Say Hello [CD-single] [Enhanced] [Import]

1. Radio Edit

2. Club Mix

3. Angello & Ingrosso Remix

4. Chus & Ceballos Remix

5. Paul Van Dyk Mix

6. Video

Tracks:

Charade
In The Wee Small Hours Of The Morning
Sleepin' Bee
Don't You Know I Care (Or Don't You Care I Know)
Kiss & Run
If I'm Lucky
I Just Dropped By To Say Hello
Stairway To The Stars
Our Time
Don't Call It Love
How Sweet It Is To Be In Love

Amazon.com

Johnny Hartman may have been the greatest of the jazz balladeers, his unmistakably rich voice and subtle sense of pitch and diction developing the art of Billy Eckstine and Arthur Prysock. Most know his work only in the superb 1963 collaboration with John Coltrane, but this CD from the same year is as fine a showcase for Hartman's abilities, both on medium swing tunes and the romantic standards that were his forte. The accompaniment is at the highest level, with Hank Jones on piano and brother Elvin on drums, and appearances by the two subtlest guitarists of the era, Jim Hall and Kenny Burrell, embellishing Hartman's cashmerelike voice. The burred sound of Illinois Jacquet's tenor, reminiscent of Ben Webster on ballads, is a fine, grainy complement to Hartman's smooth baritone. --Stuart Broomer

Customer Reviews:

If you love Hartman, please do NOT overlook this one..........2007-07-05

Ahhh, Johnny. I jus' can't sing enough praises about this man an' the work he did throughout his career. Findin' a truly rare jazz vocalist outside the realm of the well knowns (i.e. Billie, Sinatra, Nat, etc.) is a trial in itself, but whenever people discover Hartman, they seem 'ta stick with 'em. His voice is relaxed an' tempered, his sound is lush an' quietly beautiful, an' his selection of songs is on point with whatcha would wanna hear from him. Great standards like 'In the Wee Small Hours of the Morning', 'Don't You Know I Care', 'Don't Call it Love' an' the title song are all jus' morose melodies an' Hartman's treatment of them evokes jus' that. These're the kinda songs that're for a certain kind'a mood, one extreme or the other. In other words, you can entertain a date with it, but me personally, i'm jus' as well off pourin' some liquor, starin' up at the stars from the hood of a car an' just letting the complications of love an' the enormity of the world overwhelm me. I'm prob'ly more prone to do the latter, but both're appropriate circumstances. This release may have been overshadowed by the 100 million-star Coltrane an' Hartman album which came out the same year, but don't let that sway you, 'cause if the voice on that one reached out an' touched 'ya, then it'll be sure to do the same on here. Hartman's vocals are outstanding an' his efforts make this a classic to sit between the aforementioned Trane an' Hartman disc an' my Clifford Brown with Strings disc. It jus' gets no better, in my opinion.

Romantic beyond words..........2007-06-13

This man had some kind of voice! If you are a fan of Frank, Nat, Mel, Tony, etc... then add this guy to that short list of greats. How this man never became as famous as the foursome mentioned above I will never know. All I do know is this - this guy had one of the most beautiful, rich, romantic voices I have ever heard. It is very difficult, if not nearly impossible to express in words how wonderful of a singer this man was. Just listen to him and see for yourself. If you loved him on the Coltrane album (another 5-star treasure) then you will love this one almost just as much (that recording still is my favorite of all-time). Johnny may not have been that popular with the masses, but his work is very highly respected and adored by everyone in the jazz world - critics, musicians, and fans alike.

He may not have Coltrane, Tyner, and Garrison backing him up on this one, however the cats he does have aren't too shabby - Illinois Jacquet (tenor sax), Milt Hinton (bass), Elvin Jones (once again on the drums), Jimmy Hall and Kenny Burrell (on guitars). Not a bad line-up to say the least! And believe me folks, Johnny and the gang all sound flawless.

This is one of those recordings that you want to dim the lights down real low, pour yourself a martini or glass of wine, sit back and reeeeeeeelax. Or better yet, grab your gal (or guy) and let the music help take the two of you to the promised land. As soon as the first song (Charade) comes on, you will see what I'm talking about. I can't get enough of this one! Also, his version of "In The Wee Small Hours of the Morning" is one of the greatest I have ever heard and may even trump Old Blue Eyes himself (which is almost sacrilege for an Italian-American like myself to say!). However, you will just have to see for yourself.

ENJOY!

I'd die to have a voice like Hartman's.......2007-03-16

Johnny Hartman absolutely had the most resonant voice that I have ever heard (in jazz); yet, he had a very relaxed way of singing. It seems like he just breathed and all of that sound came out.

I really like this album, but to me, it's not as good as the classic he made with Coltrane, or Songs from the Heart (his first album). The pairing with Illinois Jacquet really works (especially on "Don't You Know I Care"). The choice of tunes is OK but some some tracks are regretably short.

In short, this is a fine album and one that I recommend. It is not his very best work, however.

Smooth as it gets.......2006-12-14

I'm not a big fan of most jazz vocalists but I LOVE Johnny Hartman! I bought this record a few days ago and I'm totally digging it. The only reason it didn't get 5 stars is because I've been spoiled over the last few years by the album he did with Coltrane. Don't get me wrong, Illinois Jacquet lays down some great tones on this album, but the Hartman/Coltrane album has a lot more horn woven through the entire record, and it's quite hypnotizing. HOWEVER, this album has something the Coltrane album doesn't have- GREAT guitar work! Kenny Burrell is a genius, and Jim Hall is very talented as well.

A year or so back I fell in love with the Sinatra record In the Wee Small Hours but I've gotta admit, the Johnny Hartman version of "In the Wee Small Hours of the Morning" eclipses Frank's version! If you're searching for something to spin on a romantic evening with that special someone, something smoother than glass, give Johnny Hartman a spin. You WON't be disappointed!

you lie awake and think about the girl.......2004-04-03

I was listening to the Carly Simon cover of Wee Small Hours and I said " I bet this person has never heard Johnny Hartman's version of this because they would've never tried it." I am not a comparer but this is easily one of the gems of vocal performance. Yes, Frank is god, yadda yadda yadda, go to Vegas and have a drink for me, but this guy is the full bill of goods.
I would love to use this in a film version Of Catcher in The Rye, because there is such a wonderful atmosphere about this.
The cd as a whole is a little loungier(he covers charade, for god's sake) and purists jonesing for the Hartman Coltrane should just listen to that again....but it is still a great jazz record. Some of the arrangements are amazing. A couple of times the rhythm section drops out, leaving Johnny with one instrument. These moments are simplicity itself, but heartstoppingly gorgeous.
And hartman is a master. Pure and simple

Tracks:

Oklahoma!
Carousel
State Fair
South Pacific
The King And I
Cinderella Waltz
Flower Drum Song
The Sound Of Music

Customer Reviews:

Irresistible.......2005-07-29

From beginning to end this CD is pure delight. A great recording has great music, a great performance, and great sound; this one scores on all three counts.

Rodgers and Hammerstein's musicals dominated Broadway in the 1940s and 1950s, and American musical theater has produced no more consistently eloquent and durable voice than Richard Rodgers. From his fertile genius flowed a surprising number of memorable songs, many of which have passed into and become an accepted and beloved part of modern American culture.

This well-filled CD (77:36) features symphonic arrangements (all but two by Robert Russell Bennett) of the music from Oklahoma (1943), Carousel (1945), State Fair (1945), South Pacific (1949), The King and I (1951), Flower Drum Song (1958), and The Sound of Music (1959). All the great tunes are here in suites from each musical that average 10-12 minutes in length. The arrangements are expert: rich, varied, and colorful. The performances are polished, idiomatic, and irresistible; Kunzel and this orchestra are thorough masters of this kind of material. And Telarc's sound (recorded 1991) is state-of-the-art (engineer Michael Bishop deserves to take a bow).

In short, there's nothing here to cloud your listening pleasure (the only quibble I can imagine is that some of your favorites may not last long enough), so it's hard for me to envision anyone with ears and a taste for music who wouldn't enjoy this CD. Warmly recommended. Finally, if you like this one as much as I do, you might want to know that the same team has produced a companion volume, the Lerner & Lowe Songbook for Orchestra.

"Some Enchanted Evening" with Kunzel and the Cincinnati Pops.......2003-12-26

Erich Kunzel's Rodgers and Hammerstein anthology with the Cincinatti Pops Orchestra is one of the best and most ravishing instrumental Rodgers and Hammerstein albums of all time. With sumptuous arrangements and warm, natural Telarc recording, this glorious 77-minute CD presents sweeping, melodic arrangements of over 60 Rodgers and Hammerstein selections, spanning eight scores, and Kunzel allows the Pops to play with a characterful and polished understanding of the Rodgers and Hammerstein idiom. The disc is enough to cheer you up on a dull day and make you smile, and it might even want to make you feel like a convert to Rodgers and Hammerstein musicals.

This CD has all the scores arranged chronologically. The OKLAHOMA! suite that opens this disc promises a feast for the senses, Kunzel ably evokes the territory's "bright, golden haze" in the way he conducts the various excerpts, until you feel the atmosphere of the country charm of the show, and the love-affair between Curly and Laurey. Then, in CAROUSEL, he ably evokes the pathos of this tragic R&H masterwork, especially in the truncated Waltz, but he leads a wonderfully melodic "June is Bustin' Out All Over" and a devotional "You'll Never Walk Alone." Although this suite does not include Billy's pivotal Soliloquy, it includes "If I Loved You" as an expression of his love for Julie, and within minutes you could be soaked in the ups and downs of the show's mood.

After a brief STATE FAIR suite, with sweeping renditions of "It Might As Well Be Spring" and "It's a Grand Night for Singing", we are brought into the disc's showstopping highlights. These highlights are the excerpts from SOUTH PACIFIC, THE KING AND I, and THE SOUND OF MUSIC. But yet Kunzel conducts the rest of the disc until the various suites amount to a series of showstoppers. These three suites present wonderfully-arranged versions of their many familiar classic songs, with well-played solos. The SOUTH PACIFIC suite presents the songs in chronological order, yet preserves the atmosphere of the show at the same time. Kunzel ably brings out the romance in "Some Enchanted Evening" and "Younger than Springtime," and contrasts it with the exotic and dreamlike "Bali Hai'i" and the comic "There is Nothing like a Dame" and "I'm Gonna Wash That Man Right Outa My Hair". Although the suite ends quietly with a reprise of "Dites-Moi" rather than the reprise of "Some Enchanted Evening," within minutes we are swept into the KING AND I suite. Kunzel ably brings out the Oriental pathos in this score, and he captures the warmth of Anna's rapport with the King's Siamese children in "Getting to Know You", and with the King himself in "Shall We Dance." There is also romance in the love ballads "I Have Dreamed" and "We Kiss in a Shadow." Similarly, in the selection from THE SOUND OF MUSIC, Kunzel conducts this until the orchestra soaks itself in the atmosphere of this Austrian R&H score. This SOUND OF MUSIC suite has more of a feel of the score compared to the bonus track on Sony's reissued version of the Broadway recording. You can almost feel as if you are following the progress of the Trapp family and how it lifts its spirits with the joy of music. Kunzel gives us a soaring version of the title song, and spirited versions of "Do-Re-Mi" and "My Favourite Things." He balances it with the open-air quality of "Edelweiss" and "The Lonely Goatherd." Although this suite could have included "Something Good," the love ballad written for the film, the three recollections of the songs that were cut from the movie only last for a while. And, the towering version of "Climb Every Mountain" crowns this portion of the disc, and this sumptuously-produced recording. But, I should also mention the infectuous FLOWER DRUM SONG medley, where Kunzel turns this underrated score into a work of art, until it convinces you to buy the cast recording. And, don't forget about the brief CINDERELLA WALTZ, too, when Kunzel conducts it magically, until you feel like you are in the company of Cinderella and the Prince. He is able to show how this R&H score marked a comeback for R&H after the failiures of Me and Juliet, and Pipe Dream.

Overall, this glorious Rodgers and Hammerstein recording is guarunteed to make you want to pucker your lips out for a whistle or sing along (to paraphrase another revew for Kunzel's Disney Spectacular disc) - even if this recording is music only, and as long as you know the words to the songs (and you might know a large handful of them already.) There is always a certain magic in this fine CD that makes you feel like you're sitting in the theatre watching these musicals, until it makes you feel like it is truly, to borrow two R&H song titles, "Some Enchanted Evening" and "Something Wonderful" to be in Kunzel's company for this R&H offering. It would certainly be one recording that could make you feel willing to buy the complete cast recordings of the shows. And I guaruntee that it will make you feel willing to pull out your existing copies of the cast recordings to listen to them again. I also guaruntee that it will be a cornerstone in any Rodgers and Hammerstein collection, just as it is in mine. Recommended heartily to any Rodgers and Hammerstein enthusiast and to fans of Erich Kunzel's work. And, you can play it while reading the Richard Rodgers biography, Musical Stages, until Rodgers himself would count this as his favourite disc in the afterlife.

By the way, most of the arrangements for the suites on this CD were done by the veteran R&H orchestrator Robert Russell Bennett, and it surely adds to the appeal of this recording. This itself is enough to amount to the icing on the cake, since Kunzel conducts them well on here, and since this recording still allows the suites to have the original theatrical atmosphere. And, although this recording is like the Mauceri collection of the Rodgers & Hammerstein overtures in compiling orchestral suites of Rodgers & Hammerstein, I think that I like the Kunzel recording even more because Kunzel has more magic in his conducting of these suites.

Excellent!.......2003-04-08

This is one of the best Erich Kunzel/Cincinnati Pops collections we own! A must for Rodgers and Hammerstein fans, too.

Great Arrangments.......2001-09-02

This is a first rate album with great arrangments and orchestrations. If you're a Rodgers and Hammerstein fan, you can't afford to miss this specatacular album

Average customer rating:

Surprising
I miss you FINCH...
Brilliant
Different, yet excellent.
Innovative, Genius Hard Rock

Say Hello to Sunshine
Finch
Manufacturer: Drive-Thru
ProductGroup: Music
Binding: Audio CD

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Similar Items:

What It Is to Burn
Hours
Things Aren't So Beautiful Now
Based on a True Story
The Artist in the Ambulance

ASIN: B0009MBCX8
Release Date: 2005-06-07

Tracks:

Insomniatic Meat
Revelation Song
Brother Bleed Brother
A Piece Of Mind
Ink
Fireflies
Hopeless Host
Reduced To Teeth
A Man Alone
Miro
Ravenous
Bitemarks And Bloodstains
The Casket Of Roderick Usher
Dreams Of Psilocybin

Amazon.com

Naysayers of hard rock and metal describe the genre as bordering on one-directional, when the truth is that great hard music is so much more than that. An amalgamation of jazz rhythms, emotive metal-influenced vocals and strong instrumentation happens when the genre hits it just right. Finch contained all of those elements on their much-heralded full-length, What It Is To Burn, and the result created a nearly religious fan base; expectations have been high during the three year wait for their new disc Say Hello To Sunshine. The strongest tracks on this release are ultimately are the most jagged, from the opening guttural growl of "Insomniatic Meat" to tracks like "Fireflies" and "Miro" which shows the group's emo-core colors brightly. Their whisper-to-a-scream tendencies are all over the disc, as the group moves from mixed tempos with deep howls to straight-up belted-out choruses. There is an obvious System Of A Down-meets-Linkin Park reference that also can't be ignored. The lead single, "Bitemarks and Bloodstains," is deceptive--the disc is consistently harder than this song. In fact, the whole is much stronger than the single. --Denise Sheppard

Customer Reviews:

Surprising.......2007-05-11

Very Different from the other Finch album, I belive. I at first, didnt like it so much. But I was drawn to several strong tracks like Rodderick Usher and Reduced to Teeth... so I kept Listening to the entire album, Slowly the songs came together and it felt GREAT to listen to it. I like it alot now, and Reduced to Teeth is on my top 100 on my Ipod. Good Song. They couldve lost some fans with this album, and they coulda gained some more. Who knows? I Dont. I Dont watch MTV and even if I did watch Fuse or anything else, would Finch really be played? Too much rap. Anyway.... back to my point.

If you like Finch, pick it up! Whatre you waiting for?! Want intuitive Emo music? Pick it up!

Just do it.

I miss you FINCH..........2007-04-30

One of my best memories was going to the "glass house" to see Finch live. They played BETTER than the cd. I mean really, how the hell did they do that? And the crowd vibe was amazing...(I went up to random people and they helped me crowd surf and vice-versa)...that being said.

I heard of Finch right away. My friend was friends with a member's little brother.. so I've known of them FOREVER. I only wish that my love for WIITB and Finch didn't contribute to their break up. Only recently did I finally go...yeah...this is an awesome CD. I agree that they were just ahead of their time and they changed too much for their audience. I mean we LOVE their get to the point, ultimatly feel good vibe they projected. Please listen to this MANY times. It took me years to realize it's amazing.

Brilliant.......2007-01-25

Brilliantly Arranged
Methodically sequenced
Surgically executed.

Bands like Finch rarely have a chance to be themselves in today's 'scene' of heavier bands and demographic culture.

In relation to their previous studio album (What it is to burn) this release is a step in a new and original direction for the band.
At first listen, Finch fans maty be bemused and somewhat dissappointed in the change of sound (as i was at first).
But persevere and i guarantee that this album will make it to your top 10.

Gone are Finch's days of the instantly catchy melodies and simplistic lyrics, now made way for deeper meanings and ingenious instrumental work.

There are distinct influences in the new sound,Incubus, Faith no more and dribs and brabs of others.
But some of the songs even hold an experimental type of quality, this is where you can tell Finch has broken the mould and really tried to cause an impact.

The lyrics are amazing and Finch's members hearts and minds have been hard at work producing them, the only flaw i find in some songs are the niggling religious undertones....but that's purely a personal thing ;]

If you enjoy good music, talented artists and something a little different i cannot reccommend this album highly enough.
Well worth the money =]

Let's hope these boys reform the band some time in the future aye??

Different, yet excellent........2006-09-29

First of all, I would like to say that I am a huge Finch fan, right from the beginning. I own EVERY album, and have been to tons of their concerts and have supported their style the entire way. It's sad to see them split, but the fact is, the last piece they wrote, Say Hello To Sunshine, is a great way to end.

This album is absolutely incredible. I fell in love with it as soon as I heard "Insomniac Meat." It's almost like an ingenius blend of Muse, Taproot, and Incubus in some way... It's rather hard to explain, but I love the song. Every other song on the album is amazing as well, but the fact is, in spite of the fact that I'm an "Old" Finch fan as well, this album is infinitely deeper and has many, many more layers than What It Is To Burn. If you like the sound of Finch and want something different yet the same, buy this immediately. If you want something that sounds exactly like their old album, then stay away. I hope you're open minded if you buy this album, because you'll be doing a lot of thinking about the lyrics and musicianship, which is impeccable.

Amazing album. 5/5.

Innovative, Genius Hard Rock.......2006-09-24

Similar to a lot of other viewers, I was not sure if I liked this CD at first. It simply is completely different from their first. Thus, at first listen, it's normal for someone to be skeptical. But promise me, listen to this CD at least 4 times all the way through, and you will see that this CD creates a new genre in modern rock that is innovative, amazing hard rock. The lyrics, vocals, and integration of unique music make this album one of a kind. With each new listen, the album gets more impressive. This album is ahead of its time, which explains why the typical listener is not able to see its worth. Hopefully Finch will reunite in time. Thank you Finch.

Average customer rating:

a wonderful surprise
What!? How is this possible?
Beauty and grace, charm and wit - Maury's got it all
A perfect marriage of music and lyrics
The Maury Yeston Songbook

The Maury Yeston Songbook
Maury Yeston , Christine Andreas , Brent Barrett , Betty Buckley , Liz Callaway , Alice Ripley , Sutton Foster , Brian d'Arcy James , and Philip Chaffin
Manufacturer: P.S. Classics
ProductGroup: Music
Binding: Audio CD

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The Maury Yeston Songbook
The Drowsy Chaperone (2006 Original Broadway Cast)
December Songs
Jule Styne in Hollywood
Grey Gardens - A New Musical (2006 Original Broadway Cast)

ASIN: B00008H2LJ
Release Date: 2003-04-08

Tracks:

Please Let's Not Even Say Hello - Alice Ripley
Only with You - Brent Barrett
I Want to Go to Hollywood - Sutton Foster
Danglin' - Johnny Rodgers
I Had a Dream About You - Betty Buckley
My True Love - Philip Chaffin
A Call from the Vatican - Alice Ripley
Now and Then - Laura Benanti
You're There Too - Christopher Fitzgerald
Is Someone Out There? - Eden Espinosa
New Words - Brent Barrett
My Grandmother's Love Letters - Christine Ebersole
By the River - Christine Andreas
I Am Longing - Philip Chaffin
Home - Laura Benanti & Robert Cuccioli
Another Day in the Modern World - Michael Holland
Simple - Liz Callaway
Unusual Way - Brian d'Arcy James
Be On Your Own - Betty Buckley
No Moon - Howard McGillin

Amazon.com

Despite racking up Tony nominations and/or box-office success with Nine, Grand Hotel, and Titanic, Maury Yeston remains a relatively unknown Broadway auteur. And yet, what a fabulous songwriter he is. Listen to "Home," for instance: This excerpt from Phantom (the other adaptation of Phantom of the Opera) has great melodic hooks, along with natural sweep and unrestrained emotion. Like every song on this CD, it also has such dramatic drive that it easily stands on its own outside of its regular narrative frame. This collection of new recordings provides an excellent overview of Yeston's talent, juxtaposing numbers from his three best-known scores (though there's only one from Titanic) with rarities and a generous selection from his 1991 song cycle December Songs. Christine Ebersole, Liz Callaway, and Betty Buckley turn in expectedly strong performances, but watch also for Laura Benanti (the star of the 2003 revival of Nine), Christine Andreas, and Foster Sutton, who completely make the material theirs. --Elisabeth Vincentelli

Description

The Tony Award-winning composer/lyricist -- who's given us the smash hit musicals Titanic, Phantom and Grand Hotel, and whose first stage show, Nine, is currently being revived in New York with Antonio Banderas -- is celebrated in song by the best stars o

Customer Reviews:

a wonderful surprise.......2007-07-22

Like others, I bought this CD primarily for Sutton Foster's rendition of "I Want to Go to Hollywood." And while that's wonderful, the real surprises here are the songs from Yeston's song cycle "December Songs." Christine Ebersole and Christine Andreas give absolutely lovely, technically proficient, completely heartfelt renditions of "My Grandmother's Love Letters" and "By the River", respectively. I'd heard Andrea Marcovicci's recording of "December Songs" and was seriously underwhelmed. These two tracks just prove that Yeston might have over-estimated Marcovicci's range and technical ability. "By the River" is a revelation in the right hands, and Ms. Andreas's rendition is just four minutes of wonderful. I also want to mention Howard McGillin's "No Moon". This little song from "Titanic" is just so moving. Pulled out of context, it becomes a little jewel of metaphor.

The CD as a whole is beautifully recorded, with an intimacy and clarity that makes you feel like you're in the first row of a very small theatre. If you come across this and you're on the fence, take a chance. I bet that you'll be as pleasantly surprised and deeply moved as I've been.

What!? How is this possible?.......2007-01-20

How could one put together a Maury Yeston Songbook cd without a track from Andrea Marcovicci? He wrote a song cycle for her. Granted there are some great singers here but a grave oversight to not include Ms Marcovicci.

Beauty and grace, charm and wit - Maury's got it all.......2006-11-14

Maury Yeston may be musical theatre's unsung genius to the public at large, but I've heard his praises sung many times. A friend convinced me to buy the original Broadway cast of "Nine", and while there were some fantastic songs and an undeniable melodic gift throughout, it left me lukewarm. The same with "Grand Hotel". And I couldn't stand "Titanic" - too big, too self-important, too reliant on booming low brass and bombastic orchestral swells.

"Phantom" was the only one of his scores that touched something other than distanced admiration in me. It was everything Sir Lloyd Webber's popera travesty could never quite aspire to - epic yet human, beautiful and touching, with songs that showed actual details and emotions. So it was with that in mind that I purchased this, figuring that maybe Maury could prove me wrong, shorn from the restrictions of a book musical format.

And by God, did he prove me right and then some.

Maybe it's the singers. Maybe it's the perfect orchestrations. Maybe it's just the absence of a plot to follow. More than likely, it's all three, but this is one of the most gorgeous, enjoyable, heartbreaking albums I've ever purchased. Yeston has assembled an impressive cast to give voice to his music - such heavy Broadway hitters as Alice Ripley, Brent Barrett, Betty Buckley, Christine Ebersole and Howard McGillin mix with up-and-comers like Eden Espinosa, Sutton Foster, and Brian d'Arcy James. But the most impressive turns are given by people I'd never heard of before - Johnny Rodgers (who?) has a voice spun from gold, and he's absolutely perfect in "Danglin'", a simple and powerful song despite some odd lyric choices by Yeston. Likewise Philip Chaffin in "My True Love" and "I Am Longing", and Michael Holland displays a warm and untrained performance of "Another Day in the Modern World". These three men, who I'd never heard of before, absolutely stole the show. It doesn't hurt that they're given some of the best songs from the album.

Of course, the rest of the ensemble uniformly turns in worthwhile performances. The professionalism of Broadway is gloriously evident here, each singer making their song uniquely theirs. Brent Barrett made me hear "Only With You" as if for the first time. Betty Buckley is surprisingly vulnerable in "I Had A Dream About You". Alice Ripley is her usual bundle of raw emotion in "Please Let's Not Even Say Hello", and turns in a rare comic performance in "Call From The Vatican" to great effect (listen to that surprise high note near the end! Wow, Alice!). Christine Ebersole is heartbroken, elated, vulnerable, and tough all in the course of "Grandmother's Love Letters"' 4 minutes.

There are some weak spots - Eden Espinosa is mostly one-note during her song, and while it's certainly a high note, it's nothing you haven't heard her do better elsewhere. Laura Benanti's "Now and Then" goes by without much notice, which is a shame for this talented actress. And Betty Buckley goes back to her usual high-volume stridence in "Be On Your Own", which despite its chilling music deserves a more nuanced performance than Buckley gives here. But these songs would be standouts on any other album, and it's only the company they keep that prevent them from being excellent.

Oh, and "Unusual Way", possibly Yeston's best-known song, is so beautifully performed here by Brian d'Arcy James and a three-piece band that I nearly cried hearing it. And that's quite a feat for a song that I swore never to listen to again after the seventeenth girl in a day auditioned with it (badly). But the gender swap works perfectly, and d'Arcy James' golden Irish tenor swings through the music effortlessly.

As for the band - there are no missteps here. Each song is given exactly what it needs, from the Romantic-with-a-capital-R string section on "Home", to the jazzy saxophone on "Letter From the Vatican", to "Be On Your Own", which is given a Herrmann-esque string section. Some particular touches stand out - that lovely acoustic guitar on "Danglin'", the simple piano line on "Modern World", and the sublime cello/piano outro in "Unusual Way" really stuck with me after the album stopped playing. And the recording is without fault - crisp, encompassing, personable and expansive as the mood requires. The whole album sounds fantastic.

There is such a wide range of style and substance here that each song would deserve purchasing individually. As a collection? It's bliss. If you're a fan of theater music, appreciate great vocals, or just need something to keep you company on long nights, this is required purchase.

A perfect marriage of music and lyrics.......2006-09-07

I think Yeston must be the most underrated talent in music theatre. And not just music theatre ... for as far as I know, "Danglin'" is not from a show - a jewel of a song ... and a disarmingly honest rendition from Johnny Rogers (what a beautiful voice! Why hasn't he made more CD's?) Some other favourites are "New Words" (not enough parent-child love songs out there ... and I can't imagine it could be sung any better than this), "You're there too" (with a charming and unexpected twist), "Simple" (Callaway is superb), "Only With You" (loveable rogue!) ... to name but a few. Inspired music theatre writing. A must for any musical buff, composer or singer seeking repertoire that will help them stand out from the crowd.

The Maury Yeston Songbook.......2006-08-30

A good album sung by good singers. I have been an admirer of Maury Yeston for a number of years . I am a great fan of "Nine"
which I consider his best work.(If possible try to listen to the
Australian Cast Recording with John Diedrich) I enjoy listening to artists like Alice Ripley, Brent Barrett, Sutton Foster,and my very favourite singer Liz Callaway. All in all a great CD to just sit back ,relax and enjoy Les Breen

Average customer rating:

Put on a Happy Face: Broadway 1959-1967

Manufacturer: Decca Broadway
ProductGroup: Music
Binding: Audio CD

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ASIN: B0007ZEO1Y
Release Date: 2005-04-26

Tracks:

The Impossible Dream
Love Makes The World Go 'Round
Try To Remember
Put On A Happy Face
I Say Hello
Happiness
She Loves Me
What Kind Of Fool Am I?
Shy
Consider Yourself
Poor Little Person

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Broadway: America's Music 1935-2005

Manufacturer: Decca Broadway
ProductGroup: Music
Binding: Audio CD

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Letters from Iwo Jima (Two-Disc Special Edition)

ASIN: B000B8I93Q
Release Date: 2005-10-18

Tracks:

Oh What a Beautiful Mornin'
Summertime
I Could Write a Book
It Never Entered My Mind
I Can Cook Too
Make It Another Old Fashioned, Please
If I Loved You
My Heart Belongs to Daddy
Thou Swell
I Left My Heart at the Stage Door Canteen
There's No Business Like Show Business
South American Way

Tracks:

Shall We Dance
Ohio
Luck Be a Lady
Mack the Knife
There's a Small Hotel
Once in Love with Amy
Yodel Blues
Lazy Afternoon
There Must Be Somethin' Better Than Love
You're Just in Love
Now Is the Time

Tracks:

Impossible Dream
Love Makes the World Go 'Round
Try to Remember
Put on a Happy Face
I Say Hello
Happiness
She Loves Me
What Kind of Fool Am I?
Shy
Consider Yourself
Poor Little Person

Tracks:

Magic to Do
They're Playing My Song
I Don't Know How to Love Him
I Won't Send Roses
Good Morning Starshine
Don't Cry for Me, Argentina
Hard Candy Christmas
Diamonds Are a Girl's Best Friend
Won't You Charleston with Me?
Applause

Tracks:

Phantom of the Opera
Memory
On My Own
Muddy Water
How Could I Ever Know
American Dream
I Know Him So Well
Dr. Jazz
Me and My Girl
Suddenly Seymour

Tracks:

Mamma Mia!
Popular
Seasons of Love
Oh, the Thinks You Can Think
Whatever Lola Wants
Crazy
How Deep Is Your Love
Stars
People Like Us
I Go to Rio

Average customer rating:

A bargain collection of showtunes

Golden Greats: Greatest Broadway Hits

Manufacturer: Golden Greats
ProductGroup: Music
Binding: Audio CD

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ASIN: B00005USEJ
Release Date: 2002-02-26

Tracks:

Ouverture - Orchestra
Something Wonderfull - Dorothy Sarnoff
Doin' What Comes Natur'lly - Ethel Merman
Life Upon the Wicked Stage - Colette Lyons
So in Love - Patricia Morison
You'll Never Walk Alone - Jan Clayton, Christine Johnson
Bill - Carol Bruce
Hello, Young Lovers - Gertrude Lawrence
Bloody Mary - Male Chorus
I Can't Say No - Celeste Holm
This Was a Real Nice Clambake - Jan Clayton,
Oklahoma! - Alfred Drake
Sue Me - Vivian Blaine, Sam Levene
Woman Is a Sometime Thing - Edward Matthews
Some Enchanted Evening - Ezio Pinza,
I Got Plenty O' Nuttin' - Todd Duncan, Todd Duncan
Guys and Dolls - Douglas Deane, Stubby Kaye, Johnny Silver
It Ain't Necessarily So - Lawrence Tibbett
Make Believe - Jan Clayton
Wonderful Guy - Mary Martin
They Say It's Wonderful - Ethel Merman
When the Children Are Asleep - Jean Darling, Eric Mattson
More I Cannot Wish You - Pat Rooney, Sr., Pat Rooney, Sr.
Puzzlement - Yul Brynner
I Got Lost in His Arms - Ethel Merman

Tracks:

Overture...Summertime - Anne Brown
Why Can't You Behave? - Lisa Kirk, Harold Lang
Can't Help Lovin' Dat Man - Carol Bruce
There's No Business Like Show Business - Chorus
If I Were a Bell - Isabel Bigley
People Will Say That We're in Love - Alfred Drake, Joan Roberts
Bess, You Is My Woman Now - Anne Brown
Luck Be a Lady Tonight - Robert Alda
Shall I Tell You What I Think of You? - Gertrude Lawrence
Girl That I Marry - Ray Middleton
Nobody Else But Me - Jan Clayton
Carousel Waltz - Orchestra
Dites-Moi - Barbara Luna
Ol' Man River - Kenneth Spencer
Summertime
Many a New Day - Joan Roberts
Blow High, Blow Low - Murvyn Vye
It Takes a Long Pull to Get There - Edward Matthews
You've Got to Be Carefully Taught - Billy Tabbert
We Open in Venice - Alfred Drake
I'm Gonna Wash That Man Right Outa My Hair - Mary Martin
Who Do You Love, I Hope? - Kathleen Carnes, Robert Lenn
I've Never Been in Love Before - Robert Alda
Tom, Dick or Harry - Lisa Kirk
I Whistle a Happy Tune - Gertrude Lawrence

Tracks:

New York, New York - Lynn Murray, Lynn Murray
Almost Like Being in Love - Marion Bell, Dave Brooks, David Brooks
Bewitched, Bothered and Bewildered - Vivienne Segal
Beat out Dat Rhythm on a Drum - June Hawkins
How Are Things in Glocca Morra? - Ella Logan
Old Devil Moon - Ella Logan
South American Way - Carmen Miranda
September Song - Walter Huston
This Is the Army, Mister Jones - Irving Berlin
Takin' a Chance on Love - Ethel Waters
My Heart Belongs to Daddy - Mary Martin
Anything Goes - Jeanne Aubert & The Four Admirals
You're the Top - Jeanne Aubert & The Four Admirals
I Get a Kick Out of You - Ethel Merman
Night and Day - Fred Astaire
I Got Rhythm - Red Nichols & His Orchestra
Someone to Watch Over Me - Gertrude Lawrence
Fascinatin' Rhythm - Adele Astaire, Fred Astaire
Strike Up the Band - Red Nichols & His Orchestra
Makin' Whoopee - Eddie Cantor
Heatwave - Ethel Waters
Easter Parade - Clifton Webb
She Didn't Say Yes - Peggy Wood
I've Told Every Little Star - Mary Ellis
Johnny One Note - Lynn Murray, Lynn Murray

Album Description

Import exclusive, budget price compilation featuring Broadway classics like 'You'll Never Walk Alone', 'Summertime', & There's No Business Like Show Business', performed by Ethel Merman, Gertrude Lawrence, Celeste Holm, & many more. 75 tracks in all. Standard double jewel case. Disky. 2001.

Album Details

3 CD set

Customer Reviews:

A bargain collection of showtunes.......2005-08-19

This bargain collection of showtunes is highlighted by the composition of Kurt Weill and the uniquely rolling tongue of Colette Lyons. I have a complaint about this compilation. It includes "Ol' Man River", but it excludes Al Jolson's rendition of "Ol' Man River." Otherwise, this collection gives you ample bang for your buck.

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English is an asset and a drawback
You Will Love Opera After Hearing Carmen In English
A wholly credible "Carmen" -- finally!
I love Carmen!

Carmen (Sung in English)
Bizet , Bardon , Gavin , Plazas , Magee , and Parry
Manufacturer: Chandos
ProductGroup: Music
Binding: Audio CD

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Mozart - Don Giovanni / Garry Magee · Cullagh · Banks · Plazas · Shore · Tierny · PO · David Parry

ASIN: B00007JGRN
Release Date: 2003-03-11

Tracks:

Prelude
In The Plaza
Just Look At That Delicious Morsel
Here Come Our New Soldier Boys
Jose! There Was A Girl Here Looking For You Just Now
Off With You Old Soldier Boys
Corporal! Sir!
We Have Heard The Bell Summon Us To Meet Here
Ah, Just Look!
But Why Hasn't She Come, Our Carmencita?
Love's A Bird Wild As Any Rebel
Carmen! We Will Follow You High And Low!
The Cheek Of It!
Give Me News Of My Mother!
Your Dear Mother And I Were Leaving Church This Morning
I See My Mother's Face!
Wait A Moment - I'm Going To Read The Letter
Come And Help
So, Corporal: Tell Me What Happened
Well, Carmencita: What Do You Have To Say For Yourself?
Where Are You Taking Me?
There's An Old Bar In The City
Careful - It's Lieutenant!
Entr'acte
From Far Away Mysterious Sounds
Bravo, Bravo! More! Keep Dancing!
Hurrah! Hurrah! The Torero!
Who's That? It's Escamillo, The Bullfighter From Granada
Hurrah! Hurrah! The Torero!
You're Most Kind
We'll Come With You, Senor Torero
Toreador, Be Ready!
At Last! We Got Rid Of Them As Quickly As We Could
There's A Little Job That We're Starting!
Being In Love Is Not A Reason

Tracks:

To Bid You Welcome To Our Bar
La La La La La La La La...
Back To Camp!... Go At Once!
That Flow'r You Threw To Me I Treasured
No, It's Not Love At All!
Hello! Carmen!
Lieutenant Fair, It's True
The Sky Above The Open Road
Entr'acte
Keep Going, Dear Old Friend, Kep Going!
Right! Let's Stop For A While
Shuffle! Cut Them!
In Vain You Would Avoid The Bitter Things They're Saying
You're Back!
As For That Man, It Should Be Easy!
Is This The Place?
I Say That There's Nothing To Fear
It's Him! I'm Sure It's Him Over There!
Escamillo Is My Name, And I Come From Granada
She Had A Lover Here
Hola! Hola! Jose!
You Should Take Care, Carmen
Alas! Jose, Your Mother Is Ill
Entr'acte
A Few Cuartos! A Few Cuartos!
Here They Come! Here They Come!
If You Love Me, Carmen
It's You! It's Me!
Viva! Viva! What A Corrida!

Customer Reviews:

English is an asset and a drawback.......2004-07-20

The best thing about this recording of Carmen is the libretto. Conductor David Parry penned this facile and dramatic English translation. He avoids the pitfalls of literal translation to achieve an idiomatic flow that matches the rhythm of the original lyrics. I use this as a reference libretto for any of the French Carmens.

Unfortunately, the performance suffers from being sung in English. The singers declaim their parts with such proper British diction that Carmen comes across as a school marm. The spoken dialog is delivered beat for deliberate beat and is dripping with reverb. It makes the plaza, tavern and mountain pass all sound like a sewer pipe.

This is a good first Carmen for someone trying to understand the work. The libretto itself is a good investment for further listening. For an enjoyable performance with an emphasis on character and action, I recommend Regina Resnik on the London Double Decker set.

You Will Love Opera After Hearing Carmen In English.......2004-02-09

What a perfect introduction to opera. This newly released recording will surely get you hooked into opera. Carmen, a French opera by Georges Bizet, is the most recognizable and most popular in the opera world. It's famous melodies- the overture, the Habanera, The Toreador Song have all been featured in everything from cellular phone ring tones to Superbowl Commercial (last year's Superbowl with The "Opera In English" label has been making Italian operas into English for a number of years now. Also on the market are Verdi's La Traviata in English (with soprano Valerie Masterson as Violetta) Handel's Julius Caesar with Janet Baker and even Wagner's epic Ring Of The Nibeling sung in English. This is a terrific recording and I highly recommend it if you want to get into opera. Listen to this version first and then try the real, original French version Bizet had written. Patricia Bardon is sensational, sexy and dramatic as Carmen.

The real strength of this version is the dynamic drama. With the advantage of being sung in English, we get better insight on characters' emotions and motives, and we understand the drama a lot better. Carmen is all about great drama. Bizet drew the plot from the French writer Prosper Merimee's dark short story. Carmen is the ultimate femme fatale- a devil-may-care, sexy Gypsy living in Spain, seduces the conservatively raised soldier Don Jose, stealing him away from his fiancee, the passive Micaela, living a life of underground smuggling and rowdy taverns. "Habanera" and "The Gypsy Song and Dance" are very expressive of Carmen's extraordinarily liberal lifestyle. Don Jose, however, has fallen deeply in love- as he shows us in his song/aria "The Flower Song". But Carmen soon becomes tired of his constancy. Don Jose wants a committed, monogamous relationship with Carmen. But Carmen will not submit to love, since she is first and foremost a carnal creature. Eventually, she falls for the handsome Toreador Escamillo. Don Jose, consumed by jealousy, stabs Carmen at a bullfight after Carmen declares her love for Escamillo and rejects Don Jose's love. Don Jose's crazed, obscessive personality shines through in the English version as well. This tragedy has been done in English before so don't think this is the first time. Back in the 50's, there was a film, starring black actors "Carmen Jones" which was treated the same way as this opera- more like an English Broadway musical and with the dubbed singing voice of Marilyn Horne as Carmen. All in all, this recording is excellent.

A wholly credible "Carmen" -- finally!.......2003-09-17

This recording really sells "Carmen" as a drama. Although I have two other recordings of this opera and have seen it performed several times, it never quite worked for me dramatically. But thanks to the fine performances, conducting, and translation here, I've become a "Carmen" convert. Producing a good English-language performance of a foreign opera, especially a warhorse like "Carmen," is much more difficult than it might appear. You need performers who not only can sing the parts (of course) but also can sing *English* and make it halfway intelligible and make it sound like English and make it dramatically convincing to English-speakers. The singers on this recording do an excellent job all around. Don't be put off if you don't recognize their names -- they are up to the task musically and (especially) in their acting. Admittedly, as with *all* English-language recordings, some passages are very hard to understand without reading along, but most of the time the words are clear and effective. I would recommend this recording to any opera beginner or opera lover, even those who normally turn up their noses at performances in translation.

I love Carmen!.......2003-08-15

I do. I can think of no other opera with more melodic inventiveness, and few others with so sure a dramatic pulse. Carmen is popular and it thrills me to say that it is also a very good opera - not always true of popular things.

And what of this recording? Carmen sits well in English, so it is good to hear in translation, although some of the detais in the text jar. Escamillo refers to Jose as "my dear", which sounds rather peculiar, and the guide's line to Micaela: "it's not exactly inviting, is it?" sounds distinctly Middle England rather than Rural Spain. Some of the performers, not least Carmen herself, make the words work, although there are long tracts, especially with the chorus, where the language is distinctly indistinct.

The soloists are, by and large, strong. Patricia Bardon's deep, Handel-friendly voice adapts well to Carmen and she colours the music with phenomenal detail, sounding sexy and provocative from the start with an edge of pride and anger that emerges as the show goes on. She is out of her depth above the stave, though, and some extra top notes in the second act don't show her off to her best advantage. I have previously said that Julian Gavin is poorly served by recordings, though here he sounds much more even and gives a thrilling and musical performance (but his wooden spoken lines let him down). Mary Plazas is a lovely Micaela, rich-voiced and sincere (and word-perfect), but Garry Magee sounds miscast as Escamillo, lacking the ballast at the bottom of the voice to do justice to this tricky role.

The supporting cast is good (Mary Hegarty seems to do nothing but Frasquita these days!) but the really treasurable thing is the conducting. Stepping out of Italian Ottocento, David Parry turns his hand to this French Comedie with an appropriate lightness of touch. His pacing and handling of the set pieces is exemplary and the enrtractes go with a real swing.