JANIS SIEGEL
 JANIS SIEGEL From Jazzreview.com CD Title: Sketches of Broadway Year: 2004 Record Label: Telarc Style: Jazz Vocals
Review: Vocalist Janis Siegel, of Manhattan Transfer fame has also crafted a notable solo career. In the liners, the vocalist reminisces about growing up listening to Motown, The Beatles, and so forth, yet candidly admits that she never really delved into the Broadway musical circuit. To that end, the artistic growing process in union with a thirst for creativity and exploration signifies a new frontier, especially here on this rather uplifting release. Ms Siegel garners top-notch support from well-known players such as bassist John Patitucci, vibist Stefon Harris, and others. But it's producer Gil Goldstein 's shrewd understanding of what was to be accomplished that provides a noticeable edge here. Moreover, Goldstein performs on electric/acoustic keys and accordion throughout. Yet, at the end of the day, Ms Siegel is the star of the show, due to her sprightly and somewhat animated vocal delivery atop the ensemble's vibrantly executed accompaniment. The vocalist warmly harmonizes with acoustic guitarist Romero Lubcambo and Harris on Stephen Sondheim's "Sorry-Grateful (Company)." As a whole, Siegel spins new magic on these pieces culled from Broadway musicals. Siegel presents a sequence of thoughtful provocations amid flotation-like grooves often spiked with moments of wit and whimsy. On occasion, the artist scats with a featured soloist. However, her angelic vocal attributes surface on the intertwining of "Out of my Dreams (Oklahoma)" and "I Have Dreamed (The King & I)." Sure enough, this an inspiring affair, featuring a potpourri of styles and variations melded with finger-snapping beats and much more. Simply stated, every piece is an adventure unto itself. Don't take anything for granted, as Ms Siegel coins a rather novel vernacular during the greater part of this extremely likeable production! (Strongly recommendedŠ) Tracks: Show Me, Sorry-Grateful, It's a Woman's Perogative, The Story of Lucy and Jessie, Born Too Late, Out of My Dreams - I Have Dreamed, I've Got the Sun in the Morning (And the Moon at Night), The Surrey With The Fringe On Top - Stoned Soul Picnic, It Never Was You, My Best Beau, Make Someone Happy Reviewed by: Glenn Astarita
The acclaimed Manhattan Transfer vocalist has always been the one member of the legendary, multiple-Grammy winning group who has been most willing to explore deeper artistic leanings on her solo projects. Here, she offers a restrained counterpoint to Barbra Streisand's more dramatic approach to classics from our favorite musicals, succeeding mostly by picking lesser-known tunes that haven't worn out their welcome, and interacting with a stellar jazz cast and the witty arrangements of Gil Goldstein. On the opening track, "Show Me," her vocals glide soulfully over John Patitucci's bass and Stefon Harris' vibes before the pace picks up, Siegel's phrasing ebbs and flows beautifully and wildly, and the story becomes a little more energetic with its telling. Transfer fans don't have to wait long for their diva to harmonize, this time with herself on the subtle vocal textures in spots on the softhearted, mystical arrangement of "Sorry Grateful" (from Sondheim's Company. . .In Jazz). That vibe of mystery continues on Arlen and Mercer's provocative "It's a Woman's Prerogative," which again allows ample space for Siegel to explore the deeper emotional subtleties. Harris' vibes are purely hypnotic here. Siegel clearly loves telling stories even the hardcore Broadway fan is less familiar with, reminding us of musicals like Follies ("The Story of Lucy and Jessie") and The Littlest Revue ("Born too Late"), all of which allow her to be equally goofy, poignant, and ironic. The showstopper "Sun in the Morning" finds Siegel fully engaged over a heavier Antonio Sanchez drumbeat and the rock-edged guitar of Romero Lubambo. All of this only scratches the surface of the tremendously rich artistry Siegel demonstrates here as she mines classics and obscure songs that touch both her heart and wit. Hopefully, she, like Streisand, will come back to Broadway in the future. ‹ Jonathan Widran
Volume 27/Number 11(a) 4/18/04 Sunday New York Daily News ran a review (plus Janis photo) of "Sketches of Broadway." Here's a quote: "Though its repertoire is new to [Siegel], she covers it like a master...Gil Goldstein's arrangements give familiar numbers a rhythmic punch that makes them sound fresh." http://talkinbroadway.com/sound/ One of the stereotypes of jazz singers is that they are more concerned with a song's music than with its lyrics, oftentimes treating both as afterthoughts for the performer's own style and sensibilities. This most certainly does not apply to Janis Siegel, who carefully chose the tunes on her latest album, Sketches Of Broadway, based as much on their dynamic storytelling qualities and lyrical craftsmanship as for their melodies. Thus, the songs are treated as glittering short stories to be interpreted both dramatically and vocally, and she succeeds marvelously at both. While the album contains several Broadway standards, such as a pairing of an a cappella "Out Of My Dreams" (which features Siegel providing multitracked harmonies) with a haunting "I Have Dreamed," and a lazy "The Surrey With The Fringe On the Top (which incorporates Laura Nyro's "Stoned Soul Picnic" to whimsical effect), Siegel has made some delightfully surprising choices. Few Broadway, or even cabaret, singers would think to tackle "The Story Of Lucy And Jessie" from Follies, but Siegel does so with wit and verve (as well as with a driving Latin guitar accompaniment). Even more obscure, but equally well done, is "Born Too Late" from The Littlest Revue (Vernon Duke/Ogden Nash), a dreamy number that is deserving of wider recognition. Other highlights include a haunting take on "It's A Woman's Prerogative" from St. Louis Woman, a swaying Latin version of Company's "Sorry/Grateful," and a simple yet emotionally powerful rendition of one of Kurt Weill's loveliest songs, "It Never Was You" from Knickerbocker Holiday. http://www.philly.com/mld/inquirer/entertainment/8612955.htm Singer Janis Siegel, a mainstay of the vocal group Manhattan Transfer, digs into the Broadway songbook and finds some unexpected excitement. Her selections work as little dramas or just good jazz singing over the backing of a first-rate group, led by keyboardist/producer Gil Goldstein, who draws his usual inspiration from the southern parts of the Americas. Siegel, far jazzier than most Broadway singers, scats like a mother. She can rip your heart out with a ballad, then exhibit a sure technique in the heat of furious moments. The session pulses from ballads, such as the smoothly flowing "Born Too Late," full of liquid tenderness, to the vivid tempo of "Show Me" from Lerner and Loewe's "My Fair Lady." Goldstein provides the clever arrangements, and injects some surprises, including the funky section of "It's a Woman's Prerogative" and a rockish take on Irving Berlin's "I've Got the Sun in the Morning (and the Moon at Night)."Guitarist Romero Lubambo and vibraphonist Stefon Harris are all over the recording, creating well-crafted settings. Lubambo plays Stephen Sondheim's "The Story of Lucy and Jessie" with a nice Brazilian twist.
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