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Let's Misbehave: Cole Porter Songbook

4.2 out of 5 stars 28 customer reviews

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Editorial Reviews

Product Description

Multiple Grammy Award®-winning artist Cheryl Bentyne (of Manhattan Transfer fame)
sings Cole Porter on this jazz vocal gem! When multiple Grammy®-winning singer Cheryl
Bentyne (Manhattan Transfer, Bobby McFerrin)
sings Cole Porter, humorous, sexy, and mysterious
sides all shine through!
Believed to be James Moody s final recordings prior
to his passing.
Winner of four Swing Journal Awards from Japan
the lady can sing!
A member of the Manhattan Transfer since 1979,
Bentyne s beautiful voice, wide range, versatility, and
impressive stage presence made her a major asset for
the popular vocal group from the start.

Review

Her voice is full of light, but that doesn t mean lightweight.
Bentyne s a wise stylist and there s nothing chilly about her
soprano; she has an inviting warm vocal tone. --Billboard

The results are glowing ... Bentyne has created a song cycle
here as warm and luxurious as an inviting bath. --Atlanta Journal Constitution

Cheryl has one of the best voices in the business, possessing
a musical intelligence with an abundance of heart which
makes her sound compelling. --JazzNow

The results are glowing ... Bentyne has created a song cycle
here as warm and luxurious as an inviting bath. --Atlanta Journal Constitution

Cheryl has one of the best voices in the business, possessing
a musical intelligence with an abundance of heart which
makes her sound compelling. --JazzNow
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Product Details

  • Audio CD (August 14, 2012)
  • Number of Discs: 1
  • Label: SUMMIT RECORDS
  • ASIN: B008BRC7LE
  • Average Customer Review: 4.2 out of 5 stars  See all reviews (28 customer reviews)
  • Amazon Best Sellers Rank: #112,601 in Music (See Top 100 in Music)

Amazon's Cheryl Bentyne Store

Customer Reviews

Top Customer Reviews

Format: Audio CD
9-time Grammy-winning jazz vocalist/arranger Cheryl Bentyne once again steps away from the legendary 'Manhattan Transfer' foursome for her latest solo project based on composers of the Great American Song Book. Making a triumphant personal return, she serves up 14 slices of the Cole Porter song book on this recording. Using her hip, rangy soprano, she is a paragon of phrasing, intonation, a wondrous vibrato, and infectious swing, while giving her cohorts plenty of solo room based on interesting arrangements. She is surrounded by a superb group consisting of guitarists Tom McCauley, Octavio Bailey and Larry Koonse; Corey Allen on keyboards and banjo; Doug Webb on reeds; Chris Tedesco on trumpet; bassist Kevin Axt also on tuba; Dave Tull on drums/percussion; and 2 heroic performances by the late jazz tenor sax giant James Moody in one of his final recorded appearances. The 'best of the best' begins with a fiery "You'd Be So Nice To Come Home To" that starts with Bach-ian allusions. Then there's a mysterious, personalized "I Love Paris" and "Begin the Beguine". A sizzling latin-tinged "My Heart Belongs To Daddy" also has a hot Tedesco latin trumpet solo. A quick tempo "It's Alright With Me" has some sensational Bentyne and features a great guitar solo. James Moody comes out swinging on a sizzling "What Is This Thing Called Love" with Cheryl jumping in mid-song with gusto, singing on the arc of her voice. A wonderful "All of You" is a nod to Bentyne's 'Manhattan Transfer' roots in a 'vocalese' treatment of one of the most famous Miles Davis solos of them all-a great vocal and sax performance. And Cheryl turns 'flapper' with a 'Charleston' bounce on a wildly-swinging "Let's Misbehave", with period instrumentation and sound. Cheryl Bentyne shows off her zestful, inventive singing style on "Let's Misbehave" and it gets better with each listen. My Highest Recommendation. 5 IMPASSIONED Stars (14 tracks: Time: 55 mins, 44 secs)
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By LAW on September 18, 2012
Format: Audio CD Verified Purchase
This is definitely one of the best vocal jazz albums release this year. Scratch that, it's one of the best jazz albums release this year. Her voice is clear, crisp, swinging, sensitive, and seductive. Her joy and love for Porter's music and lyrics is evident on every track (sometimes i swear I can actually HEAR her smiling). Bentyne has now released two EXCELLENT "Song Book" albums ("The Gershwin Song Book is the other). Here's hoping another one is on her to do list.
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Format: Audio CD
Some reviews are so incredibly easy they literally write them self...

Such is the case with the latest from Cheryl Bentyne, Let's Misbehave The Cole Porter Songbook.

I would be remiss if I did not mention that this is apparently the last recording featuring the legendary James Moody before his passing, as with so many legends he will truly be missed.

This is not Bentyne's first go at the work of Cole Porter as in 2000 she recorded and released an album from her musical review based on the music and wit of Cole Porter, Dreaming of Mister Porter. With Let's Misbehave, Bentyne works her magic straight from her wheelhouse. The particularly nice aesthetic to this release is that the arrangements are for the most part very traditional. Bentyne does infuse a bit of Manhattan Transer influence into "You'd Be So Nice To Come Home To." The classic "Night and Day" opens with a tasteful reharm with just the slightest tweak to make the tune her own but with an obvious deep and abiding respect from the iconic songbook from which she sings. The disc opens with "Love For Sale" and with impeccable phrasing and timing, Bentyne again takes full command of this legendary body of work and turns for what some might consider tired and predictable vocal jazz into a wonderfully entertaining release. As Bentyne approaches sixty her voice is in fine shape and there is plenty of gas still left in the tank. This is simply old school vocal jazz brought up to speed and made incredibly entertaining by a vocalist attempting to offer up a little something special for everyone.

To find fault with this recording would be taking hyper-critical to the next level. Not much to say here, after all it is Cole Porter.

A classic!

Brent Black [...]
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Format: Audio CD Verified Purchase
I purchased this disc along with several other recently released jazz vocalist albums (2012), and while all are quite good, this one stands out as the best of the lot. Bentyne always swings, always delivers her interpretations of the Great American Songbook with warmth and humor, and she always has fun. With the music of Cole Porter, she delivers all that and proves once again to be one of the premiere jazz vocalists of this or any other era. The production is top notch too, with sidemen who know a thing or two about how to play this music, and recording engineers who captured each song with clarity and good taste. In short this is one Fantastic disc. I can't say this is the definitive album of Porter's music, but if there is one to surpass it, that album has yet to be released. Highest recommendation.
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Format: Audio CD
I discovered Cheryl Bentyne as a "solo" jazz singer only in this millennium. Before then, she was one of the two exquisitie, versatile female members of "The Manhattan Transfer." But when I heard the album Talk Of The Town, I immediately realized I'd have to add another singer to the list of supreme divas who loom larger, when compared to Ella, Sarah, etc., than any other musicians who strive to keep the torch burning, maintaining the legacy not only of their mentors and direct inspirations but of "authentic" jazz and the Great American Songbook with which the music has, from the very beginning, been inseparable.

In short, Cheryl belongs to an elite group of singers who have every right to claim Ella, Sarah, Billie (among others) as their forebears. Previously, I had listed Ann Hampton Callaway and Roberta Gambarini as modern-day vocalists who manifested at least 2 of the three requirements for inclusion among the aforementioned exclusive group--the vocal virtuosity, technique and comprehensive knowledge of the songbook possessed by Fitzgerald; the vocal equipment, improvisational technique and seemingly superhuman "stamina" of Sarah (who maintained the strongest breathstream to her final days); the phrasing, elocution and "believability" of Lady Day (and I'm thinking primarily of her pre-50s recordings of the Songbook).

Callaway and Gambarin have their respective strengths as does Cheryl, whose voice is the most "joyful-sounding" of the newest trinity of modern-day jazz singers.
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