Customer Reviews

American Song

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Forgive me and indulge me, dear reader, while I gush a bit....

As I was saying just the other day viz. Cheryl Bentyne's "Talk of the Town", there's nothing wrong with doing an album of standards from the "Great American Songbook" that have been done a bazillion times before--provided they're sensational.

Along comes this album. These are standards, done a bazillion times before (leaning heavily towards Duke and Billy). They are, in fact, sensational--and so is Andy Bey.

If you're not familiar with him, Andy Bey is one of the most remarkable non-classical singers around. He has three vocal ranges--not two, like most singers. His mid-range has a soulful vibrato, his high-range has the power of a Verdi baritone, and his low range comes from a submarine. All three are as equally clear. Check out "Never Let Me Go" (mid-range), the second chorus of "Speak Low" (high range) and "Midnight Sun" (low range), and you'll hear exactly what I'm talking about. Then check out "Satin Doll", where in the one phrase "Switcharoonie", he glisses through all three. He's incredible.

And the arrangements! Oh, my Lord! Here, "Angel Eyes" is done with just Andy, acoustic guitar and percussion--perfect instrumentation for the selling of a quintessentially sad song. Then, you have the most original cover of "Caravan" since Lambert, Hendricks & Ross; "sinewy" sort of begins to describe it. Aided by a terrific horns chart of Geri Allen's, you can hear the "aurora borealis" Andy sings about in "Midnight Sun." Then, in "It's Only a Paper Moon," on the first chorus he sells the song as smoothly as Nat King Cole; but on the second chorus he sounds as soulful as James Brown. And, I guarantee you, you've never heard "Speak Low" performed like this! (Just for fun, get the Michael Crawford album that has "Speak Low" on it, and play that cut, then play this one. You'll be amazed at how a great cabaret singer and a great jazz singer can make the very same song so uniquely his own in two disparate styles).

It's April, so I know it's premature to say that this is the best vocal album of 2004. But I can't imagine who or what is going to top this. I can say that this is in my top 10 of the past 20 years, already.

It's a shame that one of Jazz' great male vocalists is still living in relative obscurity but that hasn't stopped his core following from eagerly anticipating each release.

Many may question the point of yet another interpretation of the Great American Songbook. However, this CD exemplifies that true jazz artistry lies in telling old stories in a fresh new way. Here, Andy's collaboration with Gerri Allen has yielded some magical moments, covering uncharted territory in otherwise well-worn standards. His luxuriously rich baritone, supported by a superb musician cast, is reaching a level of emotional quality that breathes new life to material interpreted to death by countless others.

The quality and wit of the arrangements makes it difficult to pick one song over the other. With his trademark understated intensity, Andy imbues so much feeling into each song that it's hard to have "American Song" playing as mere background music. My personal favorite is Weil's "Speak Low": It begins with his familiar intimate vocal stylings, but finds unexpected heights with some blues-infused belting, which adds a seldom-heard aching quality to the lyrics.

Since "Ballads, Blues and Bey", every CD seems to be called Andy's comeback album. Truth is, he never went away. Andy clearly has the respect of his peers; he won the "2003 Jazz Vocalist of the Year" award by the Jazz Journalists Association. Always on the verge of greater recognition, "American Song" may now become his well-deserved public breakthrough.

I just happened to pick this CD up out of curiosity and am embarrassed to admit that I hadn't heard of Andy Bey before. Comparisons to the life and career of a Little Jimmy Scott come to mind, and I hope that Mr. Bey will soon receive just recognition.

Listening to "American Song" will make you forget about the easy listening attempts of a Rod Stewart or a Cindy Lauper - this is the real deal! A phenomenally rich and supple voice paired with exceptional musicianship. To me, true Jazz singing was always about conveying sincere emotion, and Andy Bey gives you the heart and soul of each single tune.

Sick and tired of anemic "lounge"? Treat yourself to this gem! It won't leave your CD player anytime soon and it's a must for any serious jazz collection.

So...slap it in your cart. This guy's voice is remarkable ; and the choice of material is superlative. Great CD to listen when the lights are low , with a beverage of choice , and partner of choice. So , simply indulge yourself !

It's a shame that Andy Bey is little known outside of jazz-vocal enthusiast circles, because his artistry has the capacity to connect with a broader audience -- possibly even in the manner of a Fitzgerald or an Armstrong. Heady comparisons, to be sure, and Bey's vocal signature isn't as singular or as immutable as those great artists' (for a start, he doesn't display much wit). But for most of "American Song" -- recorded when he was 64 -- he's virtually as commanding as either. Yes, the first-rate (or better) material helps, but in its occasional overfamiliarity it's also a snare, one that Bey gracefully sidesteps. His warm-bath baritone seems merely to be sidling up to the lyric, and his phrasing continually surprises without crossing the line into show-off territory. So a song may be half-over before you realize that he's cut to its core. He revives the warhorses -- and what a gift to hear these great numbers anew. The arranger, Geri Allen, supplies spare yet sensuous backdrops for the singer's dark-toned readings. (It's perhaps the most artful make-out disc since Coltrane and Hartman's.) And if Bey doesn't quite mint a new take on the trickiest lyric here, Strayhorn's "Lush Life," he takes flight with a vocalese coda as eloquent as the melody.

"The centerpiece of course is, Bey's voice. In richness of texture and purity of sound, his timbre recalls the late Sarah Vaughan, his fellow Newarker and long-time friend. His singing voice is a natural marvel." ~ David Ritz ~

I received this wonderful CD as a Christmas gift from a good friend of mine. It's one of the most cherished gifts I have received last year. After listening to it, I confidently concur with David Ritz that Andy Bey's "singing voice is a natural wonder." He has the perfect description of Mr. Bey's musical asset.

Gifted with unparalleled, innately charming and pleasing voice that speaks of great composure and self-assurance, and piano skills to boot, Andy Bey takes ten self-chosen standards from the pens of Johnny Mercer, Duke Ellington, Billy Strayhorn, Harold Arlen, Kurt Weill, Jay Livingston, to name a few, and interprets them in glorious settings. The entire disc is such a lovely musical adventure from the eternal beauties of "Midnight Sun" and "Speak Low" to the unstoppable charms of "Satin Doll" and "Angel Eyes."

Listen closely with your undivided attention and let him serenade you with his cool, smooth as silk, velvety soft and mellow kind of voice with the able support of his band namely Geri Allen (piano), Frank Wess (sax/flute), Dwight Andrews (clarinet/flute/sax), Vernel Garnet (trumpet/flugelhorn), Steve Davis (trombone), Paul Meyers (guitar), Kiyoshi Kitagawa (bass) Mark McLean (drums) and Mino Cinelu (percussion).

This is my first exposure to Andy Bey's notable artistry and as a result I have added him to my very own book of "Who's Who In Jazz." His talent and versatility should never be unappreciated and underrated. If you enjoy listening to some of the most remarkable voices in the history of vocal jazz and appreciate the Great American Songbook, this is one great album to add to your collection.

Where to start?? I will keep it simple. I'm a professional saxophonist and have the typical dose of skepticism that most jazz instrumentalists have toward singers. But I am absolutely knocked out by the singing of Andy Bey. He is truly, truly an original voice. Warm, sensuous, thoughtful, insightful. The basic mood is mellow but it is so rich it is like drowning in dark chocolate. This is the type of performance that can only be given by someone who has been doing this a long, long time. Anyone who doesn't like this just doesn't get it.

I have never heard a bad note from Andy Bey, whether live or on record. His ability to mine and reinvent the American songbook is exemplary. Tunes that seem to have been recycled ad infinitum, become fresh in each of his interpretations. To me there is balance, grace and a depth of nuance and sophistication that comes together with his singing and accompaniment that is reminiscent of Nina Simone's gifts. American Song seems like the anticipated sequel to, "Ballads, Blues and Bey"; and an essential addition to anyone's collection who is interested in the American Song Book, jazz song and Andy Bey. The yang to this ying would be the live album, "Ain't Necessarily So." Do not let this American Original Musical Genius go unheard!

This is my first Andy Bey exposure, and I can agree that he is highly skilled. His voice is quite distinctive, and may be an acquired taste that hearing only one CD a few times won't fully achieve. Mr. Bey chose to do only ten songs, and stretch each one out for an average of six minutes. I would have preferred a few more tracks, with each a bit tightened up. I also would have liked a couple more uptempo performances. That criticism aside, what he does here is done quite well. I have a large collection of jazz standards by vocalists, however, and there are other artists and albums I prefer to this one. Frank Sinatra, Tony Bennett, Johnny Hartman, and Joe Williams all have fine, in-print CD's with similar effect to Bey's effort. The small group accompaniment on Bey's CD deserves mention, and if you like men singing romantic jazz, this won't disappoint you.

Excellent cd to listen too Andy Bey out did his self I would recommend this cd as a must buy