Janis Siegel/Yaron Gershovsky - The Colors Of My Life

Styles: Vocal And Piano Jazz
Year: 2024
Time: 50:21
File: MP3 @ 320K/s
Size: 116,0 MB
Art: Front

(5:08) 1. I've Got Your Number
(5:00) 2. With Every Breath I Take
(4:27) 3. Playboy's Theme
(4:29) 4. Witchcraft
(5:09) 5. That's My Style
(5:33) 6. Being Without You
(4:34) 7. The Best is Yet to Come
(5:36) 8. I'm Gonna Laugh You Right Out of My Life
(4:50) 9. Why Try To Change Me Now
(5:29) 10. The Colors of My Life

CLUB44 RECORDS' The Colors of My Life: A Cy Coleman Songbook - the new album from ten-time Grammy Award-winning vocalist Janis Siegel and internationally recognized pianist, arranger, and composer Yaron Gershovsky will be released on CD and streaming and digital formats on Friday, June 7. This intensely personal and fresh musical homage delves deeply into the composer's jazz sensibilities and the work of his wonderful lyric partners.
https://www.amazon.ca/Colors-My-Life-Janis-Siegel/dp/B0D1N8NZBF

The Colors Of My Life

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The Manhattan Transfer - The Manhattan Transfer

Styles:  Vocal Jazz
Year: 1975
File: MP3@320K/s
Time: 35:38
Size: 82,5 MB
Art: Front

(3:05)  1. Tuxedo Junction
(2:28)  2. Sweet Talking Guy
(3:13)  3. Operator
(3:30)  4. Candy
(3:00)  5. Gloria
(2:57)  6. Clap Your Hands
(2:54)  7. That Cat Is High
(3:33)  8. You Can Depend On Me
(2:24)  9. Blue Champagne
(2:47) 10. Java Jive
(3:08) 11. Occapella
(2:35) 12. Heart's Desire

Riding a wave of nostalgia in the '70s, the Manhattan Transfer resurrected jazz trends from boogie-woogie to bop to vocalese in a slick, slightly commercial setting that balanced the group's close harmonies. Originally formed in 1969, the quartet recorded several albums of jazz standards as well as much material closer to R&B/pop. Still, they were easily the most popular jazz vocal group of their era, and the most talented of any since the heyday of Lambert, Hendricks & Ross during the early '60s.  When the group was formed in the late '60s, however, the Manhattan Transfer was a hippie cornball act similar to the Lovin' Spoonful or Spanky & Our Gang. The lone LP that appeared from the original lineup leader Gene Pistilli plus Tim Hauser, Erin Dickins, Marty Nelson, and Pat Rosalia was Jukin', assembled by Capitol. An odd and hardly successful satire record, it was the last appearance on a Manhattan Transfer album for all of the above except Hauser.  After Hauser met vocalists Laurel Masse and Janis Siegel in 1972, the trio re-formed the Manhattan Transfer later that year with the addition of Alan Paul. 

The group became popular after appearances at a few New York hotspots and recorded their own debut, an eponymous LP recorded with help from the jazz world (including Zoot Sims, Randy Brecker, Jon Faddis, and Mel Davis). Featuring vocalese covers of "Java Jive" and "Tuxedo Junction" as well as a Top 40 hit in the aggressive gospel tune "Operator," the album rejuvenated the field of vocalese (dormant since the mid-'60s) and made the quartet stars in the jazz community across Europe as well as America. The Manhattan Transfer's next two albums, Coming Out and Pastiche, minimized the jazz content in favor of covers from around the music community, from Nashville to Los Angeles to Motown. A single from Coming Out, the ballad "Chanson d'Amour," hit number one in Britain. Though Masse left in 1979 for a solo career, Cheryl Bentyne proved a capable replacement, and that same year, Extensions introduced their best-known song, "Birdland," the ode to bop written by Weather Report several years earlier. Throughout the 1980s, the group balanced retreads from all aspects of American song. The 1981 LP Mecca for Moderns gained the Manhattan Transfer their first American Top Ten hit, with a cover of the Ad Libs' 1965 girl group classic "The Boy from New York City," but also included a version of Charlie Parker's "Confirmation" and a surreal, wordless tribute (?) named "Kafka." (The album also earned the Manhattan Transfer honors as the first artist to receive Grammys in both the pop and jazz categories in the same year.) 

The production on virtually all was susceptible to '80s slickness, and though the group harmonies were wonderful, all but the most open of listeners had trouble digesting the sheer variety of material. The group's 1985 tribute to vocal pioneer Jon Hendricks, titled Vocalese, marked a shift in the Manhattan Transfer's focus. Subsequent works managed to keep the concepts down to one per album, and the results were more consistent. Such records as 1987's Brasil, 1994's Tubby the Tuba (a children's record), 1995's Tonin' ('60s R&B), and 1997's Swing (pre-war swing) may not have found the group at their performance peak, but were much more easily understandable for what they were. The group stayed very active and concept-heavy during the 2000s, beginning with a tribute to Louis Armstrong for 2000's The Spirit of St. Louis. They included a pair of Rufus Wainwright songs among the jazz material on 2004's Vibrate, and released An Acapella Christmas the following year. The Symphony Sessions followed in 2006, offering re-recordings of some of their best-known songs with orchestral arrangements. In 2009, the Transfer saluted one of the biggest names in jazz with The Chick Corea Songbook, and featured contributions from Corea, Airto Moreira, Christian McBride, and Ronnie Cuber, among others. During the early 2010s, the group focused more on performing, although both Bentyne and Hauser were forced to find temporary replacements during medical procedures. After spinal surgery in 2013, Hauser returned to the group, but then died suddenly from cardiac arrest in October 2014. ~ John Bush http://www.allmusic.com/artist/the-manhattan-transfer-mn0000674749/biography

Personnel: Alan Paul, Janis Siegel, Cheryl Bentyne, Tim Hauser- vocals

The Manhattan Transfer

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V.A.- Ice on the Hudson: Songs by Renee Rosnes & David Hajdu

Styles: Vocal
Year: 2018
File: MP3@128K/s
Time: 51:12
Size: 48,5 MB
Art: Front

(5:11) 1. A Tiny Seed
(5:13) 2. I Used to Like to Draw
(3:13) 3. Trotsky in Mexico
(3:42) 4. All But You
(3:24) 5. To Meet My Brother
(6:17) 6. The Passage
(6:34) 7. Little Pearl
(3:01) 8. I Like Pie
(5:34) 9. Ice on the Hudson
(3:42) 10. I Still Feel the Same
(5:17) 11. Confound Me

Ice on the Hudson features vocalists René Marie, Janis Siegel, Darius de Haas and Karen Oberlin and an all-star ensemble interpreting diverse songs about the emotional complexities of adult life in today’s world. There’s a special chemistry that’s found only in the rarest of songwriting partnerships, forever linking the names of composer and lyricist in the minds of listeners. The names Renee Rosnes and David Hajdu are already well known to music lovers: Rosnes as one of her generation’s most acclaimed jazz composers and pianists, Hajdu as an award-winning author and critic. With Ice on the Hudson, their first collaborative album of songs, the pair reveals a breathtaking synergy, crafting a collection of deeply felt and genre-defying songs that join words and music with alchemical results.

Ice on the Hudson, due outOctober 12 via SMK Jazz (a newly launched imprint curated by Smoke Sessions Records), brings together four magnificent vocalists: revered, GRAMMY® Award-nominated jazz singer René Marie; Manhattan Transfer co-founder and nine-time GRAMMY® winner Janis Siegel, celebrated musical-theater actor and art-song interpreter Darius de Haas; and acclaimed jazz/pop performer Karen Oberlin. Their voices are matched by a stunning ensemble, featuring Rosnes at the piano along with cellist Erik Friedlander, saxophonists Steve Wilson and Seamus Blake, clarinetist Ken Peplowski, bassist Sean Smith, drummer Carl Allen, and percussionist Rogerio Boccato. While both Rosnes and Hajdu can boast considerable accomplishments in their respective fields, songwriting was a fairly new endeavor for both. Rosnes had had a handful of instrumental compositions set to lyrics, and Hajdu had collaborated on a few songs with Fred Hersch and others. When Rosnes and Hajdu decided to try writing together, five years ago, “Everything clicked,” in Hajdu’s words.

“Renee is one of the most gifted, most sophisticated and most creative composers alive,” Hajdu says. “I consider myself the luckiest boy in the music world for getting to write with this flat-out genius. We both enjoy the exhilarating thrill of doing something that we care about, that draws on our professional and life experiences, but that provides a whole new set of challenges for us.” For Rosnes, who has long drawn inspiration for her own music from sources as diverse as the natural world and the visual arts, the partnership has given her rich depths of emotion and narrative to plumb. “David is a powerful and compelling storyteller,” she says, “and each of his lyrics has many layers and great substance. It’s been a fulfilling experience to take his words and search for melodies that truly allow the story to shine through.” Given the tantalizing complexity of Hajdu’s words, Rosnes found herself exploring a wide range of sensibilities, never concerned with genre. Ultimately, while some pieces fit comfortably into the jazz songwriting tradition of Jon Hendricks or Bob Dorough, others evoke the world of musical theater or such respected singer-songwriters as Joni Mitchell or Randy Newman. “When I embarked on this project with David, I put the idea of genre out of my mind,” she explains. “I was most interested in allowing the lyrics to inspire and move me in whatever direction that musically translated to.”

“A Tiny Seed” opens the album with a parable both timeless and timely, about a wall-building king and the seemingly small detail that grows to topple his kingdom. Marie’s wry, soulful vocal offers inspiration to those hoping to turn such fairy tales into reality. Her serpentine lines bring an exotic mystery to “Little Pearl,” a reinterpretation of Rosnes’ instrumental “The Quiet Earth.” Siegel’s voice seems to float into a whimsical daydream on “I Used to Like to Draw,” a tender reminiscence of the childhood days when we all gave vent to our imaginations, before the supposed reality of adult life quashed such fancies. Siegel also sings “The Passage,” which takes the natural splendor that inspired Rosnes’ instrumental piece “Gabriola Passage” into the realm of transcendence. On the title track, “Ice on the Hudson,” she takes the bizarre fact that the Hudson River flows both upstream and downstream as a metaphor for the often contradictory aspects of grown-up reality one of several instances of complex ideas that stem from the collaboration between two artists with a wealth of life experience.

Oberlin offers a bit of culinary respite from the world’s divisiveness on the playful “I Like Pie” and a bit of romantic perspective on “I Still Feel the Same.” The moving “All But You” builds from scraps of both songwriters’ biographies to paint a picture of living with a missing someone. Rosnes suggested a song based on her experience as an adopted child wondering about her birth parents, which Hajdu countered with his own background. “Renee said it felt strange growing up not knowing who her biological parents were, but my father sat at the dinner table with me every night my whole life, and I don’t know who my father was either. We share that feeling of a hole in your life, that there are people who could have been there who were not.” Hajdu based “To Meet My Brother” on the tragic loss of his sister and the feeling of wanting to be reunited, whatever the cost. Darius de Haas brings tender yearning to that piece and an urgent sensuality to “Confound Me.” His knack for theatrical drama illuminates “Trotsky in Mexico,” a Sondheim-like musing on the Russian revolutionary’s fling with Frida Kahlo. https://reneerosnes.com/music/ice-on-the-hudson-the-songs-of-renee-rosnes-david-hajdu/

Vocalists: Janis Siegel; Karen Oberlin; René Marie; Darius de Haas

Musicians:Renee Rosnes, piano; Steve Wilson, alto & soprano sax; Seamus Blake, tenor sax; Ken Peplowski, clarinet; Erik Friedlander, cello; Sean Smith, bass; Carl Allen, drums; Rogerio Boccato, percussion

Ice on the Hudson: Songs by Renee Rosnes & David Hajdu

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John Di Martino, Janis Siegel - Cryin' in My Whiskey

Styles: Post Bop, Vocal
File: MP3@320K/s
Time: 39:53
Size: 92,5 MB
Art: Front

(4:27) 1. Whenever You Come Around
(5:15) 2. Always on My Mind
(4:41) 3. I Fall to Pieces
(4:17) 4. Are You Alright
(3:43) 5. Where Do I Put His Memory
(4:25) 6. Hard Candy Christmas
(4:02) 7. He Stopped Loving Her Today
(4:49) 8. Break It to Me Gently
(4:11) 9. Don't It Make My Brown Eyes Blue

Night is Alive is thrilled to release Cryin’ In My Whiskey, a cross-genre collaboration that brings together country western and jazz in the very best way possible. Cryin’ In My Whiskey has something for everyone, mingling the two genres in a way that still preserves the essence of the nine country tunes. This is one special release you won’t want to miss! https://www.jazziz.com/new-releases/cryin-in-my-whiskey/

Personnel: JANIS SIEGEL VOCALS; JOHN DI MARTINO PIANO, HAMMOND B3, KEYBOARDS; AARON HEICK SOPRANO & ALTO SAXOPHONES, CLARINET, FLUTE, ALTO FLUTE; HARRY ALLEN TENOR SAXOPHONE, JESSE LEWIS ACOUSTIC & ELECTRIC GUITARS; LONNIE PLAXICO ACOUSTIC & ELECTRIC BASS; ROSS PEDERSON DRUMS & PERCUSSION; AMY CERVINI BACKUP VOCALS

Cryin' in My Whiskey

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JaLaLa - That Old Mercer Magic!

Styles: Vocal Jazz 
Year: 2009
File: MP3@320K/s
Time: 52:16
Size: 120,6 MB
Art: Front

(3:00)  1. Spring, Spring, Spring
(5:30)  2. You Must Have Been A Beautiful Baby
(3:35)  3. Jeepers Creepers
(4:22)  4. My Shining Hour
(4:24)  5. Accentuate The Positive
(3:34)  6. Dream
(3:29)  7. I'm Old Fashioned
(3:56)  8. Riding On The Moon
(7:29)  9. Moon River / Moon Country
(4:34) 10. Have You Got Any Castles Baby?
(2:18) 11. Too Marvelous For Words
(5:58) 12. The Dance Of Life

Janis Siegel has done a fair amount of recording away from the Manhattan Transfer during her decades-long tenure with the vocal group, but this a rare opportunity to hear her with other vocalists outside of it. JaLaLa, featured on four selections, includes Laurel Massé and Lauren Kinhan on vocals, with each singer leading individual selections.; the core group of musicians includes pianist Yaron Gershovsky, bassist David Finck, guitarist Frank Vignola, and drummer Matt Wilson, with guests added or substituted on some pieces. The songs selected from Johnny Mercer's vast output include both still-popular standards and obscurities, with the supporting cast varying from one track to the next. All three vocalists join forces for a fun-filled romp through "Ac-Cent-U-Ate the Positive" and the neglected "Spring Spring Spring," both of which add pedal steel guitarist Cindy Cashdollar. Siegel handles both "Jeepers Creepers" and "Too Marvelous for Words" effortlessly. Kinhan shines in the breezy bossa nova setting of "My Shining Hour," while Massé delivers a warm "Moon River" which is joined in a medley with the less familiar "Moon Country," a sauntering chart that features JaLaLa. Only the lame setting of "You Must Have Been a Beautiful Baby," saddled with the inane antics of DJ Sugarkone and a bland groove, proves disappointing. ~ Ken Dryden https://www.allmusic.com/album/the-old-mercer-magic%21-mw0000820178

Personnel: Janis Siegel, Laurel Massé (vocals); David Finck (guitar, acoustic bass); Frank Vignola (guitar); Aaron Weinstein (mandolin, violin); Sara Caswell (violin); Margot Leverett (clarinet); Lew Soloff (trumpet); Yaron Gershovsky (piano); Matt Wilson (drums); Rich "Dusty Chopmeat" Zukor (djembe); Eric Elterman (hand claps).

That Old Mercer Magic!

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Jeff Lorber - Worth Waiting For

Styles: Jazz Fusion, Jazz Funk 
Year: 1993
File: MP3@320K/s
Time: 57:31
Size: 132,6 MB
Art: Front

(5:19)  1. Rain Song
(4:46)  2. The Underground
(4:26)  3. Yellowstone
(5:02)  4. Punta Del Este
(5:20)  5. Lost With You
(5:28)  6. Worth Waiting For
(5:58)  7. High Wire
(6:04)  8. Wavelength
(5:24)  9. Columbus Ave
(5:16) 10. Do What It Takes
(4:22) 11. Jazzery

After a seven year layoff, feisty veteran funkmaster Lorber steps out from the producer's chair with a fun filled all star project. The keyboardist, best known for his fusion years, has been far from idle during that time, producing for pop jazz sax gods Kenny G and Eric Marienthal, and mixing for U2 and Paula Abdul. His latest lives up to its title...though not resoundingly so. As he did with Marienthal's brilliant Oasis, Lorber divides his keyboard time between punchy, soulful rhythms and mellifluous textures that pour on the romance. Easygoing exercises like "Yellowstone" and the Latin tinged "Punta Del Soul" inspire a cool charm, but it's danceable cookers like "High Wire" and "Jazzery" that keep the disc spiraling. The only track that seems out of step is "Do What It Takes," whose production takes on a dated, 70s Crusaders sheen. Spirited performances surround Lorber's tasty keywork, most notably those of Art Porter, Gary Meek, Dave Koz and Bruce Hornsby. ~ Jonathan Widran https://www.allmusic.com/album/worth-waiting-for-mw0000097821

Personnel:  Alto Saxophone – Art Porter (tracks: 1), Dave Koz (tracks: 7), Gary Meek (tracks: 11); Drum Programming, Hihat – Curt Bisquera (tracks: 10); Drums – John Robinson  (tracks: 1, 3, 6, 7, 9, 11); Electric Bass – Alec Milstein (tracks: 1-4, 6-11); Flute – Gary Meek (tracks: 3); Guitar – Buzz Feiten (tracks: 8), Oliver Leiber (tracks: 7), Paul Jackson Jr. (tracks: 1-4, 6-10); Guitar [Nylon] – Lee Ritenour (tracks: 10);  Percussion – Paulinho Da Costa (tracks: 1-6, 8-10); Piano [Additional] – Bruce Hornsby (tracks: 3); Producer, Written-By – Jeff Lorber (tracks: All); Soprano Saxophone – Art Porter (tracks: 9), Dave Koz (tracks: 6), Gary Meek (tracks: 2, 3, 8); Vocals – Alec Milstein (tracks: 4), Eric Jordan (tracks: 5), Janis Siegel (tracks: 4)

Worth Waiting For

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Scott Morgan - Songs Of Life

Bitrate: MP3@320K/s
Time: 50:25
Size: 115.4 MB
Styles: Jazz vocals
Year: 2016
Art: Front

[3:39] 1. It's You Or No One
[5:16] 2. Little Prayer/Wouldn't It Be Loverly
[4:05] 3. Song Of Life
[3:13] 4. Lazin' Around
[3:10] 5. I Just Found Out About Love
[3:56] 6. Secret O' Life
[4:18] 7. Like A Lover
[3:16] 8. I'm Just A Lucky So-And-So
[4:01] 9. Lost In The Stars
[4:19] 10. I'll Follow
[3:39] 11. This Heart Of Mine
[3:59] 12. Don't Let Me Be Lonely
[3:29] 13. I Will

Scott Morgan: vocals; Fred Hersch: piano; Matt Aronoff: bass; Ross Pederson: drums; Joel Frahm: tenor saxophone (3, 5, 8); Janis Siegel: vocals (10).

There's no greater teacher than life. Its bounties and tragedies, triumphs and defeats, and strange flirtations with absurdist theater and dead on truth have a way of enriching perspective and giving us the tools to communicate at a much deeper level. Few embody that fact better than vocalist Scott Morgan, who, after studying music in college in the '80s, taking a protracted time away from the art form, and reengaging with the craft at the dawn of the new millennium, is finally releasing his debut album.

Morgan's background in musical theater greatly informs his work on Songs Of Life, allowing him to exist in a variety of character spaces and scenes. His strength sits with his ability to tap into the proper emotional streams and put across an idea without coming off as disingenuous. It might sound like something that's easy to do, but it's not. The medley of Dave Catney's "Little Prayer" and Lerner and Loewe's "Wouldn't It Be Loverly"—the former given as a threnody to its composer and other victims of the AIDS epidemic, the latter performed with a touching, featherweight delivery—is a prime example of the candor that comes through in Morgan's voice. "Lost In The Stars" is another one.

In terms of repertoire, Morgan proves to have catholic tastes. He takes a crack at vocalese by writing his own lyrics to a Chet Baker solo for "It's You Or No One," visits two James Taylor tunes, touches on Duke Ellington, investigates a number of Fred Hersch compositions, delivers a wonderfully nuanced take on Alan and Marilyn Bergman's "Like A Lover," and rides off into the sunset with the The Beatles' "I Will." Some of the material, such as Hersch's "Lazin' Around" and Ellington's "I'm Just A Lucky So And So," speaks in lighthearted tones; other tracks swing with style, guided by an ace crew that includes Hersch, bassist Matt Aronoff, and drummer Ross Pederson; and a good number of selections allow for deep reflection and rumination.

Some may shy away from dubbing Morgan a "jazz singer," but the classification of what he does, or what he is, is largely irrelevant. The veracity of his vocal work is what counts. He takes each song on its own terms, pulling personal meaning from the music and words while remaining respectful in his interpretations. That's all that anybody could want or ask for in a singer. ~Dan Bilawsky

Songs Of Life

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Janis Siegel - Friday Night Special

Styles: Jazz, Vocal
Year: 2003
File: MP3@320K/s
Time: 48:42
Size: 111,9 MB
Art: Front

(4:25)  1. The Same Love That Made Me Laugh, Made Me Cry
(5:38)  2. My, How The Time Goes By
(4:28)  3. I Just Dropped By To Say Hello
(5:26)  4. My Love Is / My Babe
(5:00)  5. Let It Be
(5:33)  6. Ill Wind
(4:30)  7. You Don't Know Me
(3:33)  8. There's A Small Hotel
(4:44)  9. Make Me A Present Of You
(5:21) 10. Misty

A founding member of the vocal quartet Manhattan Transfer and now an established solo artist as well, Janis Siegel steps out as a leader on the Telarc label for a second time with a program that couldn't be more different from her last effort. Where I Wish You Love found her delivering jazz-inflected renditions of classic pop tunes, on Friday Night Special she leads an organ/tenor quartet through a set of more obscure material. Hammond organist Joey DeFrancesco provides powerful support throughout, but is tastefully (and a bit uncharacteristically) self-effacing in his playing; tenor saxophonist Houston Person, drummer Buddy Williams, and alternating guitarists Peter Bernstein and Russell Malone round out the quartet. 

Siegel shines brightest on the slow ballads and the sultry torch numbers; her rendition of Eddy Arnold's "You Don't Know Me" is especially effective, as are her takes on "I Just Dropped By to Say Hello" and the Harold Arlen composition "Ill Wind." She's a bit less convincing as a straight blues vocalist, and her tepid version of "My, How the Time Goes By" threatens to derail the proceedings early on. But by the end of the program, when she kicks into a delightful and surprisingly uptempo arrangement of "Misty," she has proved all over again why she's one of America's favorite jazz singers. Recommended. ~ Rick Anderson http://www.allmusic.com/album/friday-night-special-mw0000595511

Personnel: Janis Siegel (vocals); Houston Person (temor saxophone); Joey DeFrancesco (Hammond B-3 organ); Peter Bernstein, Russell Malone (guitar).

Friday Night Special

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Janis Siegel - A Thousand Beautiful Things

Styles: Jazz, Vocal
Year: 2006
File: MP3@320K/s
Time: 60:04
Size: 137,9 MB
Art: Front

(7:42)  1. Hedden Place
(3:40)  2. The Suitcase Song
(6:01)  3. I Can't Help It
(5:31)  4. Caramel
(8:04)  5. A Thousand Beautiful Things
(4:35)  6. A Wish (Valentine)
(5:52)  7. Love
(4:59)  8. Make It Better
(1:41)  9. ...Till Then
(4:38) 10. Sweet Is the Air
(4:01) 11. Reflecting Light
(3:15) 12. Did You See the Moon Tonight?

The key word from the title of this latest release by singer Janis Siegel is beautiful. She interprets this lovely program of mainstream songs in such a way that we're able to sit back and reflect on the beauty that each one holds. Her message is sincere. Hers isn't some groove shop exercise where she entertains us with vocal acrobatics and whiz-bang instrumental technique. No, Siegel performs with genuine sincerity and delivers a message that reaches home, communicating with her audience and leaving a beautiful glow with each phrase. Edmar Casteneda's Colombian harp and the band's bright Latin jazz accompaniment gives Siegel a pleasant texture with which to sing songs of love and romantic pleasure. Caramel mambos into our hearts with a lightly dramatic flair; both Casteneda and pianist Edsel Gomez contribute stirring solo spots and suave accompaniment. Siegel sings this one with a romantic presence, multitracking the piece and filling it with positive thoughts. A Thousand Beautiful Things allows Siegel and her ensemble to bring a lovely mambo texture to the dance floor. The music simmers gently and she takes us for an exotic tour of far-off lands where the landscape is filled with nothing but spiritual pleasures, both wholesome and real. Paul Simon's "Love places the singer amid a chorus of voices that float gently over a syncopated Caribbean breeze. Here and elsewhere, Edsel Gomez adds considerable depth to Siegel's heartfelt interpretation. With Casteneda's harp as accompaniment, Siegel interprets "A Wish sincerely as a romantic Valentine's Day greeting. She closes the program with "Did You See the Moon Tonight? performed slowly with piano accompaniment: sweet, sincere and filled with the beauty that rest of her album delivers in abundance. ~ Jim Santella https://www.allaboutjazz.com/a-thousand-beautiful-things-janis-siegel-telarc-records-review-by-jim-santella.php
 

Personnel:  Janis Siegel: vocals, background vocals;  Edsel Gomez: piano, background vocals;  Edmar Casteneda: Columbian harp;  John Benitez: bass, background vocals;  Steve Hass: drums, background vocals;  Luisito Quintero: drums, percussion, background vocals;  Brian Lynch: trumpet, flugelhorn;  Marlon Saunders, Silvia Ramirez, Silvia Rodriques, Silvia Maria Romero, Silvia Rosario: background vocals.

A Thousand Beautiful Things

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VA - Shades Of Beautiful: The Tracy Stark Songbook

Size: 147,1 MB
Time: 63:07
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz Vocals
Art: Front

01 Ann Hampton Callaway - Woman On The Stage (4:59)
02 Lesley Gore - Find My Strength (5:05)
03 Lillias White - You Changed Me (3:54)
04 Jane Monheit - Mr. Moon (4:28)
05 Nona Hendryx - Walk With Me (5:09)
06 Janis Siegel - Camera (5:00)
07 Nicolas King - The Only One (3:40)
08 Johnny Rogers & Tracy Stark - Morning Light (4:26)
09 Tanya Holt - Let Love In (3:56)
10 Karen Black - Greatest Nightmare (3:31)
11 Barb Jungr - Portrait (4:15)
12 Janice Pendarvis - Hungry (3:23)
13 Marcus Simeone - Fluffy World (3:27)
14 Tonya Pinkins - Life's Been Kind (3:45)
15 Tracy Stark - Welcome Home (4:02)

Tracy Stark’s newest CD, Shades of Beautiful:?The Tracy Stark Songbook, is proof that this multi-award-winning, busy lady is much more than a skilled piano partner who is a great arranger. She is an accomplished songwriter who deserves more recognition. In his liner notes, James Gavin quotes Stark: “… Cabaret used to be a genre: the Great American Songbook, show tunes, standards. In the present world, I see it as a giant umbrella of any genre, as long as you can create a sense of intimacy.” Mission accomplished. Those words describe a CD that is sure to make a mark. It’s an intimate album for sure and it touches several genres with intelligence and great style.

The new release on Miranda Music is proof of the scope of Stark’s songwriting talent. The songs, sung by various gifted artists—with the last cut performed solo by the songwriter (who also provides back-up vocals on a number of cuts)—should be rated on what they are and what they offer. They are sublime—some darn good stuff with terrific songs about the midnight hour and some longing pieces straight from the heart. Some have an optimistic, timeless quality. Others are reflective and come to life with pieces of a pop/soul craft that are pensive, echoing a likeness to ladies like the late Laura Nyro, as on “Walk with Me” (sung by Nona Hendryx), which repeats its message of believing, supported by a subtle backup chorus. This is carried through on a reflective ballad called “Life’s Been Kind” sung with passion by Tonya Pinkins.

With so many wonderful artists, it’s hard to single out one over the other. Ann Hampton Callaway kicks off the CD on a light, yet discreetly powerful nod with a cool reading of “Woman on the Stage” that makes a statement about ladies in the spotlight. “Fluffy World,” sung by frequent musical partner Marcus Simeone, is a personalized, melancholic, sleepy ballad about waking up next to her husband after a hard night’s work in a smoky, crowded place (a piano bar?): “… You are everything supreme and the reason I can truly love.” “Morning Light” has Stark in a bluesy, jazz-tinged duet with Johnny Rodgers that is a highlight. The great Lillias White offers a soulful “You Changed Me” that really cooks. It’s about a tough woman who admits to poor life choices, who gave up, and ultimately found someone. A strong cut. Jazz artist Jane Monheit flawlessly caresses “Mr. Moon” with a sexy reading that could melt butter: “… I lay myself down, but I’m gonna get up again… It’s all under wraps.” And so it goes.

All the cuts are so special and all reflect a songwriter who deserves a wider platform. There’s more to be said indeed. For now, Stark, whose songs often lean toward jazz stylings, are introspective and memorable with simple challenges. Most exemplify the relevance of how less is more. There are fifteen cuts by impressive artists that stand out for their interpretive and musical gifts. However, Tracy Stark is the real winner here on a haunting album that is worthy of attention.

The album is produced by Richard Barone. Other singing artists include the late Lesley Gore, Janis Siegel, Nicolas King, Tanya Holt, Barb Jungr, Janice Pendarvis and the late Karen Black.

In addition to Stark on piano for most tracks, the musicians including: guitarists Gene Bertoncini, Ronald Drayton; drummers Trevor Gale, Ratso Harris, Donna Kelly (percussion, too), Danny Mallon, David Silliman; bassists Warren McRae, Maryann McSweeney, Michael Visceglia, Skip Ward; keyboardist Etienne Stadwijk; and a special nod to Sean Harkness whose guitar brilliance is on almost every cut. ~by John Hoglund

Shades Of Beautiful

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Manhattan Transfer - Boy From New York City And Other Hits

Styles: Vocal Jazz
Year: 1997
File: MP3@320K/s
Time: 42:39
Size: 99,1 MB
Art: Front

(3:41)  1. Boy From New York City
(2:48)  2. Java Jive
(3:00)  3. Gloria
(2:57)  4. Helpless
(3:09)  5. Tuxedo Junction
(6:09)  6. Twilight Zone/ Twilight Tone
(5:09)  7. Ray's Rockhouse
(5:03)  8. Mystery
(4:38)  9. Smile Again
(6:01) 10. Birdland

Boy from New York City & Other Hits is a budget-priced collection that features ten original recordings from the popular, kitschy East Coast vocal group Manhattan Transfer. For most listeners, the compilation's namesake will be the only familiar hit, but "Tuxedo Junction," the old Mills Brothers standard "Java Jive," and the ultra-weird "Twilight Zone/Twilight Tone" are decent examples of the group's signature modern vocalese, jazz-pop sound. 

Fans looking for more of a definitive product should hunt down Rhino's two-disc Anthology: Down in Birdland or the less intimidating single-disc Very Best of the Manhattan Transfer. ~ James Christopler Monge  http://www.allmusic.com/album/boy-from-new-york-city-other-hits-mw0000066050

The Manhattan Transfer: Cheryl Bentyne , Janis Siegel, Laurel Massé, Alan Paul, Tim Hauser.

Boy From New York City And Other Hits

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Richie Cole - Bossa Nova Eyes

Styles: Saxophone Jazz
Year: 1985
File: MP3@320K/s
Time: 36:25
Size: 136,4 MB
Art: Front

(4:31)  1. Dear Hearts And Gentle People
(3:57)  2. I Remember Sonny Stitt
(4:44)  3. Makin' Whoopee
(5:28)  4. 2 Degrees East, 3 Degrees West
(2:37)  5. Bossa Nova Eyes
(5:26)  6. Serenata
(3:13)  7. Seems Like Old Times
(3:14)  8. Anna Maria
(3:11)  9. Dc-10

Altoist Richie Cole's first album in three years is typically hard-swinging but adds little to his legacy. Best are "I Remember Sonny Stitt," "Makin' Whoopee" and "Serenata" although "Seems like Old Times" was not too necessary. Cole plays a bit of his rarely-heard baritone, pianist Dick Hindman has some good solos and singer Janis Siegel guests on the title track but few surprises occur.~Scott Yanow http://www.allmusic.com/album/bossa-nova-eyes-mw0000957645

Personnel:  Richie Cole - Alto & Bariton Saxes;  Dick Hindman - piano;  Paul Warburton - bass; Colin Bailey - drums;  Babatunde – Percussion;  Janis Siegel - vocal.

Bossa Nova Eyes

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Nils Landgren With Janis Siegel - Some Other Time (A Tribute to Leonard Bernstein)

Styles: Vocal And Trombone Jazz
Year: 2016
File: MP3@320K/s
Time: 53:07
Size: 121,9 MB
Art: Front

(0:43)  1. Overture-America
(5:21)  2. Some Other Time
(3:43)  3. Cool
(3:15)  4. Maria
(5:07)  5. Somewhere
(4:26)  6. The Story of My Life
(4:29)  7. One Hand, One Heart
(3:57)  8. Something's Coming
(4:42)  9. Lonely Town
(7:13) 10. A Quiet Girl
(4:25) 11. Lucky to Be Me
(5:40) 12. A Simple Song

Hot on the heels of his guest appearance on Mo' Blow's funky Live In Berlin (ACT Music, 2016), trombonist and singer Nils Landgren moves over to Broadway with Some Other Time. As the sub-title makes clear, this is A Tribute To Leonard Bernstein a worthy and at times achingly beautiful tribute, too. Landgren is joined by The Manhattan Transfer vocalist Janis Siegel and by the excellent rhythm section of Jan Lundgren on piano, Dieter Ilg on bass and Wolfgang Haffner on drums. The Bochum Symphoniker, conducted by arranger Vince Mendoza, joins in on a few tracks including "Overture: America" a 42-second introduction that gives the erroneous impression that this album will solely focus on West Side Story. Landgren's light, sweet-toned and often plaintive voice suits the more romantic numbers particularly well. It lacks the undertone of aggression that could have given "Cool" a degree of menace, but the cat-creep rhythm that Lundgren, Ilg and Haffner set down more than compensates it's somehow sexy and slightly menacing at the same time. On the other hand, Landgren's vocal on "Somewhere" is so melancholy that it brings a tear to the eye once again, the rhythm section's empathic performance is superb.

Landgren's trombone playing is a constant pleasure. On "Maria," which gets a fine arrangement from Mendoza, he's swinging and upbeat, on "Somewhere" his playing is gentle and spacious, on "Lucky To Be Me" his solo is brief but replete with good-humored charm. Siegel is an excellent choice of guest vocalist for these songs. Her duet with Landgren on Mendoza's arrangement of "Some Other Time" is the strongest of her appearances but her solo vocal on "The Story Of My Life" and "Lucky To Be Me" run it pretty close. If Some Other Time does have a weakness, it's in the choice of some of the lesser-known numbers. Despite Mendoza's arrangements "A Quiet Girl" and the instrumental "A Simple Song," though pleasant, never really come to life especially when compared to the rest of the program.  ~ Bruce Lindsay  http://www.allaboutjazz.com/some-other-time-nils-landgren-act-music-review-by-bruce-lindsay.php

Personnel: Nils Landgren: vocals, trombone; Jan Lundgren: piano;  Dieter Iig: bass;  Wolfgang Haffner: drums;  Janis Siegel: vocals (2, 6, 8, 9, 11); Members of the Bochumer Symphoniker, conducted by Vince Mendoza.

Some Other Time (A Tribute to Leonard Bernstein)

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The Crown Project - Modern Mancini

Bitrate: MP3@320K/s
Time: 52:48
Size: 120.9 MB
Styles: Contemporary jazz, Vocals
Year: 2005
Art: Front

[4:05] 1. Moon River
[4:41] 2. Charade
[3:42] 3. Peter Gunn Theme
[4:12] 4. The Pink Panther
[4:06] 5. Days Of Wine And Roses
[4:34] 6. Dreamsville
[4:06] 7. Baby Elephant Walk
[4:48] 8. The Molly Maguires
[4:02] 9. Song For Cat
[4:18] 10. Holly
[4:54] 11. Two For The Road
[5:15] 12. Soldier In the Rain (with Mark Gasbarro)

Janis Siegel, Oleta Adams, Fred White, Lamont van Hook - Vocals; Alto Saxophone – Gerald Albright; Tenor Saxophone – Doug Norwine; Percussion – Walter Rodriguez, Piano – Fred Hersch, Programmed By – Mark Gasbarro; Flugelhorn – Dmitri Matheny; Flute, Soprano Saxophone – Dan Higgins; Guitar – Carl Verheyen, Dwight Sills, Russell Malone; Harmonica – Tommy Morgan; Drums – Cliff Almond, Jack Kelly; Bass – Abraham Laboriel, Larry Kimpel.

Tribute albums are all the rage these days, so Monarch Records has release Modern Mancini – Tribute to a Music Master under the mysterious moniker “The Crown Project.” Henry Mancini was undoubtedly one of the foremost film and TV scorers, with nearly 80 film scores, four Oscars, and twenty Grammies to his credit, yet one doesn’t have to look too far into his compositions to see his jazz sensibilities at work. Had Mancini not focused so much of his time and talent on scoring and devoted more energies to composing and recording jazz, we can only wonder what he might have contributed to this genre. But given that his musical legacy is what it is, this effort to present some of his most familiar works (and some lesser-known gems as well) in a contemporary jazz context yields only mixed results. For example, “Charade” is re-worked from a waltz into a 4/4 smooth jazz arrangement complete with rhythm loops. Gerald Albright’s sax ably conveys some of the song’s angst with his soulful musings, but it can’t save this musical mismatch. Keyboardist Mark Gasbarro, who plays on many of the selections, tries to update “Baby Elephant Walk” with some new synth samples, but it comes across as hokey. The “Pink Panther” theme fares better, with some great harmonized vocals. Oleta Adams lends some soulful expressiveness to “Moon River,” but I think this song might still be dead from overexposure.

The arrangements that stay away from the contemporary trappings work best. The French horns and strings on “The Days of Wine and Roses” provide a lush, beautiful setting in which Albright’s alto truly shines. Janis Siegel’s duet with guitarist Russell Malone says more with a voice and guitar than many full-production blowouts could ever hope to accomplish. Same goes for Siegel’s duet with frequent collaborator, pianist Fred Hersch. Gasbarro’s acoustic piano pairing with Dan Higgins’ flute and soprano on “The Molly Maguires” is elegant, simple beauty.

For this recording, a never-before-recorded Mancini gem “Song for Cat” was uncovered, and given lyrics and Transferesque vocal arrangement by Janis Siegel. Andy Martin’s trombone and Doug Norwine’s flute make nice contributions as well. This same trombone and flute combination also works well on the next tune, “Holly.” Bottom line: the lesser-known tunes with the more traditional arrangements or elegant duet pairings work well; the overly-familiar tunes with the contemporary reworks don’t. Still, there are lots of exquisite musical moments here, and Mancini lovers should be pleased. (Monarch 1025) ~Dave Hughes

Modern Mancini

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Janis Siegel & Fred Hersch - Slow Hot Wind

Styles: Vocal And Piano Jazz
Year: 1995
File: MP3@320K/s
Time: 64:24
Size: 148,2 MB
Art: Front

(5:18)  1. For All We Know
(5:07)  2. Love Came On Stealthy Fingers
(5:41)  3. Make Sure You're Sure
(4:01)  4. Softly As I Leave You/ Not Like This
(6:43)  5. Who Are You/ I Remember You
(5:30)  6. For No One
(5:56)  7. Slow Hot Wind/ Moon And Sand
(4:05)  8. The Shining Sea
(4:15)  9. Goldmine
(6:18) 10. Agua
(5:34) 11. Sister Moon
(5:50) 12. Alone Together

Singer Janis Siegel (taking time off from The Manhattan Transfer) and pianist Fred Hersch make for a complementary team on this CD, supporting and occasionally challenging each other. The sources of the compositions they interpret (many are of fairly recent vintage) stretch from Sting and Stevie Wonder to Johnny Mercer and there are quite a few middle-of-the-road pop ballads although Siegel gets to break loose on "Moon and Sand." But overall this well-played and often impressionistic music is consistently melancholy, a bit dull and often outside of jazz without all that much improvisating taking place. ~ Scott Yanow  

http://www.allmusic.com/album/slow-hot-wind-mw0000176740

Personnel:  Janis Siegel – vocals;  Fred Hersch – piano;  Tony Dumas – bass;  Ralph Penland - drums

Slow Hot Wind

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The Manhattan Transfer - The Best Of The Manhattan Transfer

Styles: Vocal Jazz, Big Band
Year: 1981
File: MP3@320K/s
Time: 46:25
Size: 107,9 MB
Art: Front

(3:07)  1. Tuxedo Junction
(3:40)  2. Boy From New York City
(3:56)  3. Twilight Zone
(4:27)  4. Body And Soul
(3:27)  5. Candy
(3:49)  6. Four Brothers
(5:59)  7. Birdland
(2:58)  8. Gloria
(2:21)  9. Trickle Trickle
(3:12) 10. Operator
(2:46) 11. Java Jive
(3:47) 12. A Nightingale Sang In Berkeley Square
(2:55) 13. Chanson D'Armour

There's no annotation to speak of on this 12-track collection, but little is needed, as this particular group's work speaks for itself. This is a smooth and impressive cross-section of the renowned vocal group's work across the first six years of its successful "reincarnation" nothing of the original late-'60s quartet is here, apart from the newer group's successful reworking of "Java Jive" near the end of the disc. But basically this album moves from strength to strength, in something of a jumble in terms of original release order the live "Tuxedo Junction," the hit single "Boy from New York City," their stylized homage to Marius Constant's (not Bernard Herrmann, as erroneously listed on the composer's credit) "Twilight Zone" theme, the soaring "Body and Soul," the doo wop homage "Gloria," etc. There are no personnel or detailed recording data, but the release dates and original album information make it easy for anyone who wants more of what they hear to track down the original Atlantic albums and CDs. ~ Bruce Eder  http://www.allmusic.com/album/the-best-of-the-manhattan-transfer-mw0000194748

Manhattan Transfer: Tim Hauser, Janis Siegel, Alan Paul, Laurel Masse, Cheryl Bentyne (vocals).

The Best Of The Manhattan Transfer

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The Manhattan Transfer - Live

Styles: Vocal Jazz, Big Band
Year: 1978
File: MP3@320K/s
Time: 59:21
Size: 138,0 MB
Art: Front

(3:18)  1. That Cat Is High
(3:26)  2. Snootie Little Cutie
(4:03)  3. Four Brothers
(3:43)  4. On A Little Street In Singapore
(3:02)  5. Java Jive
(3:25)  6. Walk In Love
(2:39)  7. Chanson D'Amour
(3:27)  8. Speak Up Mambo (Cuentame)
(1:40)  9. 15 Minute Intermission
(4:18) 10. In The Dark
(4:55) 11. Je Voulais (Te Dire Que Je T'Attends)
(0:42) 12. Sunday
(3:39) 13. Candy
(1:56) 14. Well, Well, Well
(4:10) 15. Freddy Morris Monologue / Bacon Fat
(3:38) 16. Turn Me Loose
(3:55) 17. Operator
(3:17) 18. Tuxedo Junction

The Manhattan Transfer was recorded at Manchester (23rd April 1978), Bristol (28th April 1978), and Hammersmith Odeon, London (2nd May 1978). The album was produced by Tim Hauser and Janis Siegel. For many years, this album had the distinction of being the only Manhattan Transfer album not to be released on CD… but finally Wounded Bird Records (WOU-540) released it in the spring of 2005. Interestingly, when asked for the group’s comments on this album, Janis and Alan had something very similar to say about it. Janis: “Worst album cover in history (with possible exceptions of ‘Coming Out’ and ‘Mecca’)” Alan: “Wins the award for worst album cover.” There are actually two covers to the album, one being an actual photo of the group that is a silhouette, and the other one is a “cartoonish” rendition of a similar pose. Alan says that the album “was never released in the United States. The first printing is a collector’s item.” 

The version with the “photo” cover was released by Mobile Fidelity Sounds Labs as an “Original Master Recording”. It’s a great album that captures the essence of The Manhattan Transfer during that time: The group was riding a wave of success and had become very popular in Europe, and the enthusiasm is evident in their performance. “The album was recorded live at the Hammersmith Odeon,” recalls Alan. The performance captures numbers by L Dorado Caddy and Guido Panzini. It’s also the last album made with Laurel Massé. Produced by Tim and Janis, it was recorded in late April/early May of 1978. Janis was truly dedicated to her producing duties, as she recalls “I co-produced and was in the hospital for emergency surgery remember listening to mixes and taking notes up until the time they wheeled me in the O.R.” http://manhattantransfer.net/discography/the-manhattan-transfer-live/

The Manhattan Transfer: Cheryl Bentyne , Janis Siegel, Alan Paul, Tim Hauser (vocals).

Personnel:  Bass – Michael Schnoebelen; Contractor – David Katz; Drums – Peter Johnson; Guitar – Wayne Johnson; Keyboards – Dave Wallace; Saxophone – Derek Grossmith, Eddie Mordue, Keith Bird, Stan Sultzman; Trombone – Cliff Hardie, David Horler; Trombone [Bass] – Geoff Perkins;  Trumpet – Bobby Haughey, Derek Watkins, Ronnie Hughes, Tony Fisher

Live

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Manhattan Transfer - Couldn't Be Hotter

Styles: Vocal Jazz, Swing
Year: 2002
File: MP3@320K/s
Time: 77:30
Size: 178,1 MB
Art: Front

(2:46)  1. Old Man Mose
(3:42)  2. Sing Moten's Swing
(3:06)  3. A-Tisket, A-Tasket
(3:41)  4. Sugar (That Sugar Baby O'Mine)
(5:38)  5. Up A Lazy River
(5:32)  6. Do You Know What It Means To Miss New Orleans
(4:32)  7. Stars Fell On Alabama
(5:03)  8. Gone Fishin'
(5:29)  9. Blue Again
(7:51) 10. Clouds (Adapted from 'Nuages')
(3:08) 11. Stompin' At Mahogany Hall
(6:43) 12. Nothing Could Be Hotter Than That
(3:14) 13. It's Good Enough To Keep
(4:19) 14. Don't Let Go
(4:15) 15. Twilight Zone / Twilight Tone
(8:25) 16. My Foolish Heart

Last year the Manhattan Transfer made its Telarc debut with the live Couldn't Be Hotter. Terrific as the disc was, it turns out the title was merely prescient of the follow-up studio release Vibrate, the group's first in four years. Drawing on all of Tim Hauser, Janis Siegel, Alan Paul and Cheryl Bentyne's individual and collective talents, and echoing such eclectically brilliant group accomplishments as Swing, Bop Doo-Wopp, Vocalese, Tonin' and Pastiche (which, though it predates Bentyne's arrival in 1979, remains classic MT), Vibrate can best be described as a triumphant "greatest skills" collection.

The opener, Brenda Russell's "Walkin' in N.Y.," recalls the breezy retro sophistication of the Transfer's long-ago "Tuxedo Junction" days. It's followed by Rufus Wainwright's cheekily romantic "Greek Song," which, with its mixed Asian and European accents, is strongly reminiscent of the pre-Bentyne Transfer's dazzling, cross-cultural treatment of "On a Little Street in Singapore" on Pastiche. The cunning title track, another Wainwright delight, follows, blending an old-fashioned tango with a conventional tale of heartbreak and longing, and then twisting both in the chords of modern contrivances. "Doodlin'" is yet another fine example of the Transfer's ability to channel the tightly choreographed vivacity of Lambert, Hendricks and Ross while making the tune distinctly its own. Their creamy "Embraceable You," dripping in strings, is gorgeously reminiscent of the Tommy Dorsey days of the Pied Pipers; "I Met Him on a Sunday" infuses the Shirelles' hit with plenty of rib-sticking N'awlins gumption; and "First Ascent," cowritten by Alan Paul (with Billy Hulting and Bob Mair) and set to a deliciously cacophonous Afro-Latin rhythm, is an homage to creative inspiration that is itself an inspired creation. Then there's "The New JuJu Man," based on Miles Davis' "Tutu," which shows off these four vocalese masters at their most imaginatively incendiary. Put 'em all together and, indeed, the Transfer couldn't be hotter. ~ Christopher Loudon  http://jazztimes.com/articles/15114-couldn-t-be-hotter-manhattan-transfer

Manhattan Transfer: Alan Paul, Janis Siegel, Cheryl Bentyne, Tim Hauser (vocals)
Personnel: Wayne Johnson (guitar); Larry Klimas (soprano saxophone, tenor saxophone); Lew Soloff (trumpet); Yaron Gershovsky (keyboards); Tom Brechtlein (drums).

Couldn't Be Hotter

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Janis Siegel - I Wish You love

Styles: Vocal
Year: 2002
File: MP3@320K/s
Time: 48:21
Size: 111,6 MB
Art: Front

(4:48)  1. Just A Little Lovin'
(2:38)  2. I Want You To Be My Baby
(4:52)  3. Go Away Little Boy
(5:05)  4. Dream A Little Dream Of Me
(3:39)  5. The Late Late Show
(5:05)  6. Don't Go To Strangers
(5:56)  7. The Masquerade Is Over
(4:43)  8. Where Are You?
(3:24)  9. Guess Who I Saw Today?
(4:28) 10. I Wish You Love
(3:38) 11. The Big Hurt

Janis Siegel has to be the envy of many singers on today's scene. She commands two performing platforms; one as a member of the popular singing group Manhattan Transfer and the other as a soloist which she has been since 1987. Her latest solo release, this time for the Telarc label, is devoted to songs made popular (or almost popular) by other female performers, not all of whom were singers. She is joined by a top rated trio of Cedar Walton, David Williams and Winard Harper who anchor the session. They are also joined from time to timeby the likes of David "Fathead" Newman on tenor, Tom Harrell on trumpet and Bill Ware on vibes. Sometimes you have to dig deep to recall the female who was connected with each tune. The female associated with "I Want You to Be My Baby" was Lillian Briggs, who supplemented her trombone playing career with a job driving a laundry truck. Siegel is joined on this fun cut by a singing group with another unlikely moniker, Baby Konehead and Her Fatty Tumors. 

Then there are the Chordettes who made a name for themselves as part of the old Arthur Godfrey show who came up with their biggest hit "Mr. Sandman". I just wish Siegel had seen fit to not make this track such a big production and sang it simply. But it is clever how she interpolates the tune with the other half of the medley, "Dream a Little Dream of Me". One of the wildest tracks is "The Masquerade Is Over" which features Newman's tenor as well as his soaring flute playing and Siegel scatting. Every track is a pleasure to listen to as you remember which lady first sang that song. But this little game does not detract an iota from Siegel's consummate artistry and of those she brought into the studio with her. This is A-one graded stuff. ~ Dave Nathan   http://www.allaboutjazz.com/i-wish-you-love-janis-siegel-telarc-records-review-by-dave-nathan.php#.U3upnSi9a5w

Personnel: Janis Siegel - Vocals/Backup Vocals; Cedar Walton - Piano; David Williams - Bass; Winard Harper - Drums; Bill Ware - Vibes; Baby Konehead and her Fatty Tumors, Aaron Franz - Vocals; David "Fathead" Newman - Tenor Sax/Flute; Frank Colon - Wind Chimes/Congas; Roger Treece, Lincoln Briney, - Background Vocals; Tom Harrell - Trumpet /Flugelhorn

I Wish You love

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Lorraine Feather - Language

Bitrate: 320K/s
Time: 44:25
Size: 101.7 MB
Styles: Vocal jazz
Year: 2008
Art: Front

[4:12] 1. Traffic And Weather
[3:40] 2. We Appreciate Your Patience
[4:29] 3. Very Unbecoming
[3:56] 4. I Love New York At Christmas
[5:02] 5. Home Alone
[2:24] 6. Hit The Ground Runnin'
[4:12] 7. Where Are My Keys
[3:52] 8. In Flower
[4:02] 9. Waiting Tables
[4:34] 10. A Household Name
[3:58] 11. Making It Up As We Go Along

Over her mere seven-album discography, Lorraine Feather has carved out a fulfilling career as a jazz singer far outdistancing many one-shots, far less talented but successful pop-jazz vocalists, and wannabes. Her talent as a lyricist of wit, sarcasm, and keen observations of the American human condition is her true strength, and not always as acknowledged as her verbal chops and inventiveness. Her language goes beyond the nomenclatures of swing, bop, and contemporary improvisation, as Feather exploits many literary references and well-worn phraseology from various acumens, and keeps the proceedings upbeat and interactive between her words and the musical notes offered by her excellent confreres. Pianist Shelly Berg is closest to Feather as a collaborator, writing the music for Feather's cleverest lyrics. The quick, lithe, bouncy, and brisk "Traffic and Weather" relates to Bay Area commuter congestion, climatological issues, or references to inseparable pairings, and "We Appreciate Your Patience," with a cynical, animated take on annoying automated answering services, teams Feather and Berg in multilevel harmonic and whimsical refrains. Feather is fond of stringing worn-out clichés together, as on "Patience," but is in an especially sharp mood about trite multiple sports adages on the bopper "Hit the Ground Runnin'," featuring a furious Russell Ferrante on piano, and tells the all too familiar thoughts-racing, mouse-on-a-treadmill tale of "Where Are My Keys?," turning a dilemma into fun. Also skillful, aside from their lyric content, are her instrumental ideas, like using a horn section and a drummer only on the sassy tale of a career dilemma "Waiting Tables," or the slinky, bluesy Duke Ellington-like "A Household Name," debunking stardom and alerting you to the pitfalls of the celebrity trap. Feather can also be sentimental, as on her romanticized Billy Strayhorn waltz tribute "In Flower," the melancholy "I Love New York at Christmas," and her most languid, evocative tune, "Making It Up as We Go Along." She is rarely self-conscious or insular, but Ferrante's modal two-chord piano prop-up during "Home Alone" keeps Feather's possible dour mood in check, although she can't help being doting on "Very Unbecoming." On occasion, vocalists Tierney Sutton, Janis Siegel, and Cheryl Bentyne enter in supportive vocal cameos. This may very well be Lorraine Feather's best effort, certainly the one where collaboration is the key, and statements on our disposable, technology-driven, time-consuming society had to be made. Bravo Lorraine, and hang in there! ~ Michael G. Nastos

Recording information: Entourage; Visual Rhythm.

Lorraine Feather (vocals); Janis Siegel (vocals, background vocals); Grant Geissman (guitar); Greg "Frosty" Smith (saxophone); Willie Murillo, Gary Grant (trumpet); Andy Martin (trombone); Michael Lang , Russell Ferrante, Shelly Berg (piano); Michael Valerio (bass guitar); Gregg Field, Michael Shapiro (drums, percussion); Cheryl Bentyne, Tierney Sutton (background vocals). Audio Mixer: Carlos Del Rosario.

Language

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