Jason Graae--An Evening of Self-Indulgence--Live at the Cinegrill on CD

Aptly titled.

I like Mr. Graae's singing. He has an ability to reach into his top register with apparent ease and without losing any legato in his line. I also liked his choice of music for this production--all of which has touched his career at some point or in some way. I could have used one more comic number to balance the ballads, but that's a very personal preference. Mr. Graae ably delivers both comic songs and ballads.

Where the recording of this event let me down was in the patter between numbers. There was too much of it, and I believe unless you were one of Jason's best friends it wouldn't be very funny. Undoubtedly, the loss of visuals hurt here. But you know, you're producing an audio-only CD, so adjust accordingly.

Jason Graae: An Evening of Self-Indulgence
Live cabaret performance at the Cinegrill in Los Angeles on CD
Cast: Jason Graae, Gerald Sternbach

9 to 5 Original Broadway Cast album

I remember the musical version of 9 to 5 making the talk-show splash when it opened a year or so ago. Between having music and lyrics by Dolly Parton and starring unlikely musical theater performer Allison Janney, bits of the show made rounds on The View, Regis and Kelly, etc. I must have heard a song or two from one of those appearances, but I don't recall which.

In listening to the cast album, I was struck that the accompaniments for many of the songs are guitar-based, not piano-based. I supposed that's fitting given the composer is a country singer/songwriter. I don't bring that up as a dis, just an observation--a score sounds different when composed on a guitar rather than a keyboard. I had the same observation with Spring Awakening, which is also by a singer/songwriter/guitarist--Duncan Sheik. That may be the only thing Duncan Sheik and Dolly Parton, and these two shows have in common.

The capabilities of the cast seems to be the primary strength of this album. The songs feel uneven to me at times, and several don't have a strong-enough sense of what they want to be to create a positive impression.

The two songs I was drawn to the most are both sung by Stephanie J. Block as Judy. I have seen Ms. Block perform live and know that she is a powerhouse singer, and fortunately is given two good songs to showcase her abilities. Unfortunately for Ms. Block this show and the previous show where she originated a lead role (Pirate Queen--I saw it, don't ask) have closed within a couple of months. I'm certain she is well-respected in the musical theater world, but Ms. Block need a good vehicle to find herself well-known among audiences.

Allison Janney as singer doesn't completely embarrass herself. She's fine when she's not in her head voice and has enough legato and hutzspa (sp?) to sell her songs. Megan Hilty as Dolly doppelganger Doralee has a nice, versatile voice (I was surprised to learn she was a replacement Glinda in Wicked--very different styles of music) although I didn't care for the music she is given. Marc Kudish as devil-boss again impresses me with his voice, but his one front-and-center number didn't reach me.

9 to 5
Music and lyrics by Dolly Parton
Book by Patricia Resnick
opened in 2009
Cast: Allison Janney, Stephanie J. Block, Marc Kudish, Megan Hilty

Finian's Rainbow New Broadway Cast album on CD

I recall liking the film version of Finian's Rainbow when I reviewed it for this project, so I was looking forward to listening to the new Broadway cast album when I was given it as a gift. Best gift ever.

This is a well-produced and well-cast album of a production that unfortunately closed way too soon. I have to believe it was a case of being hit hard by the economy and not anything to do with the show itself, because what is evident on the CD is delightful from downbeat to finale.

Cheyenne Jackson starred in this re-mounting as Woody, man-about Rainbow Valley, Missitucky. I have to say, I don't mind looking at Mr. Jackson, and don't mind listening to Mr. Jackson sing. I must make a point of finding some of his solo CDs---I believe they are not all American Idol-influenced.

Fortunately, Mr. Jackson gets some of the best songs in this Burton Lane score to sing. "That Old Devil Moon" proves why it is a classic. While I liked hearing "That Great, Come-and-get-it Day" again, it didn't live up to my memory from the film. Is it a different arrangement? Or just missing the visuals?

Kate Baldwin as Sharon also has a lovely voice that she uses well in "How are Things in Glocca Morra?" and "Look to the Rainbow." Even Christopher Fitzgerald as leprechaun Og is a good singer and delivers on his comic piece "When I'm Not Near the Girl I Love."

The good liner notes from John Lahr give a lot of information about the origins of Finian's Rainbow but not the remount production, which sadly like a rainbow was too brief an occurrence.

Finian's Rainbow
Music by Burton Lane
Lyrics by Yip Harburg
Book by Harburg and Fred Saidy
2009 Broadway revival production
Cast: Cheyenne Jackson, Kate Baldwin, Christopher Fitzgerald, Jim Norton,

Two Gentlemen of Verona--Original Broadway Cast Album

I happened across the CD release of this show in a bin at the library and knowing absolutely nothing about it (except assuming the story was at least based on the Shakespeare of the same title) I thought I'd give it a whirl. I hadn't realized that Galt MacDermot had written another musical besides Hair, but he did and it is Two Gentlemen of Verona.

Well, this one is going back to the library as soon as possible. I have no desire to hear any of it again, nor to investigate the show or its score any further. I find it remarkable that this show beat out Sondheim's Follies for the Best Musical Tony Award for 1972. Well, Follies has been revived often, and Two Gentlemen, never (at least on Broadway), so I guess Sondheim has the last laugh.

There was only one song of the 34 on the CD that I wanted to listen closely to, or hear again; the funny and satirical "Bring All the Boys Back Home" is still surprisingly timely given that it was written almost 40 years ago. But then, world leaders have been hiding behind and capitalizing on war since the Greeks ransacked Troy.

I was sorry that none of the singing voices captured my attention, either. Clifton Davis has a pleasant enough voice, but doesn't sing any songs that really lets it shine. Raul Julia may have been a mega-wattage stage presence (as the very good liner notes to this recording say), but it is not obvious from the cast album.

My primary problem with the score is that it seems to lack the infectious fun of Hair, as well as the singability.

Two Gentlemen of Verona

Music by Galt MacDermot

Lyrics by John Guare

Book adapted from Shakespeare by John Guare and Mel Shapiro

Opened 1971

Cast: Raul Julia, Clifton Davis, Diana Davila, Jonelle Allen, John Bottoms

Ghost light Monday--Another Musical Mentor

Too few people knew Dan Tucker, a long-standing Chicago composer and newspaperman who passed away this weekend at the age of 84. That's not to say that Mr. Tucker was not well-known nor well-loved. He was both those things by many, many people. But if a larger majority of people had known Dan, I think the world would be a better place. A genteel, gracious, and charming man, Dan was a purveyor of good taste, better grammar, and great humor. Fortunately, for me I was the recipient of all of those things from Dan at one point in my life.

I met Dan in the early 2000s, after he had retired from a four-decades career in the newspaper business as editor and music critic. He was focusing on his own music-making in the form of composition, a calling which Dan had pursued all his professional life. A man of diverse interests and great intelligence, he had earned Bachelor and Master degrees from the American Conservatory of Music in Chicago when he was in his late twenties and already employed full time in the newspaper business.

His compositions, while not widely played, have been performed by such notable artists as Rostropovich, the Chicago Symphony Orchestra and His Majesty's Clerks. Dan's compositions are known for their easy lyricism and sensitive word-setting. His choice of song texts shows his excellent tastes and diverse interests: Shakespeare, former Secretary of Defense Robert McNamara, Gerard Manley Hopkins, Thomas Merton, Native American texts, Ogden Nash, and Lewis Carroll.

I must confess that I have heard very little of Dan's music first-hand. I will miss the man more than the music. He was a gentle soul that brimmed with the fire of creation. Something more of us should have.

Side by Side by Sondheim London Cast Album on CD

With all the Sondheim at 80 hoopla happening this month, I thought I would listen to yet another of the many revue versions of his work. Side by Side by Sondheim may have been one of the first such revues, and was created in 1976 when the composer was just entering his musical maturity. It is interesting to hear a revue created before many of the shows that I most readily name with Sondheim--Sweeney Todd, Sunday in the Park with George, and Into the Woods.

With these shows yet to be written, this revue has room for a deeper investigation of Sondheim's early shows. It was particularly interesting to hear songs for which Mr. Sondheim wrote the lyrics but not the music. "The Boy from..." charmed me again as it had done when I listened to a collection of songs composed by Mary Rodgers. The real find for me was "I Never do Anything Twice" which was written for a film. It's hysterical.

The cast of three performers are uniformly good and versatile, particularly David Kernan, who was involved in the creation of this revue. Millicent Martin sings "I'm Still Here" as well as anyone. As I learned when I looked up this production, the London version was created first and imported later to Broadway, with its British cast intact.

Side by Side by Sondheim

Music and lyrics by Stephen Sondheim, Mary Rodgers, Richards Rodgers, Jule Styne, Leonard Bernstein

Opened in London in 1976

Cast: David Kernan, Millicent Martin, Julia McKenzie

I Dreamed a Dream, the debut CD from Susan Boyle

Yes, I succumbed to the hype and downloaded the first album from "Britain's Got Talent" sensation Susan Boyle. When the clip was making all the waves on YouTube, I have to confess I was honestly given chills by her singing. Being such a curmudgeon, that doesn't happen to me very often, so I was curious if it could happen again during this listening of this album.

The collection is a mix of styles and genres, which is not surprising for someone who is just finding their voice and seeking their viewpoint as a performer. There are several religious standards (I almost used the word "gospel" but that has too many connotations), including "Amazing Grace", "How Great Thou Art", and "Silent Night". The surprise tracks for me were the Madonna song "You'll See" and the Monkees' song "Daydream Believer".

There is nothing to dislike on this album; it is a strong freshman effort. Perhaps for me, the tracks are too over-produced and all tend into the power-ballad category--which is clearly the current most obvious strength of Ms. Boyle. Even what could be more upbeat songs are presented in arrangements that often seem to be in the same tempos, making them all sound a bit alike.

I was struck by the sound of Ms. Boyle's voice, which seems very different than I recall from the television appearance. Perhaps this is part of the over-produced nature of the album. Perhaps it is a versatile and talented singer searching for their true voice.

Regardless of the reasons for this, I hope there are future releases from Ms. Boyle so we can hear how see progresses.