Customer Reviews

Keely Swings Basie Style With Strings

5 star:		(9)
4 star:		(0)
3 star:		(1)
2 star:		(0)
1 star:		(1)

 

 

On this tribute to Count Basie, Keely is accompanied by an 18-piece band and a 22-member string orchestra led by pianist/conductor Dennis Michaels. Keely definitely swings Basie-style, using his musical style to interpret timeless standards as "How High The Moon," and "Mood Indigo." The cd also includes swing versions of "How Sweet It Is" and "Can't Take My Eyes Off You," which captures and re-introduces the beautiful essence of the big-band Swing music era. Keely Smith began her career as the female singer in Louis Prima's band which recently inspired "The Gap" to use "Jump, Jive, and Wail" in one of their ad campaigns. I'm glad to see that Swing is back in swing, and this album is definitely a must-have.

Following two previous Concord releases, Keely Smith's recording career seems well set to continue its upward trend with this latest collection of big band classics. Opening with APRIL IN PARIS, Keely shows how to interpret each nuance of the song in a way very few others could. YOU GO TO MY HEAD needs a smooth rendition and this is precisely what this standard gets with the mood enhanced by the shimmer of strings which carry Keely through to completion. So many highlights prevail with HOW SWEET IT IS nicely swung, a leisurely HOW HIGH THE MOON and a forceful I CAN'T STOP LOVING YOU offering real competition to Ray Charles and his hit version. Even a nod to modern compositions succeeds with an appropriately swinging CAN'T TAKE MY EYES OFF YOU reinventing this latter-day classic. THE HOUSE I LIVE IN linked to THE STAR SPANGLED BANNER, serves as both a tribute to Sinatra's original version and a timely reminder of freedom, tolerance and strength in post 9/11 America. In other words, Keely does Basie-style in her own way, sometimes slowing the tempo down and then suddenly jacking it up to full vocal throttle with the large backing orchestra certainly receiving full marks for its superb work and benefiting from equally expansive arrangements. This definitive contribution to the return of the big-band should thrill those who are lucky enough to listen. Age has certainly not withered Keely's vocal ability or her unique phasing of lyrics and the ability to put her heart and soul into everything she does. A big band winner in every way!

Keely Smith's classic recordings of the 50's, and her straight laced vocals which contrasted with Prima's zany vocals, were always very appealing, she was like Ella Fitzgerald, but without the emotion. She had a gorgeous voice with no soul, or understanding of the words(not anywhere near as bad as per say Andy Willaims, nobody sings that shallow). However in recent times I've had the pleasure of seeing her at The House Of Blues in Hollywood, she blew me away(and I'm 24 years old) with her voice which sounds as youthfu las ever, yet she understands every word now, she has truly blossomed into a fine performer, she hits notes she couldn't hit back in 1959. She swings harder than ever, and again her voice has never sounded sweeter or stronger she sounds closer to 50, than 70 smoething. She hit notes that just had the whole audience gasping!(most of them were twenty somethings like me). This cd came out shortly after I saw her I concert, I picked it up and was impressed. Another thing worth mentioning is she still hasn't lost her charming Virginia-Cherokee accent where she pernounces "I Can't Stop Loving you" as "Aaawww Can't Stop Loving You" that was always a prt of Keely's charm. This CD is a loving tribute to Basie who Smith recorded with on radio. Smith records some of the songs with tastefully done strings, that don't at all water down the arrangements, which are in the Billy May/Nelson Riddle tradition. This cd is proof that keely is still going strong. If you don't like this cd, aw think your crazy. Aaawww think this is keely in top form(you might want to get the Sinatra one 1st, and the Sing sing Sing one last, and than a 50's compilation of her Capital years, and all of Louis & Keely & Sam Butera & The Witnesses classic 50's stuff is worth acquiring). Aaww told you what aaww think now buy the cd, and support Kelly.

Just when you think that swing is about to fade into the great beyond along comes Keely and the most dynamic group of musicians and arrangers ever to kick start the best musical era ever. Merv Griffin is right on. Keely never sounded better.
The Count, Frank and all the best must be smiling. As long as there are players like this we will be smiling too.

Keely Smith is a prime example of how alive and well the Great American Songbook continues to be today. The other reviewers have already said what there is to say about this new CD...with superb song selection, and a knockout blend of big band and strings!

Merv Griffin's brief liner notes say it all, and I'm sure the Count would approve if he were still alive. Thank you Concord Records for continuing to record such fine music!!

How is it possible for Keely Smith to sound better than ever? It's astounding that this woman, who unabashedly admits to being 74, has the voice of a singer in her prime. The voice is pure and rich, swinging when hot, longing when blue, bringing back memories of singers sadly gone. The only thing better than listening to this album is to see the great lady in person as I was lucky enough to do in Cerritos, CA recently. I promise, you'll leave the theatre to a chorus of patrons wondering how Keely could be so absolutely terrific! What a pleasure to have her around.

Following two previous Concord releases, Keely Smith's recording career seems well set to continue its upward trend with this latest collection of big band classics. Opening with APRIL IN PARIS, Keely shows how to interpret each nuance of the song in a way very few others could. YOU GO TO MY HEAD needs a smooth rendition and this is precisely what this standard gets with the mood enhanced by the shimmer of strings which carry Keely through to completion. So many highlights prevail with HOW SWEET IT IS nicely swung, a leisurely HOW HIGH THE MOON and a forceful I CAN'T STOP LOVING YOU offering real competition to Ray Charles and his hit version. Even a nod to modern compositions succeeds with an appropriately swinging CAN'T TAKE MY EYES OFF YOU reinventing this latter-day classic. THE HOUSE I LIVE IN linked to THE STAR SPANGLED BANNER, serves as both a tribute to Sinatra's original version and a timely reminder of freedom, tolerance and strength in post 9/11 America. In other words, Keely does Basie-style in her own way, sometimes slowing the tempo down and then suddenly jacking it up to full vocal throttle with the large backing orchestra certainly receiving full marks for its superb work and benefiting from equally expansive arrangements. This definitive contribution to the return of the big-band should thrill those who are lucky enough to listen. Age has certainly not withered Keely's vocal ability or her unique phasing of lyrics and the ability to put her heart and soul into everything she does. A big band winner in every way!

I've loved Keely Smith for a lot of years. This album tops anything I've heard before...........She is wonderful....
Get this.............

Incredible! This 74 year old woman can swing and sing as well as any 20 year old, and the Basie Big Band arrangements along with the recording is superb. Concord is my favorite American jazz label as far as the best recordings available, and this CD proves it. It's so good that it can easily be mistaken for an SACD. So if you enjoy jazz singing and big band you'll love this CD.

The newly issued collection, "Keely Smith: The Essential Capitol Recordings," is as essential as this one is expendable. "Keely Swings Basie Style" proves that her voice has held up over the past half century to a greater degree than practically any other jazz or pop singer who comes to mind. But the material comes off as tired and a bit stiff, and the attempt of Concord (or some clueless promoter) to "sell" it with some introductory and concluding hyped-up recorded announcements (more Howard Cosell than Ed Sullivan), comes off as camp, simply confirming the formulaic or contrived quality of the session. And whatever possessed her (perhaps that supremely wise promoter) to do Sinatra's patriotic hymn "The House We Live In" on an all-Basie program remains a mystery. Finally, appending "With Strings" to "Basie Style" all but swamps this clumsy beast. Basie may have style, but the same can hardly be said for Keely's production team.