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Given the number of 'classic' Broadway songs that have issued from his pen, it is amazing that Maury Yeston has only written two full Broadway shows (Nine and Titanic) plus songs for a third as 'show doctor' (Grand Hotel), and has only one other widely done regional show (Phantom). Toss in a song cycle (the Schubert Die Winterreise inspired December Songs, which was commissioned for Carnegie Hall's centennial), a show that has had perhaps more title changes than productions (the currently entitled In the Beginning) and a smattering of pop songs (including the top 40 hit, "Till I Loved You," from Goya: A Life in Song) and you have a career that rivals William Finn in terms of a quality to quantity ratio.
Alice Ripley starts the album with an evocative rendition of the deceptively simple yet emotionally complex "Please Let's Not Even Say Hello" from December Songs. She is, however, less successful with "A Call From the Vatican" (Nine), which does not quite fit her vocal or emotional register. Brent Barrett gives lovely performances of "Only With You" (Nine) and a beautifully tender "New Words" (the one song from In the Beginning to have achieved any sort of 'break-out' status). Betty Buckley gives her powerhouse all to "Be On Your Own (Nine), which is as oddly effective as it is over-the-top, and displays her storytelling best on "I Had a Dream About You" (December Songs). Liz Callaway delivers perhaps the best interpretation of "Simple" from Nine that I have heard, as the song perfectly fits her voice and the simplicity of her delivery and John McDaniel's piano arrangement are simply superb. Brian d'Arcy James likewise scores with an understated interpretation of "Unusual Way" (also from Nine). The true highlights of the album, however, are its obscure songs. Three numbers from Yeston's non-theatrical trunk make for especially welcome additions: Laura Benanti (currently in the Broadway revival of Nine) shines in an almost Jerome Kern sounding "Now and Then" and Johnny Rodgers is equally effective on the melancholic "Danglin'," which more than a little recalls James Taylor in terms of performance and material. "Another Day in the Modern World" (performed by Michael Holland) is an intriguing hybrid of Yeston's pop and theater sensibilities. Equally thrilling are two songs from In the Beginning, which, I believe, are premier recordings: Eden Espinosa soars on" Is Someone Out There?," a number that acts as an emotional counterpoint to "The Spark of Creation" from Stephen Schwartz's similarly themed musical, Children of Eden, and "You're There Too," sung by Christopher Fitzgerald, a charming love song that ranks among Yeston's strongest numbers with its deceptively intimate look at a relationship.
The real treat on the album (aside from Kennedy's clear, charming vocals) is the inclusion of four premier recordings. "And I Will Follow," the only number written for an aborted adaptation of Oscar Wilde's The Canterville Ghost, makes its U.S. premiere here and is a driving song that would have been right at home in The Last 5 Years. "Dreaming Wide Awake," written for a 'yet to be revealed' musical, is a soaring anthem perfectly delivered by Kennedy. "Letting You Go" represents a surprising departure for Brown as it is a simple, unadorned introspective number that is incredibly powerful, especially with Kennedy's understated delivery. A similar number, "If I Told You Now," a song that was nominated for a MAC Award this year for Best Song (and surprisingly enough lost), is my favorite number on the disc, with its tender, haunting examination of a doomed relationship.
Without ever recalling Doris Day vocally, Oberlin possesses the characteristics present in that iconoclastic singer: a clear voice refreshingly free of ornamentation that delivers each song with vocal purity and emotional honesty. Straddling the fence between jazz and traditional cabaret (thanks, in no small part, to music director Ted Firth's delightfully breezy arrangements), Oberlin treats each number with the care of a master jeweler handling a fine gem. Highlights include a gently knowing "Nobody's Heart," a swinging rarity "Tulip or Turnip," and a wistful "We'll be Together Again," although there is not a weak track in the lot.
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