's been very public about it, has become an advocate for more awareness and research, and is booked as an motivational speaker. It's the condition that claimed the life of Broadway soprano Rebecca Luker about four years ago. Her voice is on this collection, too, but there's no mention in the physical CD package's limited text of her having passed away from ALS or that the electronically created "duet" of "I Am Loved" was sourced from her recording sessions for her Cole Porter CD from years ago, and retooled. (When released then, it had been a duet with Brent Barrett.) We wish the talented Aaron Lazar continued courage and commend his commitment to fight the dragons and inspire anyone facing trying times. And the album stands on its own many merits.
Being nominated for a Grammy Award is not a new thing for the old soul named Catherine Russell. Her category is Best Jazz Vocal Album. They say the third time's the charm, but even if her bio doesn't include the phrase "Grammy winner" after Sunday, she has always had a winning way to charm me both on recordings and in person. (I've attended her shows in New York City, where she frequently appears at places like Jazz at Lincoln Center and Birdland, where she'll be doing two shows per night February 11-15). While she's usually with a band, on this release she's joined by just one musician: the dazzling young pianist Sean Mason, who is deservedly co-billed. They are terrific together, with a satisfying repertoire featuring material that is swinging or sweet, relaxed or ruminative, or as one song title aptly describes its own tone: "On the Sentimental Side." The singing is confident and often playful, the piano reinforcing that during the vocal choruses, with Mr. Mason's mid-song solo sections on upbeat tunes often having extra zing and decorative touches that are engaging and energized. While much of the material emphasizes a carefree attitude, with some doses of double entendre ("Ain't Got Nobody to Grind My Coffee"), the 95-year-old title ballad of My Ideal is appropriately wistful and the disappointment projected in "South to a Warmer Place" is solidly sad and sobered. When a lyric puts her in a sunny place, Catherine Russell's joy is infectious; case in point is how she brings a glow to Irving Berlin's "The Best Things Happen While You're Dancing," heard in the classic film White Christmas. The lilt is a dreamy treat. Treatments of vintage songs respect and reflect their roots, honoring musical figures who got to them first (in some cases, also wrote or co-wrote the material), notably Fats Waller and Ray Charles. And, honoring the brash, bluesy musical footprints of women impatient with their men with wandering ways (or just a wandering eye), the vocalist excels at telling 'em off or sending 'em off in a saucy, oh-so-direct manner. "You Stayed Away Too Long" is a good example. Gutsy or tender, Catherine Russell delivers the goods and skillful Sean Mason, laidback or forceful, is a force to be reckoned with. The focused, appreciative liner notes are by a man who himself has seven Grammy nominations for that one aspect of his writing career: Will Friedwald. My Ideal is the real deal.
A mix of six engaging covers and four original songs by its vocalist of bright timbre, Melinda Rose, I'm on My Way is appropriately presented as a "duo" album, even though the non-singing person in the piano seat doesn't take a back seat to her. Gratifyingly for the listener, keyboardist Frenchy Romero is a strong, spotlight-sharing partner whose skillful, inventive work commands attention. Prime examples of the equal footing situation come right away, in the first two tracks: "Let's Call the Whole Thing Off" gets to a part when a few syllables of the Gershwin lyric that are normally sung are played on the keys instead. Thus, it becomes a musical back-and-forth conversation. Next up: a ballad turned into a funky frolic as "Once Upon a Summertime" begins with no vocal until we're almost 90 seconds in. And surprise! Spanish lyrics replace both the original French, giving over to Johnny Mercer's English words in the last section, for a minute after a rollicking mid-song instrumental with bass and drums. The choice for caffeinated energy instead of the customary balladry is also the M.O. for other numbers: Rodgers & Hammerstein's Cinderella daydreams in "In My Own Little Corner" pick up some speed and spunk, and "It Could Happen to You" gets a super-fleet treatment wherein the chanteuse shows off her serious jazz chops, having fun with Jimmy Van Heusen's melody and scat-singing like a champ. (She does also employ the Johnny Burke lyric, although he is accidentally not credited on the track list.) One can detect the influence of adept jazz icons here. And, in calmer mode, there are certainly elements of Nancy Wilson's personalized studio and live performances of "You Can Have Him" by Irving Berlin, taking many a liberty with this Miss Liberty gem: the phrasing, the shaping of notes, and even altering the breakfast menu items mentioned. Whether it's homage or thievery, it's impactful. The two women have been close friends for more than a decade and have performed together, but this is a debut recording. And an impressive one. They demonstrate facility with slower material that's reflective when the Rose/Romero twosome pull back for "If It's Magic" by Stevie Wonder and the Rose-penned "I'd Do It All Again." Contrastingly, there's sass in the singer's relationship-severing farewell with a blunt and terse titular message of "Don't Come Back," egged on by the piano punch. But I hope that they come back with another release soon. |
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AARON LAZAR
CATHERINE RUSSELL (vocals) & SEAN MASON (piano)
MELINDA ROSE (vocals) & FRENCHY ROMERO (piano)