Jitterbug Vipers - Phoebe's Dream

Jitterbug Vipers - Phoebe's Dream
2013, Jitterbug Vipers

Jitterbug Vipers are an anomaly in the Austin, Texas music scene, reliving the marijuana culture that infused American jazz music in the 1920s and 1930s.  Jitterbug Vipers celebrate both the music and the muse on their debut album, Phoebe’s Dream.  Let by the impressive pipes of Sarah Sharp and the exquisite guitar work of Slim Richey, Jitterbug Vipers take listeners on a whirling ride you won’t soon forget!

Jitterbug Vipers kick off with the title track, a jazz-noir story song about a woman trying to make her own path to heaven. Vocalist Sarah Sharp sounds like a utopian blend of Katherine Walton (Squirrel Nut Zippers) and Brianna Corrigan (late of The Beautiful South).  The dark undertones continue to hold away on "A Viper Just The Same", an ethereal and eloquent piece of jazz that mesmerizes.  Jitterbug Vipers show off their sense of humor on "Stuff It". Full of innuendo and sultry vocals, the song also highlights the sublime instrumental work of Texas' most dangerous guitar player, Slim Richey. "Undecided" is a jaunty little number that ruminates on an answer that never arrives. Part invitation and part interrogation, the song displays Sarah Sharp at her casual best. 

"When You're High" is an old school love song that's sung in dulcet tones. This sort of intimate vocal style has fallen out of fashion, perhaps, but reflects a time when melody, lyrics and the ability to sell a song were all that a vocalist had. "Dangerous" celebrates the talents of guitarist Richey with tongue-in-cheek humor and some fantastic guitar work. The Jitterbug Vipers let down their collective hair with "That Was Just The Sauce Talkin'", a post-amorous letdown that's artfully crafted and ultimately tuneful. This is an amusing tune perhaps unless you're the one it's directed at. "Billie's Blues" gives Sarah Sharp a virtual spotlight to show what she's made of, and she does not disappoint. 

"Viper Moon" is a duet between Sharp and Ricky's dulcet guitar that is not be missed. Each fills the space where the other is not, occasionally overlapping in a sort of coital muse.  Sharp purrs and preens her way through "Trouble" in a kittenish fashion that puts Ann Margaret to shame, and the rest of the Jitterbug Vipers match her measure for measure with a deliciously understated style. Slim Richey goes to town on "Django's Birthday", giving a virtuoso performance. The only thing missing here is a healthy dose of gypsy violin to balance it out. 

Jitterbug Vipers rock it old school on Phoebe’s Dream.  I don’t know if I would call Slim Richey dangerous, but he is certainly one of the finest axe men I have heard in some time.  His slithery electric groove and Sarah Sharp’s hypnotic and sultry voice are the perfect pairing.  The rest of the band, Francie Meaux Jeaux (bass) and Masumi Jones (drums) are killer in instinct and execution.  Phoebe’s Dream might be one of the most fun listening experiences you encounter in 2013.  Jitterbug Vipers aren’t original, per se, but these hep cats are in the real.  Phoebe’s Dream is a Wildy’s World Certified Desert Island Disc.

Rating: 5 Stars (Out of 5)

Learn more at www.jitterbugvipers.com. 

Halie Loren - Heart First

Halie Loren – Heart First
2012, White Moon Productions

Vocal jazz is full ingénues and established stars.  Those who make it from the former to the latter are rare.  It takes a tremendous sound, an incredible amount of hard work and yes, a little bit of luck.  Halie Loren is slowly transforming herself from the former to the latter.  Already a star in Japan, the release of Heart First this spring saw Loren become a top-selling Jazz artist in Canada.  The U.S. may not be far behind as Loren continues to build recognition for both her name and what may one day be considered her iconic voice.

Heart First opens with “A Woman’s Way”, showing off a wonderfully lush and smoky alto voice that gets you from the opening notes.  The song calls for vocal character, and Loren matches the call both with personality and a shifting palette of intriguing vocal timbres.  Halie Loren is at her best here, portraying the knowing vulnerability of a Billie Holliday mixed with the pure affability of Harry Connick, Jr.  “C’est Si Bon” is brilliant, with Loren singing in French as if it were her first language.  Loren switches gears to 1970’s R&B (ala Dionne Warwick) on “Waiting In Vain”.  Loren offers up a top-notch vocal, but the song itself fails to impress due to its repetitive nature and cookie-cutter style.

After a brief tour into Latin sounds for “Sway (Quien Sera)”, Halie Loren gets down to brass tacks for “Heart First”.  She’s entirely in her element here, with a bluesy-jazz sound and outstanding accompaniment from pianist Matthew Treder.  This is an all-around WOW moment. 

Loren’s fine talent as an interpreter of classic songs is on full display in “My One And Only Love”.  Perfect phrasing, wonderful timbres and an elegant sense of musical timing make this a sublime moment.  Loren settles in for a solid run through songs such as “All Of Me”, the funky “Tender To The Touch”, “Lotta Love” and “In Time”.  “Taking A Chance On Love” rises above this pack as Halie Loren once again applies her interpretive magic.  Rounding the final turn for home, Loren launches into a masterful reading of Charlie Chaplin’s “Smile”.  Singing like the song was written just for her, Loren captures the co-mingled sorrow and happiness in a bit of vocal magic that is among the finest moments in Jazz in 2012.  Most artists would end here, but Loren has one more trick up her sleeve.  Stripping everything away and singing with just acoustic guitar, bass and minimalist percussion, Loren finds another perfect moment on “Crazy Love”.  This is one of those rare closing songs where the listener finds themselves sitting still once the song ends, drinking in the last fading notes of magic.

Halie Loren is one of the most talented young vocalists in Jazz, and Heart First does absolutely nothing to discourage this view.  Loren works to expand her sound a bit this time around, blending some of her pop-oriented interests with the classic jazz sound she is known for.  The result is perhaps a bit uneven at times, but Loren’s voice can cover most any musical sin.  Heart First sounds like a transition album, and it will be very curious to hear where Loren is headed next.  This time out Loren shows she is no flash in the pan, while beginning to broaden the musical landscape she can work on.  And the moments of magic she finds are sublime.

Rating: 4.5 Stars (Out of 5)

Learn more at www.halieloren.com. 

Halie Loren - Stages

Halie Loren - Stages
2010, White Moon Productions

No matter how vibrant the performer; no matter how talented the producer, it's simply not possible to get the full power of a live show into a studio recording. Even one-off sessions with no overdubs fail to get the whole aural picture on tape. This seems an important consideration as I sit here listening to Wildy’s World Artist Of The Month for June, 2010 Halie Loren's newest album, Stages, recorded during 2009 at two different venues in Oregon. Loren has an amazing voice, warm and sultry in a way that recalls the Great Ladies of Song. That voice has always been apparent on her albums Full Circle and They Oughta Write A Song, but if you want to be blown away, grab a copy of Stages and get comfy.

Stages opens with "Danger In Loving You", a virtuosic opening that recalls names like Etta James, Sarah Vaughan and Billie Holliday. Loren has the innate ability to sell a song like she's lived it, making the experience so real that listeners can lose themselves for a moment. "On A Sunny Afternoon" is to the same level, but allows Loren's band to show off a bit. Particularly notable here is pianist Matt Treder, who brings the backdrop alive with a piano part that's so vibrant it's practically alive. Loren's take on U2's "I Still Haven't Found What I'm Looking For" sounds as if it might have been arranged by Hoagy Carmichael; keeping the essential melody intact but taking some mixolydian liberties in the process. On this tune in particular Loren sounds like a cross between Norah Jones and Sade, offering a soulful twist on her warm alto.

"More" starts out in a 1970's singer/songwriter pastiche before turning into a classic cabaret tune. Loren waxes poetic on her perfect love and questions whether her current love matches up to the ideal. The song alternates between a dreamy, pensive chorus and upbeat, jaunty verses and sounds like it might have come from a stage show. Loren really digs in on the classic "Cry Me A River", leaving goose bumps in her wake. You'll walk away thinking you finally heard the song as Arthur Hamilton originally envisioned it as he put pen to paper. Loren's take on Antonia Carlos Jobim's "The Girl From Ipanema" is lighter fare but no less inspired; capturing the carefree feel of the original.

On "Free To Be Loved By Me", Loren has a magical moment. Back in singer/songwriter mode, Loren delivers a tune that could have been a top-10 pop hit in the mid-1970's, and might still take the charts by storm in a country arrangement in today's marketplace. It's a brilliant tune, and plays exceedingly well live, where Loren sells it like a Tony-winning actress. Moving quickly to pick up the pace, Loren and band launch into Louis Jordan's "Is You Is Or Is You Ain't My Baby", done in a peppy, syncopated arrangement that will have your toes tapping from the outset. Loren shifts once again into "Great Ladies Of Song" mode for "Love Me Like A River Does", offering a textured, nuanced and ultimately beautiful vocal performance. Bassist Mark Schneider provides rhythmic and musical support with a line that stumbles, and then walks as Loren asks for it all. Pianist Matt Treder fills around them like the air we breathe, creating an amazing ensemble that's as in-sync for the three and a half minutes of the song as it’s possible to get.

Loren's "They Oughta Write A Song" has the sound of a classic jazz vocal tune, but is a Loren original. It's the title track of her last studio album, which was recently released in Japan by Victor Records. Loren's performance here is flawless. "High Heel Blues" offers a moment of whimsy as Loren sings about the draw a great pair of shoes can have, and the afflictions caused by a good pair of high heel shoes. It's a Capella blues and a real connection with the crowd that happens to allow listeners to hear the full tone and color of Loren's voice devoid of surrounding instrumentation. After such a diversion, you'd expect a song of impact. Loren chooses "Summertime", one of the best known songs in the Gershwin catalogue. This one's been done so many times it can either be a safe choice or a disastrous one. There are enough great versions of "Summertime" out there to make anything less than magic seem mundane. Loren delivers with a warm delivery and an understated read on the tune that eschews the histrionics many modern singers try to inject into the song. Stages closes with gentle calypso of "Rainbow Race", a song about the need for all peoples to get along and live together. It's a sweet tune, a fitting concert close with a gentle social message but light enough to end the show on a bright note.

Haley Loren continues to grow and develop as an artist, and she's seeing the fruits of her labors. Her previous album, They Oughta Write A Song, recently crested in the top-20 albums in Japan. It's only a matter of time before Loren sees the same sort of numbers on this side of the Pacific. It's already reached a point where if you want to talk about the best female jazz vocalists working today, a discussion that doesn't include Loren in the mix is incomplete. Stages is brilliant, capturing Loren in a live setting, where the warm textures of her voice and her pitch-perfect phrasing blend with a band that supports her flawlessly. Halie Loren is the sort of vocalist who comes along once or twice a generation, combining technical ability, sound, passion, sensuality and a natural ability to connect with listeners; she creates magic on stage, as on Stages. Stages is a Wildy's World Certified Desert Island Disc.

Rating: 5 Stars (Out of 5)

Learn more about Halie Loren at http://www.halieloren.com/ or www.myspace.com/halieloren. You can order Stages and any of Loren's other albums on CD through her website in the store section. You can also order the album as either a CD or Download from Amazon.com.

Review: Michele Thomas - I'll Take Romance

Michele Thomas - I'll Take Romance
2009, Michele Thomas

Chicago's Michele Thomas is a Jazz vocalist with a sweet voice and a predilection for the Jazz/Funk/Soul sound of the 1970's. Her debut album, I'll Take Romance focuses on standards, but you'll hear that 1970's sound slipping in and out from time to time. Thomas has a sweet voice within her comfort zone, but does struggle at times with pitch and tone when she stretches herself. There's not too much stretching on I'll Take Romance, however.

Thomas opens with the title track, and a velvety-smooth Jazz vocal that has some foibles but stands fairly well on its own. Thomas' band is top-notch, building arrangements around her voice that are pitch perfect. Black Nile brings Thomas into her upper register a bit. Thomas' doesn't have the knockout power of a Billie Holliday and isn't quite comfortable at the lower edge of her range, but in her comfort zone she's a fine vocalist. Thomas shines on Where Were You When I Needed You, a cover of Stevie Wonder's Superwoman (using the subtitle rather than the title). Thomas doesn't try to do too much with Wonder's creation, just lets the song be itself. The result is the best vocal performance on the disc.

Thomas gets to show off her scat skills on Charlie Parker's Marmaduke. Scat is a deceptive art; it sounds easy until you try to do it. The key is let go and let it happen - if you think it over too much it doesn't work. Thomas is brilliant here; mixing her voice with runs and solos on guitar, sax, trumpet and drums. Thomas takes on the Guy Wood/Robert Mellin penned My One And Only Love to great effect. This song perhaps doesn't get the respect it deserves these days, but in its time its been covered by the likes of Louis Armstrong, Doris Day & Andre Previn, John Coltrane & Johnny Hartman, Frank Sinatra, Ella Fitzgerald and Sting. Thomas is on the money once again in a reserved performance that's thoroughly in character with the song. Astrud Gilberto's Gentle Rain is up next, and Thomas gives it her all but starts to run up against her own limits on a challenging vocal line. Thomas' sound is still excellent, but this particular tune takes tremendous breath control and Thomas struggles a bit in a couple of the longer, slower passages. Thomas closes out wit Duke Ellington's Come Sunday in a heartfelt but vocally mixed performance. The synth-driven arrangement doesn't really suit the song all that well, and to strip it down this much you really need to be able to take control of the song, which Thomas never really does.

I'll Take Romance is a good start. Michele Thomas can certainly sing; it's her ambition that gets her into trouble. One some of the more challenging tracks on I'll Take Romance Thomas exposes her flaws, but in a day and age full of pitch-correcting software and endless over-dubbing it's refreshing to hear someone willing to stretch themselves and know what you do hear is real. Michele Thomas doesn't have the power to belt out songs, and sticks to surfing the more lyric side of jazz, generally to highly enjoyable effect.

Rating: 3 Stars (Out of 5)

You can learn more about Michele Thomas at http://www.michelethomas.net/. You can purchase Messenger as either a CD or Download from CDBaby.com.

Review: Roberta Gambarini - So In Love

Roberta Gambarini - So In Love
2009, Decca Records/Emarcy/PGD

Roberta Gambarini built her reputation the old-fashioned way. A true road-warrior, she’s toured/performed with the likes of Ron Carter, Herbie Hancock, Slide Hampton, Roy Hargrove, Jimmy Heath and Toots Thielman, just to name a few. The native of Italy, who now calls the United States home, has one GRAMMY nomination under her belt, and has been dubbed by the great pianist Hank Jones as the “best singer to emerge in over 60 years”. (Jones has accompanied Ella Fitzgerald, Billy Holliday, Sarah Vaughan, Carmen McRae, Bing Crosby, Nat “King” Cole, Billy Eckstine and Frank Sinatra, just to name a few. On August 25, 2009, Decca Records releases Gambarini’s third album, So In Love, featuring guest appearances by James Moody, Roy Hargrove, Eric Gunnison, Chuck Berghorfer and George Mraz, to name a few. The album was recorded by Al Schmitt at Capitol Studios.

Gambarini is a vocalist with shades of Keely Smith's sharp alto and Ella Fitzgerald's warm tone in her voice. She opens So In Love with the title track in a fashion so sultry she could melt the microphone. Day In And Day Out finds Gambarini's smooth sound wending its way through a difficult melody line without every breaking a sweat. Get Out Of Town is the sort of performance you don't hear much of in vocal jazz anymore. Gambarini has this slight edge to her voice, but wraps it up in silk and taffeta while mesmerizing the listener into satisfied state. The arrangement here is ingenious, with the music growing almost out of thin air but never upstanding Gambarini while wrapping around her voice like a shawl. Gambarini gives a lyric and inspired performance of Patsy Cline's Crazy. There have been so many covers of this tune over time it's almost a cliché, and it’s rare to find an artist who truly does the song justice, but Gambarini makes the grade. Gambarini's take on That Old Black Magic is good but lacks the conviction that would make the song truly fly.

Switching to the popular realm, Gambarini takes on the Beatles with Golden Slumbers/Here There & Everywhere. He vocal take is gorgeous but the arrangement leaves something to be desired as it saps Here There & Everywhere of its vitality. From This Moment On finds Gambarini trying to keep pace with the great Ella Fitzgerald. This is one of those tunes you just don't do if you can't nail it and make it your own. Gambarini's version is good but just can't stand up to the original. Gambarini goes the stock standard route with You Must Believe In Spring and This Is Always before ripping off the roof with You Ain't Nothin' But A J.A.M.F. Scat fans take notice, Gambarini's got the pipes. Her performance here is absolutely inspired.
So In Love has some ups and downs, but there is no doubt that Roberta Gambarini should be considered one of the bright stars in vocal jazz. So In Love is a strong introduction and also a great learning tool, as it displays very clearly where Gambarini's strengths are and are not. If you're a fan of vocal jazz, and particularly the great Ladies of the 1930's and 1940's, then you'll definitely want to spend some time with So In Love.

Rating: 3.5 Stars (Out of 5)

You can learn more about Roberta Gambarini at http://www.robertagambarini.com/ or www.myspace.com/robertagambarini. So In Love drops August 25, 2009. You can pre-order the album through Amazon.com. Expect digital distribution through all major outlets, including Amazon.MP3 and iTunes.

Review: Alyse Black - Too Much & Too Lovely

Alyse Black – Too Much & Too Lovely
2007, Little Cherubine Records

Seattle’s Alyse Black is a master of misdirection. Anyone who has heard her sing and play knows she’s headed for big things, but she almost missed her calling. A completed but never submitted application to Juilliard was the first step to business school and the corporate world, but Black just couldn’t hide from her muse. Alyse Black sings with the soul of Billie Holliday, the panache of Tori Amos and the whimsical glee of Regina Spektor. Her latest release, Too Much & Too Lovely is a smashing introduction to an artist who defies genre and description.

Imagine Sarah Slean meeting Fiona Apple and Tori Amos for lunch, and Billie Holliday and Regina Spektor stopped over to the table to say high. Somewhere in there you’ll find most of the qualities that Alyse Black brings to Too Much & Too Lovely. Her voice is drop-dead gorgeous, with a strongly sensuous sound that hearkens back to the great ladies of jazz. The music is decidedly modern with serious nods to that other era. Emeline opens the set as a peppy pop/rock song with an almost campy Vegas feel to it. Wouldn’t It Be Nice is the sound you’d get out of Norah Jones if she could project attitude. Complete With Sound Effects is one of the high water marks of the album. The song takes on consumerism and all of the bells and whistles that get people to needlessly open their wallets; or it could be a neat little indictment of the music industry.

Sally All My Days is a song about the sort of love that can move the world. In this case it’s about a sister, but the song is particularly touching and honest. Shy captures the stage in a relationship where fear and excitement wrestle for dominance perfectly, while Love Tonight? is full of the confidence of love. Be sure to check out Call It Quits, a bit of Tori Amos-style musical pathos that questions a relationship simply on the basis that so many fail. I particularly enjoyed This Machine with its 1970’s Captain and Tennille-style vocal line set against the edgy alternative piano rock compositional style. And don’t miss Too Much & Too Lovely (the title track). Don’t be surprised if this song eventually works its way into the standards songbook.

Alyse Black’s voice and style will garner her significant attention, but it’s her songwriting that seals the deal. Black brings a direct subtlety to her lyrics and backs it up with a panoramic musical experience that runs from jazz to blues to rock and even incorporates the occasional quasi-classical theme. The result is an album that spans genres and sounds to the point that it borders on transcending popular music. There are a couple of slow moments on Too Much & Too Lovely, but on the whole the album is excellent.

Rating: 4 Stars (Out of 5)

You can learn more about Alyse Black at http://www.alyseblack.com/ or www.myspace.com/alyseblack. You can purchase a copy of Too Much & Too Lovely at www.cdbaby.com/cd/alyseblack.

Review: Loretta McNair - Intimate Portrait

Loretta McNair - Intimate Portrait
2008, Loretta McNair

Call her Rosemary Clooney for the 21st century. Los Angeles-based Loretta McNair writes and performs everything from standards style to blues to jazz to country to classic singer/songwriter material. Her latest album, Intimate Portrait is part Clooney, part Billie Holliday and part Doris Day. McNair sings a mellow torch style tempered by a contemporary spirit.

The music on Intimate Portrait is first class, from the songwriting to the execution; enthusiasts of American Standards will love the list of potential new standards on Intimate Portrait. McNair thrills on Someone Who'll Stay and That's What I'm Here For. Don't be surprised if That's What I'm Here For becomes a heavily covered song in the next generation or so. Talk, Talk, Talk is also a treat. McNair is a throwback; she would have fit in perfectly in the 1940's and early 1950's. Today, of course, the demand for the music of that era is diminished in the pop realm but still has a significant draw for the boomers and WWII generations, as well as significant pockets of fan across different regions and demographics. There's little weakness shown on Intimate Portrait, McNair delivers these songs in spot on fashion. And while she sounds a bit like Clooney or Holliday, don't expect the same level of dynamics. McNair is good, but not quite of that legendary ilk. Nevertheless, she's definitely worth spending some time listening to. Intimate Portrait is a solid outing.

Rating: 3.5 Stars (Out of 5)

You can learn more about Loretta McNair at http://www.lorettamcnair.com/ or www.myspace.com/lorettamcnair. You can purchase a copy of Intimate Portrait at www.cdbaby.com/cd/lorettamcnair2.

Review: Sarah Tracey - Cards On The Table E.P.

Sarah Tracey – Cards On The Table E.P.
2009, Sarah Tracey

Sarah Tracey brings torch music into the twenty-first century with the subtlety of an axe slicing through butter. Encompassing the earthy tones of Billie Holiday and Kay Starr, the stratospheric reach of Judy Garland, and the va-va-voom appeal of Anne Margaret, Tracey steps right out of another era with a bang. Born and raised on Chicago’s North Shore, the classically trained pianist quickly found that city’s love for jazz and blues. While her songwriting style is definitely influenced by her classical background, Tracey writes the soundtrack to a modern day, black and white film noir on Cards On The Table (EP). Hold on to your hats.

Cards On The Table appears to have been recorded live without an audience. The ambience of the recording would suggest that the attempt was made to capture an unshaped, live performance it its pure raw energy. If so, this approach has worked magnificently. Sarah Tracey opens with This Plum, a sultry torch song about the draw of forbidden fruit; alternating between pure desire and a sort of emotional sadism. Up next is Cards On The Table, an open heart appeal using poker as a metaphor. The arrangement has a bit of French Cabaret Jazz in its heritage, like something you might hear in an old black and white private detective flick. Heart On My Sleeve is a primo performance from Sarah Tracey, who just seems to get better and better as the EP progresses.

For I Want To, Tracey steps back a bit to deliver an electric performance based in the heartbreak of unrequited love. This is far and away the best track on the CD, and Tracey sells the song with all of her heart and soul. How Does It Feel is a wonderfully dark song of base devotion and wanton thoughts. Sarah Tracey sings this song like she’s lived it, assuming the role of the protagonist like slipping on a glove. As a sort of musical/spiritual redemption, Sarah Tracey comes up from the depths of jazz era depravation for Why Should I Be Blue? The promise of love rises and falls with the ebb and flow of Sarah Tracey’s voice while the listener dangles on the edge of his/her seat.

Sarah Tracey is a classic performer. Her voice is distinctive and warm and smoky with just a bit of an edge to it. She own her genre like only the best can. The material here is perfect for her voice and musical aspect, and Sarah Tracey makes the most of the six songs presented on Cards On The Table. It’s a definite must-hear for vocal jazz enthusiasts or anyone who loves a great vocal performance.

Rating: 4 Stars (Out of 5)

You can learn more about Sarah Tracey at http://www.sarahtracey.com/ or www.myspace.com/sarahtracey. No word on availability Cards On The Table, although you can stream the songs on Tracey’s MySpace page.

Review: Halie Loren - They Oughta Write A Song

Halie Loren - They Oughta Write A Song
2008, White Moon Productions

Halie Loren made quite an impression with her debut album, 2006's Full Circle. Loren proved she could write and perform songs that walk the line of emotional breakdown with a power and grace that are nearly unheard of in popular music. Loren, who is seemingly something of a musical restless heart, follows up with an album of classic jazz songs entitled They Oughta Write A Song. As good as Loren was on Full Circle, she sounds as if she were born to sing jazz. They Oughta Write A Song hits all the right notes from start to finish.

Starting off with the pensive title track, Loren's silky alto slides through the songs here like a hot knife through butter. Loren is smooth and full of a sensual grace that recalls Eartha Kitt at the top of her game. A Whiter Shade Of Pale is a gorgeous reading by Loren; she owns it like she wrote it, and it is one of the highlights of the CD. Blue Skies is performed in a mischievous, funky jazz arrangement that you won't soon forget. For all that's been said thus far, Halie Loren raises her game another notch on Autumn Leaves. The muted piano arrangement allows for maximum appreciation of Loren's virtuosic vocal, steeped in melancholy remembrance and regret.

Halie Loren really shakes things up on Fever. Get out your ice water, AC and oscillating fans. They won't be enough. Loren proceeds to find the heart of The Blues on God Bless The Child. I keep wanting to point out particular songs as highlights, but the difficulty is that everything here is just so good that the word highlight becomes meaningless. That being said, Perhaps, Perhaps, Perhaps is amazing. There is a mischievous quality to this performance that allows Loren to reach even higher and touch perfection for two minutes and twenty-one seconds. How Should I Know, The Dock Of The Bay and I Don't Miss It Much are up to the level that Loren has established throughout the album, and Summertime is absolutely glorious. Summertime is one of those songs that EVERYBODY who sings Jazz or Broadway tunes tries on at least once. As such it’s easy to listen to each new rendition with a jaded ear, but occasionally a particular performance will still pique interest. Halie Loren's version is full of soul; adopting the warm and easy feel of the prototypical summer's day that the song uses as its scenery. Loren waxes and wanes in intensity as she builds toward the song's peak. Her performance is a master class that avoids the attempt some singers make to overpower the song on the final chorus, letting the power of the song speak for itself.

I'm torn. After hearing Full Circle I very much anticipated Loren's next project. After hearing They Oughta Write A Song, it seems as if Loren was born with Jazz in her veins. Loren is one of those artists that can sing pop, rock, jazz and even Broadway without missing a beat. She could be equally successful in each realm. Hopefully over time she'll make time for both the pop/rock material and the jazz/show tunes. They Oughta Write A Song deserves to take a place among the great vocal jazz albums. Halie Loren becomes the first artist in the history of Wildy's World to have two Wildy's World Certified Desert Island Discs! They don't make them like this anymore.

Rating: 5 Stars (Out of 5)

You can learn more about Halie Loren and even purchase a copy of They Oughta Write A Song at http://www.halieloren.com/.