Bill Kwan is a doctor by trade and discovered his love of music and decided to pursue a career in singing, recording his own versions of pop songs and jazzifying them. His latest target is the music of Sade (the singer and band) and the result is ‘No Ordinary Love.’
Look. I really tried to like this. Sade’s music is so specific in production, arrangement. Her phrasing is so distinctly hers, and creates such a mood that only she can do. I did not hear anything original in kwan’s album, which to my ears is an inferior retread of everything Sade. Why bother? If it was successful in anything, it would be to further highlight Sade’s excellence. I wanted to (and did) listen to the original versions… and everything felt better.
‘Billy’s Place’ is the title of Billy Stritch’s weekly online show and I have watched a lot of it on Facebook. When the lockdown started, it was a great way to stream live music and brought me a lot of joy. ‘Billy’s Place’ is also the title of Stritch’s new album, and is culled from songs he sung from those shows. It is a wonderful, intimate recording, perfect for late night.
Accompanying himself on piano, Stritch sets. mood right away and doesn’t let go. I love his take on standards, like ‘Skylark,’ and ‘That Old Feeling/I Thought About You.’ But I like the songs that are newer to my ear: Peter Allen’s ‘Planes’ gives a melancholy feel to flying, ‘My Love Went to London’ puts a romantic spin to my favorite city. I think my most favorite is ‘Since You Left New York,; a Stritch original that makes me miss my beloved city.
Aubrey Logan’s new album ‘Standard’ is unique in a lot of senses. First fo all, she is a jazz singer who also plays the trombone so a good number of the tracks re instrumental. But she also sings, and she has a very raw technique. It can get loud and screechy, but not in an unpleasant manner. I like it that she goes ‘there.’ It’s refreshing and can sometimes be abrasive, but in my opinion it’s interesting. She has a great repertoire, from standards (‘Here’s that Rainy Day’) to R & B (‘Save Your Love For Me’) to disco (‘MacArthur Park’) to opera (‘Largo at Factotum’) And you know what? It’s all good.
I love the concept of ‘As Time Goes By,’ a na album of standards by Sarah Spiegel. I know nothing of MS. Spiegel, and looking at her resume on her website, it seems that she has done a lot of acting work. This album is a collection of songs from World War II, and she has a nice clear voice that gives great impression of longing and hope. (Apparently she does a one woman show with the same theme, titled ‘Through The Perilous Fight’) The songs have mostly big-band arrangements, and authentically recreates the sound of the time. It’s a great listen.
The Hebbe Sisters is a swedish musical group consisting of real sisters: Emelie, Josefine and Maria, all from the town of Varmland. ‘Jazz it Up and Move’ is their third album, a tribute to big band songs of the 40s and 50s. I’ve never heard of them before, and they are a fine musical group, reminiscent of other sister groups, The Andrews and The Boswells. The record is nice enough, with authentic-sounding arrangements, and their harmonies are pretty tight. But to be honest, I have heard all of this before, and even though the aren’t out to reinvent the wheel, this particular wheel is well worn and have been in use for a while now. I found my mind wandering after a while and losing interest. And can there be a market for this now? These records have already been recorded, and I don’t know why it still needs to be redone exactly the same way.
It’s 420, so let’s chill, and maybe listen to… bossa nova music? Sure, why not mon. Right now I am spinning Zoe Scott’s ‘Shades of Love’ and is fits the bill just right. Scott is apparently a rock artist who shifted gears and recorded an album of bossa nova music. She employs just the right light touch in here, with her versions of ‘Quiet Nights,’ ‘Wave,’ and ‘Once I Loved’ among others. She sets some pop songs in the same setting, like My Cherie Amour,’ and ‘Baby It’s You.’
She doesn’t do anything ground breaking but these tracks mostly work. Her versions of Amy Winehouse’s ‘You Know I’m No Good’ feels kind of gimmicky, and her “Triste’ lacks melancholy but for the most part these are nice pleasant versions of these songs,
I had a realization while I was listening to ‘I Know More Now,’ Brian de Lorenzo’s new album (his new one after decades) because when i first listened to the album, i wasn’t too fond of it It felt a little too ‘cabaret,’ and I bit self-indulgent. But I listened to it more, and I found a lot more to like about it. The song selection is definitely odd – a mixture of lesser known songs and ones that are (to me) iconic pieces for other people, De Lorenzo has a nice sweet voice, but it could be a bit colorless, and teh piano arrangements at times verged on recital-like. But I think, all in all, it’s an album that will catch you by pleasant surprise.
First, the good. The album title is derived from one of my favorite songs ‘No More,’ from Marvin Hamlisch and his ‘The Goodbye Girl’ musical. I consider this song a secret – nto many peopel have done it, and it was nice to see De Lorenzo give it a gay ‘twist.’ And I have heard numerous versions of ‘When October Goes’ that I was elated to find his version tenderly appealing. And the funny ‘Entering Marion’ with all its double entendres made me chuckle. But he didn’t add anything to ‘Second Hand Baby grand’ from Smash to distinguish his version from others and can we get a moratorium on ‘Waving Through A Window’ because it’s just so icky.
So, a little bit o fa mixed bag here. But I think some of these songs will end up on my daily playlist, so the good outweighs the bad.
Lucie Jones had been playing ‘Waitress’ on the West End when she took a small break when Sara Bareilles took over the role temporarily. But if course, the pandemic happened, and now we don’t know if Jones will get back to her role. During that time, Jones staged a concert at The Adelphi (where ‘Waitress’ was) and this disc is a remembrance of that night.
Jones is a belter, so you can just imagine what that concert must feel. The recording captures her stunning voice, and the wonderful energy of her audience. There is no shortness in belter character songs: ‘Don’t Rain. On My Parade,’ ‘Into The Unknown,’ you know the type. She sings these effortlessly, reaching for the highest notes much to the delight of the crowd. I was listening to it on my morning walk and it’s certainly an exhilarating listen.
But I wish there was more meat. We have heard all these songs before, sung this way before. Even the ‘unconventional’ picks are not original. Her ‘Bring Him Home’ has been done better by Kris Chenoweth and ‘A Piece Of Sky’ was predictable, And even when has to be ‘quiet,’ like in ‘Moon Rover,’ it just doesn’t work. But she can definitely sing, so I hope it becomes a vessel for something more original soon.
Parry Ray is a London based everything – she is a singer first and foremost, a blogger, an influencer – and she even likes perfumes as I do, so I feel an instant connection to her. And she sings show tunes, which make me love her even more. And based on her new album, ‘Out Of The Shadows,’ it looks like she can sing. I saw her song selection and gasped – wow she has chosen some of my favorites: ‘All That Jazz,’ ‘You Will Be Found,’ and she even does ‘Losing My Mind,’ and let’s see how she does that.
And while her rendition is not very Sally-like, I like it. Ray has a full-bodied voice that is clear, and she sings in a very direct manner. It’s very cabaret, although her arrangements have a bit of a jazz setting. She definitely evokes more mood than rhythm, though. She knows how to express these songs concisely – she doesn’t give as manic interpretation in ‘Losing My Min d,’ but more ‘losing my mind over love for you’ stand. I dig it. Her songs skew more ballad, and I don’t have a problem with that, though listening to the album non-stop could be somewhat of a downer. But I think she’s swell, and this is a much listenable album. I bet she would be great live.
Pop versions of theater songs are as old as the hills (are alive) and this continues with Concord Musicc’s ‘R & H Goes Pop,’ which is based on the successful YouTube series of theater actors singing Rodgers & Hammerstein tunes. On video form, they can be kind of amusing, but on just an aural level, do they still work?
For me, sometimes yes and most times no. But look, I can be a curmudgeon with show tunes – it is one of the few areas where I tend to lean on the conservative side. So the more ‘successful’ tracks for me here are the ones where the singers veer closest to the melody. Gavin Creel’s ‘Something Wonderful’ is close enough that the message of the song isn’t diluted, and by God, I would never think a Rodgers/Hammerstein/Jason Robert Brown mash-up would ever work, but there you go, Jeremy Jordan and Laura Osnes’ duets in a wonderful ‘The Next Ten Minutes Ago.’ On that track, their voices blend effortlessly – chemistry is really key. I had higher hopes with Matt Doyle and Jelani Alladin’s ‘We Kiss In A Shadow’ but here they sound like they are both singing to walls – there’s just no spark there. And speaking of walls, when the arrangements try to go extreme, I just put up one. In Ariana DeBose’s ‘Shall We Dance,’ I thought the whole thing was atrocious, and maybe I could take Ashley Park’s ‘Do Re Mi,’ but really, does that song ever work out of context?
Look, I tried. I thought the whole album was challenging, and I tried very hard to just listen and let go, but….maybe I just can’t.