This lavish reissue of Vaughan's 1957 double LP displays a Gershwin different in tone from Ella Fitzgerald's better-known one. Naturally more elastic in her interpretations than Fitzgerald, Vaughan also manages a more intimate tone perhaps better suited for the later hours of late-night listening. Hal Mooney's arrangements wisely alternate between full-blown orchestral backing and a more rhythmic emphasis, as on "I'll Build a Stairway to Paradise," which would have fit right in with the singer's string of pop hit singles. Most impressive, though, are Vaughan's intuitively touching readings of ballads like "I've Got a Crush on You," "The Man I Love," and "A Foggy Day": no matter how many recordings of them exist, these must stand near the top of the stack. The original album is augmented here by 13 incomplete takes from one of the sessions.
This Sergio Mendes-produced release from 1987 was the last complete studio effort from the greatest female jazz/pop singer of the 20th Century (apologies to Ella). It is also a beautifully sung and orchestrated compilation of latin-influenced jazz, in the vein of Jobim, Getz, Gilberto, etc. A must for any fan of the genre, or anyone who wishes to get acquainted with the incredible vocal range of the magnificant Miss V. All ten cuts are special, but listen to "Wanting More" and the closer, "Your Smile" to get chills up your spine.
Sarah Vaughan is accompanied by her regular rhythm section of the early '80s (with pianist George Gaffney, bassist Andy Simpkins, and drummer Harold Jones), guitarist Freddie Green, and the Count Basie horn sections on this enjoyable date. The arrangements by Sammy Nestico and Allyn Ferguson unfortunately do not leave much room for any of the Basie sidemen to solo, but Sassy is in superb form. She is at her best on "I Gotta Right to Sing the Blues," a remake of "If You Could See Me Now," and a rapid "When Your Lover Has Gone," although some listeners may enjoy her overly dramatic rendition of "Send in the Clowns."
Ex-husband Andrew Lloyd Webber's Really Useful Records can be accused of scraping the bottom of the barrel in its second compilation of old Sarah Brightman tracks released to take advantage of the singer's international popularity due to her albums Time to Say Goodbye, Eden, and La Luna, all recorded for a different company. Happily, even the bottom of the barrel contains some excellent material, even after the cream was skimmed off with The Andrew Lloyd Webber Collection. During and after her marriage to Lloyd Webber, Brightman performed on the Original London Cast recording of The Phantom of the Opera and recorded the albums The Songs That Got Away (1989) and Surrender (1995), and that's the material sampled here, that is, the remaining tracks that weren't used on The Andrew Lloyd Webber Collection.
Hans Werner Henze's career is notable for his mastery of a broad range of idioms, from the post-Romantic lyricism of Cantata della fiaba estrema to the neo-classical delicacy of his chamber music to the brash modernism of Der langwierige Weg in die Wohnung der Natasha Ungeheuer. Voices, written in 1973, can be heard as a compendium of many of the types of music he had embraced.
During the mid-'90s, Sarah McLachlan was a near-ubiquitous presence in pop music, establishing adult alternative pop radio with 1994's Fumbling Toward Ecstasy and 1997's Surfacing and spearheading the popular Lilith Fair touring festival, but once the last Lilith wound up in 1999, she retreated from the spotlight, had a baby, and seemingly retired from music. Four years later, she made a typically subdued return with Afterglow, her first album in six years. Not much has changed in the time she was away. Afterglow is firmly within the McLachlan signature sound – a softly tuneful, mildly atmospheric blend of classic singer/songwriterism and a touch of vaguely dreamy alternative pop, all shined and immaculately produced by Pierre Marchand…
A largely forgotten album in the wake of Sarah McLachlan's mainstream success, Touch was the first album anyone heard from the singer. Only 19 at the time, McLachlan had years to go before she would become the seductive songstress of Fumbling Towards Ecstacy or the sensitive balladeer of Surfacing. Instead, she has more of an ethereal sound, enhanced by keyboards and a lush production that gives it a polished feel. Bringing to mind the '80s incarnations of both Peter Gabriel and Kate Bush, the songs here are moody pop tracks that showcase her incredible range more than anything else. A few tracks, especially "Vox" and "Steaming," are beautiful tracks that have a light sense of yearning that she would later develop into the sensual crooning of her mid-'90s work…
From West Side Story and Gypsy to Into the Woods and The Frogs , here's the first set to cross the whole career of Broadway's foremost living composer/lyricist! Along the way you'll dig into a treasure chest of unreleased tracks (33 including 12 performed by Sondheim, pieces from eight un-produced shows and films, songs cut from Company, Into the Woods, A Little Night Music and more) plus Everything's Coming Up Roses Ethel Merman; Comedy Tonight Zero Mostel; A Parade in Town Angela Lansbury; (If You Can Find Me) I'm Here Anthony Perkins; I'm Still Here Carol Burnett; Children Will Listen Bernadette Peters; Finishing the Hat Mandy Patinkin, and more.
Sarah Brightman's The Songs That Got Away delivers what the title promises: a collection of 14 of Brightman's favorite songs that are more obscure to the general public. These little-known show tunes include works by Irving Berlin, Leonard Bernstein, Rodgers & Hammerstein, Stephen Sondheim, Noël Coward, Andrew Lloyd Webber, and other great songwriters, making this album worthwhile not only for Brightman fans, but musical theater historians as well.