tgd@clyde.UUCP (11/19/83)
We interrupt the Book of Lists to
bring you some complete sentences:
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There is an increasing interest in "standards", the kind
of songs one HAD to record to be considered a star in bygone
eras. Two recent releases by prominent artists deal with
this material to different degrees of success, namely Linda
Ronstandt's "What's New" (Asylum) and Keith Jarrett's
"Standards, Vol. I" (ECM).
Actually, "What's New" is recorded by Linda Ronstandt
with the Nelson Riddle Orchestra; this is a misnomer - the
credit should read `The Nelson Riddle Orchestra with guest
vocalist Linda Ronstandt,' for this is more Riddle's record
that Ronstandt's. Miss Ronstandt has always been a showy
singer, gifted with a chest voice of marvelous quality and a
head voice of purity and range. Her interpretation of
material mixing these voices has elevated pop singing to new
heights, creating standards (so to speak) few others can
touch. Her vocal characterization of Mabel in "Pirates of
Penzance" was nothing short of sublime.
Unfortunately, she loses all those characteristics by
adopting the persona of the big band singer for this album.
Fronting an orchestra demands discipline, and Miss Ronstandt
seems determined to conform even if it kills her. Which it
does. Her attack is hesitant, her voice sticking somewhere
in her throat rather than moving around freely. The
dynamics of the material are delivered predominantly by
Nelson and the orchestra - the vocalist is no more important
than any other soloist and is never given free reign to
express herself. Miss Ronstandt delivers a letter perfect
textbook performance, and that is the major flaw of "What's
New"
She would have been much better off discarding the
orchestra and the traditional arrangements and interpreting
the songs the way she knows best. Willie Nelson used this
approach on "Stardust" and few years back, and it made him a
crossover superstar. If Linda Ronstandt wants to be
Rosemary Clooney in "White Cristmas" that's her business,
but pop music will suffer for it.
On the other hand, Keith Jarrett suffers from no such
identity crisis. I could tell "Standards, Vol. I" was his
performance from the first few notes of Billie Holiday's
"God Bless the Child" which dominates side 2. The style is
unmistakable, as is the production of Manfred Eicher - the
man KNOWS how to record the piano. What we have here is a
record of wonderful interpretations and improvisations of
classic material.
The sideman on "Standards..." are Jack DeJohnette (who I
could also recognize immediately) on drums and Gary Peacock
on bass. I would have guessed Charlie Haden, but you can't
win 'em all. IT'S A TERRIFIC SESSION. Mr. Jarrett gives his
most warm and inviting performance in many a record. There
is no distance between artist and audience as there is in
some of his orchestral work, and his improvisations are more
lyrical than any of his free pieces since "The Koln Concert"
(one of the greatest performances ever recorded in any
genre).
One can only hope there is a "Standards, Vols. 2, 3, and
4" being recorded out there somewhere. Maybe Miss Ronstandt
ought to hang out with these guys if this is the material
she wants to pursue, and leave Nelson Riddle to doing Bob
Hope specials.
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Tom Dennehy AT&T BL Whippany, NJ {whuxh|clyde}!tgdrb@beesvax.UUCP (11/26/83)
I have just purchased the "Whats New" album by Linda Ronstandt and I think its great. As music allows the freedom of expression I find it very refreshing to explore new renditions of old standards. A recent old TV flick on the Dorseys reminded me that old standards can be new songs. One of their releases was also recorded by the Bachelors in the 60's and was a big hit. Lets here it for Linda and "White Christmas".
sdo@u1100a.UUCP (Scott Orshan) (11/29/83)
Please spell Linda Ronstadt's name correctly. (It is correct in the previous sentence, and incorrect in the title of this article.)