Various
7
Music from the Motion Picture “Something’s Gotta Give”
(Warner Bros.)
Review by Matt Robinson
With
its combination of Jack Nicholson, Diane Keaton, Keanu Reeves and Amanda
Peet, “Something’s Gotta Give” had something romantic for everyone
whether on the purely eye-candy level or something deeper and more
lasting. Though this soundtrack leans more to the latter, it is enjoyable
for all. From classics like Louis Armstrong’s “La Vie En Rose” and the
timeless Flamingos’ hit “I Only Have Eyes for You,” this soundtrack
crosses not only generational borders, but international ones as well.
Astrud Gilberto’s “So Nice (Summer Samba)” helps bridge the language gap,
as do Eartha Kitt’s two two-tongued tunes, “Je Cheriche un Homme” and
“C’est Si Bon.” Some songs, such as Django Reinhardt’s take on “Brazil”
and Stephane Grapelli’s OSweetLorraine,” simply rely on the universal
language of music to get their romantic messages across. Perhaps the
greatest and most romantic interpretation, however, is Jack Nicholson’s
reprise of “La Vie.” Though his voice may not have the sweet rasp of
Satchmo, his delivery is so heart-felt and pure, it reaches every heart,
no matter what the age or inclination.
- Matthew S. Robinson
c. 2004, M. S. Robinson, ARR
6
Cocktails with Cole Porter
(Capitol)
Review by Matt Robinson
For
their latest Ultra-Lounge collection, the compilations kings at Capitol
have decided to ditch the themes (e.g., “Spy” music, TV themes, famous
bongo solos) and turn instead to one of the hippest and most influential
composers of all time- Cole Porter. In so doing, they have demonstrated
not only their knack for brining together the best of the best, but how
wide-ranging and long-enduring Porter’s music has been. From Deano’s
gentle crooning of “True Love” and Nat Cole’s lamenting “Miss Otis
Regrets” to Satchmo’s boss Bossa “High Society Calypso” and Kay Starr’s
swing through “C’est Manifique,” the album runs the gamut from romance to
rollick, from husbands (Louis Prima) to wives (Keely Smith) and from
mothers (Judy Garland) to daughters (Liza Minnelli). With musical
contributions from Count Basie, Duke Ellington, and George Shearing and
vocal magic from Ella, Nancy, Sarah, Tony, and Sammy, this compilation
also travels the musical globe from Kay Starr’s “I Love Paris” to Judy’s
“I Happen to Like New York.” Yes there were few moods that Porter did not
cover, and covers of most of them are here. As with any great romantic,
“Cocktails” is a great introduction to the man and his music.
- Matthew S. Robinson
c. 2004, M. S. Robinson, ARR
5
Ultimate Mancini
(Concord)
Review by Matt Robinson
In
honor of one of America’s greatest living composers, Concord Records has
asked Henry Mancini’s daughter Monica and a number of other contemporary
stars to offer their takes on his signature songs and sounds. From
original takes of “Charade” and “The Thorn Birds Theme” to original
reworkings like Stevie Wonder’s “Moon River” (featuring the vocal shimmer
of Take 6), Tom Scott’s “Peter Gunn,” and Joey DeFrancesco’s “Mr. Lucky,”
this latest Mancini collection combines old and new while maintaining
Mancini’s timeless orchestrations and moods. The younger Mancini makes the
most of her father’s work by adding her own vocal touches to such classics
as “Days of Wine and Roses” and by pairing up with Kenny Rankin for a
Smooth Jazz reworking of “Dreamsville.” Though the album eventually has to
come to an end, the Mancinis close with a promise of “Music on the Way.”
Such is the promise that has maintained the man for 80 years and that will
continue to sustain his music far into the future.
- Matthew S. Robinson
c. 2004, M. S. Robinson, ARR
4
Ravel’s Greatest Hit: The Ultimate
Bolero
(RCA Red Seal)
Review by Matt Robinson
While
almost everyone knows the theme from “Bolero” (you know--- baaaa- ba ba-da
da-da ba-da ba da-daaa…), few may have considered it beyond its orchestral
orientations. On this new compilation, this legendary “one-hit wonder” is
interpreted in 10 different (often very different) ways, demonstrating how
original this “repetitive” theme can be. From the trilling percussion of
Evelyn Glennie to Isao Tomita’s sweeping synths and from the four-handed
keywork of Jaques Fray and Mario Braggiotti to the 50-fingered flights of
The Canadian Brass, the variations on this famous theme are impressive and
often intriguing. Even Benny Goodman’s takes a swing! And Boston fans get
two- a lush and lilting one from the Charles Munch and the Boston Symphony
Orchestra and a short and snappy one from the Boston Pops, led by the
beloved Arthur Fiedler. “One-hit wonder”? Maybe. But this “hit” was (and
continues to be) a home run!
- Matthew S. Robinson
c. 2004, M. S. Robinson, ARR
3
Motown #1s
(Motown/UTV)
Review by Matt Robinson
Following
the trend of putting together the top hits from the top artists, Motown
leads the way in compiling an entire label’s vaults of chart-toppers on
one album. That it all fits on one album may be surprising, but every
track is a classic. Even the newer hits like Boyz II Men’s “I’ll Make Love
To You” have that signature Motown sound. Even so, the heart of this album
hearkens back to the earlier days of the Detroit Sound- the days when the
likes of The Temptations (“My Girl,” “Ain’t To Proud to Beg”) and The Four
Tops (“I Can’t Help Myself (Sugar Pie Honey Bunch),” Reach Out, I’ll Be
There”) ruled the airwaves. In addition to three tracks from Ms. Ross (The
Supremes’ “Where Did Our Love Go” and “Stop! In the Name of Love” and the
solo hit “Endless Love”) and Marvin has four of his own (“Ain’t Nothing
Like the Real Thing,” “I Heard it Through the Grapevine,” What’s Going
On,” and “Let’s Get it On”), the collection also includes one-hit wonders
like Edwin Starr (“War”), Thelma Houston (“Don’t Leave Me This Way”), and
even more questionable hits like De Barge’s “Rhythm of the Night” and
Michael McDonald’s recent remake of “Ain’t No Mountain High Enough.” From
the Commodores to Stevie Wonder, this album finally lays it all out for
your listening pleasure- 40 years of America’s finest.
- Matthew S. Robinson
c. 2004, M. S. Robinson, ARR
2
Music from “Coffee and Cigarettes”
(Milan)
Review by Matt Robinson
Who
but renegade genius Jim Jarmusch could put together a film that combines
the likes of Steve Buschemi and Steven Wright, Cate Blanchett and Iggy
Pop,
Roberto Benigni and RZA, and both Jack and Meg White? And though the title
and subject matter of the film are, at their heart, rather simple, the
soundtrack is anything but. From the classic strains of Tommy James’
“Crimson and Clover” to the Classical lines of Mahler’s “Ich bin der Welt
abanden gekommen (I Have Lost Track of the World),” and the Cotton Club
chimes of Modern Jazz Quartet’s “Baden Baden” to the slack-key slidings of
Jerry Byrd’ss “Hanalei Moon,” this album takes listeners on as many
different trips as were probably experienced during the filming of the
movie itself. And whether you prefer the bass-driven Funk of Parliament’s
“Nappy Dugout” to the horn-y grooves of “A Joyful Process” or the
comprehensible version of “Louie, Louie” by Richard Berry or the vitriolic
spewings of Mr. Osterberg’s version, “Coffee and Cigarettes” has
everything you need to feed your Jones.
- Matthew S. Robinson
c. 2004, M. S. Robinson, ARR
1
Superstars of Seventies Soul
(Shout! Factory)
Review by Matt Robinson
Look
out, Rhino- There’s a new compilation contender on the block. In addition
to the more expected hits of the Disco Generation, such as Rose Royce’s
“Car Wash,” Donna Summer’s “Bad Girls,” A Taste of Honey’s “Boogie Oogie
Oogie,” and EW&F’s “Shining Star,” this three-disc set (the empty fourth
disc holder of which begs to be filled) also delves into deeper Soul
stars, like The Staple Singers’ “I’ll Take You There,” Rufus’ “Tell me
Something Good,” and King Isaac’s “Shaft” (ok, maybe that last one is to
be expected). While other sets might include Curtis Mayfield’s “Superfly,”
this one also offers the film’s official theme, “Freddie’s Dead.”
Similarly, Rev. Al represents with”I’m Still In Love With You” instead of
the more predictable “Let’s Stay Together.” Though some of the “Soul”
selections may be questionable (e.g., The Spinners’ “Games People Play”
and Natalie Cole’s “This Will Be”), the collection offers a wide array of
period music, demonstrating how much there was for the “Me Generation” to
share.
- Matthew S. Robinson
c. 2004, M. S. Robinson, ARR
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