Past Reviews Sound Advice Reviews The Notebook, LuPone's A Life in Notes |
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An often intense musical maelstrom of longing, devotion, pleading, and passion in the decades-spanning relationship of characters Allie and Noah makes the cast recording of The Notebook a gripping, emotionally charged (and, perhaps, emotionally draining) listen. It is both lush and bold. There are powerful and poignant performances from three pairs of performers who portray the protagonists at different ages. Dorian Harewood and Maryann Plunkett, as the senior citizen versions, have the least opportunity to sing, but are moving in their impactfully wistful moments. Appropriately, as the youngest incantations, John Cardoza (who has some affecting golden high tones that accentuate feelings) and disarming Jordan Tyson unfurl vocal dynamics that encapsulate energetic, endearing, hope-filled exultations. As their characters initially get to know each other, jumping into a romance, imagining a future together ("Carry You Home"), he begins a daunting job of rehabilitating a dilapidated house that might be their ideal abode. Playing the lovers at the in-between ages, Ryan Vasquez and Joy Woods ably tap into a wealth of the happy, heartfelt highs with the troubling downs in declarations of devotion and some catharsis. Exhibiting some rich harmonies, too, the recording benefits from the decision to have more than one representation of either or both characters participate in a song. Other company members, some listed as "Memory Voices," add their voices at times, as well. Thus, the cast recording is an extra treat for the ears as voices blend and complement each other. Beyond that, the overlaps of perspectives and retrospective musings, with fluid time frames, make for artfully executed points of view. These explorations can be exquisitely expressed in Ingrid Michaelson's score. Her lyrics, regrettably, have some false rhymes sprinkled in amid the admirably direct and articulate statements and observations. With the main characters being clearly quite fervent or frustrated in what they are expressing, the frequent repetition of key lines, which can seem like lazy writing or tedious redundancy in other musicals and pop songs, seems justified here. In context, it makes such unbridled word-cloning work just fine in "I Wanna Go Back" and "If This Is Love." The singers "go for it" as things build and swirl believably. The 21-track recording includes some lines of judiciously chosen dialogue which enhance the drama of the listening experience. It should also be helpful for those not familiar with the source material, since there's no plot synopsis in the booklet that comes with the CD. (A vinyl issue will come next month.) However, it does have all the lyrics and comments by: the composer/lyricist; The Notebook bookwriter, Bekah Brunstetter; and Nicholas Sparks, who penned the original novel and is co-credited for its later life on film. The uber-romantic stage production continues on Broadway through December 15, with a tour announced to begin next fall.
With a long and impressive career playing musical theatre roles, dynamic veteran Patti LuPone could easily fill a set list solely with samples from those scores, with similar arrangements, and call it a day. But, at the end of the day, it would be resting on her laurels instead of thinking outside the box for new challenges or surprises for listeners. Yes, the star does include a few numbers she sang on Broadway–and the early '60s pop-rock item "On Broadway" (which became a hit after its original lyric was changed and eventually made its way to The Great White Way itself three decades later in the revue Smokey Joe's Cafe)–but A Life in Notes is an eclectic mix. It's a studio-recorded version of the live concert she toured with before her schedule made room for The Roommate, her current Broadway non-musical. A feast for fans, it's a plentiful program of pop and theatre fare, taking up two CDs in the physical format, but without any of the spoken material presented in live performances to set up the numbers, revealing the singer's personal and specific connection to them. Some era-evoking selections from the 1950s and '60s are from the time she was growing up. Two over-the-top pop tales of tragedy–the post-mortem "Teen Angel" and the lamenting tale of a "Town Without Pity"–are in a medley that begins with an eyebrow-raising doo-wop revamp of "We Kiss in a Shadow" from The King and I. The star's idiosyncratic style is in full evidence: the distinctive pronunciation and phrasing, a take-charge attitude, and the way her voice leaps up to high notes with what you might almost call a mini-yodel. Those who only think of the diva in the guise of brash, strong-willed characters whose big songs she's belted may be skeptical about her decision to feature material that would require her to venture into vulnerable territory. While inhabiting the attitudes of such indomitable, invincible women may indeed be her strong suit (of armor), the lucent LuPone also approaches wistful ballads such as "Alfie," "Ebb Tide," "I Didn't Know What Time It Was," and "I Wish It So." As I hear things, she is quite a bit more successful on some than on others of this ilk, and the more solid, self-confident personality is not fully submerged, breaking through in the latter part of a performance in some cases. Other choices include two heartfelt takes on Bob Dylan's work ("Forever Young" and "Make You Feel My Love") and the bittersweet but rousing anthem of good times and good friends from the past, "Those Were the Days," reprised as a finale. Creating a rather intimate feel, only two musicians accompany Patti LuPone: pianist/arranger Joseph Thalken and Brad Phillips (guitars, mandolin, violin). This spare accompaniment also makes the reprises of the lady's signature theatre numbers decidedly different from the orchestral versions heard in those musicals and on their cast albums. Reaching way back to a mega-memorable 1980 turn, Evita's tour de force "Don't Cry for Me, Argentina" becomes more reflective. Gypsy's "Some People" is somewhat toned down from its usual unstoppable, unflappable attitude wherein the character of Rose recounts her vivid dream detailing her goals. Contrastingly, the ache of a dream of things past–and "that cannot be" in the present–is described with renewed gut-punch drama in "I Dreamed a Dream" from Les Misérables. "The Ladies Who Lunch" from Company retains its sardonic edge. A romp through the title tune of Cole Porter's Anything Goes segues into the same songwriter's sorrowful ballad "Ev'ry Time We Say Goodbye." The latter is not indicated on the track list, but it's certainly welcome. Also missing from the credits in the packaging is the fact that the two excellent musicians are also the men we hear providing the fine back-up vocals/harmonies on a few numbers. The A Life in Notes tour picks up again in February, starting in New Jersey and ending in Australia.
Here's a tribute that's a treat for anyone who loves time-tested top-notch songs or the legacies of legendary jazz-leaning ladies who put their stamps on them or the talented women of today following in their famed footsteps. Put me down for being a devotee of all of the above. So, is it any wonder I'm high on Flying High, a concept album that succeeds with flying colors? Its full title/subtitle fondly states its contents: Flying High Big Band Canaries Who Soared The Styles and Sounds of the Great Female Jazz Vocalists. The label name, Jazz at the Ballroom, is also the moniker for the non-profit organization that brings this and related live music to general audiences, students and seniors, and generally supports passing the torch and tradition of The Great American Songbook. This radiant recording has a running time of a little more than an hour. All the vocals are solos. Six solid vocalists participate, each getting two numbers, except for Champian Fulton, who gets to sing three. She is the anchoring presence for this, being also the pianist throughout, joined by alternating players on bass and drums. The jazzy instrumental breaks are often on the long side, but tasty and entertaining; two tracks are without vocals. Some of the numbers are indeed very strongly associated with one "canary" of yore, and a few of the performers here evoke the role model's style and treatment as an homage/salute, while others go more their own way. Vanessa Perea's pleasantly brisk and blithe "Secret Love" has no discernible connection to the Doris Day demure-becoming-ardent blueprint. "You Belong to Me" still arguably "belongs" to Jo Stafford, whose record of it in 1952 became a Number One hit in the USA and the UK. Gretje Angell takes a more relaxed route, without upending the mood of the Stafford styling. She also gets one of two classics that were Peggy Lee standbys: the assertive "Why Don't You Do Right (Get Me Some Money, Too)" comes pretty close to the Lee treatment and husky/breathy tone. That's a bit less the case with "I Don't Know Enough About You," which is enough like Peggy to recall her relaxed, cool tempo when Olivia Chindamo amiably handles it. She's more impressive with "Sweet Georgia Brown"–a true showstopper when she rises to the occasion to take it on at the kind of dazzingly super-frisky pace that Anita O'Day did, complete with a scat-singing section in the speed drill. Rich-voiced Carmen Bradford and Jane Monheit, with her silky elastic sound, are so distinctive and commanding as themselves that one won't care whose history they have as a reference point. And they are assigned things that dozens of performers have approached, without being indelibly connected to just one legendary lady whose shadow dominates. That's how songs become standards. For example, "The Man I Love" by the Gershwins was recorded and/or sung on the radio by all the singers known as the "canaries" of earlier decades named as icons of this repertoire–Lena Horne, Billie Holiday, and Dinah Washington among them. Champian Fulton is proudly influenced by Washington, having absorbed some of that bluesy artist's stylings and attitude and has done full concerts and a full album dedicated to the repertoire of this favorite (whose centennial is this year). Fulton does some revisiting here, with new treatments, including the signature "What a Difference a Day Made." Flying High is a superb sampler of memorable classics done with class. These appetizers will likely send listeners in search of full-length recordings by these modern-day jazz chanteuses and remind them, too, of the foremothers of swing and jazz. Tradition is a good thing.
Her bright, clear sound and the sunny disposition she projects makes listening to any recording by New York City-based singer Gabrielle Stravelli a pleasure and a pick-me-up. Unpretentious and unmannered, any musical trip she captains is a case of smooth sailing. The songs are in good hands. The old ones seem fresh and new. When she delivers cheery lyrics, and the accompaniment dances in sprightly fashion, it's infectious; you can picture a twinkle in her eye. There's a level-headedness and serenity that tempers sadder lyrics, preventing them from veering into any "woe is me" bemoaning. Her most recent collection, Beautiful Moons Ago, named for the warmly reflective included piece written by Nat King Cole and his guitarist Oscar Moore, finds her in the compatible comfort zone company of pianist Michael Kanan and bassist Pat O'Leary (also her husband). Their jazz sensibilities are evident, but not esoteric, making the approaches inviting and accessible to the jazz-cautious listener. It's simply good, solid music-making. Positivity prevails. By design or happy accident, several selections have lyrics that express delight and appreciation regarding recently found romance. Witness the joy in "They All Laughed," "I Walk a Little Faster," "So Far, So Good," "With the Wind and the Rain in Your Hair" and a pairing of two pieces linked by a form of the verb "to begin" in their titles: "Let's Begin" from the 1933 musical Roberta and "I'm Beginning to See the Light," the latter with some scat-singing and zingy instrumental passages that come off as a natural extension of the exuberance of the words. And, speaking of combinations cued by common words in titles, another musical marriage is made with "Day Dream" and "You Stepped Out of a Dream." Dreamy indeed–especially with the rich low notes in Billy Strayhorn's melody of "Day Dream" that was given a serious lyric by John LaTouche. Some words fly by briskly in the rhythmic, upbeat parade, but sustained high notes that do come along are especially lovely and accomplished. It's nice to note the presence of an old show tune that doesn't get covered too often: "You Say You Care" from Gentlemen Prefer Blondes. The invigorating collection also features a slinky original (melody by the pianist, lyric by the singer and Jason Robinson) called "Messin' Around" that starts with a sly bass solo. I've had this album for a while and I keep returning to it and think Beautiful Moons Ago will keep inviting pleasurable repeat play for many a moon to come.
The disarmingly sweet timbre of Karen Mack's supple voice and subtle approach injects big doses of likability throughout diverse material on her release called Catch & Keep, with a small band. She's been a longtime presence in New York City cabaret, on her own and with other singers; she's a member of the vocal quartet called Those Girls, likewise handling many styles. Call her "Karen The Chameleon" as she makes herself sound so at ease dressed in each kind of musical clothing and coloring. The vocalist sounds just as much at home with vintage gems as she does with pieces she co-wrote with Peter Eldridge, the set's arranger/keyboardist and her co-producer. (They collaborated on writing "Hurry Up and Wait" and "November Day," the latter also having contributions from Elliot Roth, who takes over the piano and sings on the cool and cute final cut, "It's Hard to Say Goodbye." That one is a list song full of flattering metaphors along the lines of "You're the Top.") It's a cozy collection, on the laid-back side, and while the creamy vocalizing doesn't fully exploit the range and strength I've witnessed her exhibit in person, the Catch & Keep tracks are tangy and tender. She can coo, act coy, seem pensive or playful, merry or mischievous. She finds opportunities in the tunes to show those sides or combinations of them in taking on such things as the quirky "I'm So Repentant" and the girlish gushing of "I Wanna Get Married" (the Nellie McKay-written charmer, not to be confused with the same-named number with similar agenda from the 1944 Broadway musical Follow the Girls). But there are two actual souvenirs from the 1940s: the romance-besotted "Imagination" and "This Is Always," both deftly delivered. The program also travels amiably along a couple of hip jazz roads, and "Here Is Everything," a Mack/Eldridge vocal duet, brings a melancholy mood for yet one more potent flavor. Catch & Keep is a keeper.
Reinventing hit pop/rock songs as jazz can be a risky endeavor. The two styles could make strange bedfellows, but skillful singer/pianist/arranger John Ambrosini and his musical colleagues succeed, finding a felicitous formula. First of all, he picks songs with some meat on their musical bones, avoiding any that were just catchy fluff or basically about beat or bounce rather than melodies worth exploring. And the lyrics have some memorable substance and/or flair. Instrumentation also includes bass, drums and percussion, with featured soloists on saxes, guitar, harmonica, and vibes, plus the sounds of strings and synthesizer played by Rich Lamb, the engineer, who co-produced the project with Mr. Ambrosini (who harmonizes with himself for more vocal layers, joining wife Christine Ambrosini and Amanda Bloom to sublime effect). The "happy medium" M.O. of the genre blend is a sensible recipe and division of labor: Rather than do radical jazz surgery to bend and stretch or otherwise change the original notes and tempi, "John the vocalist" starts off respectfully singing the lyric and original melodic line pretty straightforwardly while, during the instrumental-only passages, "John the pianist" and his band go full-on jazz, re-shaping and embellishing the melody. The time given over to the swaths of instrumental sounds with liberties taken vary, and aren't necessarily at their longest in the middle. Tracks can end without a return to the lyric or the pop-style roots. Some arrangements are more fully integrated, and daring, with cool jazzy figures weaving in and out of vocal phrases. There are a dozen selections, favoring songs introduced in the 1970s by stars who were also the writers. For example, we get James Taylor's lullaby-esque "Sweet Baby James," the lonely "4+20" by Stephen Stills, Elton John's soaring hit "Rocket Man," and a trip along "The Long and Winding Road" of Paul McCartney. The late Walter Becker was co-writer of two choices: "Pretzel Logic" (with his Steely Dan bandmate Donald Fagen) and "The Horses" (a collaboration with Rickie Lee Jones). Fitting in nicely are two atmospheric Ambrosini originals: "Maybe I'm Crazy" and "Lover," the latter with veteran trumpeter Randy Brecker guesting. And so, Songs for You, for me, works as the best of both worlds. |
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THE NOTEBOOK
PATTI LUPONE
VARIOUS FEMALE SINGERS
THE GABRIELLE STRAVELLI TRIO
KAREN MACK
JOHN AMBROSINI