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From the recording vaults: the early years of Minnelli ... from Broadway: the early years of teen angst in 13 ...from British theatre and heroic lore: early hero Zorro ... from the holiday rack: musing on an early New Year.
Welcome to the Liza Minnelli time vault: it has has opened again. A new 2-CD set has the complete contents of four vinyl albums plus nine other tracks. Start spreadin' the news: even Liza-holics who long ago found the vinyl albums—or some tracks issued on CD as imports—have newly unburied treasures in the form of eight never-before-released tracks. The sound is splendid: visceral and vital. The liner notes by Scott Schechter, who has a Ph.D in all things Liza, are informative, clear and affectionate, even as this second arrival of the material is treated almost as The Second Coming. This chapter of the Minnelli recording career shows some of the most appealing, between the green, youthful early steps and the high gloss superstar of more recent vintage. We have, I think, the best of both worlds: still a youthful, risk-taking, fresh sound with acting chops and the big voice—but some discipline and reigning in, experience showing but no bowing to the passing of time, legend status, the toll of time and vocal wear and tear, etc. A recent reissue package was a collection of Liza's very earliest solo albums on Capitol from the mid-1960s. Now comes the next chapter and the next record label (A&M Records named for founders Herb Alpert and Jerry Moss). Included is the live recording of her Paris concert with the title song from Cabaret before she was even cast in the film and a French translation of "Liza with a Z." Because the Paris concert plucked material from her albums, this package thus has studio and live versions of a few things: "God Bless the Child" and the chilling medley portraying first an idyllic marriage ("Married" from the score of Cabaret) and then a couple's later separation as it is tearfully explained to the offspring ("You Better Sit Down, Kids," by Sonny Bono). Lastly, the Paris concert tracks and her first self-titled A&M album both had versions of her knockout interpretation of the Al Jolson hit, "My Mammy." Four decades later, she's singing that one again in her new tour and tour de force that began performances on the Great White Way this week. One song that's been recorded by Liza numerous times is "Maybe This Time." The most unusual version is the one included on this set: a rootsy, funky one from an album called New Feelin', which had bluesy, earthy ambience, back-up singers and a get-down, struttier, tougher stance, though the songs chosen were mostly old standards and torch songs. Though there's pop and folk and Brazilian treatments, for those whose main interest is show tunes, they are sprinkled through this 2-CD set's 51 tracks, several of which are medleys; look for the title song of Kander & Ebb's The Happy Time, St. Louis Woman's "Come Rain or Come Shine" Oliver!'s "Consider Yourself" with special lyrics, ShowBoat's "Can't Help Lovin' Dat Man" and more. We also get Liza's never-before-issued recording of "I'll Never Fall in Love Again" from Promises, Promises (she turned down the role on Broadway). That recording and another included, first-time-release of a Burt Bacharach/ Hal David hit ("This Guy's in Love with You") very much follow the kind of treatment/tempo we've heard others do. There are two selections from a then-current show recently back in the New York stage spotlight: Hair: "Good Morning Starshine" (live) and "Frank Mills" (a 45 rpm single), neatly and sweetly sung. [Speaking of being back in the New York stage spotlight, so is Liza and I spent Wednesday night at the dazzling and dynamic opening of her return to Broadway, coinciding with the timely return to print of this A&M material. A new studio album, available in the Palace Theatre lobby and set for wide release on February 3, 2009, features some of the numbers in the new show.] This treasure chest set is especially enhanced by several highlights that underscore the talents of two much-missed talents no longer with us, both important in Liza's career and life, and both named Peter. Peter Matz's arrangements provide some of the standouts: evocative instrumental phrases and figures setting mood, tension in the strings and haunting echoes that work as subtext wise choices of instrumentation selection (a daydreaming mood signalled by a harmonica, muted trumpets that seem to suggest dim memories). The wistful and bittersweet Matz treatment of the Frank Loesser song "On a Slow Boat to China" with undercurrents of rough waters is a gem; "Waiting for My Friend" is a tear waiting to fall and "My Mammy" was (and remains) a classic, a powerful sure-fire smash. Peter Allen, Liza's first husband and occasional path-crosser in her career, wrote a few of the most compelling but quirky (and, most importantly, emotionally effective and daring pieces that show the actress's skills in presenting a specific and sympathetic, needy character: "Simon" and a proposed title song for her movie Tell Me That You Love Me, Junie Moon (not known by the public before, and a real find as a lost link). With his former singing partner Chris Bell, Allen wrote the jaunty specialty "(The Tragedy of) Butterfly McHeart." Some of the poppier pieces use the common "fade-out" style ending so they don't have the button theater songs and concert arrangements have. Some bonus tracks, seen listed on the back cover as just tiles might cause wrong assumptions because of same-titled better-known songs. One is "Snow," and it's not the Irving Berlin one from White Christmas at all, but a cool item by Randy Newman, who is represented on four other tracks on this package. "Once in a Lifetime" is not the musical theatre song but, along with "Snow," is one of four discarded, low-key but marvelous, tasty Brazilian-flavored tracks. Luiz Henrique wrote or co-wrote these tender pieces that show Liza's gentler, thoughtful, restrained side. In a different mood altogether is the even-then oldie, "I'm Looking Over a Four-Leaf Clover" which is a full of zest, with a Z, like Liza, with zest—then and now. This time capsule recorded in a slim window of time—1967-1970—is thick with joy and talent and memories. Note: Also in release is a two-song disc of today's Liza on the new "Let's Make a Date" in duet with, and co-written by Johnny Rodgers—one of her current co-stars. Already available for download (at iTunes), it also includes a solo by Johnny of a Randy Newman song. (He's had longevity, too!) Since it's mostly Johnny, we'll save that for later when we cover another recently received Rodgers release.)
Antsy, angsty adolescents cavorting and kvetching in song came to Broadway in this season's 13. When the assigned songwriter is Jason Robert Brown, you can be assured of craft in writing that is intensified and fleshed out by his own arrangements and orchestrations. The score bursts with raw energy fueled by emotions that bubble and churn. The cast-to-age performers and small band have absorbed that and added their own fresh vitality. This recording also has sparkling sound, is well produced (by the composer-lyricist and Jeffrey Lesser) and the craft and discipline of the performances all add polish to the rough-around-the-edges edginess that is present in large amounts. The score, which successfully captures and lays out the lingo, mindsets and attitudes of contemporary junior high school students, is both a plus and a minus for adult ears perhaps. With no adult characters or perspective, at times the wall-to-wall realistic language and personalities of those barely in their teens might be a lot to bear. This intentional art-imitates-life experience is often fun and admirable in writing and performance, but it can feel claustrophobically like being trapped right behind some chatty, loud, rowdy, randy, self-absorbed teens on a bus or while waiting on line to purchase theatre tickets. But that is more entertaining when it rhymes and without the word "like" or curse words coming up half a dozen times in each sentence. Yes, their vocabulary is limited and repetitious as is fitting, but this is relieved by some clever rhyming and flashes of wit and charm. Appropriately, the score mixes in the sounds of contemporary pop and rock, yet still very much feels and plays like musical theatre in its structures and traditions. There's charm, wit and heart in the writing and performances, but it remains to be seen (and heard) how enthralled listeners will be with repeated playings of songs focused on peer pressure, rants barely containing complaining catharsis, and odes to dating and dweebness. The 13 13 singing actors, at least as heard here, don't show voices that send chills up the spine because of their vocal dynamics, purity or strikingly individual qualities. However, they serve the material with spunk and commitment. The songwriter himself sits in on piano on "Brand New You"—otherwise, musical director Tom Kitt does those duties. A fondness for electric guitar and some synthesized sounds will make you more inclined to dig the accompaniment. This high octane effort is low on showing nuance or shadings, as thing sometimes start and stay on the frantic or frenetic level others might build up to by the end; "A Little More Homework To Do" is more reflective and universal. This and the tile song are heard in two versions, those at the end listed as "singles" versions, but are not vastly different from the main cast section. It's exciting to have this youthful show from someone who isn't all that long in the tooth himself—Mr. Brown, clearly an already proven major talent who should, in coming years, have many more musicals in him—maybe 13 of them.
The name Zorro conjures up a mysterious masked manly hero swathed in black with cape and rapier to swipe, smite or make the mark of 'Z' as he appears in the nick of time to save the day, whenever the day may be. The liner notes of the Zorro CD detail the yesterdays of the character: how he began as a short story's Spanish nobleman protagonist and was modified and embellished by actor-producer Douglas Fairbanks. Following fellow Zorros over the years in movies and TV, this summer's London musical production brings us a grand scale extra-energy extravaganza to continue the tradition for today and, if successful, to be the Zorro of tomorrow. The show was recorded live with crackling electric energy via performers who stomp and sing out loud or intimately from the heart and diaphragm to the accompaniment of Spanish and electric guitars and heroic trumpet calls in the 10-man band. The tale and ambience of gypsies and crime, romance and survival comes to us as a musical montage. Described in Broadway references, it feels like a wanna-be high-flung, high stakes hybrid of Man of La Mancha, Roza, various cathartic Andrew Lloyd Webber grand-scaled florid yelps and soaring cries ... and another cast album it might join alphabetically at the end of your shelf: Zorba—but with just a little of their iconic lasting power/universality or angst ... at least as experienced here on disc. The music credit goes to The Gipsy Kings with John Cameron billed as co-composer and adapter. (He's also the producer of this CD, a challenge due to it being a big cast big show recorded live, but the sound and ambience are just fine.) Stephen Clark is the lyricist and bookwriter (a little dialogue is included). The cast performs very well, but don't look for much subtlety. This is melodrama and big stuff: strong longing and lusty, life-grabbing, hand-clapping, foot-stomping pleasant peasant presence ("Let us live again, let us love again ... now we're fighting for our freedom" goes one lyric for a huge chorus/dance number). Strong-voiced leads Matt Rawle, Emma Williams, Nick Cavalier and Lesli Margherita try for triumphant feelings and largely succeed, even to the point of exhausting a listener, with chorus numbers with the hit-you-over-the-head repetition doing likewise here and there. It will excite and invigorate some and seem over the top obvious to others. I gave in (somewhat blushingly maybe) more than a little to the innocent plain-speaking and large-scale imploring of "The Man Behind the Mask," the romantic confessional that morphs into a tour de force of frustration a la "I Don't Know How to Love Him." A musical theatre follower must drop the mask of sophistication and art to get into this mindset and simpler kind of thing. The cries for "Freedom" and "Hope" push bonding buttons that have been pushed in other shows from Evita to Les Miserables to this year's Tony-winning score from In the Heights. Two of the big numbers that get into your brain or under your skin immediately, "Bamboleo" and "Djobi Djoba," are heard again as bonus "radio mix" tracks following the live recording if the show itself. A change of pace that is welcome and brash with some moments of barer tender solo singing, Zorro's zest and fervent Spanish splash is effective. Like its titular hero, it makes its mark. It's melodrama without much mellow, calculated (successfully) to create some chills and thrills and frills, diverting and dashing if not essential or groundbreaking. Ole! For reason of the season, we replace our usual Under the
Radar feature with ... UNDER THE MISTLETOE Here's a singer we first featured as an Under the Radar pick last December with her impressive debut album. Recently, we covered her follow-up CD ... also dances, a collection of songs associated with the dancers in movie musicals. Here she is again, with a three-song disc in time for the holidays. Her warm and cozy voice might be great to have for a gift under the Christmas tree. But since two of the three songs are about New Year's Eve rather than Christmas, we're putting her under the mistletoe.
"Maybe it's much too early in the game. Oh, but I thought I'd ask you all the same ... " do you have music lined up for your just-after-Christmas listening? New Year's Eve songs are few and far between compared to Christmas-themed lyrics or general winter tunes. Laura Wolfe has two of them to bookend her 3-song EP. In between, she salutes the signs that "it's that time of year" with the seasonal favorite, "The Christmas Waltz," whose Sammy Cahn lyric also mentions the hopes for the months just after ("Every song you hear seems to say, 'Merry Christmas, may your New Year dreams come true' ... "). Lovely-voiced Laura has a particularly warm and fuzzy sound that can be embracing in this winter chill. It's cheering but not blithely, blandly bubbly—or sticky-sweet even when singing in "The Christmas Waltz" about "painted candy canes." With an intelligence and thoughtfulness behind it, the voice never sounds just pretty and comforting, as she is certainly attentive to lyrics. Actually, I would wish and encourage going a few steps further with the darker potential lingering in the two New Year's Eve songs. This holiday, where the celebration and romantic expectations can make being a loner or rejected suitor sting so much, is explored in the two numbers where not having a happy New Year or a happy New Year's Eve is addressed. The CD's title song, the Frank Loesser classic in which the hesitant request for a date is (spoiler alert for the uninitiated, if any here) not answered one way or the other, has dramatic potential. Laura finds a middle ground between singing it with shot-in-the-dark, bleak hopes of being the chosen one and the other extreme of the rhetorical question that she will get her happy ending of the calendar year and blissful beginning of January as midnight strikes. The more recent "It's Just Another New Year's Eve" is indeed darker as written. In Barry Manilow's original recording and live performances, he presented a kind of acceptance that one must swallow that bitter pill of the night being something to get through and past. The other aspect of the song, not focusing on yourself but others who need support and encouragement—"it's just another New Year's Eve ... it's just another night ... we'll get through this"—seems to be where Laura is coming from. She's toasting the year past and the one coming, and her champagne glass is clearly half full, not half empty. I think the song's strength is the tension and drama of the gloomier expectation and a sense of struggle to see the light at the end of the tunnel—the light that isn't simply the glow of the electrified ball dropping in Times Square or the bright Christmas lights around the window or tree. This less-fraught, smoother interpretation is far less effective and a missed opportunity. But I wouldn't want to miss the opportunity of hearing Laura Wolfe sing. I think, like the holidays and their gifts, she's something to treasure.
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LIZA MINNELLI
13
ZORRO
LAURA WOLFE
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