Customer Reviews

Taking a Chance on Love

5 star:		(36)
4 star:		(17)
3 star:		(4)
2 star:		(4)
1 star:		(2)

 

 

Jane Monheit has a lovely -- if not quite beautiful -- voice that she puts to fairly effective use on most of the songs on this album. I have to agree with a previous reviewer that her diction tends to be a bit distracting ("fer" for "for" is only one example) as she wends her way through some of the most beautiful popular songs of the twentieth century. I also have to say that in some cases she seems to be singing the words to the song, but not the song itself; in other words, she doesn't seem to have a consistent emotional investment in all the songs, and the investment she has, in most cases, isn't very convincing. Nevertheless, whatever quibbles and criticisms I might have concerning Jane's voice and delivery are overcome by what I must say is her absolutely impeccable taste in music: Cole Porter, Burton Lane, and Harold Arlen among other tin pan ally greats are well-represented on the album, and Jane provides her most moving work on the gorgeous, glorious and too-seldom-heard "Too Late Now." Actually, this song was the reason I bought the album, and I definitely feel that I got my money's worth. And, by the way, maybe some other of today's "girl singers" will take a tip from Jane and start singing great songs instead of the drivel on which most of them are wasting their, in some cases exceptional,talents.

Come Dream With Me and Never Never Land were so, soooooooooo good, but Jane put the fear of God in me with that clunker "Into The Sun".

Oy vey, did I ever think my days of dreaming out my window at 2am and tripping on old love songs had come to a cruel and ignoble end with that debacle.

There is indeed a God, however. Jane is back and as good as ever with this worthy collection of titles. Thank you, thank you, thank you!

To be honest, "Bill" is worth the price alone. She just hits it on that song, I've listened to it at least 15 times so far, and call me a sentimental old fool but I still get goosebumps...

Throw in "Too Late Now", and you've got two songs that are just about perfect. The rest of the CD is just a wonderful bonus, as far as I am concerned. I really like everything else except "Honeysuckle Rose".

I think Jane came out of the gate strong with her first two CDs, fumbled with "Into The Sun (sorry, but I just DON'T "get it"...), and has really bounced back here. She's a wonderful voice, and I can only wish her godspeed. I'm hoping she keeps on picking the kinds of songs she does best, because I can't get enough of her!

Jane Monheit, who is greatly influenced by the First Lady of Jazz, Ella Fitzgerald, glows in this recording produced by two of the renowned names in the music and recording industry, Peter Asher (famed Peter & Gordon) and Al Schmitt. Ms. Monheit could well be among the newest divas in the jazz scene today. Her voice has a classic touch and her interpretations of these gorgeous and timeless standards are so remarkable.

My personal favorite tracks are the following:

"TOO LATE NOW," an Alan Jay Lerner/Burton Lane composition. It's worth not only a listen but also multiple listens. The music and words, the soprano saxophone by Joel Frahm, piano and arrangement by Michael Kanan, drums by Rick Montalbano, bass by Orlando Le Fleming and Jane Monheit's rendition make this song a real winner.

"Too late now to forget your smile
Too late now to forget your voice
Too late now to imagine myself away from you
All the things we've done together
I relive when we're apart
All the tender fun together stays on in my heart
How could I ever close the door
and be the same as I was before?
Darling, no, no I can't anymore
It's too late now."

"EMBRACEABLE YOU," one of the most popular compositions of George & Ira Gershwin. This track is just fabulous and charming, accompanied only by the terrific guitar playing of Romero Lubambo. Another track that deserves endless listens!

"IN THE STILL OF THE NIGHT," a Cole Porter classic rendered beautifully with a bossa nova touch, orchestra conducted by Jorge Calandrelli.

"DO I LOVE YOU?" another Cole Porter gem, arranged and conducted by one of the finest and talented musicians of all-time, Alan Broadbent.

"TAKING A CHANCE ON LOVE," a Vernon Duke/John Latouche/Ted Fetter composition. A super upbeat and jazzy interpretation arranged by Michael Kanan, whose piano playing is so sublime!

"LOVE ME OR LEAVE ME," a Walter Donaldson/Gus Kahn composition. Nice arrangement by Christian McBride.

"I WON'T DANCE," a duet with Michael Bublé, a new singing sensation himself who greatly contributed in the success of this project. This is one of the best tracks and my special favorite from a great songwriting team of Jerome Kern & Dorothy Fields.

"OVER THE RAINBOW," a bonus track. Harold Arlen and E.Y. Harburg composed this classic made popular by Judy Garland. This wonderful track was backed by an orchestra arranged and conducted by Ed Shearmur. To me, it is by far the most beautiful rendition I have ever heard. This is truly a testament of Ms. Monheit's impressive vocal prowess.

A splendid CD. I graciously recommend it for your listening pleasure!

Billie, Ella and Sarah were great singers of their time although Billie is better appreciated now than in her lifetime while Ella and Sarah took a decade or two to really establish their reputations. This is only Jane's fourth album so maybe she has time to win over the critics yet. Jane won me over with her very first album - her magnificent voice enabling her to record wonderful interpretations of classic songs. This album provides further proof of Jane's brilliance.

The set begins in upbeat style with a great version of Honeysuckle Rose (the Fats Waller classic) with simple but brilliantly effective accompaniment by Geoffrey Keezer (piano), Christian McBride (bass) and Lewis Nash (drums). Next comes the first of three Cole Porter songs on the album, the superb ballad In the still of the night, this time featuring an orchestra conducted by Jorge Calandrelli. Third up is the title track, a bight and breezy song featuring five musicians - Michael Kanan (piano), Orlando Le Fleming (bass), Rick Montalbano (drums), Donald Harrison (alto saxophone) and Miles Okazaki (rhythm guitar). The fourth track is an outstanding ballad, Bill, in which Michael Kanan on piano is the only musician backing Jane. It works superbly. Very different but equally brilliant is the next track, I won't dance, a duet with Michael Buble with an eight-piece horn section and three other musicians.

Thus, the first five tracks are all performed with very different musical backings but each is brilliant in its own way. Somehow, the album hangs together despite the contrasts. This highlights the brilliance of the co-producers, Peter Asher and Al Schmitt. Pop and rock music know about Peter Asher - he started as one half of the singing duo, Peter and Gordon, in the sixties before becoming a record producer. He first made his name as James Taylor's producer before becoming more famous for his work with Linda Ronstadt. I haven't followed his career since then but I'm glad that he's still producing great albums.

The remainder of the album is equally brilliant. Too late now is an excellent ballad featuring four musicians. Next are two Cole Porter songs - Why can't you behave (a great mid-tempo song also featuring four musicians) and Do I love you (a wonderful ballad featuring an orchestra conducted by Alan Broadbent). Then comes a truly inspired version of Love me or leave me, with five musicians. First recorded by Ruth Etting, most people know this from the Doris Day version - she actually recorded it for a tribute movie about Ruth's life, which had plenty of tragedy mixed in with her success. Next is Embraceable you, in which Romero Lumumbo, a guitarist, proves the only musical support for Jane. Dancing in the dark, another classic song, features an orchestra conducted by Vince Mendoza.

Over the rainbow complete an outstanding album. I know -you've heard way too many versions of Over the rainbow and nobody can beat Judy Garland's version. Maybe so, but Judy didn't have the advantage of modern recording technology. While I love Judy's original I know that some (not all) younger listeners, accustomed to the superior sound quality of modern recordings, are unable to accept the limitations inherent in old recordings. Such listeners may prefer Jane's recording. I don't, but I do enjoy it. Actually, if you really want to hear a distinctive version of this song, I recommend the world-weary version that Jerry Lee Lewis recorded in the seventies. It ain't jazz (it's country) but it sure is different from Judy's original. Jane's cover is much more faithful to the original but I love it anyway. Then again, I never tire of hearing the song and I've heard plenty of versions.

I love the traditional ladies of jazz (Billie, Ella and Sarah among them) but there are plenty of great ladies recording great jazz music these days. The influences are there but the current singers all have their own identities. Jane is among the finest of the singers currently around (whatever the critics might say) and seems destined to remain so for many years to come, judged on this album.

Miss Jane Monheit has been called the Queen of Retro by a jazz critic, and seems to get great reviews everywhere she performs. I saw her several years ago at Catalina's in LA, when she was playing small clubs, there I was able to chat with her backatsge, and found her to be very pleasant and bright. Her voice is sort of a female version of Tony Bennett, meaning it's warm, and sweet, and she knows her dynamics well. Her style is very retro like a cross between Lee Wiley & Rosemary Clooney(both artists she told me she listens to). This cd is her finest yet, and features all standards. The highlights include I Won't Dance, Dancing on the Ceiling and Bill. I saw her several weeks ago at a large theatre at UCLA, and she still made time to speak with me after the show, so her fame hasn't gone to her head, she has also started to scat sing, though not with too much emphisis on improvisation, she's getting better each year. Jane is the next Rosemary Clooney of our generation!!!

Her debut cd Never Never Land was impressive, and then after that each release got more and more pop oriented, until now, Jane has gone back to her jazz roots, showing she has matured into scat singing, and scat phrasing. Although her scatting could be a little more adventurous, she is more a cocktail jazz singer like Rosemary Clooney and Chris Connor were in the 50's. Monheit's voice is amazing and her range is marvelous. Her prasing is that of a 1st class jazz singer! This cd has songs from movie musicals of the 20's and 30's, the material is exellent ffrom I Wont' Dance to Dancing on the Cieling and Too late now. Exellent music that even eclipses her debut!

I love Jane Monheit! I love Michael Buble! To hear the two of them together is magic.
Not only beautiful, Jane has the most beautiful voice and is a treat to listen to. Every song on this cd is enjoyable, and as I said, her duet with Mr. Buble just takes my breath away. I have watched their video countless times and would love to see and hear them do more together.

Jane Monheit's third outing is also her first on Sony Records, and Taking A Chance On Love is so far her best album to date. The arrangements are a lot more stronger and there's a lot more energy and zest in the songs. And she really wraps her brilliant vocals around a collection of standards, many taken from MGM musicals, which she enjoyed watching. An orchestra, in particular the strings, enhances many of the songs here, making this stronger than Come Dream With Me.

The opening jazzy bass line on her vivacious cover of Fats Wallers' "Honeysuckle Rose" shows a revamped Monheit, getting into the swing of things and even doing some scat lines. She covers three Cole Porter songs here. Of the three, the light samba of "In The Still of the Night" with orchestral accompaniment, is my favourite, as it highlights Monheit's vocals at their vibrant best. She adds a bit of slinkiness in "Why Can't You Behave?" and the orchestral ballad "Do I Love You?"

She really gets into the optimistic and romantic title track, likening love to a card game "where the ace of hearts is high" which benefits from the sprightly piano at the beginning and alto sax solo in the middle. Grudgingly, one of my favourites, given the subject matter. More entrancing is the piano only ballad "Bill," taken from Showboat and written by Hammerstein, Kern, and P.G. Wodehouse, which demonstrates her great voice to a tee.

A cover of "I Won't Dance" from the Astaire/Rogers movie Roberta, yields a duet with Michael Buble and a really snazzy brass section, although some might cringe or let pass the rhyming couplet "Heaven rest us, I'm not asbestos." The same energy is shown in "Love Me Or Leave Me," the title track from the Doris Day movie on the Ruth Etting story. A pair of alternating saxes, Donald Harrison's alto and Joel Frahm's tenor is a highlight of the song before the bass kicks in.

Since hearing Irene Cara singing it in City Heat, and the orchestral version in Woody Allen's Manhattan, George Gershwin's "Embraceable You" is a memorable tune with me, and what better than Jane Monheit to do it, albeit with only an acoustic guitar for accompaniment. Then comes "Dancing In The Dark" from The Band Wagon, where she goes from slow and quiet to soaring and vibrant, as are the strings.

The version of "Over The Rainbow" from Sky Captain and the World of Tomorrow is on this album, and the swirling orchestral arrangements make this a notch over the version she had on Come Dream With Me.

So take a chance with Jane with this album. Nice vocals, awesome music, and she's very pretty to boot.

Apparently, being an incredibly talented singer is too boring for those reared on novelty acts and bizarre, marginal voices. Perhaps if she had the voice of a drunken demon like Macy Gray or the Drano throat of Rod Stewart or the often (and strangely) barely audible whispers of the ever-present Diana Krall, then such mediocrity would satisfy some of the other reviewers here who seem to thrive on that. Does matchless beauty so threaten mere mortals that they lose the ability to even recognize the greatness before them? Judging from her work so far, Ms. Monheit is destined for legendary status. Avedon would take her picture. Warhol would paint her. The unequalled gift of this angel will eventually silence her petty detractors.

This album of songs is another chest of treasures from Ms. Monheit's obviously inexhaustible supply. There are so many notable tracks; it is difficult to lift out particulars on which to comment. "Dancing in the Dark" with its lush production is a particularly stellar vehicle for Ms. Monheit's instrument. This is a youthful, vibrant, embracing voice which sometimes reveals its most pleasing characteristics on subsequent hearings. I was first smitten with it on a lazy afternoon browsing at Borders when I heard a sample song from her 2001 release "Come Dream Me." The song was "Spring Can Really Hang You Up the Most" and I was floored. It was shock and awe to my senses. I was hooked on Monheit.

I highly recommend this album. There is a pleasing duet with Buble that takes Monheit to Vegas (where he mostly lives.) "Do I Love You" makes a mean old fool remember when he first fell in love. On "Bill" the solo piano combined with Monheit outshine any orchestra and strangely, made me badly wish I was named "Bill."

This is vintage Monheit - the sultry voice over the patter of bass and drum with an occasional additional instrument thrown in every now and then. It is the vocal gyrations, the pure sounds, that carry the recording forward.

Unlike other recordings, I cannot pick out any particular song that stands out - they are all superb. The lush, symphonic-like arrangements (I love 'em) are missing as are the ballades that soar to the stratosphere with ebullient sound. Nor do we find any of her now-famous Portuguese renditions that seemed on yet another plane. Instead, this is vintage jazz, excellent intonation (a skill she shares with Tierney Sutton and Cheryl Bentyne), and a sense of rhythm vaguely reminescent of Sinartra's. But all that aside, Ms Monheit is a wonderful performer in her own right. She has withstood the slings and arrows of those who do not recognize potential greatness and she did this with grace.