Glenn Frey – After Hours (Album Review)

Glenn Frey's After Hours, released in 2012, offers a delightful departure from his rock 'n' roll roots with the Eagles. Delving into the Great American Songbook, Frey delivers a collection of timeless classics with his signature charm and musical finesse that fans, and newcomers alike, will find endearing.

Sadly, After Hours would be Frey’s final studio album, but in many respects, I couldn’t imagine a more fitting closing chapter for After Hours is reflective, beautiful, and offers a level of maturity that even at the height of Frey’s career, he never quite reached for the music he recorded for this album required the soulful tones of a mature musician. Even those who were not as enamoured with Frey’s Eagles’ recordings, instead preferring his solo works, will find After Hours to be considerably different but the shift in style simply sounds right. It is as if it were always meant to be and while dissimilar to his more commercial works, I’ve no doubt that fans will find something to love about After Hours for it is not that far removed from his other recordings and these interpretations are so lovely that you simply shouldn’t overlook this masterpiece.

While many will note the spit and polish applied to all of the Eagles’ output, it is fair to say that Frey’s 80s releases weren’t necessarily of the same sonic calibre. Granted, they were 80s rock releases that had the specific sonic cues of the era, but in After Hours we don’t need to be concerned for it was recorded, mixed, and mastered beautifully. The Lossless Apple Music stream, an Apple Digital Master, is exquisite and is simply a pleasure to listen to. While I’ve been fortunate to have heard the vinyl release, which was stunning by the way, the Apple Music stream is in every way its complementary counterpart. Yes, the vinyl release was a little smoother, for that is the nature of the format, but the emotive element rings through as true on both releases.

While the music is undoubtedly impressive, the same can’t be said for the cover art. It works for the style of music, and invokes the nighttime street view associated with countless jazz clubs, but is somewhat lacklustre for an artist of Frey’s calibre. That said, most of Frey’s solo works had average cover art designs, if we’re to be completely honest, so I really shouldn’t be as surprised as I am by the simple design of After Hours. That said, it’s all about the music, so let’s take a look at the songs that make up After Hours.

For Sentimental Reasons opens the album with a warm and inviting rendition of this classic song. Frey's smooth vocals immediately set the tone, drawing listeners into a world of nostalgic melodies and heartfelt sentiment.

My Buddy is campy, but I love it! That drumming is off-the-charts good, and the fullness of all backing musical elements will immerse you in the music while Frey remains front and centre. The performance and subsequent recording of My Buddy is done so well that you’d swear you were in the studio with the band.

Route 66 is lively and full of energy. Yes, Route 66 is one of the greatest songs to have ever been composed and this interpretation is no exception. It isn’t fundamentally different and doesn’t necessarily take the tune in new directions, but it also doesn’t detract from the classic renditions we all know and love. It is this similarity that is the song’s strength for fundamentally changing a classic such as this would be met with exasperation.

The Shadow Of Your Smile is a lovely song that further showcases Frey’s vocal versatility as he adds a touch of sophistication to this recording.

Here’s To Life is one of the most beautiful songs on the album. Frey manages to capture the essence of the song’s lyrics, reflecting on life’s ups and downs, masterfully. As much as I adore Frey’s rendition, however, I can’t help but wonder just how exceptional this tune would have sounded had George Michael recorded it for his spectacular Symphonica release. Nevertheless, Frey’s moving and contemplative performance is flawless and is one of the greatest vocal recordings of his career.

It’s Too Soon To Know is a poignant ballad, and Frey's vocal delivery is, as is the case throughout After Hours, sincere and touching.

Caroline, No is a standout recording of this Beach Boys classic. Frey adds his own style to the song while preserving its melancholic beauty, making it a fresh and captivating interpretation.

The Look Of Love oozes with sensuality and sophistication, but nobody does it better than Diana Krall.

I’m Getting Old Before My Time is a lovely tune, even if not a standout on the album. While it flows well within the album’s structure, it is unlikely you’ll be compelled to seek out I’m Getting Old Before My Time on its own.

Same Girl is stunning! Frey’s vocal prowess shines through and the song quickly becomes a hidden gem of his illustrious career. Filled with nostalgia and warmth, it’s an audible pleasure to be able to sit back and listen to this master musician at work.

After Hours is the only original composition, on this release, and it’s a lovely way to close the album. Writing with Jack Tempchin, the result is incredible as After Hours doesn’t feel out of place with the other standards featured on this record. That’s no easy task, even if you are as skilled as these gentlemen. Standards are standards for a reason and After Hours is a modern-day offering that encapsulates the overall mood of the album.

After Hours is a delightful journey through the classics of American music. Frey’s smooth, soulful vocals and heartfelt interpretations breathe new life into these timeless songs. The album is a testament to Frey's musical maturity and versatility, proving that his talent transcends rock music. After Hours really is Frey at his very best. Yes, his Eagles work is beyond reproach, but After Hours is his greatest solo release and one that should not be overlooked.

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Nina Simone – I Put A Spell On You (Album Review)

Nina Simone had one of the most distinctive voices in all of recorded music history. Her skill and control over her vocal delivery knew no bounds and no truer is that statement than when listening to her 1965 opus I Put A Spell On You.

Adding to the musicality is the visual accompaniment and while it may be contentious to suggest that the cover art of I Put A Spell On You is one of Simone’s greatest, it is certainly up there. I’m also fortunate to own the 2020 Acoustic Sounds reissue; a release that is second-to-none as it pertains to the reproduction of the cover art and the gatefold design and inner artwork that draws you further into Simone’s world.

I’ve also been fortunate to have owned the High Fidelity Pure Audio Blu-Ray release and while the DTS-HD Master Audio stereo mix (24/96kHz) was lovely, it pales in comparison to the reproduction that Chad Kassem and his team were able to achieve on the aforementioned vinyl reissue. Seriously, every aspect is bettered and if you want to see an example of how classic albums should be reissued, I suggest you track down a copy for it offers a sonic reproduction that knows no peer. 

Even the Apple Music stream, a stereo Hi-Res Lossless Apple Digital Master, can’t reach the smoothness and refinement heard on the vinyl counterpart. As for the Dolby Atmos mix on Apple Music; let’s just say that it exists. Don’t get me wrong, if you prefer streaming and aren’t the least bit interested in vinyl, you’ll thoroughly enjoy the streaming counterpart. I listen to it often as vinyl simply can’t be played everywhere and the stream is good enough that I never feel the need to create a needle drop. That said, the vinyl reissue does take the experiential aspect of I Put A Spell On You to another level entirely; ensuring that you’ll be captivated from the very moment the needle hits the groove. 

I Put a Spell On You is as much a Nina Simone song as it is a Screamin' Jay Hawkins’ classic. However, while Hawkins may have recorded the original, I doubt there would be many who would proclaim his rendition as being superior to Simone's. I also love the Creedence Clearwater Revival interpretation as it takes cues from both Hawkins and Simone and if you want to take the song up a notch, on the metal-infused dial, you could always listen to Marilyn Manson's rendition. Regardless of how many musicians have covered the song well, I always return to Simone's rendition as being the definitive recording of the song. She made it her own and I doubt anyone will ever be able to top it.

Tomorrow Is My Turn is a classic tune that oozes with longing and anticipation. Simone’s vocal control shines as she navigates the song’s emotional peaks and valleys. It’s this mastery that ensured Simone was a world-class musician with music that is ultimately timeless. 

Ne Me Quitte Pas is spectacular! Simone's trembling vulnerability and expressiveness make this track a standout on the album.

Marriage Is For Old Folks is witty and incredibly entertaining. Seriously, if you don't have a smile on your face when listening to this song, you're taking life too seriously. It’s a fantastic tune and perfectly suited to Simone; particularly the doo, doo, dooo, de-doo scat-styled lyrics.

July Tree is a beautiful addition to the album that will linger in your mind long after the song ends. 

Gimme Some picks up the tempo with an addictive rhythm that will have you head-bopping and toe-tapping from the very first note. Plus, that Little Richard inspired vocal growl of Simone's is stunning!

Feeling Good is one of the album's most iconic tracks for Simone's powerful vocals and the brassy instrumentation creates an exhilarating experience that has to be heard to be believed. If, however, you’re after a more contemporary interpretation of this classic, George Michael performed it beautifully. 

One September Day is a poignant ballad that showcases Simone's ability to convey deep emotion. Her voice, combined with the song's melancholic melody, is simply amazing. 

Blues On Purpose is an instrumental piece that lets the piano take the lead, demonstrating Simone's prowess as a pianist. It adds a bluesy, soulful dimension to the album, with a touch of jazz, that will appeal to just about any music lover.

Beautiful Land is an interesting folk-inspired song that plays into Simone’s unique phrasing and emotional depth. However, it’s the weakest song on an otherwise perfect album. It will always be an album-only tune, but this record wouldn’t be the same without it. 

You've Got to Learn is a beautiful tune with warm and comforting vocals that make this song feel more conversational than songs normally are.

Take Care of Business closes the album on a high note ensuring that I feel compelled to spin the record again.

I Put A Spell On You is more than just an album; it's a journey through the spectrum of human emotions and is nothing short of pure perfection. Nina Simone's artistry shines through each track as she navigates love, pain, empowerment, and introspection. I Put A Spell On You is, subsequently, a testament to her ability to connect with her audience, on a deep and profound level, making it an endearing classic.

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Herb Alpert & The Tijuana Brass – Going Places (Album Review)

Herb Alpert & The Tijuana Brass mesmerised audiences in the 1960s with their unique fusion of jazz, pop, and Latin music but it is their 1965 release, their fifth studio album, !!Going Places!!, that is ultimately timeless. With a unique mix of jazz, pop, and Latin styles, along with infectious melodies, captivating arrangements, and undeniable charisma, !!Going Places!! continues to delight listeners even decades after its initial release. As much as I adore Alpert’s solo works, particularly Rise, the light-hearted and whimsical style of !!Going Places!! is hard to beat.

Throughout the album, Herb Alpert's talent as a bandleader and arranger shines brightly. His arrangements are meticulously crafted, blending the vibrant sounds of brass and percussion with infectious rhythms. The result is a spirited and cohesive musical experience that is instantly recognisable.

While some will point to the risqué artwork as being a selling point, the music contained within really surpasses the visual attraction. However, I’d be lying if I said that the cover art wasn’t part of the appeal. Subsequently, this may be one of those records that you need to own on vinyl, just for the cover art alone, as it depicts the era and the mischievous nature of the music. Plus, let’s be honest, it’s going to look amazing, on display, in anyone’s record collection.

Vinyl may offer the best way to appreciate the album visually but sonically the Apple Music stream, an Apple Digital Master, is exquisite. Other than the vinyl warmth and fullness, a byproduct of the format, the Apple Music stream is likely to appeal to most music lovers as it’s detailed but not fatiguing with a smoothness and a wonderful sense of depth and separation between musical elements. It’s the real deal but don’t take my word for it, take a listen as we delve into the songs that make !!Going Places!! such a landmark release.

Tijuana Taxi instantly captivates with its lively brass section, catchy melody, and irresistible Latin-infused rhythms. On this tune, and quite frankly via all his recordings, Alpert’s trumpeting takes centre stage, showcasing his virtuosity and ability to infuse warmth and energy into every note.

I’m Getting Sentimental Over You transitions beautifully from Tijuana Taxi. While it’s a little more mellow, by comparison, it is equally addictive and a lovely song to listen to with its intricate melodies and lush orchestration. I’d also go as far as saying that I much prefer this interpretation to the original, or most others, as Alpert et al infused the song with additional life that, upon reflection, was needed.

More And More Amor offers a romantically slowed styling and declaring it a musical masterpiece doesn’t come close to adequately describing More And More Amor. You’ll simply want more (yes, pun intended) as it’s the perfect song to play on repeat with your beloved in your arms as you dance across the room.

Spanish Flea is an iconic and playful tune featuring lively trumpet melodies, infectious rhythms, and an energetic interplay between the brass section. Music doesn’t get much better than this!

Mae is a delightful and breezy instrumental that exudes charm and sophistication.

3rd Man Theme is a captivating and vibrant interpretation of this classic tune. Originally composed by Anton Karas, 3rd Man Theme showcases Alpert's ability to bring new life to familiar melodies and just between us, it is significantly better than the original.

Walk, Don't Run is about as rock and roll as jazz gets. Of course, it wasn’t always that way as the original Johnny Smith recording is rather jazzy, but you can clearly hear how Alpert et al were able to go beyond that early style. The dynamic brass arrangements, spirited percussion, and Alpert's dazzling trumpet create an exhilarating listening experience.

Felicia is another soulful and romantic ballad that highlights Alpert's tender trumpet playing. Add to that the orchestration of The Tijuana Brass and what you’re left with is a truly mesmerising musical experience.

And The Angels Sing showcases Alpert's masterful trumpeting skills while the band's tight arrangements and the interplay between the trumpet and the rest of the ensemble result in a captivating and uplifting performance.

Cinco De Mayo is a vibrant and celebratory instrumental piece that pays homage to Mexican culture and traditions.

A Walk in The Black Forest is one of the best songs from !!Going Places!! as the band, Alpert included, brings their energetic and lively approach to the piece thereby creating an enchanting musical journey.

Zorba The Greek is lively and spirited. The band's lively brass arrangements, rhythmic percussion, and Alpert's passionate trumpet playing transports listeners to the festive and lively atmosphere of Greece. As with many of the covers heard on this album, Zorba The Greek is a stronger song than the original, Zorba’s Dance, by composer Mikis Theodorakis. It’s an incredible closing track and will undoubtedly compel you to listen to the album again.

From start to finish, !!Going Places!! is a joyous celebration of music, filled with irresistible melodies, impeccable musicianship, and a sense of exuberance that is impossible to resist. Whether you're a jazz enthusiast, a lover of Latin music, or simply a fan of great music, this album is a must-listen.

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Quincy Jones – The Dude (Album Review)

Released in 1981, The Dude stands as a timeless masterpiece that incorporates elements of Funk, Jazz, Pop, R&B, and Soul, yet Quincy Jones isn’t the only star here for the lineup of studio musicians chosen is not only extensive but impressive. While you may be most familiar with Jones for his production of classic albums, including Big Band Bossa Nova, Off The Wall, and Thriller, to name a few, his legacy continues well beyond these signature releases as The Dude represent some of his most creative works.

Yes, Jones’ collaborations with Michael Jackson will always be what he is most remembered for, but it’s important to note that The Dude was nominated for an impressive twelve Grammy Awards. It would go on to win three; an extraordinary achievement for an album that not only is so varied but also utilised various musicians and vocalists. And, yes, while Michael Jackson appeared on the title track as a backing vocalist his inclusion on this release is minimal at best.

Regardless, there’s little doubt as to the musical chops of The Dude, but what I find most fascinating is the album’s artwork. The morphing “Dude” creates a visual illusion that matches the shifting styles heard throughout the record and is perfectly set against a simple black frame. It’s one of the best album covers from the era and immediately captures one’s attention. You can imagine just how fascinating it would have been seeing it on the shelf in your local record store in 1981.

Sonically, however, all is not perfect. The lossless Apple Music stream is adequate but to get it to sound its best, you’ll likely be fiddling with your EQ settings. It’s a shame considering the music is, otherwise, incredible. The problem is that in its flat presentation, it’s a little too clinical. The result is a sound that lacks an emotive feel; an aspect that is paramount to this style of music. Despite this, once your preferred EQ settings are dialled in, there’s no doubt that you’ll find it encapsulating. A remastered edition, however, would be welcome, but as music is subjective you, dear reader, may find the core stream to be perfectly acceptable. As for myself, I’ll be thoroughly enjoying this particular release until the streamed version is either updated or until I attain a physical release as the music is that good!

Ai No Corrida (feat. Dune) has an infectious rhythm and is the perfect tune to launch The Dude with. With a mix of jazz, funk, and pop stylings, Ai No Corrida will hook you from the very first note. Ai No Corrida, however, wasn’t first recorded by Jones et al as Chaz Jankel (along with Kenny Young) wrote and recorded it for his self-titled 1980 release, Chas Jankel. Jankel’s version is similar in style but as Jones always does, he hears and subsequently refines a tune so that it is greater than the original song. It’s his gift and while Jankel’s recording is excellent in its own right, it pales in comparison to this version.

The Dude blends funk undertones, captivating jazzy brass sections, and memorable hooks to create an unforgettable musical experience.

Just Once slows the album’s tempo but you won’t mind as James Ingram’s vocals are exceptional on this tender love song. Yes, it is very much a song of the 80s, but don’t let nostalgia influence you for Just Once is as beautiful today as the day it was recorded.

Betcha Wouldn't Hurt Me (Extended Version) will encourage you to turn the volume up, if you haven’t already, as its atmospheric musicality is enveloping. Patti Austin vocalises the song perfectly and with a flawless mix of jazz and funk elements, Betcha Wouldn’t Hurt Me remains a standout tune on The Dude.

Something Special is smooth. Austin, once again, performs vocal duties here; she is truly magnificent! One aspect, however, that may be detracting is the slower tempo as it’s unassuming. Granted, the song flows well within the linear structure of the album, but Something Special isn’t a song that is likely to be anyone’s favourite as there isn’t anything here that is truly memorable.

Razzamatazz, however, will have you coming back for more as the 80s funk rhythm is so infectious that you’ll lose yourself in this tune. It’s arguably Austin’s greatest vocal contribution to The Dude for her addition not only amplifies the groovy musical bed but ensures that those looking to sing along will be in good company, especially throughout the chorus.

One Hundred Ways is a timeless masterpiece. Ingram’s vocal is extraordinary and leaves a lasting impact.

Velas calms the senses for this serene tune takes you on a thoroughly enjoyable musical journey. While it could be argued that it could have been a stronger song, it does set up the album well for the closing burst of energy that is Turn On The Action.

Turn On The Action is the quintessential closer as it brings our attention to the Funk elements that are at the core of The Dude. In doing so, it will remind you of the mastery heard and compels you to listen to the album again.

There is little doubt that The Dude is a testament to the exceptional talent and musical genius of Quincy Jones. With its interweaving styles, impeccable craftsmanship, and infectious grooves, The Dude remains not only a landmark release for Jones but is one of the greatest albums released in 1981.

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Herbie Hancock – Monster (Album Review)

Released in 1980, Monster would be the 29th studio album from one of Jazz’s greatest pianists. Although, it is somewhat void of the jazz styling that many Hancock fans would have been looking for. Instead, what we have is an album with jazz elements scattered throughout and a little jazz fusion, pop rock, and what was an included aspect to stay relevant in the era, a rhythmically charged disco undercurrent. Purists will no doubt dislike the album because of this genre-crossing aspect. I’d argue that it perfectly suits Hancocks’ style and is worthy of sitting alongside Head Hunters; a bold claim, certainly, but part of Hancocks’ charm was in his ability to innovate, thereby ensuring his music never became stale or limited to a particular era. That said, Feets Don’t Fail Me Now, Hancocks’ 1979 release, which was in a similar sonic vein, failed to impress and subsequently remains absent from The Best Albums Of 1979. 

Perhaps the greatest compliment I can give to Monster is that it is compelling. From the insane cover art to the sweeping music, I find it difficult to play this album only once for it’s simply magnificent. 

Part of its appeal, no doubt, is due to its high-quality recording and impeccable mix. Add to that the (Hi-Res) Lossless Apple Music stream, an Apple Digital Master, and you’ve got an album that is sonically perfect and arguably as good as you’re ever going to find. While I’d love to own a copy on vinyl for the cover art alone, when a digital counterpart sounds this good, there’s no need to go to the additional expense, and hassle, of tracking down a physical version that may or may not offer a superior, or even comparable, sound. 

Saturday Night has a funk-driven sound that will get you on the dance floor. The highlight here, however, is Carlos Santana’s trademark guitar licks. His inclusion is complementary but is used to great effect throughout the solo. It’s a great start to the album and certainly sets the tone of expectation regarding the type of music you’re about to hear.  

Stars In Your Eyes is a true sonic wonderland. The rhythm, the spacing between musical elements, and the immersive soundstage ensure Stars In Your Eyes is not only the highlight tune on Monster, but it’s one of the greatest songs Hancock has ever released. Seriously, try to listen to this song by sitting still. I bet you can’t do it. My body moves involuntarily to every beat and rhythm and I never want it to end. A masterpiece in every sense of the word. 

Go For It really increases the tempo. A great song, but there’s a small shift in the senses when going from the smoother Stars In Your Eyes to the upbeat Go For It. Nevertheless, the difference lasts for mere seconds as your mind adjusts to the speed shift. Once you’ve settled into the groove, Go For It is a great little tune that doesn’t forge new ground, but it doesn’t need to as it fulfils its role as an album tune perfectly. 

Don’t Hold It In has a killer distorted grind that launches the tune and reoccurs throughout the song even after the funk-disco style has taken hold. Hancock and co certainly didn’t hold back with this tune. It, and many other songs from Monster, are right up there with the very best of Stevie Wonder; that is a true testament to how good this album is.

Making Love slows the tempo and is a well-positioned intermission-styled tune that has smooth soulful influences throughout, particularly with regard to the rhythm and harmonious backing vocal. 

It All Comes Round has some serious rock-inspired moments. Yes, it is as far removed from traditional jazz as you can get, but that doesn’t matter as it’s a great tune. I only wish Santana had been included on this track as his performance would have taken it to the next level. Although I have to admit, Hancock utilising his Clavitar to create the synthesised distorted guitar is not only experimental, especially for the time, but works remarkably well upon reflection. My only criticism, however, is that the chorus is fatiguing as the vocal component repeats ad nauseam. An interesting dichotomy as Go For It has a similar style yet it remains fresh throughout. 

Overall, Monster is, pun intended, a monster of an album. It’s the perfect length, at approximately 42 minutes and its six songs are amongst the very best Hancock has ever recorded. Yes, Monster isn’t his most successful, nor is it extremely well-known, but if you give it a chance, I’ve no doubt you’ll find the same musical bliss I have for when I listen to Monster, it reminds me of why I love music. 

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The Crusaders – Street Life (Album Review)

While jazz music has never been focused on commercial success, The Crusaders’ Street Life was not only a success in that regard but is also their creative pinnacle. Few jazz-based albums are as fluid as Street Life and this is one release that is amongst the best of what jazz has to offer. It’s also one of the best albums from 1979 with an infectious rhythm that captivates the music lover within. 

Originally billed as the Jazz Crusaders, prior to 1971, The Crusaders would release no fewer than 29 studio albums before Street Life. While new albums, post-Street Life, were released, they never quite captured the spirit that The Crusaders were renowned for. As has been the case throughout the years, once a peak has been reached it is often difficult for an artist to not only re-capture and re-infuse themselves but also reinvent their art into subsequent zeitgeists. It is with this in mind that makes Street Life such a monumental release for it speaks to the era, but like all great music, it has remained timeless and is as magnificent today as it was in 1979. 

For some reason that escapes my understanding, this seminal recording has remained out-of-print on vinyl since the mid-80s. Yes, it’s been remastered and reissued on CD, even with vinyl replica artwork, but for those of us who don’t wish to seek out a used copy, preferring to create our own memories with the music we love, this omission is frustrating. The lossless Apple Music stream is a lovely facsimile but depending on how you have your system configured, it can be a little shrill and fatiguing if you prefer to keep your EQ settings flat. Personally, I prefer a little boost in the low end and a slight reduction in the treble range as it best mimics the warmth that is closest to analogue reproductions but I acknowledge that many people, particularly with modern listening equipment, often lack an equaliser and will therefore not be so fortunate to be able to address this issue. Another problem, for those of us seeking the very best quality in music, is that there’s no indication via Apple Music if this is the 2014 remaster or an earlier CD mastering. This makes it difficult to ascertain its provenance and if the aforementioned CD is worthy of acquisition over the stream. Of course, this is a quibble that only a few will entertain but as we all know it’s the music that is the most important thing, so let’s take a look at the songs that make up Street Life.

Street Life is a pure masterstroke with exceptional vocals from Randy Crawford. It’s so good that I wish Crawford and The Crusaders had recorded an entire album together. Of course, if that had happened, Street Life may not have been as singularly spectacular as it is. From the smoothness of the opening notes, to Crawford’s soulful vocal, to the upbeat firestorm of rhythm, this 11-minute epic is utterly perfect. Yet, this original composition wasn’t my first experience of the song. 

In 1997, towards the end of my formative years, Quentin Tarantino’s Jackie Brown was released and along with it a killer soundtrack with one of the songs being Street Life; albeit a higher tempo, significantly abridged version, but I was intoxicated and it has remained in my consciousness ever since. The day I streamed the original, not realising that it was a Crusaders’ release, for the Jackie Brown soundtrack billed it as a Randy Crawford song, I was ecstatic. It was as if I had found the meaning of life, as ridiculous as that may sound. Nevertheless, let me give you an insight into the versions that I feel are worthy of listening to. 

Randy Crawford’s version from the Jackie Brown soundtrack is magnificent but I’d argue that the conciseness loses some of the magic that can be heard on the original recording. Yes, the core principles are there, but the focus of this edition is very much the vocal aspect with only a small musical interlude that is jazzy but can no longer be classed as jazz. Herb Alpert’s rendition, from Rise, is another beast entirely for it is condensed, and a little disco-driven, but thanks to Alpert’s exceptional trumpeting, it retains the soul of the song by comparison.  

If you’re after a live performance of Street Life, look no further than Randy Crawford’s performance from Live In Zagreb; a solid live performance only overshadowed by the original studio recording. While some may suggest checking out the 2012 performance with Joe Sample, it is too focused on improvisation. Granted that’s a trait of live jazz performances but it is too far removed from the original to be compelling for this listener. 

My Lady follows Street Life perfectly with a rhythm that isn’t entirely removed from the first track, thereby ensuring fluidity when listening in the album format. It’s less bold by comparison, as are the remaining songs on Street Life, but one must remember that the rest of the album is sans lyrics and it’s this musical focus that makes up The Crusaders’ greater catalogue. Yes, My Lady features some vocal harmonies but none are lyrical thereby making the human voice an instrument in the mix. Either way, this is an exceptional tune.

Rodeo Drive (High Steppin’) is a little lighter when it comes to the chosen style for its story is one regarding the glitz and glamour of the famed street. Of course, the way you interpret the song may differ but it’s always interesting to hear how musicians can make their instruments and compositions sing without the need for lyrics. That said, if they hadn’t titled the song as they did, the correlation likely wouldn’t be apparent so there’s a little confirmation bias at play here. Regardless, Rodeo Drive (High Steppin’) is Jazz 101.

Carnival Of The Night will get you on your feet if you’re not already toe-tapping, for its ability to involuntarily move your body is one of its most notable qualities. Plus, that interweaving soloing is out-of-this-world. A great song by anyone's standards. 

The Hustler shifts gears a little and is one song on this particular release that I feel is a little too forward in the treble range, thereby making it a more challenging listen without shifting the EQ settings. That said, The Hustler is the weakest song on Street Life but I couldn’t imagine the album sans this song and I never skip over it when listening via the album format. 

Night Faces is a lovely song to close the album on. Some will lament its overall styling whereby it has a jazz-club feel to it, but I prefer to look at it reflectively as it allows me to ponder the magnificence that has come before it. I rarely listen to Street Life without putting it on repeat, and Night Faces encourages me to listen to the album again, but it can also be the perfect track to close out a relaxed night of listening.

While individual songs are important for they tell a unique tale within themselves, Street Life is a fluid piece of audible art and as such while we can discuss the individual tunes this is one album that truly needs to be appreciated in the album format. Yes, the title track is worthy of any 70s, or jazz-inspired, playlist, but as each composition flows from one to the other we’re met with a flawless album that has not only stood the test of time but will remain one of the greatest jazz albums ever released. 

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Herb Alpert – Rise (Album Review)

Gone are the kitsch, but eye-catching, album covers of Alpert’s creative output with The Tijuana Brass for his solo works, which are equally exceptional, present a less flamboyant flair but just as you should never judge a book by its cover, Rise is one of the most energetically exciting releases of Alpert’s career and is without a doubt one of the best albums released in 1979.

Alluding further to the cover art for Rise, I find it to be stunning with full praise going to photographer Barry McKinley. The perspective vinyl record artwork behind Alpert, along with its lighting and the overall composition, is a work of art that is truly worthy of displaying; especially on vinyl.

While I, unfortunately, don’t own a copy on vinyl, the lossless Apple Music stream, an Apple Digital Master, is sonically magnificent. About the only thing that the vinyl counterpart would bring to the table, minus the larger artwork and the tactility of the format, is a further level of warmth and smoothness to the sound. That said, it really isn’t needed for Rise will have you toe-tapping and head-bopping throughout.

Some may lament the change in direction for there is a little less jazz and mariachi-styled music to be heard here but these styles aren’t missing entirely as Alpert has infused them with disco and rhythm and blues cues; a combination that likely appeals to a wider audience. There’s even a little soft rock to be heard throughout. On paper, it may appear to be a mishmash of creative ideas, particularly as the first half of the album is assigned to original compositions by Andy Armer, Herb Alpert, and Randy Alpert while the second side is a collection of covers, but the proof is in the listening as this is one album you’ll want to play again and again; it’s intoxicating!

1980 opens Rise magnificently, paying homage to Alpert’s core styling while simultaneously introducing new musical elements that set the tone for the entire album. 1980 is most notably transitional and in the best way possible for it becomes instinctive as you listen to interleaving styles that you’re about to hear throughout the rest of the album. Interestingly, 1980 wasn’t written with that intent for it had been earmarked as the official theme for the 1980 Summer Olympics in Moscow only to later be used, arguably more appropriately, for the FIFA World Cup in Mexico in 1986. Despite that, there isn’t a song that Alpert recorded that would have been a better opener for Rise. 

Rise was a Billboard No. 1 hit and a Grammy Award-winning song for Alpert and rightly so. Without a doubt, it’s the highlight of the album. Perhaps on a note of disappointment is the fact that Andy Armer and Randy 'Badazz' Alpert, despite being nominated, didn’t win a Grammy Award for Best Instrumental Composition; they truly deserved it! Rise is rhythmic gold with an incredibly immersive soundstage that will captivate your soul. 

While nothing can beat the original, Rise was sampled masterfully on The Notorious B.I.G.’s Hypnotise and covered beautifully by Glass Candy.

Behind The Rain slows the tempo a little, certainly throughout the introduction, but its sweeping sound will captivate the senses as it moves between musical influences including a killer rock and roll guitar solo that doesn’t overpower the mix but compliments it. 

Rotation has a modern sound that hasn’t aged a day since it was recorded. Yes, good music shares this timeless aspect, but Rotation is a little different for there are few modern musicians that record in a style such as this, yet it sounds as if it was only recorded yesterday. 

Street Life is one of the greatest songs ever written and while I adore The Crusaders’ original, Alpert reinterpreted it like no other could. It matches the original, even bests it, yet it quizzically takes nothing away from the seminal recording. Few cover songs are done so exquisitely that they become a celebration of the song itself rather than a bastardisation. 

Love Is is the only song on Rise that I feel indifferent towards. While it wasn’t entirely uncommon for Alpert to perform vocally, it isn’t his forte. Musically, however, there’s some exceptional playing if you care to listen beyond the repetitive vocal. Love Is was originally recorded by Bill Withers and while this rendition is very similar, I feel the song is better suited to Withers. Fans of the song will note that Alpert removed all lyrical elements aside from the repetitive chorus. That approach certainly works as the vocal becomes a harmonic musical element, rather than a storytelling device, but I remain unconvinced that the vocal aspect was needed at all.

Angelina has a personality all of its own. It’s the type of song that tells a story without the need for lyrics and is how all good instrumental music should be presented. Angelina has plenty of influences, from various musical styles, with even a little country being mixed with the eclectic sounds of the Caribbean. 

Aranjuez (Mon Amour) is a magnificent song and is arguably the closest song on the album to Alpert’s style when performing with The Tijuana Brass. While I’m not sure it’s the greatest version of the tune that I’ve ever heard, as it’s a little too disco-driven, Alpert’s interpretation is exceptionally good and closes the album perfectly.

Alpert may have outsold The Beatles in the 60s but as magnificent as his music was during that era, Rise is quintessentially Herb Alpert; a musical masterpiece if there ever was one. 

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Ella Fitzgerald & Louis Armstrong – Ella And Louis Again (Album Review)

Released in 1957, Ella And Louis Again is the follow-up to the wildly successful Ella & Louis released a year prior; a release that was unapologetically intended to milk the chemistry of Ella Fitzgerald & Louis Armstrong. As a result, it sounds a little rushed, with a little less polish than its predecessor, but that isn’t to say that it’s a bad release but it does demonstrate just how extraordinary Ella & Louis really is.

As a double album with a considerably longer runtime than its predecessor, Ella And Louis Again brings the core musicians (sans Buddy Rich; Louie Bellson on drums) back for a second outing but is interesting in that it breaks with the formula of the original for seven songs are solo vocal performances; four from Armstrong and three from Fitzgerald. Naturally, these songs are so impressive that most listeners won’t blink an eye but an argument could be made that an album sans the solo recordings would have been a far better, and more concise, follow-up. Yes, dear reader, you can have too much of a good thing and while the song selection is solid, they’re not as stellar as those selected for Ella & Louis. It is important to note that upon release, the album was also made available as Volume One and Volume Two thereby reducing the runtime of each part to that of a traditional album.

The cover art for Ella And Louis Again is adequate but the original is iconic. Textual elements weren’t needed the first time around, for the master musicians told their story by merely sharing the same space. Disappointingly, the album artwork for Ella And Louis Again is both unimaginative and unappealing while simultaneously showing a disconnect between Fitzgerald and Armstrong. Whether intentional or not, it does mimic the disconnect within the music whereby a considerable number of tunes are solo efforts and those that are duets are, in many cases, inferior to that heard on their debut outing.

As it pertains to sonic quality, Ella And Louis Again doesn’t come close to the impressive audio experience of Ella & Louis; an Apple Digital Master with both high-resolution offerings and a Dolby Atmos mix. Ella And Louis Again is derived from the standard CD reissue and on its own, this isn’t too much of an issue but if you decide to listen to this album immediately after the first, you’ll be in for a shock. The difference is, pardon the term, night and day. The mastering is adequate but it isn’t the final word in sound quality as it relates to this particular release. What you’ll experience is a clinical reproduction that needs a drop in the treble and a boost in the mid and bass regions to sound its best.

While I may have various complaints, Ella And Louis Again is an excellent album in its own right that is arguably only dwarfed by the breathtaking Ella & Louis.

Don’t Be That Way isn’t the strongest opening. It’s a lovely song but it lacks the wow factor that was needed to launch an album such as this. Frank Sinatra’s rendition, however, has a little more swing and is, therefore, more appealing.

Makin’ Whoopee, however, would have been the quintessential lead-off track despite it being a solo Armstrong performance. It’s fun, witty, and has the same playful feel that I adored on Ella & Louis. Although, it has often been marred with controversy, surrounding the story arc, relating to the entrapment of men for makin’ whoopee.

Unpacking the lyrics you can definitely see the issue but the use of euphemisms throughout brings a smile to my face every time I hear it; in the same way as Chuck Berry’s cover of My Ding-A-Ling does. Perhaps, I never grew up, but who doesn’t find the word whoopee to be hilarious? As for the controversy, let’s just say that it doesn’t bother me, as I see the humour in it, but I can also understand why some may find it offensive.

Reflecting on the other covers of Makin’ Whoopee, Frank Sinatra’s is lovely, as is Shirley Horn's, but perhaps most interesting is that Ella Fitzgerald recorded the tune in 1958; a slightly different but lovely rendition! None, however, are quite as good as Armstrong’s interpretation, although The Ben Webster Quintet came awfully close on Soulville.

They All Laughed has a killer hook and is one of the best tracks on the album, despite its slow start. It does amaze me, however, that They All Laughed hasn’t been covered more in the modern era, or even reinterpreted with contemporary zeitgeists in mind for George Gershwin’s tune, as so many of his were, is timeless.

Fred Astaire’s original is magnificent as is Oscar Peterson’s interpretation.

Comes Love is magnificent and is one of the best jazz standards ever written and recorded. As a Fitzgerald solo outing, it’s perfect and while it’s been covered extensively, few come close to this particular recording. Although, Vince Jones' and Joni Mitchell's interpretations come close.

Autumn In New York is a beautiful slow-tempo jazz number. This recording is particularly unique as Autumn In New York is seldom performed as a duet. Some may subsequently lament Armstrong’s gritty vocal, for it is a little contrasty to the smooth jazz musical backing and Fitzgerald’s silky tones, but it works surprisingly well. Plus, Armstrong’s trumpeting is other-worldly.

Of the other renditions, Frank Sinatra’s is arguably the best while Diana Krall’s is a lovely up-to-date interpretation.

Let’s Do It (Let’s Fall In Love) is Louis Armstrong at his very best. The intonations in his vocal get me every time; magnificent! While this disappointingly wasn’t one of their duets, Fitzgerald did record a beautiful rendition of the song herself.

Stompin’ At The Savoy is a great toe-tapper that I would have loved to have heard performed live in any out-of-the-way jazz club in the 50s. The nostalgia, even though I never lived it, is strong when you listen to this jazz masterpiece and if you too would like to experience an incredible live recording look no further than Fitzgerald’s performance from the Chicago Opera House with the Oscar Peterson Trio.

Of the other available performances, Judy Garland’s is magnificent while Art Pepper’s is a stunning instrumental.

I Won’t Dance has a terrible opening but thankfully once Armstrong enters the mix, things start to pick up. I’d go as far as suggesting that Fitzgerald’s solo, recorded in 1961, is significantly better than this duet. Nevertheless, it isn’t one of the better songs on Ella And Louis Again but there are other excellent interpretations to listen to, such as Fred Astaire’s early recording, even if it isn’t as emotive as Frank Sinatra's. For modern renditions, look no further than Jane Monheit and Michael Bublé’s recording and check out the exceptional music video for Willie Nelson and Diana Krall’s interpretation.

Gee, Baby, Ain’t I Good To You? is a great tune and it’s wonderful to hear Armstrong’s trumpet again. Unlike the continuous inclusion throughout Ella & Louis, Armstrong’s magical trumpeting is only featured on six of the nineteen songs found on this release so it’s an audible pleasure when it appears in the mix.

Other notable renditions include the original from the Nat King Cole Trio, Diana Krall’s dedication to Nat King Cole, and Dr. John’s unpretentious recording on Afterglow. Dizzy Gillespie’s instrumental, while a little shrill, is also magnificent, as is Count Basie’s performance.

Let’s Call The Whole Thing Off is a masterpiece!

While I can’t think of a better interpretation, you may thoroughly enjoy Fred Astaire’s recording and Bing Crosby’s duet with Rosemary Clooney. Fitzgerald’s solo performance from Ella Fitzgerald Sings the George and Ira Gershwin Song Book is sung in a similar manner to the duet but I’ve got to be honest and say that I miss Armstrong when listening to this version.

These Foolish Things (Remind Me Of You), as a Fitzgerald solo recording, is flawless. Her vocal prowess is perfectly suited to the style and no one has done it better. In my opinion, this is Ella’s song. Although, Nat “King” Cole’s interpretation is magnificent as is Aaron Neville’s soulful rendition.

I’ve Got My Love To Keep Me Warm is a great tune but the sequencing shifts too much from These Foolish Things (Remind Me Of You) thereby creating a jolt to the senses; an aspect that wasn’t present on Ella & Louis. Fitzgerald would record I’ve Got My Love To Keep Me Warm a year later for Ella Fitzgerald Sings the Irving Berlin Song Book; a solid recording but nowhere near the duet found on Ella And Louis Again.

Willow Weep For Me is a solid Armstrong solo. While you’ll thoroughly enjoy listening to it, I’d suggest that it isn’t a song that you’ll seek out on its own. Wes Montgomery’s masterpiece, however, is well worth tracking down.

I’m Puttin’ All My Eggs In One Basket is an upbeat tune that is simply fun. They don’t make music like this anymore; an adage, yes, but one that rings true when you listen to a classic recording such as this. Armstrong did record the song in 1936 and while it’s lovely, I’m so glad it was rerecorded for this release for it’s an improvement over the original, particularly as it relates to the duet style. Fitzgerald also rerecorded it as a solo in 1958 and it's a little smoother than that on Ella And Louis Again, thereby making it a must-listen. Fred Astaire’s interpretation is also worthy of your time if you haven’t previously heard it.

A Fine Romance continues the lighthearted style. If only all tunes, particularly modern music, were this carefree? It’s not that I dislike modern recordings, many are exceptional, but when you go back and listen to this type of music you find there’s something special, often innocent, and excitingly memorable; elements that are sadly missing from many modern releases.

Fitzgerald rerecorded the tune for her album, Ella Fitzgerald Sings the Jerome Kern Song Book in 1963; it’s lovely but something is missing. Yes, dear reader, I feel it works better as a duet. That said, Kiri Te Kanawa knocks her solo out of the park.

Ill Wind is the final Fitzgerald solo performance, on Ella And Louis Again, and as beautiful as she performs it, I prefer Frank Sinatra’s recording from In The Wee Small Hours. Additionally, The Ben Webster Quintet recorded a masterful rendition on Soulville.

Love Is Here To Stay is perfect jazz club material and while it’s been covered considerably, it’s amazing that so many modern jazz musicians have overlooked it.

Is Fitzgerald and Armstrong’s interpretation the best version of the song? Yes and no!

When you have Sinatra performing it masterfully on Songs For Swingin’ Lovers, I simply don’t feel Fitzgerald and Armstrong matched his recording.

I Get A Kick Out Of You, Cole Porter’s opus, is the final Armstrong solo and what a performance it is. Yes, Sinatra recorded the song but in this case, as much as I love his rendition, Armstrong knocks it out of the park. Michael Bublé’s 2018 recording, from Love, is a solid modern take but is arguably too similar to Sinatra’s to set them adequately apart. Interestingly, Fitzgerald did record I Get A Kick Out Of You on Ella Fitzgerald Sings the Cole Porter Song Book from 1956; it’s magnificent and one can only wonder why it wasn’t performed as a duet on Ella And Louis Again.

Another notable recording is Rod Stewart’s from Fly Me to the Moon... The Great American Songbook, Vol. V.

Learnin’ The Blues is a great closer, especially with Armstrong’s trumpeting, but it is ultimately Fitzgerald’s gorgeous vocal that makes me want to play the album again. Frank Sinatra’s recording is one of the best, as is Willie Nelson’s from That’s Life, but the mix of Fitzgerald and Armstrong offers listeners something special that the solo recordings can’t give us; a rustic and simultaneously smooth rendition that can only be achieved due to the different, but complementary, styles of Fitzgerald and Armstrong.

While Ella And Louis Again can never live up to, or surpass, the brilliance of Ella & Louis it should not be ignored for if the former were a five-star release then this follow-up would be a four-star album; an excellent musical experience by anyone’s standards.

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Ella Fitzgerald & Louis Armstrong – Ella And Louis (Album Review)

Few albums are quite as revered as Ella Fitzgerald and Louis Armstrong’s Ella and Louis; a masterpiece if there ever was one. Recorded in 1956 at Capitol Studios, Ella and Louis is not only one of the greatest jazz albums ever recorded but one that will appeal to easy listening and swing lovers alike. Of course, and this is a subjective opinion, Ella and Louis is so beautiful that it will engage the soul of all music lovers. It’s a timeless classic!

As one of jazz’s landmark releases, Ella and Louis has naturally been released on just about every format available and was recently re-issued as a Dolby Atmos mix on Apple Music. While I was fortunate to have owned the HFPA (High Fidelity Pure Audio) Blu-ray release the Atmos mix on Apple Music is otherworldly. Yes, the Atmos mix is a lossy source and has been constructed from the original mono mix but the placement of players, vocals, and the listener in the soundstage is astonishingly good. Seriously, I’ve no idea who undertook this mix but they are a master of their craft. While you won’t be swept away as much as with other surround sound mixes, that take full advantage of the technology, this particular stream is immersive and proves that even mono recordings can benefit from upgraded Atmos mixes if the white-glove treatment is taken to ensure it sounds its very best. While all Atmos releases are not made equally, and some simply sound bad, this stream is so good that I question if I need to seek out the well-regarded Verve/Ume/Acoustic Sounds vinyl reissue. A strange argument, yes, but with limited funds, I must choose only the very best versions of the albums I love. This is one of them, of course, but as the stream, an Apple Digital Master, simply sounds right then perhaps it is time to be satisfied with what I have access to rather than constantly wanting more.

While Fitzgerald and Armstrong may be the main focus of this release, Ella and Louis wouldn’t have been so successful if it were not for the magnificent Oscar Peterson, Herb Ellis, Ray Brown, and Buddy Rich that laid the musical bed for Fitzgerald and Armstrong to shine. Armstrong’s trumpeting similarly soars as the band plays unobtrusively; a brilliant collaboration for Peterson et al are amongst the greatest jazz musicians in history and to take a backseat shows great humbleness. Similarly, one must acknowledge Verve founder and Producer Norman Granz’s song selection for there has rarely been a better sequencing in history. Without his guidance, Ella and Louis would have been a very different album.

Ella and Louis wasn’t the first time the two collaborated, nor would it be their last for the Verve trilogy of albums including this one, Ella and Louis Again (1957), and Porgy and Bess (1959) are amongst the finest ever recorded. It’s an odd pairing as you’ve got Fitzgerald with her delicately smooth vocal competing with Armstrong’s gravelly diction, yet the combination is a duet lover’s dream come true.

Can’t We Be Friends? is a beautiful opening track that sets the tempo for the album. Not too fast and certainly not too slow, thereby allowing the listener to settle in and relax with some smooth jazz-inspired music. Plus, Armstrong’s closing vocal element is simply magnificent far outperforming Frank Sinatra’s rendition from In The We Small Hours. Linda Ronstadt, however, delivers a silky performance on Lush Life; a rendition that doesn’t outperform this masterpiece but is notable in the same manner as Seth MacFarlane’s version from Once In A While is.

Isn’t This A Lovely Day? may shift the tempo to the slower side of the scale but the transition is fluid and the overarching style is so similar that you really don’t notice the shift for it feels natural. One of the most notable aspects of this tune is the subtle musical backing, particularly underneath Armstrong’s husky vocal. It’s a stunning contrast that is a pleasure to listen to. Then you have Fitzgerald’s silky tones that fuse with Armstrong's magnificent trumpet solo; a solo that will send you into a level of sonic shock if you’ve got a very revealing system for it rises above every other aspect of the music.

Of the other recordings of this classic tune, Fred Astaire’s various recordings are thoroughly enjoyable while others, such as those recorded by Tony Bennett, Diana Krall, and Seth MacFarlane are too overproduced for my liking. Bennett’s rendition, however, grows on you the more you listen to it.

Moonlight In Vermont is a magnificent tune and as much as I adore this rendition I’m smitten with Frank Sinatra’s version from Come Fly With Me. That said, Sinatra didn’t have Armstrong’s trumpeting which arguably takes Moonlight In Vermont to another level entirely. Willie Nelson, however, had Mickey Raphael’s harmonica to play against on Stardust; a brilliant reimagining of this classic tune. Other notable renditions include that from Billie Holiday, Chet Baker and the Gerry Mulligan Quartet, and Seth MacFarlane.

They Can’t Take That Away From Me is a fun toe-tapping tune with a mix of glee and melancholy. I adore this style of music whereby the lyrics tell a literal story, very clearly and unobstructed, for it becomes memorable; perhaps as memorable as the nostalgia the lyrics imply. While I love Frank Sinatra’s rendition from Songs For Young Lovers it pales in comparison to this recording. Diana Krall’s interpretation from Love Scenes, however, is simply magnificent. If you’re after an instrumental version, may I suggest Oscar Peterson’s recording from Pastel Moods.

Under A Blanket Of Blue is a masterpiece and one of my favourite songs from the album. Its romantic undertones are unmistakable and as with most of the songs from the era, and those preceding the recording, literal intent was far more paramount than in the modern era where interpretation is often subjective and often different from the intended meaning. Should you prefer an instrumental of this classic tune, Ben Webster’s rendition is incredible.

Tenderly is one song that if your system is overly revealing in the treble range, you may find Armstrong’s trumpeting to be mildly irritating for it is presented far louder in the mix than it probably should be. This is present on both the stereo and Atmos mix of the album but dropping the volume down a little will generally address that problem. Overall, Tenderly is a solid track but it’s also the weakest on the album. Of the other available renditions, Duke Ellington and His Orchestra performed it beautifully while Nat “King” Cole’s recording is also worth a listen.

A Foggy Day is the second Gershwin masterpiece featured on Ella and Louis; the first being They Can’t Take That Away From Me. Sinatra’s recording on Songs For Young Lovers is fantastic, as is Billie Holiday’s interpretation from Songs for Distingué Lovers, but neither come close to the perfection that is heard on this recording. Michael Bublé’s modernisation is also thoroughly enjoyable.

Stars Fell On Alabama, as with the other songs on Ella and Louis, is a spectacular jazz standard. The intertwining vocals of Fitzgerald and Armstrong are the highlight here as one is harmonic while the other is delivering the actual lyric. It’s magnificent!

Of the numerous recordings of Stars Fell On Alabama, some worthy versions that you should check out include recordings from Frank Sinatra, Billie Holiday, Doris Day, and Stan Getz.

Cheek To Cheek is an absolute favourite of mine. One of the best songs ever written; thank you Irving Berlin! The Fitzgerald/Armstrong collaboration is timeless and is the very best rendition ever recorded. Other notable recordings have been made by Andrea Bocelli and Veronica Berti and Frank Sinatra.

The Nearness Of You highlights Fitzgerald’s vocal prowess. What an amazing vocalist! Armstrong is no slouch on The Nearness Of You either, but when I think of this song it is Fitzgerald that I hear. Other incredible renditions of this classic tune include those recorded by Glenn Miller and His Orchestra, Rod Stewart, Barbra Streisand, and Willie Nelson.

April In Paris is a gorgeous closer that will leave you not only satiated but contemplatively willing to play Ella and Louis again for it is a true masterpiece. Other excellent renditions you may be interested in include those recorded by Frank Sinatra and Doris Day.

The adage that they don’t make music like this anymore certainly rings true for Ella and Louis is amongst the very best music ever recorded. While their other two Verve Records collaborative releases are a bonus for lovers of Ella and Louis, there’s something special about this first outing that was never replicated on those additional recordings thereby making Ella and Louis a must for any music collection.

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Diana Krall – Wallflower: The Complete Sessions (Album Review On CD & Apple Music)

Diana Krall is synonymous with jazz, but on Wallflower she takes that elegantly smooth, but rustic, voice and applies it to some of the most iconic Classic Rock and Pop songs in music history. The renditions are absolutely beautiful and rival those of the original performers and in some cases surpass the originals; a bold statement, yes, but one worthy of such acclaim.

On this, Krall’s twelfth studio release, Krall teams up with Producer extraordinaire; David Foster. While Foster’s work is well-known, I dare say that there isn’t a better producer for this style of album as Foster’s usual style matches the aim Krall had in recording these series of songs. The result is an album that is spectacular from start to finish. 

Covers are an interesting musical endeavour for many are mediocre, some are just bad, while others such as those included here, for the most part, exceed all expectations. Thankfully, Krall manages to apply her unique style, while remaining true to the originals that are so loved, and appreciated, by millions of listeners throughout the world. It is always difficult to listen to songs that have been re-interpreted when you know the original so well, but this album is not one to fear.

For several years, I turned to streaming to listen to this collection of songs as I was torn regarding which edition I was interested in adding to my music library. On one hand, the Vinyl-based twelve-song collection, closing on Don’t Dream It’s Over is tight, but The Complete Sessions CD gives us more of the good stuff that makes Wallflower so compelling. Subsequently, if money was no object, I would own both, but I decided to go for the CD release as it contains everything from the Wallflower recording sessions along with two live performances. 

Of course, and it has to be said, Krall’s music is generally recorded, mixed, and mastered so well that the digital counterpart is full and enveloping with a natural warmth that doesn’t require an analogue medium to sound good. That said, while one would expect that the Apple Music stream, an Apple Digital Master, would sound inferior to the CD, I didn’t find that to be the case. The CD is most certainly more open, with a little more reach in the treble range, but the streaming counterpart is smoother and more developed in the low end of the musical spectrum. As to which you prefer, that is up to you, but regardless of how you choose to enjoy this album, you’re bound to be captivated by the sonic presentation.

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While I’m pleased with my decision, and the CD is sonically beautiful with full liner notes, sans lyrics, I still desire the vinyl counterpart. One caveat regarding the CD liner notes, however, is that the text is so small it is barely legible. Of course, in my fourth decade upon this earth, my eyesight is starting to get a little less reliable than it used to be, but I’m sure those of you with perfect vision would have a similarly difficult time perusing the liner notes without shifting the booklet back and forth to find an ultimate focal point. If you take a look at the rear artwork, in the images above, you’ll have an idea of the problem and the liner notes text is even smaller. Nevertheless, it is all about the music, so let’s take a look at the songs, shall we? 

California Dreamin’ is a beautiful song and Krall interprets it stunningly well. 

Desperado showcases that where the Eagles’ original is a little rough around the edges, it need not be, for Krall smooths out the harshness and allows me to experience Desperado as I’ve always imagined it should be sung. That said, as I commented on Neil Diamond’s rendition, these interpretations are complementary to the original recording and perhaps it is just me, but I think that is the way that all covers should be approached.

Superstar is magnificent and while it is amongst my favourite songs that have ever been written and recorded, Krall takes it to another level entirely. 

Alone Again (Naturally) [Duet With Michael Bublé] is a great duet and a magnificent song.

Wallflower [Feat. Blake Mills] is incredible and is not only worthy of Krall’s interpretation but is the perfect title track. 

If I Take You Home Tonight was written, but never recorded, by Paul McCartney and is one of the greatest songs I’ve ever had the pleasure of hearing. Yes, McCartney is a songwriting prodigy, but with Krall’s vocal talent, this song becomes an absolute masterpiece. 

I Can’t Tell You Why is an Eagles’ classic, and interpreted magnificently well, but it is missing Timothy B. Schmit and subsequently isn’t as stunning as the original. 

Sorry Seems To Be The Hardest Word is an Elton John masterpiece and while Krall may not have the vocal attack that John does, she reinterprets this classic song so well that I honestly don’t know which version I prefer, for they are both exceptional. Again, as is the case throughout this album, Krall has handled the songs she’s chosen to cover with such delicacy and respect that little-to-no criticism is required.

Operator (That’s Not The Way It Feels) was an odd choice to follow Sorry Seems To Be The Hardest Word as I feel it is too much of a shift in tempo and style, thereby causing a jolt to the aforementioned relaxed musical experience. On its own, however, it isn’t a song that I’d search out and is at best, from my perspective, a B-side. 

I’m Not In Love is delightful. 

Feels Like Home [Duet With Bryan Adams] is a lovely song and the duet with Bryan Adams is the perfect vocal accompaniment to Krall’s as their styles and delivery are complementary to each other; so much so that I would love to hear them record an entire album together. 

Don’t Dream It’s Over closes the standard release perfectly, but Krall’s interpretation isn’t nearly as good as the Crowded House original. Don’t get me wrong, it’s lovely, but some songs should never be covered; this is one of them!

BONUS TRACKS

In My Life is a Beatles’ classic and while this interpretation is more vocal-focused, Krall performs it masterfully well. 

Yeh Yeh [Feat. Georgie Fame] picks up the pace and depending on how you like to listen to your music, it may be a shock to the system or a perfect switch. Either way, one has to wonder just how much thought is put into the tracking of bonus tracks. Yeh Yeh also lacks the spit and polish that I normally associate with Krall’s music. Look, it’s a fun little tune but you’re unlikely to seek it out or feel compelled to play it on repeat. 

Sorry Seems To Be The Hardest Word [Live] is a gorgeous live recording. It is recordings like this that encourage me to experience live performances again; if only they would all be of similar quality. Yes, dear reader, I acknowledge that many of the live recordings are modified in the studio before release, to fix any shortcomings, but whether that is the case in the live recordings heard here, I don’t know. Nevertheless, this is one magical performance. 

Wallflower [Live] is a lovely recording, but it is too similar to the studio recording; an interpretation that I prefer over this live performance. 

A Case Of You is uneventful with regard to impressing this music-lover. Yes, the song is lovely, as is Krall’s interpretation, but it isn’t memorable. 

If You Could Read My Mind [Duet With Sarah McLachlan] is a gorgeous song and duet. McLachlan has a gorgeous vocal tone that complements Krall’s perfectly. This most certainly should have been on the original core album, perhaps replacing Operator (That’s Not The Way It Feels). 

Everybody’s Talkin’ [Duet With Vince Gill] isn’t a bad song, but I’m not sure that I enjoy Krall’s version as the maracas and distortion is a little distracting. Plus, I think Vince Gill was the wrong choice here as everything just sounds off. If this were a demo, I could understand it, but as a finished piece of audible art, I don’t feel it works too well. 

Heart Of Gold is a Neil Young masterpiece and in a similar vein to Don’t Dream It’s Over, it should never be covered for Young broke the mould when he recorded this song. That said, this rendition is lovely and is worthy of inclusion here, closing out The Complete Sessions nicely, thereby encouraging me to play the album again. 

Overall, Krall has delivered an album that not only brings her musical direction to a mainstream audience but showcases how very talented she is as a musician. While some of the bonus tracks failed to live up to the core ethos of the album, none are outright bad and therefore Wallflower: The Complete Sessions makes for a thoroughly enjoyable listening experience. 

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