Customer Reviews

My Flame Burns Blue [Includes Bonus CD]

5 star:		(15)
4 star:		(5)
3 star:		(1)
2 star:		(2)
1 star:		(2)

 

 

I've been an avid follower of Elvis' music since My Aim is True. Through the years he has explored a wide variety of styles, some of which worked (his brilliant early works) and some that didn't (do I have to even mention his classical forays). It's been hard to make sense of Elvis as I wondered if he was adopting more "mature" music in order to impress us with his feigned sophistication. After listening to his recent NPR CD with Marian McPartland, I began to see just how comfortable Elvis is with jazz and classical music. On My Flame Burns Blue (MFBB), Elvis pours his heart into his music, much like he did on his first few brilliant albums. It took a few listens to one of my favorite Elvis songs, "Clubland" before I could accept it as where he is musically. The other tracks also work - his voice has never sounded better. I am glad that he is continuing to present us with interesting new music - after seeing the Rolling Stones at the Super Bowl I shudder to think of Elvis at 60+ years old becoming a parody of himself. Elvis is the very rare artist that takes chances musically, seemingly paying no interest to sales figures, popularity, and radio play. How many other artists will follow this path? Don't buy the CD if you are looking for 1970's and 1980's Elvis. There will always be new angry artists being touted. It's a pity that this CD will be virtually ignored while the newest American Idol will sell millions.

First off, let me premise by saying I wasn't that big of an Elvis Costello fan to begin with. I didn't really stick around after the first couple of albums. I mainly got this one after finding out Bill Frissel plays on three of the tracks.

All I can say is that I was blown away by this disc. I don't think I've ever heard a better-quality live recording. The music is amazing. If you even remotely dabble in Jazz, swing, or big-band, you will find something here you love. "Almost Blue" and "Veil of Midnight Blue" are so incredibly tender, while "Clubland" and "Watching the Detectives" are so electric, you can't not get up and shake it. The biggest gem for me had to be "Speak Darkly, My Angel". It doesn't get much better than this.

My Flame Burns Blue is a live recording by Elvis Costello where he is backed by the jazz orchestra Metropole Orkest. The album consists of a reworking of several of his well-known songs, some his more recent material, songs he wrote for others that he never recorded and some instrumental jazz songs that he has written new lyrics for. The album sounds like it could be an experiment gone wrong, but it is yet another triumph by Mr. Costello. He is a true musical chameleon who can jump in between various musical styles with ease. The album really works due to the great interaction between Mr. Costello and the band. He doesn't treat them merely as a backing band, but allows the musicians to standout in their own right.

An exceptional live recording of Elvis Costello collaborating with Metropole Orkest this fushion of "rock 'n' jazz" (as Costello describes it)is a magical fun album. The album opens with the B-side "Almost Ideal Ideas" an also ran for one of Costello's albums that always sounded a bit awkward cast as a rock tune. Here the unusual cadence and melody fit snugly with the jazz rhythms of the Metropole Orkest. Costello recasts some of his classic rock songs such as "Clubland", "Almost Blue" and his perrienial "Watching the Detectives" mixing in a couple of new compositions including the surreal "Episode of Blonde" and revisits his classic ballad written with Burt Bacharach for their album collaboration.

The performances are, for the most part, inspired as are the arrangements done with Metropole Orkest an unusual jazz band that incorporates strings into their unique sound. Frequently Costello cohort and Attraction Steve Niever plays piano and melodica on the recording as well. Costello is in fine voice throughout the recording.

As a bonus the first edition includes an extra CD with excerpts from Costello's "Ballet After Shakespeare's A Midsummer Night's Dream". If you enjoy contemporary orchestral music you'll enjoy this generous 45 minute excerpt conducted by Michael Tilson Thomas and played by the London Symphony Orchestra. If Costello elects to leave rock he also has a potential career composing film soundtracks as the music creates a number of visuals in your head as you listen to it.

All in all a great success proving that Costello continues his restless urge to keep trying new things and have fun. We usually benefit from the process as well.

It is so hard to know what to expect of Elvis, his style changes from album to album and he is always full of surprises. Having been a jazz fan for a long time, and an Elvis fan for 25 years, I'm so thrilled that Elvis has landed in the jazz arena finally!

This album is incredible. Elvis bursts into this recording with the Mingus tune "Hora Decubitis," and the results are devastating. The orchestral arrangement alone is breath-taking and Elvis' lyrics, although rather low in the mix, fit right in with this thrilling tune. As a matter of fact, the Orkest in this first tune is one of the most thrilling jazz recordings I have ever heard! Elvis is just an ornament on this gem, the band shines through on it's own merit.

Another stab at writing lyrics to jazz instrumentals is on Billy Strayhorns "Blood Count," now entitled "My Flame Burns Blue." Again, the orchestration is beautiful and Elvis, the consummate crooner, sings his heart out while simultaneously breaking mine.

Die hard Elvis fans may or may not dig re-arranged jazz versions of "Clubland" or "Watching the Detectives" as they are quite changed from the originals, but I am quite happy with the results. The track of "Almost Blue" is undoubtedly the best ever recorded, but we always knew this song was a classic; it ages beautifully.

I still love this guy, but it has been a long time since I have found an album of his that I can't stop playing. If you are only a fan of the "electric" Elvis of the old days, then this CD is probably not for you. Highly recommended for those of us who thrilled in his collaborations with the Brodsky Quartet and Burt Bacharach.

I'm hoping this isn't a passing fad and that Elvis spends more time dabbling in this genre. I need more of this! I haven't even gotten to the bonus CD yet as I am busily replaying this one in a continuous loop.

Well, February 28th was my 16th birthday and I found out this CD would be coming out that very day. It's like a birthday present from Elvis! ... that I still have to pay for. But oh well, I'm listening to this CD now and I must say that this is really good stuff. I enjoy jazz perfectly fine when it's done right, and this is definately done right! I'll give a more detailed review once I soak it in more. Just thought I'd give my thoughts now.

My love & admiration for the work of Vince Mendoza, and my search for projects he's been involved with have led me in many different directions. Apart from some obvious places like Mendoza's own albums (some of which have been very hard to come by) and albums by the likes of John Abercrombie and Peter Erskine, they've also led me to people I would never have thought of on my own; people like Jane Monheit, Joni Mitchell, Stefano di Battista and Yuri Honing.

But although I'd heard of him, I never in a million years thought this search would lead me to Elvis Costello. I consider my musical tastes to be very eclectic but still, I would never have thought that I'd enjoy listening to an Elvis Costello CD, much less that I would actually own one.

But here we are. This CD of 14 very interesting songs sang in the jazz tradition, was recorded live at the North Sea Jazz Festival in 2004. Costello is backed by the Metropole Orkest (also known as the Metropole Orchestra), conducted by Vince Mendoza. Mendoza also arranges "That's How You Got Killed Before", "Episode of Blonde" and the title track, which is only 3 of the 14 songs but it's good enough for me. Interestingly, certainly for me, Bill Frisell & Willem Friede also arrange a song here - "Upon A Veil of Midnight Blue".

Costello is no Tony Bennett but he handles the songs with great charm and feeling. This is a singer who believes what he sings and as the listener, I in turn believe him. As I fully expected, the orchestration is sublime and there are some great trumpet, sax, guitar and cello solos. I enjoy the performance just as much as the applauding audience seems to and the more I listen to this CD, the more I find that surprising. Elvis Costello. Who would've thought? Definitely not me. So does this mean I might go on to buy more Elvis Costello CDs? It's difficult to say but it's certainly more likely now than it was before.

The very generous Bonus CD has another 18 songs, excerpts from Costello's Ballet after Shakespeare's "A Midsummer Night's Dream". I'm not a Shakespeare fan, a fan of the ballet or a classical music fan per se, but I do enjoy listening to this. Maybe it's because it features people whose work I've become very familiar with over the years. People like Peter Erskine on the drums, John Harle on saxophone, Chris Laurence on double bass, all backed by the London Symphony Orchestra.

All said and done, this is a wonderful CD full of rich and very rewarding music. I'm so glad I bought it.

Long live Elvis Costello! Long live Vince Mendoza!

Proving he just can't sit still, Elvis takes on Jazz in this live release. While there are a couple new selections to choose from, the majority of this CD is Elvis rethinking back catalog. Frankly, I am beginning to wish he'd leave well enough alone. Some of the revisions just come off as quirky for their own sakes, and the noirish version of "Watching The Detectives" just doesn't work for me.

Although what does work best are the latter day material. Songs like "Favorite Hour" (from "Brutal Youth") were made for this sort of embellishment, and "Episode Of Blonde" benefits. But "Clubland" and "Almost Ideal Eyes" just don't. It is primarily the non-Costello compositions that hold up best, like "That's How You Got Killed Before" and "Hora DeCubitus" (to which Costello added lyrics to a Charles Mingus song).

But overall, this is just Elvis Costello doing his regular exorcism of his muse. For a casual listener, this will fall into the same category as "The Juliet Letters," "North" or "Il Songo." The collaboration with Allen Toussaint is a better work, and more worth your time than this. Passable.

Odd pairings have been an integral part of the musical life of Elvis Costello for much of his career. These orchestral settings of some of his best-known compositions and some lovely relative obscurities affirms his place in the pantheon of contemporary music. While his first three albums still blaze hot on rehearing, his subsequent work has had peaks and valleys (though granted, the peaks are very high). This CD captures Elvis live, casting these songs in settings surprisingly appropriate and constantly enjoyable. "Clubland" is a success and surprising so, considering the version now etched on the memories of so many listeners, but every single song is a treat. The bonus disc enhances the cred of the man with the cajones to have snagged Diana Krall. Rock on Elvis! Long live the king!

Never an artist that can be labelled,EC's life as an expression of the music he makes is royally showcased here in the myriad of styles presented on this very interesting CD presenting so many shades of great music eras GONE BY BUT NOT FORGOTTEN that makes Elvis not only a very interesting musician but a historical personality that leaves the imprint of a man living life to its max.
I have been fortunate to listen to the man from "My Aim Is True" saw the original Attractions more than once, and like him can identify with his changes of tastes recognizing great music for what it is despite the chronology.
For starters, reworking his songs to fit at times Latin tinged,jazzy,classical,Sinatra Bacharach, countryish arrangements and balladry remains bold considering his penchant for his songwriters style as showcased on the rocking sophistry of "Trust" albums like 'Almost Blue"(country),homage to great songwriters (Painted From Memory) even his own development as a mature songwriter (Imperial Bedroom)avant garde classical(Juliet Letters)with his later work & experiments fusing that manic angry young rock and roller of the past nodding to his old Motown love(Get Happy),with the likes of Allen Toussaint in the homage to New Orleans(The River In Reverse)what came before New Orleans was this fine sounding CD paying it's due to great music in all it's manifold stripes with passion and excitement Ala Charles Mingus to the regal elegance of Duke Ellington/Billy Strayhorn.
Even the CD cover harkens back to Duke's Anatomy Of Murder(Ellington's foray into movie soundtrack), and the presented music with this jazz classical orchestra is something only a Charles Mingus was capable off so highly reminiscent of Mingus is Costello at times that it is refreshing.
An additional nod to Duke in his Shakespearean jaunts through his "Such Sweet Thunder" and major works such as "Black,Brown @ Beige" is apparent in EC as is his general appreciation of these great American jazz and big band artists in his unmistakable UK sublteties.
Such is the case of the bonus CD "Il Sogno" Suite, resembling again Duke's "Such Sweet Thunder" in theme but is pretty classical.
If any comparison can be made ,what comes to my mind stylistically and thematically are Joe Jackson albums notably(The album duplicating that early Sonny Rollins album cover) 'Body&Soul' pretty sophisticated stuff for the time,and Jackson's reworking of swing and big band for a young unsophisticated punk rock audience of the day with "Jumpin Jive".
New Orleans Dr.John the night tripper, whose involvment with great cover albums and homages to Ellington and Toussaint comes to mind as well.
EC made the grade with this one and is in good company.
I would love to hear EC do a Count Basie album with some Satchmo and King Oliver thrown in for good measure.