Listening to this album is like watching Barry Bonds play baseball. You will hear (see) some strikeouts; but you will also hear (see) enough "shots into McCovey Cove" to convince you that both deserve to be in their respective Halls of Fame.

The most immediately impressive piece is "Ginger Bread Boy." This is the finest meld of free jazz and vocal jazz I've ever heard. The way Elling scats here is just sensational; listening to this made me hear Mingus, Dannie Richmond, Don Pullen and Eric Dolphy--with Elling doing a knock-off of Dolphy.

I was also blown away by "Tanya Jean"--a vocalese creation based on a Dexter Gordon tune about a "spiritual siren", and "Nature Boy", a hard-bending improv over a 4 beat with accents on "2" and "3" that takes the tune way beyond where Nat King Cole originally took it.

The strikeouts? Mainly, Elling has a 3-octave range (including falsetto), but too often he tries to push it to four, and is singing out of his range. I was also somewhat disappointed by Elling and Cassandra Wilson's cover of the Zombie's "Time of the Season"--mainly because it was written too low for Ms. Wilson. It was great, but I expected sensational.

OTOH, I'm very impressed with Elling's poetry. He does beat poems "It's Just a Thing" and the title cut, which is far more than a meandering bass with "I'm too cool to care" lyrics strung together. In fact, "The Messenger" has to do with the premature death of Elling's biological brother. Two more home runs, IMO.

In sum, the high points of this album are so high, that it's an essential for every connoisseur of vocal jazz. If you are one, you will get over the album's unevennness very quickly.

I first bought this when it came out, 12 years ago, and was basically neutral about it. What a mistake. What can I say: I was a callow lad back then, a mere 40-years-old, coming out of a midlife crisis or something.

This album is truly special. From "Here's to Life" to "Estate", the whole album captures the mood of a late Indian summer day, with full autumn foliage and early evening sun, reflecting off of a pond while two lovers float by in a rowboat. Whatever your image is of quiet perfection, and in the moment life celebration, that's what this album is all about.

A big reason for that is Johnny Mandel, that great songwriter-arranger-producer. This album is as much his as it is Ms. Horn's, and the balance between the orchestra, Mr. horn's voice and Ms. Horn's piano is just perfect throughout.

But give Ms. Horn her due, and then some. She sings this whole album in a whisper. Normally, when singers do that, it's because they've lost their pipes to some extent. Not here. Ms. Horn sings these songs that way because the songs' musicality demands that type of performance. Listen to her breath control on "A Time for Love", for example, and you'll immediately realize she's far from being some "has-been" who is slumming through.

I remember years ago Don van Vliet (a.k.a. Captain Beefheart) explaining to a critic, who didn't get his latest effort, just to put the album on his record player and vacuum his living room, over and over again, until he got it. In a way, that's what I'd recommend you do to this one, too (with your c.d. player!). Once you realize that this isn't "101 Strings", you will be swept away by its quiet beauty. Very highly recommended.

I would say that Laurie Wheeler and Nash deVille are 1 of the 3 best vocal jazz ensembles in the country, along with New York Voices and Manhattan Transfer. I'd also say that right now, they definitely are #3.

When it comes to smokin', scattin' up-tunes, these guys are without peer. You can't listen to stuff like "I Like to Riff", "Gone", "Jeanine", and the album's highlight, "That Cat Is High", and not break out into a big smile. They way these guys harmonize at 100 m.p.h. is totally cool.

But the Transfer and the Voices can do that, too. The difference is in the ballads. Nash deVille's harmonies are tight; I think the problem (although it could be the sound engineering) is that the guys are concentrating so heavily on blending straight tones that the sound is too thin. I particularly noticed that on "Lil Darlin'" and "Centerpiece." This group needs a big-voiced bass, like the guys in The Bobs or Take 6, to fill out the harmonic sound.

They also (for now) need to avoid tunes like "Tuxedo Junction" and "Choo Choo Ch' Boogie." Those tunes are staples of the Transfer, and they invite comparisons. I don't think that inviting comparisons with either the Transfer or the Voices is in their best interests at this time.

Special kudos, though, to Laurie Wheeler herself. She has a wonderful, light, crystalline straight tone. I'd like to see the group feature her even more than they do.

I'd recommend this album to all; but I really think that if they followed my advice, they'd have a 5-star album to remember the next go-round. I know, fat chance of that....

In the June, 2004 issue of Down Beat, Frank-John Hadley interviewed 73 of the best jazz singers in the world, with the idea of compiling the 30 "best" vocal jazz albums of all time. The consensus had this as #1. That's fairly controversial; certain critics wouldn't say that this is even the best Nancy Wilson album, arguing that designation for "Swingin's Mutual" with George Shearing.

So, being an amateur professional jazz singer and professional criminal law hack, what do I know, and who am I to argue with the 73? All I can say is, as Mingus once put it, "I know what I know."

And, to begin with, this is definitely 5 stars. Nancy Wilson's control is outstanding; I've heard opera singers who can hold a note for seemingly ever without losing pitch or focus, but she's the best non-classical singer I've ever heard for that. And, her ability to put power on straight tones in her upper register, without losing focus, is likewise unsurpassed amongst any other jazz singer I've heard.

Likewise, her interplay with the instrumentalists here is tremendous. Whether it is with Zawinul on "Masquerade", Sam Jones on "Sleepin' Bee", Nat Adderley on "Save Your Love for Me", or Cannonball on just about everything, she very definitely is not just "some chick singing with the band." In fact, she sounds like a tremendous trumpet--reminiscent of Miles, whose "Kind of Blue" with Cannonball Adderley was released about the time that these 6 went into the studio.

So why do I disagree with the "All-Time Best" label? Because at times (not always, but at times) Nancy Wilson seems almost emotionally detached from the material she sings. The 73's #2 selection was John Coltrane and Johnny Hartman, and Mr. Hartman is with that material emotionally 100% of the time. In contrast, for example, I think the New York Voices give "Save Your Love for Me" more heart than does Nancy Wilson; ditto viz. Janis Siegel and "The Masquerade Is Over."

Bottom line: I can't disagree with the "All Music Guide to Jazz", 4th ed., when they say "Why any serious jazz collection would be without this classic album is difficult to comprehend." Buy this album for that reason alone. But I'm not prepared to say this is better than the Coltrane/Hartman, or Billie Holiday on Commodore, by any means.

Many jazzophiles opine that this is the best vocal jazz album ever made. I don't know that I'd necessarily agree; but I wouldn't argue vociferously for another alternative. And, I would agree that it's one of the most remarkable ones ever made.

Normally, an album with nothing but slow, romantic ballads gets 4 stars from me, no matter what else. I make an exception here, for these reasons:

First, I know that the three principal musicians--Mr. Coltrane, Mr. Hartman and Mr. Tyner--had humongous voices, and when they wanted to, could cause a volcano to begin erupting. But here, each trades off volume for musicianship. Every note is caressed and burnished with beauty. By each musician. Every note, I tell you. No voice breaks, no squeaks, no dissonant chords. Everything in this album is just gorgeous.

Second, they did this in one day. Yes, Trane went in later and added some overdubbing; but the fact that Johnny Hartman could knock out what he knocked out in one day is just mind-boggling.

Third, this album just now is getting its due. When you think of Trane, you think of more spectacular efforts ("Favorite Things", "Giant Steps", "Love Supreme" and "Ascension"); but his playing was never more beautiful and controlled than here. And when you think of a big-voiced bass-baritone who could take his instrument anywhere in his range without straining, pinching, or losing pitch, you think of Billy Eckstine or Earl Coleman. Here, Johnny Hartman was every bit their equal.

This album should be in every wedding d.j.'s "Playlist" in the country. Though "You Are Too Beautiful" is my personal favorite, any one of the 6 would do. This is one of the very few albums I can remember that brought a tear to my eye, the very first time I heard it.

In the liner notes to this, Peter Cincotti's first album, he states a heartfelt acknowledgement to Harry Connick, Jr. As he should. This album is uncanny in its resemblance to Harry Connick, Jr's "Twenty", from the late '80's. You have two very handsome young men, who sing in the Sinatra mold, and who sound like prodigies on the piano.

But there are differences between the two young men, and they all favor Mr. Cincotti.

For one, Mr. Cincotti at age 19 is a far superior pianist to the 20-year-old Mr. Connick. Listen to how his hands are in balance in "Ain't Misbehavin'" and "You Stepped Out of a Dream", and listen to the cleanness of his licks in those pieces and in "Are You the One?" Mr. Connick could not do that at age 20. (In fairness, Mr. Cincotti's left hand is heavy in "Spinning Wheel"; but the 20-year-old Mr. Connick's left hand was perpetually heavy)

For two, Mr. Cincotti can sing a ballad with tenderness--much more so than the 20-year-old Mr. Connick. Listen to "Sway" and the album's highlight, "Fool on the Hill/Nature Boy", and you'll hear what I mean.

For three, Mr. Cincotti is an uncommonly good songwriter for such a young man. His "I Changed the Rules" leads off the album with cooking brio, and it holds up to anything else here. ""Are You the One?" and "Lovers, Secrets and Lies" are nearly that good. Mr. Connick did not have that talent at age 20.

Here's hoping that the 4-headed monster known as "Sex, drugs, rock and roll, and Hollywood" don't get to him. This young man has fantastic potential, and I'd love to hear a fully realized, middle aged Pter Cincotti do "Rainbow Connection" in about 20 years. If he reaches his full potential, it will be sensational. Until then, enjoy the ride!

On two nights in June of 2003 at the "Broadway Studios Nightclub" in North Beach, San Francisco, Kitty Margolis channelled Ella Fitzgerald, Sarah Vaughan, Betty Carter, Mark Murphy and Mel Torme, and created one of the finest live albums released in years.

The album begins with Gershwin's "Love Walked In," as Ms. Margolis sings, "Love walked right in and scared the sh......adows away." Right there she has the audience in the palm of her hand. And, it gets better and better. Consider "Summertime": here, a la Torme, she throws in quotes from "Fly Me to the Moon," the later covered "Surrey" and "Favorite Things," and the more obscure Jon Hendricks' "Mr. P.C." On "My Favorite Things", she does a glottle-yodel, and in the process, sounds exactly like Trane's soprano sax from the famous recording. And, she saves the best for last: an encore of "While We're Young" that left the audience--and will leave you--stunned and wanting more.

I purchased this at the same time as Diana Krall's "The Girl in the Other Room". Chances are great that Ms. Krall's album will sell 100,000 copies before this one sells 1,000. Once again, life isn't fair--but you knew that. So my advice to you is: right injustice. Buy this c.d.

Upon first listen, this struck me at 3 and 1/2 and I was going to give this 3 stars, meaning I wasn't going to review it (since, with one exception, I don't write reviews with less than 4). But I listened to it again, and decided to up it one star.

The reason is that most of these songs were written by Ms. Krall's husband, Elvis Costello, and actually they are very good. (One, "Almost Blue", is practially a modern-day standard already.) They get better with each listen, and that's particularly impressive given that this is Ms. Krall's first foray away from the Great American Songbook. Kudos for the artistic stretch.

And, IMO Ms. Krall's piano chops have improved. I like her barrelhouse blues licks on "Stop This World" and "Love Me Like a Man", and her break on "Black Crow" is one of the album's highlights.

The problem is that the gulf between her piano and her voice is ever widening. This is the woman who is voted, year in and year out, as the best contemporary female jazz vocalist. That title is a lot to live up to, and here, she doesn't. She never had that big a range, but here, her voice is getting huskier and huskier and she sings more and more in a whisper, thereby diminshing what range she had. Plus, for the first time, I detect occasional intonation problems.

A perfect example of what I'm talking about is "Abandoned Masquerade", arguably the strongest cut on the album. It is very good, indeed; but sung by a singer with a richer voice and greater range, such as Janis Siegel or Jackie Ryan, it would be sensational. No doubt, Ms. Krall will win this year's "Down Beat" critics poll, while Ms. Ryan and Ms. Siegel won't even make it to "Talent Deserving Wider Recognition."

So, I grudgingly recommend it--but not to people who can't fathom Diana Krall singing something contemporary. If that's where you're at, avoid, because there isn't enough else here to compensate.

Forgive me and indulge me, dear reader, while I gush a bit....

As I was saying just the other day viz. Cheryl Bentyne's "Talk of the Town", there's nothing wrong with doing an album of standards from the "Great American Songbook" that have been done a bazillion times before--provided they're sensational.

Along comes this album. These are standards, done a bazillion times before (leaning heavily towards Duke and Billy). They are, in fact, sensational--and so is Andy Bey.

If you're not familiar with him, Andy Bey is one of the most remarkable non-classical singers around. He has three vocal ranges--not two, like most singers. His mid-range has a soulful vibrato, his high-range has the power of a Verdi baritone, and his low range comes from a submarine. All three are as equally clear. Check out "Never Let Me Go" (mid-range), the second chorus of "Speak Low" (high range) and "Midnight Sun" (low range), and you'll hear exactly what I'm talking about. Then check out "Satin Doll", where in the one phrase "Switcharoonie", he glisses through all three. He's incredible.

And the arrangements! Oh, my Lord! Here, "Angel Eyes" is done with just Andy, acoustic guitar and percussion--perfect instrumentation for the selling of a quintessentially sad song. Then, in "It's Only a Paper Moon," on the first chorus he sells the song as smoothly as Nat King Cole; but on the second chorus he sounds as soulful as James Brown. And, I guarantee you, you've never heard either "Caravan" or "Speak Low" performed like this! (Just for fun, get the Michael Crawford album that has "Speak Low" on it, and play that cut, then play this one. You'll be amazed at how a great cabaret singer and a great jazz singer can make the very same song so uniquely his own in two disparate styles).

It's April, so I know it's premature to say that this is the best vocal album of 2004. But I can't imagine who or what is going to top this. I can say that this is in my top 10 of the past 20 years, already.

I bought this album at the same time as Cheryl Bentyne's "Talk of the Town." Both hit me at gut level as a "4 and 1/2" level; but since that rating isn't availing here, I've decided to go 4 stars with both (contrary to my usual inclinations)--for completely different reasons.

Here, I love the concept of the album and I love the arrangements. Most of the arrangements are '60's and 70's tunes, either famous ("I Feel Fine", "Did You Ever Have to Make Up Your Mind", "She's Got a Way", and "Tired of Waiting for You") or not so famous by famous people (John Lennon's "Love" and Randy Newman's "I'll Be Home"). As good as they are, my favorites here are the arrangements done from "The Great American Songbook", or Sammy Cahn's "I Fall in Love Too Easily" and the highlight, a wistful, wonderful duet with Larry Goldings (piano), Irving Berlin's "Blue Skies." (Curtis explains in the liner notes, in justifying the wistful, almost melancholy feel to this, that Irving Berlin could be ironic. I disagree; I always thought that Berlin meant exactly what he wrote. I don't see any room for irony in songs such as "Alexander's Ragtime Band," "When I Lost You," "Always", or "The Girl That I Marry", to name but four. So, the fact that he could create effective irony where it really doesn't exist is tre cool, in my opinion.)

The reason I settled on 4 stars, then, is his voice. Curtis Stigers has a raspy, rough sound in his lower register; it's reminiscent of a cross between Dr. John, Willie Nelson and the "Nashville Skyline" Bob Dylan. But he's a better singer than those 3, because he has a very powerful, clean upper register, which shines through in tunes such as "Fools in Love" and "She's Got a Way." I think he'd be better off if he'd rely on his upper register in his arrangements. I also note some intonation and diction problems at the end of his phrases, and I think he's too good of a singer to have those. Similarly, at times his tenor sax sounds like Lester Young, at other times like Eddie Harris; I'd like to hear him settle on one voice. But, to my ears, these are things he can fix the next time around, and I really hope he does. In any case, recommended.