Stacey Kent

Too bad there is not a way to hear a sample of the cuts without viewing that long and wandering video. What happened Amazon?

OK, let me make it simple for you: No sample to hear, no sale!

OK. Well, I guess the vast majority of the reviewers are Stacey Kent's best friends. Or it could be they are like the fans of be-bop, who aren't nearly enough of musicians themselves to be able to understand it, yet alone play it, but know "intelligent" people are supposed to like it, so they do. But one way or another, the folks here who are saying that this album is a triumph are selling you the Brooklyn Bridge. Virtually every original song is at the same tempo (dirge-like). The lyrics may be "clever", but so is grand opera (and I don't recommend that either). And the bottom line on this cd is that it is by far her weakest effort if you're a fan of the standards era. Not because the songs aren't "standards," but because the songs are weak.

Here's the easiest example to make this clear (and none of the sycophants can dispute it). I've seen Ms. Kent in concert half a dozen times. Each time, she drew standing ovations not just when finishing for the evening, but literally during the sets. However, at the concert I attended on her tour promoting "Breakfast...", half the audience left at intermission and all night long the crowd kept calling for songs off of other cd's.
So by all means try Stacey Kent. She's absolutely wonderful. But don't spend your money on this one until and unless you completely flip for her after hearing "Let Yourself Go" or one of her other earlier works.

OK, brown nosers. I'm ready for your attacks now. I'm sure you're all fans of tone poems too.

She may be not as popular as in U.K (where they consider her a British possession ), but the American-born singer always delivers with style.
A recent addition to the Blue Note roster of recording artists, now Stacey Kent boasts in U.K. six best-selling albums, a string of awards, including the 2001 British Jazz Award and 2002 BBC Jazz Award "Best Vocalist", the 2004 Backstage Bistro Award and the 2006 Album of the Year for The Lyric featuring Stacey Kent as well as a fan base that enables her to sell out concert halls around the world.
Her latest album "Breakfast On a Morning Tram" includes a mixture of classic standards as well as new songs written and produced by her husband and saxophonist, Jim Tomlinson, and has on her team a surprise star writer (award-winning novelist) Kazuo Ishiguro, who supplies four angular lyrics on her Blue Note debut.
"She conveys the sense of a person talking to herself". Ishiguro wrote, "the faltering hesitancies, the exuberant rushes of inner thought".
It probably would have been easy for the expat American to continue ploughing a comfortable swing-revivalist furrow.
For the past 10 years, she has been mainly singing numbers form the great American Songbooks. However, on this CD, she sings lesser known beautiful songs (a folksily soulful "Landslide" - from Fleetwood Mac's Stevie Nicks), a couple of Serge Gainsbourg romances delivered in French ( "Ces petits riens" and "La saison des Pluies"') , another pearl of a song, the elegant bossa nova "Samba Savarah", also delicately sung in French and three numbers from the Songbook, a bluesily swinging "Hard Hearted Hannah", "Never let me go" and and an account of "What a Wonderful World" as a wondering whisper.
She did sing Bacharach, Paul Simon and Carole Kind in her previous exquisite album The Boy Next Door , but this CD has a fresher approach.
Full marks to her, then, for having the courage to take this new departure, a collection of songs that occasionally tilts in the direction of Norah Jones, another artist who has made the most of a narrow vocal range.
Kent's light, girlish voice and avoidance of dynamic or emotional extremes is applied here to a wider range of material than the Broadway standards that made her name.
Kent can get a hard time from the cognoscenti for her dinner-jazzy Latin shuffles and faintly coy delivery, and there are certainly times on her albums where you wish John Zorn might crash in.
But the shift from dark, low sounds to edgier ascending pleas is genuinely affecting on "Never Let Me Go". John Parricelli's guitar is a delight, and Jim Tomlinson's soft sax is as supportive as ever; and Kent's timing and care with lyrics shows how much she cares about this fragile world of almost-jazz.
Stacey sounds understandably self-conscious on some of the modern material, but the lissom guitar-based arrangements leave you eager to hear where the next step will take her.
"Her voice is sometimes a whisper, sometimes a confiding murmur, sometimes an exhilarated exclamation; but whatever the idiom or the mood, individual listeners frequently feel that Stacey's music was intended for their ears only". - John Fordham

Stacey Kent's "Breakfast on the Morning Tram" sounds like an audio journal from a global traveler: slightly world-weary but still enthusiastic, still hoping for ... ? Her trademark lyrical clarity combined with confident, understated yet adventuresome musical phrasing makes her singing a delight. For this CD she has moved beyond the American songbook and standards that make up many of her prior recordings. The songs and sound are fresh. Several songs, with lyrics by Japanese novelist Kazuo Ishiguro, ignore "songbook-style" rhymes for a more modern storytelling mode -- still catchy -- beautifully delivered by Stacey Kent's incomparable voice. This a a GREAT CD -- perhaps her best so far. My wish? Combine Ishiguro lyrics with more Brazilian-influenced melodies (Jobim? Gilberto? Tomlinson?) for a whole "Stacey Goes South" CD of updated samba and bossanova tunes. My other wish? Just where is that morning tram that serves breakfast?

If you like Karyn Allison and Blossom Deary, don't miss this album! Stacey Kent's small but intimate voice seems to whisper in your ear. She really is unique. But its not just Ms. Kent which makes this CD a winner; the arrangements are perfect and the musicians (including her husband, Jim Tomlinson) back her with an unselfish sensitivity. Yet, when they come forward to solo, you are aware that each is a polished and creative performer! More! Please!
I save the best for last.
The new songs written by Kazuo Ishiguro and Jim Tomlinson are very special. They are not just the same old love songs. Yes, each one includes love as a component, but, with a humorous "twist". Artists create many mediocre pieces on the way to that ONE masterpiece, but to write FOUR superb songs for this album, is a creative blessing.
Turn down the lights; sit back; enjoy!

This is a nice, swing oriented album;
Stacey Kent is a vocalist of pleasant voice and great precision, although not all the supporting musicians drive her the way many older giants could
(Sir Charles Thompson, Jess Stacy, Milt Hinton, George Duvivier... and I'm not even mentioning the best...).
Could you even imagine what would Roy Eldridge or Buck Clayton do to uplift the session?

Kent's husband Jim Tomlinson is definitely the best of the supporting crew, at times really passionate in his elegance so, with first-rate material, this is still a very pleasant album.

a very , very good stacey CD... i have everything she does...and i love all the rodgers & HART output. a great team, but not that crazy about hanmmerstein...still a full 4-star+ recording...BUT it does not come close to the 10-star DREAMSVILLE... a just about perfect recording. (a personal note: she fidgets! i've seen her perform in person a few times at the Algonquin. she fidgets...makes me crazy. she fidgets!)

I have just discovered Stacet Kent and I can't believe how good this album is. Of course it helps to have the fabulous songs of Richard Rogers, but Ms. Kent's delivery is phenomenal, and the instrumental backup is also great. I have trouble finding music like this, great American classics usually sung by Sinatra but by too few others, so all I can say to Stacey Kent is: Keep it coming!

After only recently discovering Stacey Kent, I have become a huge fan of her clear voice and smooth but playful performance. This disk is done well but has a bit too much sleepy material. One of the better tracks is the unusual and now corny " I'm Gonna Wash That Man Right Outa My Hair". "This Can't be Love" is great and probably the best of the disk as I prefer more up tempo music.

But to be honest Stacey could be singing TV comercials and it would make an enjoyable disk.

Stacey Kent is a young, native New Yorker who now lives, and generally performs, in England: that's what might happen to an American singer who falls in love with an English saxophonist. She's jazz-oriented, mining the great American standards: in this album, principally Richard Rodgers. In others, also the Gershwins, Cole Porter. Her touch is light, conversational,transparent; her attack fluid, swinging. And she's cute, too.

She and her husband, tenor sax man Jim Tomlinson wind and curl around each other's voices, bringing to mind the great romantic collaborations of Billie Holiday and Lester Young;of Astrid Gilberto and Stan Getz. Or, in more contemporary terms, John Pizzarelli and Jessica Molaskey. Liner notes on this album were written by the English Booker Prize winning novelist Kazuo Ishiguro. I've been so lucky as to see Kent (and Tomlinson)in person, at New York's famed Algonquin Hotel, and it was one wonderful show. Fine, mellow, and romantic, too.

"This is splendid jazz which also happens to be a popular song recital of the highest quality. Consumer advice? Buy it." ~ Andrew Vine, Yorkshire Post ~

On this fitting tribute album, "Let Yourself Go: Celebrating Fred Astaire," Stacey Kent takes the listeners back in time to the splendid world of a fine actor, notable singer, great dancer and creative choreographer all rolled into one, the legendary Fred Astaire. He earned multiple acting awards and honors for his remarkable artistry, which ultimately earned him the recognition as the the fifth "Greatest Male Star of All-Time" by the American Film Institute.

I'm glad that Stacey Kent and her long-time British bandmates Jim Tomlinson (sax), David Newton (piano), Colin Oxley (guitar), Simon Thorpe (bass) and Steve Brown (drums) have recorded a magnificent tribute album consisting of thirteen songs that identify Fred Astaire's greatness. All the songs are perfectly pretty and guaranteed to give the listeners an enjoyable musical adventure starting off with the title track, an Irving Berlin classic, "Let Yourself Go" to a gem from Howard Dietz and Arthur Schwartz, "By Myself" featuring David Newton on that beautiful piano accompaniment.

As an opener to this sparkling presentation, Kent will induce you to let go as she sings "Let Yourself Go" and will invite you to dance to the music of "Shall We Dance?" Of course, she will not take "I Won't Dance" for an answer.

What good is a set of standards without Gershwin, Kern, Berlin, Mercer and the rest of songwriters from Tin Pan Alley? Most of their best works are spotlighted here, from "They Can't Take That Away From Me," "A Fine Romance" and "Isn't It A Lovely Day?" to "By Myself," "He Loves And She Loves" and "S Wonderful." There isn't any lackluster song - these are timeless, tasteful and classy songs that are all freshly, ingeniously and perfectly rendered. Stacey Kent's impressive vocal style is at its best and the musicianship is simply the greatest.

This is a fitting tribute that I most definitely recommend not only to Fred Astaire and Stacey Kent fans, but also to music lovers who appreciate the Great American Songbook recorded in beautiful settings.

This is the my most recent Stacey purchase and I like the song selection more than I thought I would before I got it. More up beat and happy than her more ballad albums.

A recent Washington Post article before Stacey Kent's appearance at Blues Alley said she had an "adult sexuality". I had to find out. Having listened, she has a coy, kittenish sexuality that come through most all her songs. A kittenish, cat-and-mouse quality. I have since seen her at Blues Alley and she does a great live show. Both her and Jim seem less pretentious than a lot of stars.

She has a small voice - she rarely, if ever, sings loud or with much dynamics. But the mix is always consistent and pleasant.

The fav song here is the sad "One for my Baby", but I really like the cheerful title track. You can imagine Fred and Ginger dancing across the screen. Jim Tomlinson on Sax sounds like Stan Getz back from the grave, yet again.

Stacey & Jim have made a number of albums. The differences between each are the songs, whether the selection is to your taste, the arrangements are pretty similar from album to album.

Stacey Kent has a tiny, girlish voice, similar in some ways to the wonderful Blossom Dearie, but without, as far as I can tell, an iota of Dearie's transcendent wit and humor. Kent's album covers, with their glamour girl sheen, reinforce the idea that she takes herself very seriously. This album makes pleasant background music, but it's not a sit down and listen kind of album. The songs don't feel lived in, and she doesn't feel as if she has enough life experience to invest them with the requisite meaning. Still, pleasant sounds are better than unpleasant ones, and for that reason I give it two stars.

Few contemporary vocalists interpret standards with new delight while keeping the original glory in tact. Stacey's voice is clear and warm; and unlike many recordings, the instrumentals accent the vocals instead of compete against them. Between Noah Jones, Diana Krall, Jane Monheit, and Stacey Kent, I enjoy Stacey Kent the most.

I don't know just where Stacey Kent came from, but the first time I heard her voice I thought it was an old recording of Joanie Sommers. But Stacey has a certain knack for great phrasing as well, and she hits all the right notes.

"What makes Stacey Kent so remarkable is her "sound" -- the word usually applied to jazz instrumentalists to encompass tone quality and the manipulation of it. The voice itself is an impressive instrument, in pitch and timbre, coming closer to Mildred Bailey than to her acknowledged idols Billie Holiday and Ella Fitzgerald. Strong and clear, it has the invigorating tang of Vermouth." ~ Humphrey Lyttelton ~

I have enjoyed Stacey Kent's impressive CDs with repeated listening over the years. And I have written reviews for such CDs, but it dawned on me that I haven't written one for her most significant album of all-time, her gorgeous debut album, "Close Your Eyes." So it's only fair to write a review on this one.

Humphrey Lyttelton perfectly said it - all the strong points of Stacey Kent that makes her a jazz singer extraordinaire. And this debut CD proves it all. In June of 1997, it became the "CD of the Month" for Jazzwise, the leading and biggest-selling jazz magazine in Britain. This album promises a lovely listening adventure with its ten classic standards in the repertoire starting off with a dreamy rendition of a meaningful song, "More Than You Know," which highlights an enchanting guitar work of Colin Oxley, down to the last track, "Day In Day Out," an engaging light swing number.

The title track "Close Your Eyes" has a warm and cozy Bossa Nova rhythm that makes it so charming and pleasing to my appreciative ears. Jim Tomlinson's elegant sax playing is so magical and a pleasure to listen to. And same is true with the exceptional musicianship of the rest of her quintet - Colin Oxley (guitar), David Newton (piano), Andrew de Jong Cleyndert (bass) and Steve Brown (drums).

The swinging side of Ms. Kent is evident in her renditions of Cole Porter classics, "It's De-Lovely" and "Dream Dancing" where she is pretty at ease with the winning arrangements. She gives "I'm Old Fashioned" a stunning revival that this gem from Jerome Kern and Johnny Mercer so deserves. She shows off her most pensive self as she sings a seldom-recorded song but a nice one, "There's No You" from the inspired pens of Hal Hopper and Tom Adair.

Ms. Kent's impressive voice blends artfully with David Newton's tastefully executed piano accompaniment on one of the best tracks from this set, "You Go To My Head." I'm always delighted to listen to this kind of intimate setting with only a piano accompaniment where both artists are given the chance to shine together. It is such a captivating combination.

"Sleep Warm" is a rarity and a special treat to my ears. It's a "goodnight" song composed by Lew Spence and penned by husband-and-wife songwriting team of Alan and Marilyn Bergman. Frank Sinatra also recorded this song so beautifully on his loneliest album ever, Frank Sinatra Sings for Only the Lonely.

Before you "close your eyes" and "sleep warm," I suggest you to give this CD a listen and enjoy! I can guarantee that it's a lovely listen.

With my heartfelt recommendation.

Very happy with the product - music and voice are excellent. Entire purchase was seamless. Very good indeed.

Stacey was born and raised in New York but moved to London and it was there that she embarked on a career as a jazz singer. Stacey is now a major name in British jazz and a new album release from her is always something to look forward to. Stacey claims Billie Holiday, Ella Fitzgerald and Mildred Bailey among her influences, but her voice is more like Mildred's than the other two.

This debut album is a great showcase for Stacey's talents, with plenty of great covers of standards from the Great American Songbook, on which Stacey is backed by some of the finest musicians on the British jazz scene. Among the classics (mainly ballads) on this album are two Cole Porter songs (Dream dancing, It's de-lovely) and two co-written by Johnny Mercer (I'm old-fashioned, Day in day out), together with six other excellent songs. Stacey interprets the songs her way - superbly.

Experts will tell you that Stacey has perfected her craft with subsequent albums, but by my reckoning there really wasn't all that much room for improvement. This is a great jazz vocal album.

Sometimes you get surprised. A while ago I was in purchasing an addition to the stereo system and the salesman demo'd using a Stacey Kent CD. My jaw dropped. Instantly.

I honestly don't remember which CD, so I gambled and picked up 'Close Your Eyes'. I've heard (and own) Diana Krall and Holly Cole (both great), considered Jane Monheit (jury is still out for me), occasionally delve into the coolness of Patricia Barber, but I gotta tell ya, Stacey doesn't have to take a back seat to any of these. There is this hard-to-define "something" in her voice and approach to the song that makes one stop dead in their tracks and go "whoa". Maybe the other reviewers can identify it. I'm not sure it's something definable in print.

As for the CD, I'll admit to liking the vocalist + quartet/quintent approach used on this album more than the typical singer + trio approach. Vocally, Stacey isn't as 'whispery' a stylist as, say, Diana Krall, but I like them both quite a bit for different reasons. Diana tends to be a bit more intimate and dreamy, Stacey a bit brighter and flirty. Both excellent, but very different sounds.

Staceys' sidemen just swing the house down, especially her pianist David Newton, and although I usually am not a big tenor sax fan, I certainly am on this one, with utterly superb work from Jim Tomlinson (who reminds me strongly of Stan Getz). Add in solid drumming, rhythm guitar and bass playing from cats who can hold their own with most anybody, top it off with a shimmering, gorgeous, uniquely styled & perfectly pitched voice, and you have a winner. After a few listens, I now must say this CD goes in my "stranded on an island" collection without any doubts.

If you're a fan of the aforementioned singers, you seriously need to check this one out. Highly, highly recommended.

(Recording quality is pretty good too, very natural and unforced.)

This album is a must have to any jazz collection. Stacey Kent has a viberant voice to bring the jazz standards back to popularity. Her soulful sound is stimulating and carries the emotion of every syllable, whether playful or romantic.

Great album.

"You are There" is stunning. Simple and poignant. What a beautiful rendition of Johnny Mandel and Dave Frishberg's tune.

Thank you Stacey.

It is the best of times and worst of times. The first decade of the 21st century may be remembered as a time when some of the most talentless trash was ever produced for popular music--while, at the same time, a new crop of very talented young jazz vocalists came to the forefront. Stacey Kent is one of those talented singers.

First, what Stacey is not. She is not a multi-octave range singer like Sarah Vaughan (of course, Billie Holiday also had a very limited range and still was a "lion"). Stacey's sound is clear, pure, and sweet. Some might say it to be "innocent," but--when she sings of love, or love lost--you just sense that she knows of what she sings.

It doesn't hurt that she has a first-rate band. We Americans have probably heard of none of them, but no matter. They deliver the goods here. Special note should be made of Stacey's husband, Jim Tomlinson. He is an excellent tenor saxophonist of the Lester Young/Ben Webster school. That is, unlike many modern tenor players who tend to "overblow" the instrument, Tomlinson knows how to bring out the romantic sensual tones. In this, he is comparable to one of the few contemporary players who has also figured this out, Scott Hamilton. It sure works here.

There really isn't a bad tune on this album--I would say "Thanks for the Memories" is my least favorite, but it's still OK. For my favorites, I would nominate "Violets for Your Furs," a somewhat forgotten standard and "When Your Lover Has Gone." Now, the latter tune has been done by just about everybody recently, but Stacey still puts her stamp on it, and Tomlinson's solo is wonderful. My favorite on this album, though, is "You Are There," where Stacey sings a single verse, accompanied only by piano. You can just tell that she feels the quiet, but intense emotion of love lost that is in every word that she sings.

This album is a "keeper."

The first time I heard Stacey Kent sing (Bali Hai on "In Love Again"), I said "where have I been?"

Very few singers are a consistently perfect match for their material and sing strictly within themselves. Kent's material, on disc after disc, is a perfect match for her little girl, soft-cell vocalizing. She never stretches to reach ends that are beyond her, as so many other singers often attempt to do. Plus, her back-up group, as is this set, supports and complements her, and never attempts to overshadow her with "I'm here too" type playing. In this regard, listening to Stacey Kent on this album reminds me of Karrin Allyson, another fine vocalist, whose work on "Ballads, Remembering John Coltrane" was totally overwhelmed by tenorman Bob Berg's obvious attempts to remind listeners that he was there too.

On "Dreamsville," listen to When Your Lover Has Gone, and you will know what Stacey Kent is all about. Also, her version of Polka Dots and Moonbeams is so well done, it will be easy to set aside the notion that this is a "guy" song and that only someone such as Sinatra can get away with singing this Jimmy Van Heuson gem.

For what she does, and how she does it, Stacey Kent is perfection.

I'm in my 20s and love jazz/standards. I've never heard a voice like Stacey's... she sounds 'innocent', pure... you just have to hear the samples! My favorites are "I've Got a Crush on You", "Dreamsville", & "Polka Dots & Moonbeams". Wonderful band too!

CORRECTION:
ALBERT, not Alfred, Marx [Discovery Records]

Please fix. Thanks

does anyone know the name of the song playing when rafi & dave see each other at the market? the lyrics go something like, "and i'm feeling alright..."

Who is the artist singing the hip-hop dance tune in the scene where Rafi and David are driving to the Hamptons? The tune is repeated during the credits...

Great background music for dinner/wine parties.... I love it.

This CD provides a lovely spectrum of "cool music" I love it.

The house party scene, Biggie Smalls is rapping then it mixes into someone singing over the same sample while they are kissing in the cab on the way to his house. Does anyone who that is? And is it on the soundtrack?

wonderful cd, got here very quickly and in great shape, would definitely buy from this person again

I was introduced to this CD while strolling through one of those high end antique shops. Each song is inviting and warm, and it made we stay much longer than I otherwise would have because I enjoyed the music so. An excellent CD to play when you entertain a mixed group of people since everyone can enjoy it, even if it's not the typical music they would otherwise listen to.

Cruising the CDNOW website is one of my very favorite things to do. I had never heard of Stacey but clicked on "The Boy Next Door" and sampled a few tunes. I ordered the CD and liked it so much, that I ordered - and now have - all of hers.
Sexy, soulful, jazzy, impeccable musicianship and even "dreamy" are words I would use to describe her talents. What tonal accuracy and vibrato!!
In my book, she outshines all the very good Monheits, Eders, and Kralls out there.
Keep singin', Stacey - we LOVE IT!!!

dreamsville it ain't! sorry gang...cant really recommend this CD. not her best work...and i do think she's the best female vocalist out there. i have everything shes done. i really wish it were better.

Until a few months ago I had never heard the name Stacey Kent. After listening to her CD "The Boy Next Door" I can not help but wonder why I have never heard this name before. What a wonderful voice! What a wonderful album. I am confident that the title of one of the cuts on this CD is prophetic: "The Best is Yet to Come." I will be ordering more CD's by this marvelous song stylist!

I haven't stopped playing this one since it arrived...it's mellow, and interesting, and it hasn't tired for me yet.

I've only seen Jim Tomlinson once, when he came to Tucson as the very skillful tenor sax guy who backed up his talented wife, vocalist Stacey Kent. In this CD, he moves to the forefront and shows how good he really is on eight Antonio Carlos Jobim tunes, plus three more from Marcos Valle, Luis Bonfa and Matt Dubey, and some guy named Cole Porter. Tomlinson is a lyrical, fluid and sensitive saxophonist whose artistry makes you want to hear more. As a bonus, Stacey appears on four tracks. Her vocals and Tomlinson's sax solos on Porter's "I Concentrate on You" and "The Gentle Rain" by Bonfa and Dubey are worth replaying many times. Finally, pay special attention to guitarist Colin Oxley, who moves the songs along well without intruding. All in all, this is a fine album!

Most of my favorites, the greats, are dead, I'm sorry to say. San Getz is gone, as is Lester Young and Paul Desmond. The Cool Jazz sax men who knew that the best place to start is with a pleasing sound.

But Jim Tomlinson is very much alive and brings back, variously, the sound of all three! These songs have Stan the Man Getz's breathy sweet tone (without some of the fire) and Lester Young's phrasing, but also the dry martini sound of Paul Desmond. It's a pleasure to hear a new sax man who pays attention to tone! Here Tomlinson plays a series of (mostly) Jobim songs which were popularized by Stan Getz.

The backup band could be a tad more assertive, and Tomlinson could have made it all instrumental and left the wife at home (Stacey Kent adds something on "So Nice", but not much on "Dreamer"), but that's a minor drawback.

Fine renditions of Bossa Nova classics that could have come from the heyday in the mid-sixties. Well worth the price of admission.

Curl up, have some wine and fly off to Rio.

2005 update - saw Stacy Kent & Jim at Blues Alley in DC and his technique and sound continues to just get better and better and more like Stan Getz, the King. He had a new album recorded. I keep looking for it - can't wait!

It would be difficult to rave too much about this collection by Jim Tomlinson. Clearly he is a tenor player in the Getz/Young mold, BUT, his sound and flowing lines are unique unto themselves. I have rarely enjoyed an album as much as this one put together by contemporary players. It is easily one of the finest Bossa Nova releases since the sixties era when BN was at it's height. Tomlinson has a searing, flowing beauty to his lines that add incredible warmth to these mostly Jobim tunes. That his wife, the incredible Stacey Kent takes part in 4 of the tracks is just another reason for what must be rated as a ***** album. Don't miss it!

"Stacey has the soul of Billie Holiday and the fine rhythm phrasing of Ella Fitzgerald. And she sings the words like Nat Cole -- straightforward, clean and clear. I love the way she will sing a line naturally, not waiting to catch up with the notes, almost conversationally. Then when she does get on the notes, the beat is powerful. Nobody, today or yesterday, ever sang a rhythm song any better than Stacey does on `Comes Love.' Marvellous beat and phrasing." ~ Jay Livingston, Oscar Winning Songwriter ~

Recorded in 1998, Stacey Kent's "Love Is ... The Tender Trap" is one of my top favorites among her recordings from my collection. The well-chosen repertoire includes the very best from the Great American Songbook written by the most brilliant songwriters and composers of all-time - the likes of George and Ira Gershwin, Irving Berlin, Cole Porter, Duke Ellington and Johnny Mercer, among others.

With the support of Kent's fabulous and very creative band members such as Jim Tomlinson (tenor sax), David Newton (piano), Colin Oxley (guitar), Dave Green (bass) and Jeff Hamilton (drums), they all contributed their very best talents to record another stunning album to add to Kent's discography.

I totally agree with Jay Livingston about "Comes Love" -- to me, it is a masterpiece that she made her own with her retire-the-trophy interpretation that is so full of vibrancy. She duplicated another work of art where she is at her zestiest-ever singin' and groovin' to the beat of "In The Still of the Night." Then she sweetly slows it down with "Fools Rush In" done in the most exquisite setting highlighting the beautiful sax solo of her husband/musical partner, Jim Tomlinson.

While she is at her swingiest state of mind in the opener - a Sinatra signature song, "The Tender Trap," she becomes emotionally-charged as she sings Mann/Hillard's "In The Wee Small Hours of the Morning" delivering the lyric as gently as possible.

"When the sun is high in the afternoon sky
You can always find something to do
But from dusk till dawn as the clock ticks on
Something happens to you
In the wee small hours of the morning
When the whole wide world is fast asleep..."

Her takes on Ellington/Russell's "I Didn't Know About You" and Berlin's "They Say It's Wonderful" are simply oozing with charms that a single listen isn't enough - it takes repeated listenings in a row before savoring the next track. James F. Hanley's "Zing! Went The Strings of My Heart" is such a delight to listen to especially these verses ... it's like having my favorite Ben & Jerry's Strawberries and Cream.

"Dear when you smiled at me, I heard a melody
It haunted me from the start
Something inside of me started a symphony
Zing! Went the strings of my heart
'Twas like a breath of spring, I heard a robin sing
About a nest set apart
All nature seemed to be in perfect harmony
Zing! Went the strings of my heart."

Brooks Bowman's "East of the Sun (And West of the Moon") is treated to a lovely Bossa Nova beat yet does not deviate from its captivating melody, thus, making it as one of the best tracks not only in this collection, but from among all of her recordings.

In sum, let Stacey Kent and her band capture your ears in a tender trap! Listen NOW and enjoy!

"And then you wonder how it all came about
It's too late now, there's no gettin' out
You fell in love, and love is ... the tender trap."

Stacy Kent is excellent. Her choice of music, the arrangements and her voice. Excellent! Wonderful. Her CDs are a must have for any serious collection of contemporary interpretations of American classics. Yes to Stacy.

I think Stacy has a wonderful voice. Glad I purchased this CD.

Stacey Kent's voice is unique and distinguishable amongst her contemporaries because it is thin but strong, sexy but sincere and she makes you notice and remember it. "Love is a Tender Trap" illustrates all these wonderful traits. The first six tracts are justly sung with the complimentary backing from tenor saxophonist Jim Tomlinson and company to put you in the mood. The band knows exactly when to add a little bit of piano, a mute scratching of the drums and a bellow of the bass. You can hear this in "I Didn't Know About You." There are also some swing numbers like "Comes Love" and the title track. Either way, Kent's phrasing and interpretation is special and memorable. She is Eartha Kitt and then some.

Despite Amazon's listing showing "Audio CD January 28, 2003", this product was recorded in early 1998 when, in my opinion, Stacey Kent had developed minimal skills as a professional recording artist. I purchased it based on my delight with later CDs like Dreamsville and In Love Again. But I listened to it once and threw it away. The problems were a combination of immature phrasing, off-pitch notes at times, the wrong song choices for her talents and, probably, some poor audio mixing. I love Stacey's later and current work but this one's a bummer.