As the subtitle The Many Moods of Martha Lorin promises, tracks are variously dreary or cheery…deep in despair or devil-may-care…sweet on romance or soured by its disappointments. Don’t Slam That Door actually opens the door to Martha Lorin’s past recordings. Tracks were done over the course of 25 years—1980 brought her first vinyl record album. Several numbers come from that prophetically titled effort, The Best Is Yet to Come. The younger, higher, brighter, lighter sounds are rather different than the sultry and commanding persona and deliciously dusky-voiced Lorin of recent vintage. Witness the marvelously mature “Last Night When We Were Young,” (Arlen/ Harburg), accompanied by Russ Kassoff, an outtake from their recent CD.

Some tracks are actually demos made over the years, a couple come from the CD Come Walk with Me, and a couple of titles that ring a bell have been released on CD in other versions. Confused yet? The patchwork collection doesn’t flow well, feeling like the assortment of odds and ends (and beginnings) that it is. Numbers that are downbeat, but feeling good going down, include the familiar “You’ve Changed” (she has!). Tinged with regret and tinted blue, the most rewarding moments involve deep emotions and deeper tones.

Nine of the 16 tracks were co-written by the singer, some meandering but attractive. Five of those have melodies by early collaborator Frank Collett—“Coney Island” is their most affecting. The title song’s writing partner? Martha’s mother, Margaret Dalton, a jazz singer herself.

Certainly the collection contains much warm singing imbued with intelligence and strong jazz sensibilities—those Lorin trademarks are often present. Over 20 musicians are simply listed, but not matched to tracks or instruments. Producer Ralph Lampkin, Jr. remixed and remastered and rethought, with cabaret fixture and Cabaret Scenes’ frequent photo contributer Maryann Lopinto as co-producer. Those of us who admire and own much Martha Lorin music will want it all, to catch this catch-all, too, more valued because she’s only recorded a handful of CDs in her career. Don’t Slam That Door may not be a grand slam, but it’s by no means worth slamming—it has some grand singing.

Rob Lester
Cabaret Scenes
November 2008
www.cabaretscenes.org