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Showing posts with label Adam Pascal. Show all posts
Showing posts with label Adam Pascal. Show all posts

Friday, July 17, 2009

Review: Chess In Concert


Chess In Concert
2009, Reprise Records


On May 12th and 13th of 2008, London's Royal Albert Hall came alive for a concert production of the musical Chess. With a score by Bjorn Ulvaeus and Benny Andersson (both of ABBA), and lyrics by the legendary Tim Rice, Chess has become one of the cult musical hits of the last twenty-five years. Chess has seen multiple versions in its first quarter century, many mixing and matching elements of the original West End and Broadway productions, but Tim Rice declared this concert version to be the "official" version of the show. There are no less than six recorded versions of the show that have been sold at one time or another, and each varies a little or a lot from the others. In conceiving this performance, an all-star cast was chosen to perform with the City Of London Philharmonic Orchestra. World-renowned singing star Josh Groban reprised the role of "The Russian" Anatoly (he previously performed as Anatoly in a 2003 Actor's Fund Of America Concert), while Idina Menzel (Wicked, Rent) took the lead of Florence. Rent's Adam Pascal is Freddie (The American). Other principals include Clarke Peters as Walter, Marti Pellow (Wet Wet Wet) as the Arbiter, David Bedella as Molokov, and Kerry Ellis (Wicked - London) as Svetlana. Reprise records released Chess In Concert as a DVD, a 2-CD set and a one CD highlights disc on June 30, 2009. A special edition combination CD/DVD is available solely on websites of stars Josh Groban and Idina Menzel.

Chess is a Cold War musical that views the political struggle between the United States and The Soviet Union through the prism of the 1972 World Chess Championship. Freddie, The American, is loosely based on the character of former World Chess Champion Bobby Fischer, while Anatoly has been speculated as having basis in the lives of Russian Chess Masters Anatoly Karpov and Victor Korchnoi. Granted this recording can pick and choose from two separate concerts for the material presented on CD and DVD, but the recording is nearly flawless. Fans of Idina Menzel may be a bit surprised to hear a more lyric vocal style from the Tony winner; hitting some notes in head voice you might never imagine after hearing her belt her way through Wicked and Rent. Her performance is outstanding, as is that of Groban. As a longtime fan of the show it was a bit jarring to hear Groban voice the role of Anatoly without a Russian accent, particularly in light of David Bedella's incredible Russian accent as Molokov, but Groban's so good it just doesn't matter in the end. Perhaps the most pleasant surprise is Adam Pascal as Freddie. Pascal is a great singer, which I knew, but he took the role of Freddie right over the top, putting in the best vocal performance in that role of any of the six recordings now or previously in print. The other pleasant surprise was Kerry Ellis. I hadn't come across Ms. Ellis before, but it shouldn't surprise considering her status as leading lady in the West End production of Wicked (and previous stint as Elphaba on Broadway as well). David Bedella was perfect as Molokov, and Marti Pellow put in a strong vocal performance as the arbiter, but may have been miscast, sounding less than authoritative in a role full of its own power.

There isn't a bad moment on the disc, although Menzel's stage pronunciation gets a bit over-emphasized in the recording on a couple of occasions (this is more of a production issue than anything). The City Of London Philharmonic is flawless throughout, and the ensemble pieces sparkle and shine like jewels at the bottom of a sunlit stream. Rice's lyrics are as sharp and enduring as ever, and the score speaks for itself. Highlights abound. Groban pulls off an amazing vocal performance in Where I Want To Be, and Menzel knocks it out of the park on her first solo venture, Nobody's Side, with a tough-yet-vulnerable feel that defines the character of Florence. Pascal and Menzel find an interesting bit of chemistry on Florence Quits, where Freddie goes Brooklyn on Florence and she gives it right back. The long association of Menzel and Pascal may have helped out here, but they sound like two lovers tearing each other apart.

Quartet may be one of the finest ensemble pieces this side of Frank Loesser's Fugue For Tin Horns, and even though this particular version isn't my favorite it's still extremely well done. Embassy Lament is enhanced as a quartet rather than the original duo, providing light moment with some gorgeous harmonies. Two particular diva moments stand out in the show as well. Idina Menzel owns the stage, crowd and hall on Heaven Help My Heart, proving that she can handle a lyric line as well as she can defy gravity. Likewise, Pascal takes Pity The Child home where it belongs. This is perhaps one of the finest male solo pieces in the Rock Musical era, and Pascal doesn't disappoint. Josh Groban, never one to be left out of the discussion, brings his own moment on Anthem, making any debate regarding accents moot once and for all. Kerry Ellis even takes a turn on Someone Else's Story as a lead up to her epic duet with Menzel on I Know Him So Well. Ellis' full, deep tone balances Menzel's edgier sound so perfectly you'd think they were born to sing together. Pascal also takes One Night In Bangkok, the biggest hit from the show, and creates a reading that's better than the original.

Chess In Concert will bring a collective wow from fans old and new. The show never really got much of a chance in the US because it was so badly butchered for the Broadway run, but there's a reason it keeps getting revised and revived in small runs all over the world. Rice, Ulvaeus and Andersson managed to create a bit of theater magic in Chess. Chess In Concert has been declared the definitive recording of the show by none other than Tim Rice, and so it shall be. It's only a matter of time before the show makes a return to London's West End and perhaps even Broadway. For now, Chess In Concert is a magical take on a show you can't afford to have at least a passing acquaintance with. Chess In Concert is an essential listen; a Wildy's World Certified Desert Island Disc; a classic. Don't miss it.

Rating: 5 Stars (Out of 5)

You can learn more about Chess In Concert at http://www.chessinconcert.com/. You can order a copy of Chess In Concert from Amazon.com. There is also a DVD available and a highlights disc. The concert is also available through iTunes.

Thursday, April 2, 2009

Review: Telling On Trixie - Ugly, Broke & Sober


Telling On Trixie - Ugly, Broke & Sober
2009, Nicoletto Small Music


New York City rockers Telling On Trixie bring the anthemic power-pop on their sophomore album, Ugly, Broke & Sober. After being voted Logo's #1 band of 2007 for their self-tited debut album, it would be easy to understand a bit of a sophomore slump. Telling On Trixie never heard of such a thing. Rather than standing pat with the formula that worked the first time, the band stretches their boundaries on Ugly, Broke & Sober without abandoning the melodic spirit that got them where they are.

Ugly, Broke & Sober opens with Shooting in 60, an anthem for today's celebrity-obsessed culture. Crash Me Up is an interesting experiment. Telling On Trixie asked their fans to submit words or phrases to be turned into song lyrics. Crash Me Up is the resulting word jumble. The exercise, and song, works, sounding like a cryptic but mostly cogent lyrical construct. The strong pop/rock arrangement and harmonic dressing doesn't hurt either. The most pleasant surprise of the album is the very dark interpretation of Belinda Carlisle's Mad About You. The tenor and tone of this version implies perhaps a different aspect of madness than the original, but the song is none the worse for this treatment. Lead vocalist Derek Nicoletto sounds a bit like Adam Pascal, or a poor man's Steve Perry, with much of the same vocal quality but not quite the same range.

The Deepest Dive is a prolific song of love for and faith in another person. This is a potential hit, with Nicoletto going for a more pure vocal sound. Ugly, Broke & Sober sounds like it could have been alternate song from the show Rent, both in style and content. Telling On Trixie breaks out their heavy boots on Your Silence, the heaviest rocker on the album (but still quite pop in sensibility). The album closes out with the spooky Steps To The Throne, which almost works but has some rough edges to it yet.

Telling On Trixie continues to take chances on Ugly, Broke & Sober. Most of them work, and even the instances where they fell short are intriguing. I'd much rather see a band take chances and miss once in a while than stand pat and calcify stylistically. Ugly, Broke & Sober is a strong sophomore effort that exceeds their debut in some ways. You can hear the artistic development that has occurred from album to album, and it makes one wonder if they'll keep on this path. If so, the future promises big things from Telling On Trixie. For now, Ugly, Broke & Sober is more than enough.

Rating: 3.5 Stars (Out of 5)

You can learn more about Telling On Trixie at www.myspace.com/tellingontrixie or http://www.tellingontrixie.com/. You can purchase a copy of Ugly, Broke & Sober at www.cdbaby.com/cd/tellingontrixie3.

Thursday, February 12, 2009

Review: Felicia Finley - Great Mood For A Tuesday


Felicia Finley – Great Mood For A Tuesday
2009, Bentley Productions


Broadway fans have been familiar with Felicia Finley for some time now. Starring roles in The Wedding Singer (Linda) and Elton John’s Aida (Amneris) gained her significant attention and respect in the Broadway community. You may have also seen Finley in the Spike Lee films 25th Hour, Summer Of Sam and He Got Game. Anyone who’s heard Finley’s voice on stage had no question about her ability to sing, but it’s always curious to hear how Broadway performers cross over into the pop/rock world. On Valentine’s Day of 2009, Finley releases Great Mood For A Tuesday in select markets, with digital releases hitting on March 14, 2009. One thing is for certain: Felicia Finley can rock.

Finley serves notice write from the opening notes of Satin Soldiers; a dynamic, Classic/Prog Rock tune with some very impressive guitar work. Finley makes use of a powerful and wide-ranging voice here to establish that she’s not just a Broadway diva trying to fake a rock image. The backing vocals here remind me of something you might hear on a classic Styx album, but Finley will make you forget anyone else is singing. Finley switches gears a bit on Stories. This is a Big Rock Ballad, complete with big guitar solos and some great harmonic acoustic guitar work as well.

My House Tonight will catch your ears. It’s a classic “bad girl” song; incredibly catchy. My House Tonight is built on a classic Rhythm N Rock base with dynamic vocals like only Finley can deliver. You won’t be able to get this out of your head. If this song gets released in advance of summer, with the right push it could be everywhere. I think this is the type of rock song music fans are hungry for and it could be huge. Great Mood For A Tuesday, the title track, was the song on the album I enjoyed the least. It’s a decent song and well sung, but it just seemed out of place among the other songs offered here.

Closin’ Time is a catchy, furtive tune. It reminded me, musically, of something you might hear on a Shaw/Blades album. Closin’ Time has a very mellow center to it, in spite of the big chorus. It’s crying to be a country tune. Tired Of Losing Sleep caught my attention on the first listen through; it’s a bit of the beaten track, musically. The song allows Finley to display some of the softer, darker tones in her voice. Perhaps it brings out the Broadway side of her just a bit – it’s a very theatric song without sounding like it came from a show. Blanket was a fun listen, although a bit generic. There’s some great harmonica work in this one. The album closes out with Fire Escape, a heavy Rock N Blues tune built on some blistering guitar work. This song is a Wow, all the way around; an exclamation point to end the album the way it started, rocking hard.

The vocal discipline required for performing on Broadway is often quite different than the training one might take to sing Rock N Roll. While the line has blurred some over the years with the advent of rock musicals, it is still unusual for a Broadway performer to cross over to Rock or Pop without difficulty. Folks like Adam Pascal and Idina Menzel have done it with varying degrees of success, but Felicia Finley may have turned in the most dynamic and amazing Rock performance of any Broadway baby in the past decade. Listening to her voice, it would actually be quite electric if she and Pascal were to sing together at some point. I digress. Great Mood For A Tuesday is a classic album. The energy is great, the musicianship strong and the vocals are downright amazing. Get it. Listen to it. You’ll love it.

Rating: 4.5 Stars (Out of 5)

You can learn more about Felicia Finley at http://www.feliciafinley.net/ or www.myspace.com/feliciafinley. You’ll be able to order copies of Great Mood For A Tuesday on her website starting February 14, 2009. As an aside, I highly recommend you check out the material Finely has streaming on her MySpace page. If these are any indication then her live shows must be absolutely amazing. You can also hear Finley on soundtracks for The Bubbly Black Girl, Happy Days - A New Musical and Forbidden Broadway 2001: A Spoof Odyssey.