Too Darn Hot!

Too Darn Hot!

ASIN: B00080AQBA

Editorial Reviews
Product Description

Claire Martin

Too Darn Hot!

Claire Martin - Vocals
Gareth Williams - Piano
Geoffrey Keezer - Piano & Electric Piano
Richard Cottle - Keyboards & Organ
Geoff Gascoyne - Double Bass
Laurence Cottle - Bass Guitars
Clark Tracey - Drums
Ian Thomas - Drums
Nigel Hitchcock - Saxes
Phil Robson - Guitar
Miles Bould - Percussion
Ian Shaw - Additional Vocals
The Tapestry String Quartet

Tracks:

Act I: Overture
Act I: Another Op'nin', Another Show
Act I: Why Can't You Behave?
Act I: Wunderbar
Act I: So In Love
Act I: We Open In Venice
Act I: Tom, Dick Or Harry
Act I: I've Come To Wive It Wealthily In Padua
Act I: I Hate Men
Act I: Were Thine That Special Face
Act II: Too Darn Hot
Act II: Where Is The Life That Late I Led?
Act II: Always True To You (In My Fashion)
Act II: Bianca
Act II: So In Love (Reprise)
Act II: Brush Up Your Shakespeare
Act II: I Am Ashamed That Women Are So Simple
Act II: Finale: Kiss Me, Kate
Kiss Me, Kate Overture

Amazon.com

Opening at the tail end of 1948, Kiss Me, Kate became an instant classic--and amazingly didn't receive a full-scale revival until 1999. All the more reason to revel in its original version. With its cunning play-within-a-play premise (a musical update of The Taming of the Shrew reverberates in backstage feuds), brilliant mix of high and low comedy, and of course some of Cole Porter's better-known songs--"So in Love," "I Hate Men," Too Darn Hot," "Always True to You (In My Fashion)"--Kiss Me, Kate remains a funny, zesty hall of mirrors. Hard as you may try to find a fly in the ointment, there's no fault with the cast either--Patricia Morison, for instance, is a perfectly petulant Lilli Vanessi. --Elisabeth Vincentelli

Customer Reviews:

The best and maybe the last CD of this great musical........2006-02-20

Now is the perfect time to buy the CD of this.

Sony's transfer engineers used state-of-the-art restoration software to remove the roughness and surface noise from the originals, but (thankfully) they resisted the urge to tart-up the sound with artificial reverb, faux stereo, and thundering bass. This is by far the best-sounding CD of this ever released, and it may be the last.

The age of music ownership in America could be drawing to a close. Five years from now, this music may only be available by download, you might only be "borrowing" it, and it probably won't come with the the authentic cover art or the 26-page booklet.

(See also the original broadway CD of Out of This World.)

Beautiful remastering of historic original cast recording.......2004-05-24

Recorded in January 1949, this album of KISS ME KATE has remained in print adn a steady best-seller for over 50 years now.

The sound on this newly remastered CD is crisp and clear and easily surpasses all previous issues. Sony even uses the original artwork from the very first LP release.

The performances remain as fresh as ever. Alfred Drake was Broadway's top leading man and sounds just glorious. Pat Morrison had less of a career but sounds just perfect as Lilli. Lisa Kirk is wonderful as Lois, and Harold Lang makes the most of his few moments on the record as her boyfriend, Bill. In an unusual move these peopel reunited 10 years later to re-record the score for Capitol in true stereo. They still sound great on that recording (on CD as part of the Broadway Angel series) but the performances are fresher on this recording made just 2 weeks after KIS ME KATE had opened on Broadway to rave reviews.

The CD booklet has good info about the show, though curiously, no synopsis. There are, however, a half dozen pictures of the original production. This edition featureds longer takes of "We Open in Venice", "I Hate Men" and "Too Darn Hot" though the total extra music adds but a minute to the album's running time. A bonus track of the Overture dates from a 1958 stereo recording by Lehman Engle.

KISS ME KATE was the first Tony Award winner for Best Musical (1949). The 1999 revival won a Tony for Best Revival.

the peerless original cast.......2004-03-04

KISS ME KATE is still regarded as Cole Porter's greatest musical; a charming backstage story detailing feuding ex-spouses Lilli Vanessi and Fred Graham as they star in a musical version of Shakespeare's "The Taming of the Shrew".

Very rarely has the score been bettered than the original 1949 cast album, reissued here on the Columbia Broadway Masterworks label. Patricia Morison plays Lilli, with Alfred Drake (OKLAHOMA!, KISMET, GIGI) as Fred, the feuding, ego-ridden leads. Lisa Kirk (ALLEGRO, MACK AND MABEL) is the sexy young starlet Lois, with Harold Lang (PAL JOEY) as her caddish boyfriend Bill.

KISS ME KATE opened at the New Century Theatre on Broadway in 1949, making history in its run of over 1000 performances. Patricia Morison is perfectly-suited to the role of Lilli. She offers a glowing rendition of "So in Love", whilst her duet with Alfred Drake in the tongue-in-cheek "Wunderbar" is sublime. Lisa Kirk gets three of the big showstoppers ("Why Can't You Behave?", "Tom Dick or Harry" and "Always True to You in My Fashion"), and nails each and every one. Harold Lang was a better dancer than he ever was as a singer, but is quite good on this disc.

A must-own.

Who Put The Shake In Shakespeare?.......2001-04-11

Who put the 'shake' in 'Shakespeare'? Cole Porter, of course! Kiss Me Kate is the best of his musicals, and this recording is the best of the recordings! The original Broadway cast performs with much old-style, vaudeville jazz!

The story is set in a Baltimore theatre where a divorced couple, Fred Graham and Lilli Vannessi, are in the two leading roles of a musical version of Shakespeare's Taming of the Shrew. Fred currently dates a colorful light-heart named Lois Lane, while Lilli is about to head off to get maried in the south. Lois, by the way, will 'always be true' to her boyfriend, the gambling player Bill Calhoun. The story takes off from there!

The show originaly opened on Broadway in 1948. It's timelessness has still not worn off after so many years. The classic script by Bela and Sam Spewack, and the best music of Cole Porter, we cannot fail! The show has been performed since then in many many countries, and has been performed in many languages! It has only recently been revived on Broadway.

Kiss Me Kate has become a staple of classic Broadway, and this is the cast that will not be outdone. Patricia Morrison is a perfect, operatic, Lilli Vanesi. She is strong, yet thoughtful. Her voice fills the CD with a lively 'Wunderbar' and the raging 'I Hate Men.' Alfred Drake is a manly and appealing Fred Graham who will have you laughing out loud! His 'Where Is the Live...?' is yet to be surpassed. Harold Lang is a sexy, and hypnotic Bill Calhoun. He takes the role for himself, and his 'Bianca' is done to the point of perfection! His voice is misty and self-confident, and has the qualities all Bill Calhoun's should. And of course, there will be no one as good as Lisa Kirk for the role of Lois Lane! Her tongue-in-cheek performance on this CD is flawless! She is teasing, sympathetic, funny, and has the right voice to win her part! I can't imagine anyone who can do what she has done with 'Alway True to You' and 'Why Can't You Behave.' The classic character songs are very nice! The balladic, and melodic 'So In Love' will ring in your head. 'We Open In Venice' will make you dance! And 'Brush Up Your Shakespeare'(performed with much humor by Jack Diamond and Harry Clark) will give you a laugh the next time you read 'Romeo.' You won't be disapointed!

The nostalgic quality of the 40's is alive and well in this recording. Columbia has done a great job restoring the work, and the scratching that were a part of the original releases. The sound quality is crisp and clear, and the music sounds wonderful! The magic hasn't worn out yet!

There have been a few more recordings of the work, including a complete London recording, and the new Broadway revival cast. None can do as well as the original recording, however. In the revival recordng, however, they come close. Brian Stokes Mitchell has the voice for Fred, but runs through his lines a bit fast, and without much enthusiasm. And the orchestrations for the new recording are a bit overdone, and they sound more like PBS's Jazz, than Broadway.

Altogether, this is great recording. I was very pleased with my buy, and hope that you will add it to your collection right away! It's time to Brush Up Your Shakespeare!

TIMELESS BROADWAY SHOW.......2001-01-11

COLE PORTER'S most famous musical play hasn't lost none of it's power over the years;it's one of those few shows in which all the elements clicks:cast,songs,libretto, to make a great entertainment product.Without getting to cynical,KISS ME KATE has enough good songs to fill 3 BROADWAY shows of today ,and i am not kidding,it's a fact.While the revival is also of interest,it's always a delight to hear the original with PATRICIA MORRISSON and ALFRED DRAKE, both terrific in their parts.I can assure you that you'll play this record more than twice.It's not only WUNDERBAR ,it's WONDERFUL!You can't actually single out one number because they are all good.All right, if we have to choose one, it's SO IN LOVE.

You're Sensational - Cole Porter in the '20s, '40s, and '50s, Vol. 3 - High Society (1948-1956)

Average customer rating:

A Slice of History!

You're Sensational - Cole Porter in the '20s, '40s, and '50s, Vol. 3 - High Society (1948-1956)
Cole Porter , Frank Sinatra , and Bing Crosby
Manufacturer: Koch Int'l Classics
ProductGroup: Music
Binding: Audio CD

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You're Sensational - Cole Porter in the '20s, '40s, and '50s, Vol. 2 - Kiss Me Kate (1940-1948)
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ASIN: B00006JTE2
Release Date: 2002-10-22

Customer Reviews:

A Slice of History!.......2003-11-15

This is a fantastic CD! I wish I knew more about the details of these recordings, because I suspect that some of them have been gathered from unusual sources. Because of the sound quality, I wouldn't be surprised to find that Cole Porter's own rendition of Cest Magnifique was recorded at a party or other informal occasion. It has that kind of intimate feeling.

At any rate, don't be put off by the fact that some of the recordings don't have the polished, studio sound of modern recordings. It is absolutely incredible hearing these Cole Porter hits being done by such varied artists as Mel Torme, Bobby Short, Rosemary Clooney, Jo Stafford, Frank Sinatra, Bing Crosby, and Marian McPartland (the wonderful jazz pianist).

Tracks:

Overture - NSO/John Owen Edwards
Another Op'nin, Another Show - Shezwae Powell/Original Cast
Why Can't You Behave? - Diane Langton/Graham Bickley
Wunderbar - Diana Montague/Thomas Allen
So In Love - Diane Montague
Padua Street Scene/We Open In Venice - NSO/Diana Montague/Thomas Allen/Graham Bickley/Diane Langton
Tom, Dick or Harry - Michael Bauer/Graham Bickley/Paul Manuel/Diane Langton
Rose Dance - NSO/John Owen Edwards
I've Come To Wive It Wealthily in Padua - Thomas Allen/Original Cast
I Hate Men - Diana Montague
Were Thine That Special Face - Thomas Allen
I Sing Of Love - Diane Langton/Graham Buckley/Original Cast
Dance/Tarantella - NSO/John Owen Edwards
Finale Act One - Thomas Allen/Diana Montague/Brian Greene/Original Cast

Tracks:

Entr'acte - NSO/John Owen Edwards
Too Darn Hot - Paul Collis/Original Cast
Where Is The Life That Late I Led ? - Thomas Allen
Always True To You In My Fashion - Diane Langton
Bianca - Graham Buckley/Original Cast
So In Love Reprise - Thomas Allen
Brush Up Your Shakespeare - Brian Greene/Matt Zimmerman
Pavane - NSO/John Owen Edwards
I Am Ashamed That Women Are So Simple - Diana Montague
Shrew Finale/Grand Finale - Diana Montague/Thomas Allen/Original Cast
Can Can Overture - NSO/John Owen Edwards
Jubilee Overture - NSO/John Owen Edwards
Out Of This World Overture - NSO/John Owen Edwards

Customer Reviews:

Conspicuous Extravagance.......2004-09-08

It takes much more than this generally lack-luster performance delivers to overcome the intrinsic embarrassments of 'Kiss Me Kate'. While minor misogynies were then more or less default, if not de riguer, it is doubtful even the nudge-nudge friendly audiences of the 1940's and `50's would have put up with Cole Porter's stale, striving, prep school vulgarities had he not possessed an uncommon lyric gift.

And the set is too long. No one (except, apparently, devotees unwilling to settle for less than every note) needs instrumental reprises and variation-less dance numbers--especially when no purpose is discernable beyond running up a second disc. Most CD players have a Repeat mode. (At least the McGlinn/Barstow/Hampson EMI effort offers up some interesting out-takes to pad the second side; this one kicks in 15'' of overtures.)

Barring the two leads, the cast is ho-hum, and while Thomas Allen has his moments, he will not be remembered for his Fred Graham.

Notwithstanding all of the above, one is tempted to declare it all worth putting up with just to hear Diana Montague sing 'So in Love'--possibly Porter's loveliest song. (Why has no one thought of doing the reprise as a duet?) She even renders listenable the insufferably adolescent 'I Hate Men'. There's just not enough for her to sing in this show. Unless money is no object, go--for Montague alone--for the highlights disc.

A decent chance to hear the complete score.......2003-12-11

Until you've heard the complete score to "Kiss Me, Kate" with Robert Russell Bennett's original orchestrations recorded in good, modern sound, you don't know what you've been missing. Matchless as the original Broadway leads were, neither of the recordings they made satisfy completely. Both the original Columbia and the Capitol remake are missing huge chunks of the score and neither adequately conveys the quality of the orchestrations even in the parts that are recorded.

So it is slightly frustrating that there have been two complete recordings of "Kiss Me, Kate" in modern sound featuring the original orchestrations, and both of them have significant problems. The earlier recording, an EMI release conducted by John McGlinn, is not currently available in the U.S., while this JAY release is conducted by John Owen Edwards. Even though the EMI is not available, I'm going to compare the two, for those who are interested.

Both recordings are well-conducted, but I feel McGlinn gets more out of the score than does Owen Edwards. McGlinn can often be a bit stodgy, but his "Kate" is just gorgeous. He does a better job of bringing out all the neat touches in the orchestration than does Owen Edwards, and he's also better in the jazzier sections. Owen Edwards does a good job, but it's sad to hear him completely miss some moments, like when he fails to slow down sufficiently for the crucial second "And you're mine, dear" in "Wunderbar." Overall, McGlinn just points things better without getting too fussy. If only the same could be said for his cast.

But both recordings fall down in their casts. As Fred/Petruchio, McGlinn's Thomas Hampson is completely at sea. The music doesn't lie well for him, seeming to mostly sit in the least attractive part of his range. And his readings of the dialogue that is included is labored and self-conscious. Thomas Allen, on this JAY release, sounds older than Hampson, but his basic sound seems more attractive to me, the music lies better for him, and his dialogue, if not great, is at least not painful.

It must be said, though, that Hampson has been coached thoroughly in the role, and is aware of every nuance. The trouble is that he overdelivers on every nuance, whereas Allen almost sounds like he's sight-reading some of the score. Still, he's preferable to Hampson. I wish, though, that the JAY people had realized that they were using the bowdlerized British edition of the score. In "I've Come to Wive It Wealthily in Padua," Allen sings "doggone nose" instead of "goddamned nose." It's just not the same.

As Lilli/Kate, EMI's Josephine Barstow tries hard, perhaps a bit too hard, but what she does seems to me mostly suitable for the role. She does well everywhere except "I Hate Men," in which her vocal style just doesn't work, and she is further hampered by some lyrics not usually heard, and with good reason. The rest of the time, she puts out 110 percent. I suspect some may find her a bit too operatic, but I'm convinced by her. JAY's Diana Montague sings well, but is a bit pallid and humorless. She could use more of Barstow's spunk.

And so it goes. As Lois/Bianca, EMI's Kim Criswell is a bit pinched and colorless. JAY's Diane Langton sounds a bit old for the role, with some of her top notes a tad frayed, but brings more humor and brio to the role in general, especially "Always True to You in My Fashion," and this is one song on which Owen Edwards surpasses McGlinn.

As Bill/Lucentio, EMI's George Dvorsky is OK but a little staid, with "Bianca" oversung. JAY's Graham Bickley is more winning, even if his British accent shows through at moments. Without oversinging "Bianca," he still sounds like he has a voice that might have been good for Fred/Petruchio, and I suspect he would have better in the role than either Hampson (well, I'm sure of that) or Allen.

On the other hand, EMI's gangsters, Robert Nichols and David Garrison, are a hoot, surpassing JAY's pair, who are certainly good enough. And the other supporting roles tend to be a bit better on the EMI, with Davis Gaines and John Mark Ainsley particularly funny in their introductory sections to "Tom, Dick or Harry," while their counterparts on JAY don't seem to realize they could be funny. On JAY, Shezwae Powell does a good job with "Another Op'nin'," but with McGlinn's fabulous conducting, Karla Burns is even better on EMI. Similarly, Paul Collis does a nice job on "Too Darn Hot" on JAY, but Damon Evans really sizzles on EMI.

EMI also has more interesting filler, with cut songs from "Kate," although JAY's filler of the overtures to "Can Can," "Jubilee," and "Out of This World" is certainly nice to have.

So, on balance the EMI is perhaps a little bit better, if you can get past Hampson. But as long as it's not available, this JAY version will serve adequately.

Really helpful learning CD.......2003-03-11

As an MD for an amateur production of Kiss Me Kate, I found this recording useful as it contains not only every single note in the score, but also every encore as well. It was really helpful in learning the orchestration, as the score was a piano reduction. It certainly saved a lot of time in rehearsal trying to work out who has what tune etc. - I could do it from memory in that I knew the trumpet had the tune there etc. The choreographer used this recording to estimate how long each dance was - something very important as other shows I have done the Choreographer was using a different version of the show (such as the broadway revival of Kiss Me Kate).
Singers can listen to this and know exactly what they will hear from the pit - which is always a helpful thing!! And less experienced singers (or non singers!!) can learn by ear.
I agree with another review that dislikes the singing - however my use was only for learning. The voices don't seem well suited for the parts, however they are not so bad that you cringe in horror - I think stopping after the first disc is a bit excessive!

Every note exactly as it was written - Fabulous!.......2002-05-09

Great CD - Don't be fooled by other 'jazzed up' versions - this is how it was written and how you'll normally hear it performed. A very gutsy and earthy performance all round. The original Broadway album, sounds great but has alot of "enhancements" which the composer never wanted put in and disapproved of. Go for this one if you want the true Kiss Me, Kate in it's full version - NO CUTS or HIGHLGHTS!

I never made it past disc one........2000-07-04

It's a shame the John McGlinn recording on EMI is out of print, because this travesty is no compensation at all. The singers are really, really bad. And the conductor fails to capture the swing of the score, leaving it sounding dull and lifeless. Run, don't walk, away from this CD.

Average customer rating:

Bits of the Bard you have probably missed!!
Excellent variety of choices!

Shakespeare on Broadway
Various Artists - Soundtracks , Leonard Bernstein , Hal Hester , Rupert Holmes , Cliff Jones , Bruce Kimmel , Frank Loesser , Jeffrey Lunden , Cole Porter , Richard Rodgers , Stephen Sondheim , Michael Valenti , James ( , Crista Moore , David Engel , Debbie Gravitte , Glory Crampton , Guy Haines , Harry Groener , Jason Graae , Jonathan Freeman , Karen Ziemba , Larry Raben , Lee Wilkof , Liz Larsen , Lynnette Perry , Marcia Mitzman , Melba Joyce , Michelle Nicastro , Rod Raines , Sal Viviano , and Sean McDermott
Manufacturer: Varese Sarabande
ProductGroup: Music
Binding: Audio CD

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ASIN: B0000014WX
Release Date: 1996-02-13

Tracks:

Brush Up Your Shakespeare From Kiss Me, Kate - Jonathan Freeman/Harry Groener/Guy Haines
I To The World From Oh, Brother! - Jason Graae
Should I Speak Of Loving You? From Music Is - Marcia Mitzman
Sing For Your Supper From The Boys From Syracuse - Lynette Perry
Fear No More From The Frogs - Ron Raines
Dear Old Syracuse From The Boys From Syracuse - Timothy Jerome & Lee Wilkof
It's Love...I Think From Another Midsummer Night - Crista Moore
Brush Up Your Shakespeare-Part Two - Jonathan Freeman/Harry Groener/Guy Haines
What Do I Know? From Your Own Thing - James Matthew Campbell/Leo Daignault/David Engel/Larry Raben
Too Darn Hot From Kiss Me, Kate - Liz Larsen
If My Morning Begins From Rockabye Hamlet - Sean McDermott
The Last Blues From Rockabye Hamlet - Melba Joyce
Two Songs From Twelfth Night - Rupert Holmes
Brush Up Your Shakespeare-Finale Ultimo - Jonathan Freeman/Harry Groener/Guy Haines
Darn That Dream from Swingin' The Dream - Karen Ziemba
What Do I Do Now? From The Comedy Errors - Michelle Nicastro
Tonight From West Side Story - Glory Crampton/Sal Viviano
Hamlet From The Film Red, Hot, And Blue - Debbie Shapiro Gravitte

Customer Reviews:

Bits of the Bard you have probably missed!!.......1999-10-02

This CD is a treat loaded with surprises. Program notes are well written and entertaining (by a Shakespearean expert?). Hear "Brush Up Your Shakespeare" in it's entirety, enjoy Hamlet retold in a jazzy piece that even features a little scat singing, and revel in the creative arrangement of "Tonight" (it features a bit of dialogue, some musical borrowings from Prokofiev, and more to create a multi-dimensional experience of this piece.) I highly recommend this diverse, interesting, stimulating and intriguing CD. I really liked it, in case you haven't guessed.

PS: The singing is good, too.

Excellent variety of choices!.......1998-09-10

This CD gives you an educational background on just how many different musical adaptations of Shakespearean works have been produced! The songs range from familiar tunes of Cole Porter like "Too Darn Hot" to obscure performances in Yale's swimming pool for "Fear No More." The notes by Bert Fink are hilarious and move along with the songs smoothly.

Too Darn Hot: The Best of Ella Fitzgerald

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Too Darn Hot: The Best of Ella Fitzgerald
Ella Fitzgerald
Manufacturer: Universal
ProductGroup: Music
Binding: Audio CD

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ASIN: B00009KM5Z
Release Date: 2003-07-07

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Surprise Chef Presents: Too Darn Hot
Various Artists
Manufacturer: Universal
ProductGroup: Music
Binding: Audio CD
ASIN: B00006RY3M

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Too Darn Hot!
The Gregg Gelb Swing Band
Manufacturer: The Gregg Gelb Swing Band
ProductGroup: Music
Binding: Audio CD

General | Jazz | Styles | Music
ASIN: B000CAFJOA
Release Date: 2001-01-02

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Too Darn Hot

Manufacturer: RooArt Jazz
ProductGroup: Music
Binding: Audio CD
ASIN: B000GFYHEY

Product Description

13 tracks

Average customer rating:

A Fresh Young Jazz Star from Across the Pond
Claire returns to her jazz roots - with style

Too Darn Hot!
Claire Martin
Manufacturer: Linn Records
ProductGroup: Music
Binding: Audio CD

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ASIN: B00080AQBA
Release Date: 2005-03-15

Product Description

Claire Martin

Too Darn Hot!

Customer Reviews:

A Fresh Young Jazz Star from Across the Pond.......2007-02-25

Can anyone doubt that we're blessed with a lot of talented, good-looking girls singing jazz right now? Well, here's another, Claire Martin, from across the pond. Martin has been called the first lady of British jazz; "Too Darn Hot," the album at hand, was acclaimed an instant classic at its release by such varied publications as "Jazz Times," one of America's leading jazz magazines. It's not too surprising that we should appreciate Martin on this side of the pond: she gives her musical influences as Judy Garland, Ella Fitzgerald, and Betty Carter. This album is her ninth in ten years, released on Linn, the prestigious Scottish jazz label. It's cleverly crafted, a well-balanced blend of standards, showtunes, and new lesser-known ones; and it's a super audio hybrid CD; it'll give you good sound on your new equipment.

Martin opens with a jazzy, uptempo version of Leonard Bernstein's famous modern ,"Something's Coming," full of anticipation. We've also heard "Love at Last," "The Gentleman is a Dope," by Rogers and Hammerstein, and "These Foolish Things" before, but Martin has come up with fresh arrangements. She makes "It's Raining in My Heart" a thing of beauty. The title song, Cole Porter's "Too Darn Hot," well, she's got a new tack on that one, too. " Black Coffee," one of Peggy Lee's signature tunes; "When I Fall In Love," Joni Mitchell's "Blue Motel Room;" piping hot and fresh. "Love At Last" finds her in a Latin mood. "Noir" is musically quite difficult, but Martin takes it at speed, no sweat. Sir Richard Rodney Bennett appears in brief piano cameos, and joins her in a couple of vocals.

The youthful Martin hopefully will be producing a lot more good music; you might want to give her a listen now.

Claire returns to her jazz roots - with style.......2005-08-31

I have all Claire's original albums and I love them all. In the previous two, she experimented by introducing pop/rock into her music, but there is no evidence of that here. Although Claire has included covers of pop/rock songs, they have been re-arranged and re-interpreted such that they are nothing like the originals.

Perhaps the most dramatic transformation is of Buddy Holly's Raining in my heart. Although essentially a sad song, Buddy did it as an up-tempo rock'n'roll song. Claire slows it right down in keeping with the mood of the lyrics. With jazz instrumentation and the different tempo, the song is almost unrecognisable from the original.

Claire, whose smoky alto voice sounds as good as ever, also gives the jazz treatment to I can let go now (Michael McDonald) and Blue motel room (Joni Mitchell) with equally impressive results.

When I fall in love (originally an American hit for Doris Day in the early fifties, but most commonly associated with Nat King Cole, who had a huge hit with it in the late fifties and again in the late eighties) has been covered frequently down the years, but Claire and her musicians have found a way to give even this song a fresh arrangement, and it works brilliantly.

Another great cover is Black Coffee, originally recorded by Peggy Lee in the early fifties. There are several other covers of old standards, including Too darn hot, The gentleman is a dope and These foolish things, all nicely updated for the new millennium.

There are at least two new songs - Love is a necessary evil and Four walls - but this album is most notable for the new treatments of old classics.

Jazz fans will welcome Claire's return to her roots. Personally, I enjoy her singing in whatever style she chooses, because Claire is among the best singers to be found anywhere today, in any type of music.

Average customer rating:

Too Darn Hot is smokin'!
Too Darn Hot Melts Hearts, Makes Fans.

Too Darn Hot

ProductGroup: Music
Binding: Audio CD
ASIN: B00065FUKE

Product Description

Track listing: 1. too darn hot 2. as long as I live 3. moonglow 4. let yourself go 5. blue until tomorrow 6. lover man 7. i wish you love 8. everything's movin' too fast 9. the look of love 10. puttin' on the ritz 11. on a slow boat to china 12. old devil moon

Customer Reviews:

Too Darn Hot is smokin'!.......2005-02-04

Simply put, Vanessa Trouble is my favorite of the favorites!

Trouble is a modern, classy, chic whose voice is guaranteed to give you fever! Each time I see her perform she manages to get me on my toes and tapping them till they are numb!

Her band compliments her presence in every boom-bip and pluck of a string leading you into a chill vibe. This is the kind of Trouble you'll be happy to find yourself in time and time again.

Too Darn Hot Melts Hearts, Makes Fans........2004-11-18

My wife and I saw Vanessa Trouble and her band in NYC several months ago and loved what we heard. Lots of the songs were familiar to us but, as with any good jazz, it's all about style, and Trouble & Co. had lots of mellow style.

This CD is good for dinner parties or romantic evenings at home. We actually bought a bunch and gave them as gifts and now, even here in Minnesota, Too Darn Hot has melted many icy northern hearts.

Jazz Music:

Jazz Music

Jazz Music