Ella Fitzgerald & Louis Armstrong – Ella And Louis Again (Album Review)

Released in 1957, Ella And Louis Again is the follow-up to the wildly successful Ella & Louis released a year prior; a release that was unapologetically intended to milk the chemistry of Ella Fitzgerald & Louis Armstrong. As a result, it sounds a little rushed, with a little less polish than its predecessor, but that isn’t to say that it’s a bad release but it does demonstrate just how extraordinary Ella & Louis really is.

As a double album with a considerably longer runtime than its predecessor, Ella And Louis Again brings the core musicians (sans Buddy Rich; Louie Bellson on drums) back for a second outing but is interesting in that it breaks with the formula of the original for seven songs are solo vocal performances; four from Armstrong and three from Fitzgerald. Naturally, these songs are so impressive that most listeners won’t blink an eye but an argument could be made that an album sans the solo recordings would have been a far better, and more concise, follow-up. Yes, dear reader, you can have too much of a good thing and while the song selection is solid, they’re not as stellar as those selected for Ella & Louis. It is important to note that upon release, the album was also made available as Volume One and Volume Two thereby reducing the runtime of each part to that of a traditional album.

The cover art for Ella And Louis Again is adequate but the original is iconic. Textual elements weren’t needed the first time around, for the master musicians told their story by merely sharing the same space. Disappointingly, the album artwork for Ella And Louis Again is both unimaginative and unappealing while simultaneously showing a disconnect between Fitzgerald and Armstrong. Whether intentional or not, it does mimic the disconnect within the music whereby a considerable number of tunes are solo efforts and those that are duets are, in many cases, inferior to that heard on their debut outing.

As it pertains to sonic quality, Ella And Louis Again doesn’t come close to the impressive audio experience of Ella & Louis; an Apple Digital Master with both high-resolution offerings and a Dolby Atmos mix. Ella And Louis Again is derived from the standard CD reissue and on its own, this isn’t too much of an issue but if you decide to listen to this album immediately after the first, you’ll be in for a shock. The difference is, pardon the term, night and day. The mastering is adequate but it isn’t the final word in sound quality as it relates to this particular release. What you’ll experience is a clinical reproduction that needs a drop in the treble and a boost in the mid and bass regions to sound its best.

While I may have various complaints, Ella And Louis Again is an excellent album in its own right that is arguably only dwarfed by the breathtaking Ella & Louis.

Don’t Be That Way isn’t the strongest opening. It’s a lovely song but it lacks the wow factor that was needed to launch an album such as this. Frank Sinatra’s rendition, however, has a little more swing and is, therefore, more appealing.

Makin’ Whoopee, however, would have been the quintessential lead-off track despite it being a solo Armstrong performance. It’s fun, witty, and has the same playful feel that I adored on Ella & Louis. Although, it has often been marred with controversy, surrounding the story arc, relating to the entrapment of men for makin’ whoopee.

Unpacking the lyrics you can definitely see the issue but the use of euphemisms throughout brings a smile to my face every time I hear it; in the same way as Chuck Berry’s cover of My Ding-A-Ling does. Perhaps, I never grew up, but who doesn’t find the word whoopee to be hilarious? As for the controversy, let’s just say that it doesn’t bother me, as I see the humour in it, but I can also understand why some may find it offensive.

Reflecting on the other covers of Makin’ Whoopee, Frank Sinatra’s is lovely, as is Shirley Horn's, but perhaps most interesting is that Ella Fitzgerald recorded the tune in 1958; a slightly different but lovely rendition! None, however, are quite as good as Armstrong’s interpretation, although The Ben Webster Quintet came awfully close on Soulville.

They All Laughed has a killer hook and is one of the best tracks on the album, despite its slow start. It does amaze me, however, that They All Laughed hasn’t been covered more in the modern era, or even reinterpreted with contemporary zeitgeists in mind for George Gershwin’s tune, as so many of his were, is timeless.

Fred Astaire’s original is magnificent as is Oscar Peterson’s interpretation.

Comes Love is magnificent and is one of the best jazz standards ever written and recorded. As a Fitzgerald solo outing, it’s perfect and while it’s been covered extensively, few come close to this particular recording. Although, Vince Jones' and Joni Mitchell's interpretations come close.

Autumn In New York is a beautiful slow-tempo jazz number. This recording is particularly unique as Autumn In New York is seldom performed as a duet. Some may subsequently lament Armstrong’s gritty vocal, for it is a little contrasty to the smooth jazz musical backing and Fitzgerald’s silky tones, but it works surprisingly well. Plus, Armstrong’s trumpeting is other-worldly.

Of the other renditions, Frank Sinatra’s is arguably the best while Diana Krall’s is a lovely up-to-date interpretation.

Let’s Do It (Let’s Fall In Love) is Louis Armstrong at his very best. The intonations in his vocal get me every time; magnificent! While this disappointingly wasn’t one of their duets, Fitzgerald did record a beautiful rendition of the song herself.

Stompin’ At The Savoy is a great toe-tapper that I would have loved to have heard performed live in any out-of-the-way jazz club in the 50s. The nostalgia, even though I never lived it, is strong when you listen to this jazz masterpiece and if you too would like to experience an incredible live recording look no further than Fitzgerald’s performance from the Chicago Opera House with the Oscar Peterson Trio.

Of the other available performances, Judy Garland’s is magnificent while Art Pepper’s is a stunning instrumental.

I Won’t Dance has a terrible opening but thankfully once Armstrong enters the mix, things start to pick up. I’d go as far as suggesting that Fitzgerald’s solo, recorded in 1961, is significantly better than this duet. Nevertheless, it isn’t one of the better songs on Ella And Louis Again but there are other excellent interpretations to listen to, such as Fred Astaire’s early recording, even if it isn’t as emotive as Frank Sinatra's. For modern renditions, look no further than Jane Monheit and Michael Bublé’s recording and check out the exceptional music video for Willie Nelson and Diana Krall’s interpretation.

Gee, Baby, Ain’t I Good To You? is a great tune and it’s wonderful to hear Armstrong’s trumpet again. Unlike the continuous inclusion throughout Ella & Louis, Armstrong’s magical trumpeting is only featured on six of the nineteen songs found on this release so it’s an audible pleasure when it appears in the mix.

Other notable renditions include the original from the Nat King Cole Trio, Diana Krall’s dedication to Nat King Cole, and Dr. John’s unpretentious recording on Afterglow. Dizzy Gillespie’s instrumental, while a little shrill, is also magnificent, as is Count Basie’s performance.

Let’s Call The Whole Thing Off is a masterpiece!

While I can’t think of a better interpretation, you may thoroughly enjoy Fred Astaire’s recording and Bing Crosby’s duet with Rosemary Clooney. Fitzgerald’s solo performance from Ella Fitzgerald Sings the George and Ira Gershwin Song Book is sung in a similar manner to the duet but I’ve got to be honest and say that I miss Armstrong when listening to this version.

These Foolish Things (Remind Me Of You), as a Fitzgerald solo recording, is flawless. Her vocal prowess is perfectly suited to the style and no one has done it better. In my opinion, this is Ella’s song. Although, Nat “King” Cole’s interpretation is magnificent as is Aaron Neville’s soulful rendition.

I’ve Got My Love To Keep Me Warm is a great tune but the sequencing shifts too much from These Foolish Things (Remind Me Of You) thereby creating a jolt to the senses; an aspect that wasn’t present on Ella & Louis. Fitzgerald would record I’ve Got My Love To Keep Me Warm a year later for Ella Fitzgerald Sings the Irving Berlin Song Book; a solid recording but nowhere near the duet found on Ella And Louis Again.

Willow Weep For Me is a solid Armstrong solo. While you’ll thoroughly enjoy listening to it, I’d suggest that it isn’t a song that you’ll seek out on its own. Wes Montgomery’s masterpiece, however, is well worth tracking down.

I’m Puttin’ All My Eggs In One Basket is an upbeat tune that is simply fun. They don’t make music like this anymore; an adage, yes, but one that rings true when you listen to a classic recording such as this. Armstrong did record the song in 1936 and while it’s lovely, I’m so glad it was rerecorded for this release for it’s an improvement over the original, particularly as it relates to the duet style. Fitzgerald also rerecorded it as a solo in 1958 and it's a little smoother than that on Ella And Louis Again, thereby making it a must-listen. Fred Astaire’s interpretation is also worthy of your time if you haven’t previously heard it.

A Fine Romance continues the lighthearted style. If only all tunes, particularly modern music, were this carefree? It’s not that I dislike modern recordings, many are exceptional, but when you go back and listen to this type of music you find there’s something special, often innocent, and excitingly memorable; elements that are sadly missing from many modern releases.

Fitzgerald rerecorded the tune for her album, Ella Fitzgerald Sings the Jerome Kern Song Book in 1963; it’s lovely but something is missing. Yes, dear reader, I feel it works better as a duet. That said, Kiri Te Kanawa knocks her solo out of the park.

Ill Wind is the final Fitzgerald solo performance, on Ella And Louis Again, and as beautiful as she performs it, I prefer Frank Sinatra’s recording from In The Wee Small Hours. Additionally, The Ben Webster Quintet recorded a masterful rendition on Soulville.

Love Is Here To Stay is perfect jazz club material and while it’s been covered considerably, it’s amazing that so many modern jazz musicians have overlooked it.

Is Fitzgerald and Armstrong’s interpretation the best version of the song? Yes and no!

When you have Sinatra performing it masterfully on Songs For Swingin’ Lovers, I simply don’t feel Fitzgerald and Armstrong matched his recording.

I Get A Kick Out Of You, Cole Porter’s opus, is the final Armstrong solo and what a performance it is. Yes, Sinatra recorded the song but in this case, as much as I love his rendition, Armstrong knocks it out of the park. Michael Bublé’s 2018 recording, from Love, is a solid modern take but is arguably too similar to Sinatra’s to set them adequately apart. Interestingly, Fitzgerald did record I Get A Kick Out Of You on Ella Fitzgerald Sings the Cole Porter Song Book from 1956; it’s magnificent and one can only wonder why it wasn’t performed as a duet on Ella And Louis Again.

Another notable recording is Rod Stewart’s from Fly Me to the Moon... The Great American Songbook, Vol. V.

Learnin’ The Blues is a great closer, especially with Armstrong’s trumpeting, but it is ultimately Fitzgerald’s gorgeous vocal that makes me want to play the album again. Frank Sinatra’s recording is one of the best, as is Willie Nelson’s from That’s Life, but the mix of Fitzgerald and Armstrong offers listeners something special that the solo recordings can’t give us; a rustic and simultaneously smooth rendition that can only be achieved due to the different, but complementary, styles of Fitzgerald and Armstrong.

While Ella And Louis Again can never live up to, or surpass, the brilliance of Ella & Louis it should not be ignored for if the former were a five-star release then this follow-up would be a four-star album; an excellent musical experience by anyone’s standards.

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Ella Fitzgerald & Louis Armstrong – Ella And Louis (Album Review)

Few albums are quite as revered as Ella Fitzgerald and Louis Armstrong’s Ella and Louis; a masterpiece if there ever was one. Recorded in 1956 at Capitol Studios, Ella and Louis is not only one of the greatest jazz albums ever recorded but one that will appeal to easy listening and swing lovers alike. Of course, and this is a subjective opinion, Ella and Louis is so beautiful that it will engage the soul of all music lovers. It’s a timeless classic!

As one of jazz’s landmark releases, Ella and Louis has naturally been released on just about every format available and was recently re-issued as a Dolby Atmos mix on Apple Music. While I was fortunate to have owned the HFPA (High Fidelity Pure Audio) Blu-ray release the Atmos mix on Apple Music is otherworldly. Yes, the Atmos mix is a lossy source and has been constructed from the original mono mix but the placement of players, vocals, and the listener in the soundstage is astonishingly good. Seriously, I’ve no idea who undertook this mix but they are a master of their craft. While you won’t be swept away as much as with other surround sound mixes, that take full advantage of the technology, this particular stream is immersive and proves that even mono recordings can benefit from upgraded Atmos mixes if the white-glove treatment is taken to ensure it sounds its very best. While all Atmos releases are not made equally, and some simply sound bad, this stream is so good that I question if I need to seek out the well-regarded Verve/Ume/Acoustic Sounds vinyl reissue. A strange argument, yes, but with limited funds, I must choose only the very best versions of the albums I love. This is one of them, of course, but as the stream, an Apple Digital Master, simply sounds right then perhaps it is time to be satisfied with what I have access to rather than constantly wanting more.

While Fitzgerald and Armstrong may be the main focus of this release, Ella and Louis wouldn’t have been so successful if it were not for the magnificent Oscar Peterson, Herb Ellis, Ray Brown, and Buddy Rich that laid the musical bed for Fitzgerald and Armstrong to shine. Armstrong’s trumpeting similarly soars as the band plays unobtrusively; a brilliant collaboration for Peterson et al are amongst the greatest jazz musicians in history and to take a backseat shows great humbleness. Similarly, one must acknowledge Verve founder and Producer Norman Granz’s song selection for there has rarely been a better sequencing in history. Without his guidance, Ella and Louis would have been a very different album.

Ella and Louis wasn’t the first time the two collaborated, nor would it be their last for the Verve trilogy of albums including this one, Ella and Louis Again (1957), and Porgy and Bess (1959) are amongst the finest ever recorded. It’s an odd pairing as you’ve got Fitzgerald with her delicately smooth vocal competing with Armstrong’s gravelly diction, yet the combination is a duet lover’s dream come true.

Can’t We Be Friends? is a beautiful opening track that sets the tempo for the album. Not too fast and certainly not too slow, thereby allowing the listener to settle in and relax with some smooth jazz-inspired music. Plus, Armstrong’s closing vocal element is simply magnificent far outperforming Frank Sinatra’s rendition from In The We Small Hours. Linda Ronstadt, however, delivers a silky performance on Lush Life; a rendition that doesn’t outperform this masterpiece but is notable in the same manner as Seth MacFarlane’s version from Once In A While is.

Isn’t This A Lovely Day? may shift the tempo to the slower side of the scale but the transition is fluid and the overarching style is so similar that you really don’t notice the shift for it feels natural. One of the most notable aspects of this tune is the subtle musical backing, particularly underneath Armstrong’s husky vocal. It’s a stunning contrast that is a pleasure to listen to. Then you have Fitzgerald’s silky tones that fuse with Armstrong's magnificent trumpet solo; a solo that will send you into a level of sonic shock if you’ve got a very revealing system for it rises above every other aspect of the music.

Of the other recordings of this classic tune, Fred Astaire’s various recordings are thoroughly enjoyable while others, such as those recorded by Tony Bennett, Diana Krall, and Seth MacFarlane are too overproduced for my liking. Bennett’s rendition, however, grows on you the more you listen to it.

Moonlight In Vermont is a magnificent tune and as much as I adore this rendition I’m smitten with Frank Sinatra’s version from Come Fly With Me. That said, Sinatra didn’t have Armstrong’s trumpeting which arguably takes Moonlight In Vermont to another level entirely. Willie Nelson, however, had Mickey Raphael’s harmonica to play against on Stardust; a brilliant reimagining of this classic tune. Other notable renditions include that from Billie Holiday, Chet Baker and the Gerry Mulligan Quartet, and Seth MacFarlane.

They Can’t Take That Away From Me is a fun toe-tapping tune with a mix of glee and melancholy. I adore this style of music whereby the lyrics tell a literal story, very clearly and unobstructed, for it becomes memorable; perhaps as memorable as the nostalgia the lyrics imply. While I love Frank Sinatra’s rendition from Songs For Young Lovers it pales in comparison to this recording. Diana Krall’s interpretation from Love Scenes, however, is simply magnificent. If you’re after an instrumental version, may I suggest Oscar Peterson’s recording from Pastel Moods.

Under A Blanket Of Blue is a masterpiece and one of my favourite songs from the album. Its romantic undertones are unmistakable and as with most of the songs from the era, and those preceding the recording, literal intent was far more paramount than in the modern era where interpretation is often subjective and often different from the intended meaning. Should you prefer an instrumental of this classic tune, Ben Webster’s rendition is incredible.

Tenderly is one song that if your system is overly revealing in the treble range, you may find Armstrong’s trumpeting to be mildly irritating for it is presented far louder in the mix than it probably should be. This is present on both the stereo and Atmos mix of the album but dropping the volume down a little will generally address that problem. Overall, Tenderly is a solid track but it’s also the weakest on the album. Of the other available renditions, Duke Ellington and His Orchestra performed it beautifully while Nat “King” Cole’s recording is also worth a listen.

A Foggy Day is the second Gershwin masterpiece featured on Ella and Louis; the first being They Can’t Take That Away From Me. Sinatra’s recording on Songs For Young Lovers is fantastic, as is Billie Holiday’s interpretation from Songs for Distingué Lovers, but neither come close to the perfection that is heard on this recording. Michael Bublé’s modernisation is also thoroughly enjoyable.

Stars Fell On Alabama, as with the other songs on Ella and Louis, is a spectacular jazz standard. The intertwining vocals of Fitzgerald and Armstrong are the highlight here as one is harmonic while the other is delivering the actual lyric. It’s magnificent!

Of the numerous recordings of Stars Fell On Alabama, some worthy versions that you should check out include recordings from Frank Sinatra, Billie Holiday, Doris Day, and Stan Getz.

Cheek To Cheek is an absolute favourite of mine. One of the best songs ever written; thank you Irving Berlin! The Fitzgerald/Armstrong collaboration is timeless and is the very best rendition ever recorded. Other notable recordings have been made by Andrea Bocelli and Veronica Berti and Frank Sinatra.

The Nearness Of You highlights Fitzgerald’s vocal prowess. What an amazing vocalist! Armstrong is no slouch on The Nearness Of You either, but when I think of this song it is Fitzgerald that I hear. Other incredible renditions of this classic tune include those recorded by Glenn Miller and His Orchestra, Rod Stewart, Barbra Streisand, and Willie Nelson.

April In Paris is a gorgeous closer that will leave you not only satiated but contemplatively willing to play Ella and Louis again for it is a true masterpiece. Other excellent renditions you may be interested in include those recorded by Frank Sinatra and Doris Day.

The adage that they don’t make music like this anymore certainly rings true for Ella and Louis is amongst the very best music ever recorded. While their other two Verve Records collaborative releases are a bonus for lovers of Ella and Louis, there’s something special about this first outing that was never replicated on those additional recordings thereby making Ella and Louis a must for any music collection.

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Diana Krall – Wallflower: The Complete Sessions (Album Review On CD & Apple Music)

Diana Krall is synonymous with jazz, but on Wallflower she takes that elegantly smooth, but rustic, voice and applies it to some of the most iconic Classic Rock and Pop songs in music history. The renditions are absolutely beautiful and rival those of the original performers and in some cases surpass the originals; a bold statement, yes, but one worthy of such acclaim.

On this, Krall’s twelfth studio release, Krall teams up with Producer extraordinaire; David Foster. While Foster’s work is well-known, I dare say that there isn’t a better producer for this style of album as Foster’s usual style matches the aim Krall had in recording these series of songs. The result is an album that is spectacular from start to finish. 

Covers are an interesting musical endeavour for many are mediocre, some are just bad, while others such as those included here, for the most part, exceed all expectations. Thankfully, Krall manages to apply her unique style, while remaining true to the originals that are so loved, and appreciated, by millions of listeners throughout the world. It is always difficult to listen to songs that have been re-interpreted when you know the original so well, but this album is not one to fear.

For several years, I turned to streaming to listen to this collection of songs as I was torn regarding which edition I was interested in adding to my music library. On one hand, the Vinyl-based twelve-song collection, closing on Don’t Dream It’s Over is tight, but The Complete Sessions CD gives us more of the good stuff that makes Wallflower so compelling. Subsequently, if money was no object, I would own both, but I decided to go for the CD release as it contains everything from the Wallflower recording sessions along with two live performances. 

Of course, and it has to be said, Krall’s music is generally recorded, mixed, and mastered so well that the digital counterpart is full and enveloping with a natural warmth that doesn’t require an analogue medium to sound good. That said, while one would expect that the Apple Music stream, an Apple Digital Master, would sound inferior to the CD, I didn’t find that to be the case. The CD is most certainly more open, with a little more reach in the treble range, but the streaming counterpart is smoother and more developed in the low end of the musical spectrum. As to which you prefer, that is up to you, but regardless of how you choose to enjoy this album, you’re bound to be captivated by the sonic presentation.

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While I’m pleased with my decision, and the CD is sonically beautiful with full liner notes, sans lyrics, I still desire the vinyl counterpart. One caveat regarding the CD liner notes, however, is that the text is so small it is barely legible. Of course, in my fourth decade upon this earth, my eyesight is starting to get a little less reliable than it used to be, but I’m sure those of you with perfect vision would have a similarly difficult time perusing the liner notes without shifting the booklet back and forth to find an ultimate focal point. If you take a look at the rear artwork, in the images above, you’ll have an idea of the problem and the liner notes text is even smaller. Nevertheless, it is all about the music, so let’s take a look at the songs, shall we? 

California Dreamin’ is a beautiful song and Krall interprets it stunningly well. 

Desperado showcases that where the Eagles’ original is a little rough around the edges, it need not be, for Krall smooths out the harshness and allows me to experience Desperado as I’ve always imagined it should be sung. That said, as I commented on Neil Diamond’s rendition, these interpretations are complementary to the original recording and perhaps it is just me, but I think that is the way that all covers should be approached.

Superstar is magnificent and while it is amongst my favourite songs that have ever been written and recorded, Krall takes it to another level entirely. 

Alone Again (Naturally) [Duet With Michael Bublé] is a great duet and a magnificent song.

Wallflower [Feat. Blake Mills] is incredible and is not only worthy of Krall’s interpretation but is the perfect title track. 

If I Take You Home Tonight was written, but never recorded, by Paul McCartney and is one of the greatest songs I’ve ever had the pleasure of hearing. Yes, McCartney is a songwriting prodigy, but with Krall’s vocal talent, this song becomes an absolute masterpiece. 

I Can’t Tell You Why is an Eagles’ classic, and interpreted magnificently well, but it is missing Timothy B. Schmit and subsequently isn’t as stunning as the original. 

Sorry Seems To Be The Hardest Word is an Elton John masterpiece and while Krall may not have the vocal attack that John does, she reinterprets this classic song so well that I honestly don’t know which version I prefer, for they are both exceptional. Again, as is the case throughout this album, Krall has handled the songs she’s chosen to cover with such delicacy and respect that little-to-no criticism is required.

Operator (That’s Not The Way It Feels) was an odd choice to follow Sorry Seems To Be The Hardest Word as I feel it is too much of a shift in tempo and style, thereby causing a jolt to the aforementioned relaxed musical experience. On its own, however, it isn’t a song that I’d search out and is at best, from my perspective, a B-side. 

I’m Not In Love is delightful. 

Feels Like Home [Duet With Bryan Adams] is a lovely song and the duet with Bryan Adams is the perfect vocal accompaniment to Krall’s as their styles and delivery are complementary to each other; so much so that I would love to hear them record an entire album together. 

Don’t Dream It’s Over closes the standard release perfectly, but Krall’s interpretation isn’t nearly as good as the Crowded House original. Don’t get me wrong, it’s lovely, but some songs should never be covered; this is one of them!

BONUS TRACKS

In My Life is a Beatles’ classic and while this interpretation is more vocal-focused, Krall performs it masterfully well. 

Yeh Yeh [Feat. Georgie Fame] picks up the pace and depending on how you like to listen to your music, it may be a shock to the system or a perfect switch. Either way, one has to wonder just how much thought is put into the tracking of bonus tracks. Yeh Yeh also lacks the spit and polish that I normally associate with Krall’s music. Look, it’s a fun little tune but you’re unlikely to seek it out or feel compelled to play it on repeat. 

Sorry Seems To Be The Hardest Word [Live] is a gorgeous live recording. It is recordings like this that encourage me to experience live performances again; if only they would all be of similar quality. Yes, dear reader, I acknowledge that many of the live recordings are modified in the studio before release, to fix any shortcomings, but whether that is the case in the live recordings heard here, I don’t know. Nevertheless, this is one magical performance. 

Wallflower [Live] is a lovely recording, but it is too similar to the studio recording; an interpretation that I prefer over this live performance. 

A Case Of You is uneventful with regard to impressing this music-lover. Yes, the song is lovely, as is Krall’s interpretation, but it isn’t memorable. 

If You Could Read My Mind [Duet With Sarah McLachlan] is a gorgeous song and duet. McLachlan has a gorgeous vocal tone that complements Krall’s perfectly. This most certainly should have been on the original core album, perhaps replacing Operator (That’s Not The Way It Feels). 

Everybody’s Talkin’ [Duet With Vince Gill] isn’t a bad song, but I’m not sure that I enjoy Krall’s version as the maracas and distortion is a little distracting. Plus, I think Vince Gill was the wrong choice here as everything just sounds off. If this were a demo, I could understand it, but as a finished piece of audible art, I don’t feel it works too well. 

Heart Of Gold is a Neil Young masterpiece and in a similar vein to Don’t Dream It’s Over, it should never be covered for Young broke the mould when he recorded this song. That said, this rendition is lovely and is worthy of inclusion here, closing out The Complete Sessions nicely, thereby encouraging me to play the album again. 

Overall, Krall has delivered an album that not only brings her musical direction to a mainstream audience but showcases how very talented she is as a musician. While some of the bonus tracks failed to live up to the core ethos of the album, none are outright bad and therefore Wallflower: The Complete Sessions makes for a thoroughly enjoyable listening experience. 

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Kenny G – Breathless (Album Review)

Despite a small, but vocal minority declaring Kenny G a sellout, especially following his sensational collaboration with Kanye West on the song Use This Gospel, from West’s JESUS IS KING album, I consider him to be one of the very best contemporary jazz musicians of our time.

Seriously, dear reader, the sellout tag for musicians needs to stop as it is akin to sour grapes and achieves absolutely nothing. I know some very talented jazz musicians, in their own right, that claim Kenny G is a sellout but I don’t recall anyone ever declaring that the stereotypical struggling jazz artist is the epitome of success. Regardless, Breathless was my introduction to jazz-styled music and I fell in love, now considering myself to be a fan of Jazz and, yes, I have Kenny G to thank for that. 

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Since its release in 1992, Breathless has amassed sales of over 12 million units. I’ve purchased five of those copies over the years and streamed the album countless times. You may wonder why I purchased so many copies. Well, my mother was a fan upon the album’s release so I gifted her a copy. Then I managed to scratch the disc, by accident, that caused a little more b-bop in G-Bop, so I had to replace it. I then purchased another copy for myself so that I never ran the chance of damaging another prized possession. Oh, and I picked up the cassette release as well for I didn’t have a Discman at the time. After several years, and at the dawn of the MP3 era, I thought it was a good idea to digitise all my albums into this new technological format and sell the CD on eBay. In retrospect, that was an incredibly naive choice so a few years ago when I began building my record collection again, I picked up the CD for the fifth time and other than a misprint, I couldn’t be happier as the mastering of the CD is the same as that originally release in 1992 and shows just how exceptional the humble CD can sound. Yes, I acknowledge there are HDCD, XRCD, and SACD editions available in China and Japan but I think you’d be hard-pressed to notice a difference unless you’ve got a very expensive and very revealing system. Hence, the standard CD should be the epitome of perfection for most music lovers. I also don’t feel we need to see a vinyl re-issue of Breathless. I know the resurgence of vinyl is all the buzz at the moment, but I believe that you should buy an album in a format that best suits the music. In this case, I feel it is most certainly the compact disc. 

The Joy Of Life is a gorgeous opening song that sets the tone for the entire album. It’s upbeat and positively styled and if you haven’t already, I’d recommend you turn the volume up. While it is sensational at normal listening volumes, it really opens up and sounds amazing when the volume is raised. 

Forever In Love is simply beautiful and I’m often left speechless upon listening to it. Kenny G has taken that Soprano Saxophone to the very limit of each note, ensuring that it is one of the most memorable songs on Breathless. 

Forever In Love was also released as a single, but the accompanying music video is largely forgettable and ultimately sullies the song in my opinion.

In The Rain is a lovely song that flows nicely from Forever In Love but it isn’t arguably a standout track even though it adds to the overall album experience. 

Sentimental is pure magic. It is so relaxing and visual, especially if you close your eyes and allow yourself to be taken to a wondrous world where music reigns supreme. 

The music video for Sentimental is in a similar vein to that of Forever In Love where despite the attempt to tell a story, the music video ends up being superfluous to the song itself and while I acknowledge how difficult it must be to come up with a concept for an instrumental-focused musician, I would have much preferred to have seen Kenny G in a concert performance, or even in a natural setting, playing the song. 

By The Time This Night Is Over (with Peabo Bryson) is a great song and if you hear a little of Michael Bolton’s style, particularly from The One Thing era, you wouldn’t be mistaken as he co-wrote it with Diane Warren and Andy Goldmark. While Bryson sings it beautifully, even if he is drowned out a little by Kenny G’s Soprano Saxophone, I must admit that as a fan of Bolton, I’d love to hear him record a rendition with a mix more in tune with his own style. The comparison would certainly be interesting. Johnny Mathis covered By The Time This Night Is Over on his 1998 release Because You Love Me and while it is a valiant effort, it doesn’t come near the Bryson/Kenny G interpretation. 

End Of The Night is a solid song with Kenny G switching to the Tenor Saxophone, although I dare say that something is missing and it feels a little over-produced if I’m to be completely honest. 

Alone is magnificent with a gorgeous low-end that will test the bass response of your stereo system. This is one song where you should most certainly feel the reverberations throughout your body. 

Morning is simply beautiful. 

Even If My Heart Would Break (with Aaron Neville) is one of my favourite songs on the album and coincidentally was the first time that I had ever heard Aaron Neville, thereby proving that collaborations are not a bad thing for I’ve been a Neville fan ever since. 

G-Bop was a beloved song of mine in the 90s, yet as I’ve aged, while I still thoroughly enjoy G-Bop, I don’t find the same level of enjoyment as I once did. A shame, yes, but I also find it fascinating to see how my musical interests have shifted over the years and I often find myself wondering if it is a simple case of maturing or if the shift is due to the constantly expanding music styles and artists I am listening to these days. Perhaps I’ll never know, but it is interesting to ponder. 

Sister Rose sonically blows my mind. It is gorgeous and just as Kenny G did on Forever In Love, he has taken that Soprano Saxophone right to the edge of each note and masterfully held it in place. Sister Rose is also one of the best examples of sonic visualisation whereby you feel as though you’re in the studio experiencing a private performance. Sensational!

A Year Ago is a beautifully smooth song that flows perfectly from Sister Rose. 

Homeland is a lovely song. Nothing to write home about, however, but Breathless wouldn’t be the same without it. 

Natural Ride is listed as track 14, in the liner notes, for the CD release, but I honestly can’t recall the song and therefore feel that it has been omitted from the Australian edition for many years. It’s a shame, however, that this has not been amended. Checking out Natural Ride on YouTube doesn’t leave me with an incessant longing for the song. It’s adequate but arguably not spectacular and lacks cohesion with the other songs on Breathless, so in one way I’m happy for the exclusion. 

The Wedding Song is an incredible tune to close the album with. If you’ve been listening to Breathless at night, you’ll thoroughly enjoy the reduced tempo and smoothness that will relax you but if you’re listening in the day, you’ll likely find yourself playing the album again or at least staying within Kenny G’s extensive catalogue of music. 

Overall, Breathless is one album that should be in every music lover’s collection for it is relaxing, exhilarating, and ultimately timeless. 

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