Cabaret Scenes CD Review

Here comes class and elegance, cloaked in silk. Imagine: eleven vocal solos by six thoughtful female vocalists sounding in love with the classic songs they’re singing. They luxuriate in them, lyrics seem to be in-the-moment thoughts. It’s glorious. Accompanying them, on harp or piano, as they build something beautiful together phrase by phrase, with much simpatico style is masterful Corky Hale. Singing three tracks herself, she radiates the delight of discovered feelings, bursting with bliss in the line, “Can you imagine how much I love you?” (in “The More I See You”). Such revelatory moments are common here. Oh, and forget those harp clichés of just grand glissandos, plucked accents, angel effects—this is true accompaniment—or rather a 50/50 co-starring role. But, yes, that built-in dreamy, ethereal quality is here and it’s breathtaking, establishing and reinforcing moods, never breaking the spell. In “If I Should Lose You,” the harp, without overkill, suggests rain and wind mentioned in the lyric that catches dramatically in Brenna Whitaker’s throat as she contemplates, with just enough dramatic tension, the possible loss of her love. Freda Payne’s “Black Is the Color of My True Love’s Hair” is dignified and deep; her “Alfie” searching, searing and soulful. Young Ariana Savalas does pretty well by “I See Your Face Before Me” (though I wish she hadn’t changed the adjective describing that face from “beautiful” to the more casual “fabulous,” but she gets the awe and the ahhhh we need). I’ve got a crush on “I’ve Got a Crush on You” and Sally Kellerman’s treatment: a treat with a touch of Lena Horne, getting muchos juice out of each line, sounding like she’s sliding slowly through velvet. Nobody rushes here. So who gets to sing the CD’s excellent title song expressing gratitude and contentment? It gets a particularly pensive and passionate performance via Tricia Tahara, who by the way is Corky’s daughter-in-law and, by the way, is a richly rewarding interpreter on this and “My Romance.” And romance feels real and relished and revelatory throughout this CD. Hail to Hale and to hell with those who think standards get stale. They come to life and blossom here.

Rob Lester
Cabaret Scenes
January/February 2010
www.cabaretscenes.org

Corky Hale...And Friends

I'm Glad There Is You

Palisades Records



	Corky Hale...And Friends I'm Glad There Is You Palisades Records
Here comes class and elegance, cloaked in silk. Imagine: eleven vocal solos by six thoughtful female vocalists sounding in love with the classic songs they’re singing. They luxuriate in them, lyrics seem to be in-the-moment thoughts. It’s glorious. Accompanying them, on harp or piano, as they build something beautiful together phrase by phrase, with much simpatico style is masterful Corky Hale. Singing three tracks herself, she radiates the delight of discovered feelings, bursting with bliss in the line, “Can you imagine how much I love you?” (in “The More I See You”). Such revelatory moments are common here. Oh, and forget those harp clichés of just grand glissandos, plucked accents, angel effects—this is true accompaniment—or rather a 50/50 co-starring role. But, yes, that built-in dreamy, ethereal quality is here and it’s breathtaking, establishing and reinforcing moods, never breaking the spell. In “If I Should Lose You,” the harp, without overkill, suggests rain and wind mentioned in the lyric that catches dramatically in Brenna Whitaker’s throat as she contemplates, with just enough dramatic tension, the possible loss of her love. Freda Payne’s “Black Is the Color of My True Love’s Hair” is dignified and deep; her “Alfie” searching, searing and soulful. Young Ariana Savalas does pretty well by “I See Your Face Before Me” (though I wish she hadn’t changed the adjective describing that face from “beautiful” to the more casual “fabulous,” but she gets the awe and the ahhhh we need). I’ve got a crush on “I’ve Got a Crush on You” and Sally Kellerman’s treatment: a treat with a touch of Lena Horne, getting muchos juice out of each line, sounding like she’s sliding slowly through velvet. Nobody rushes here. So who gets to sing the CD’s excellent title song expressing gratitude and contentment? It gets a particularly pensive and passionate performance via Tricia Tahara, who by the way is Corky’s daughter-in-law and, by the way, is a richly rewarding interpreter on this and “My Romance.” And romance feels real and relished and revelatory throughout this CD. Hail to Hale and to hell with those who think standards get stale. They come to life and blossom here. Rob Lester Cabaret Scenes January/February 2010 www.cabaretscenes.org