[.ca] 1957 Anita Sings The Most

From Amazon.com:
In the mid-1950s, the Oscar Peterson trio (with bassist Ray Brown and guitarist Herb Ellis) served as a house rhythm section for Norman Granz's Verve label and his Jazz at the Philharmonic tours. Stars in their own right, they were also superb accompanists, propelling Granz's swing-era giants to some of their best performances of the era. This 1957 date is a superbly swinging session that may be Anita O'Day's finest hour in the recording studio. Although she first found fame as a singer with big bands like Gene Krupa's, O'Day's freewheeling style was most at home in a small group setting. Here she sings swing tunes at breakneck tempos and adds boppish scat with genuinely instrumental fluency. O'Day's wistful treatments of ballads are graced by luminous accompaniments, by Ellis on "I've Got the World on a String" and Peterson on "Bewitched, Bothered and Bewildered." --Stuart Broomer

Simply Put, She's The Best.:
As a jazz fan, but not a fan of jazz vocals, I can not recommend this album more highly. Anita is IT! In my opinion she blows away anyone who ever tried to sing a jazz standard. Hipper than Ella, more lyrical than Sarah, Anita had an emotional depth that only Billy could rival. But Billy isn't even in the same hemisphere when it comes to technique. And unlike many of the so-called jazz vocalists, Anita never resorted to gimmicky licks or tricks. But when she scats...look out! This is the real deal -- not the scoobally-doo-bop nonsense too often passed off as "improvisation". Every note rings true with a tone sent from the gods. The gal could SWING! This album is a must for an serious jazz fan and any fan of great singing. Buy it -- or lose out on hearing one of the great artists of the 20th century.

A Good Match:
One of my first experiences hearing jazz live was catching Anita O'Day at a small club in Seattle. As little as I understood about the music at the time, it was abundantly clear that she was unhappy with her pianist and that he would have preferred being anywhere but in the company of this snarling prima donna who was holding him up to public humiliation. Years later I heard a musician tell the story about Anita calling "Tea for Two" in one of her typically torrid up-tempos and in the key of A. After the pianist had played the song through, setting up the vocal, Anita suddenly turned to him and said, "Modulate to A flat" (the standard key of the tune). So why not pair one of the world's most fastidious and demanding singers with the world's greatest living pianist? The concept behind this album was a winner from the start, and its realization is in no way disappointing. Oscar is at his swinging best, and Anita has her choice of tempos, keys, and unique spins on familiar standards. She's at once hot, cool, sexy, cold--as only Anita can be--but she's always the ace musician, in complete, domineering control in her uniquely laid-back, slightly "hung-over" style of elocution. Not quite as satisfying as Anita's "Pick Yourself Up," this album is nonetheless another of the many rewarding sessions coupling Verve's "house" rhythm section with a jazz star. The greatest delights? The medium-tempo version of "We'll Be Together Again" and the overplayed but not oversung "Stella by Starlight." The biggest disappointment? On the "Rodgers and Hart Songbook" Ella sings the complete and uncensored lyrics to "Bewitched," whereas on this recording Anita sings the straight, cleaned-up, traditional version. Somebody must have switched the envelopes.

Very, Very Nice:
The legendary head of Verve, Norman Granz, knew his business, and signing Anita O'Day was no exception. Though this is not her best Verve album ('Time For Two' with Cal Tjader claims this distinction) it is superb. (My favorite track is probably 'Stella By Starlight'; the best rendition of this gorgeous standard that I've ever heard.) Grab this one -- and 'Time For Two'.

Stylish Swing from Two Masters:
Anita O'Day was at her absolute artistic peak in the 50s, and this collaboration with Oscar Peterson stands out as one of her most fully-realized albums, and it's one of the most fun to listen to. Each song is highly concentrated and gets out of the gate at full throttle. Whether uptempo or ballad, every song swings hard-- one expects no less from O'Day or Peterson. The piano playing is technically dazzling, and Peterson's Impressionist ballad work is gorgeous. And O'Day's vocals? Like no other singer working (with the possible exception of Mel Torme, another member of the 50s Cool school). Impeccable rhythmic sense, stunning scatting ability, a true gift of melodic and harmonic re-invention-- she had serious jazz chops (even if she didn't have Sarah Vaughn's operatic technique, she never needed it). The Mach 180 romp through "Them There Eyes" should be required listening for jazz players (singers and instrumentalists)-- a brilliant deconstruction of the old Billie Holiday line, including O'Day trading scat eights with drummer John Poole, a blazing solo from Peterson, and a sense of joy you don't get from other musicians. A true pleasure!!

Incredibly good:
This was my first Anita O'Day album, and I listened to nothing else for about a month (I neverdo this). Everything about is perfect: the song selection, the band, and Anita's PERFECT voice. I know very little about vocal jazz, but this was the perfect introduction. I have begun to devour her entire discography, get it today!!

• 'S Wonderful/They Can't Take That Away from Me
• Tenderly
• Old Devil Moon
• Love Me or Leave Me
• We'll Be Together Again
• Stella by Starlight
• Takin' a Chance on Love
• Them There Eyes
• I've Got the World on a String
• You Turned the Tables on Me
• Bewitched, Bothered and Bewildered