Canadian Audiophile’s Mishaps and Misadventures

Nat King Cole’s 10th Anniversary was a momentous release in 1955 because it marked one of the first times a label mined its vaults and released unreleased tracks to the public. Such a practice might not seem like a big deal in the “download age,” but back in good ol’ ’55, it was something out of the ordinary.

Cole was a substantial success since he had signed with Capitol Records in 1943 as the leader of the King Cole Trio. He was skilled as a jazz pianist at that point, but more attention was being paid to his vocal talents. Cole’s tunes started to feature more and more vocals until he pretty much left the piano bench for a career as a full-time vocalist. The collection of music found on 10th Anniversary is culled from his jazz and easy-listening days and highlights a time of growth and transition.

By the time 10th Anniversary came out, Cole had announced to the world that he was going solo and would be leaving the King Cole Trio moniker behind. The album, then, reflected a bit of a shift and gave fans a chance to hear both where Nat King Cole had been and where Nat King Cole was going with the rest of his extraordinary career.

The reissue of 10th Anniversary in 2008, along with the reissue of many Nat King Cole albums, marks this period of transition with solid presentation. Many of the songs from 10th Anniversary have never been featured on CD before, so for Cole fans this collection will be a real treat. In fact, this is the first time this album has been reissued in any form since its first release. For collectors, that’s a pretty big deal.

One side of the album (remember when albums used to come with “sides?”) is dedicated to King Cole Trio recordings from its later stages, mostly featuring material from between 1945 and 1949. The Trio, comprised of Cole on piano and vocal, Oscar Moore on guitar, and Johnny Miller on bass, were among the first jazz groups to set up the now-popular arrangement of guitar, bass, and piano.

The Trio sounds splendid on classics like “Dream A Little Dream of Me,” “The Love Nest,” and “I’m an Errand Boy for Rhythm.” The album features three different configurations of the Trio, as on some tracks Irving Ashby moves in to play guitar and Joe Comfort takes over on bass. Regardless of the formation, the King Cole Trio works like a dream. “Lulubelle,” which features Ashby on guitar, is a grand example of the ability of the Trio to fit together under Cole’s guidance.

The second side of the record features vocal recordings and a more orchestral sound. Arranged by Capitol Records hit-makers like Pete Rugolo, Dave Cavanaugh, and Les Baxter, the second part of the album reflects more of where Nat King Cole was headed with his stellar career. He takes center stage and commands every song with care and his trademark vocal style.

Whether he’s singing a majestic ballad (“Lovelight”) or a big band number (“I Wish I Were Somebody Else”), Cole commands with his ability to adapt to various genres. One interesting little ditty is “The Story of My Wife,” which manages to be sweet and fun without being tacky. Nat King Cole always had a gift for singing with charm and affection that drew people in to the music. That gift is evident all over 10th Anniversary.

Nat King Cole’s 10th Anniversary is a collector’s dream. Featuring a nice compilation of songs that represents a transitional era in his career, this album will be a must-have for lovers of Nat King Cole’s everlasting excellence. Personally, I’ll be returning to this recording again and again.

8/10

With a taste for the theatrical and heavy notes of Broadway-esque style, Jeremy Schonfeld has cracked open his mind and is sharing the results on 37 Notebooks. Fans of big, bold musical theatre will find a lot to like about Schonfeld’s record, as the songs play together like some kind of musical of the mind. There are boisterous numbers and poignant pieces here and Schonfeld’s sense for the “big song” is apparent from the outset.

It is important to note that Schonfeld is the songwriter here. He does not sing on each track and, in fact, he does not sing on most of them. It may be fair to suggest that this is a sort of “various artists” compilation, but Scholfeld’s heart is in the music and his art is the focal point of 37 Notebooks.

We’re first introduced to his sense of the grand story with the first track, “Storyteller.” Sung by Schonfeld, this little ditty introduces us to some of the tales on the record and serves as a sort of “gather round” moment.

From the warm introduction, Schonfeld’s 37 Notebooks are plunged through with emotional energy. Employing a host of different singers with different sensibilities, the record spins from delightful love songs to sad tales of loss while telling its great central story of the art of the song.

Some of the tunes on the album appeared elsewhere before finding their resting place on 37 Notebooks. “Song for New Orleans” was commissioned by the Winter Harbor Theatre Company for a Hurricane Katrina tribute record, for instance. Other songs were originally written for The A-Train Musicals (“Do You Want My Life?” and “A Simple Plan”).

Schonfeld’s songs feel right at home in the genre of musical theatre. The silly lyrics of “Greta” paint a picture of an overly scrupulous woman looking for an ideal mate. Singer Amy Spanger tells us “I’m not always this crazy / More of a laid-back and mellower chick / Smoke a few bongs / Read a book / Catch a flick / And I’m set for the night.”

It is Schonfeld’s ability to create such characters that makes his songwriting notable and creates such broad and enticing tapestries for the record.

To be honest, 37 Notebooks won’t be for everyone. The excitable and theatrical sense of the lyrics and of the songs is more suited to those with a keenness for musical theatre and Broadway, although there are many softer moments that will likely win Schonfeld some new converts to his brand of lyrical justice. The songwriting is strong and beautiful and Schonfeld’s ability to transform his headspace into a breeding ground for authentic characters is certainly worth checking out.

Overall, 37 Notebooks is a collection of quality songs built from the ground up. Jeremy Schonfeld proves himself to be a solid songwriter with the ability to legitimately take on different characters and formulate stories from the heart.

6/10

The sun rose this morning and poked through the mist in the backyard. Emily Saxe’s Keeping You in Mind found itself in heavy rotation again and worked a little like breakfast for the soul. The album’s sweetness and down-home feel gives it a tender quality, making it ideal for watching the day unfold.

Saxe issued her three previous albums while living in Thailand, but she’s returned home to America to release her fourth recording. She has seen two of her albums make the jazz Top 10 in Hong Kong, Bangkok, and Thailand. She performed at the Sydney Opera House. For some reason, though, Emily Saxe seems a lot more suited to my breakfast table.

Listening to Saxe sing these songs is like talking to an old friend over coffee. Her conversational style brings new life to old favourites, making the songs her very own. Saxe proves her range with efficiency, too. She’s able to belt out an old-style spiritual that was sung by Judy Garland (“Get Happy”) and move seamlessly into a Bacharach tune (“Walk On By”) without losing the flow of the conversation.

Emily hooked up with bassist-producer David Piltch for Keeping You in Mind. The connection led to a new sound for the new album, as Piltch had Saxe throw out the piano and rely on a more guitar-driven sound. Emily grew up playing the piano, her mother played the piano, and her grandfather played the piano, so it was a little like getting rid of an old friend. Nevertheless, the guitar-based arrangements work wonders and the album sounds reflective and intimate.

As I’m pouring another cup of coffee (seems like I’m always doing that), Saxe embarks on the Rodgers and Hart tune “He Was Too Good To Me.” The arrangement is sparse, but her easy style helps bring the sad song home to roost. As in one of the best songs on the album, “Last Day of Summer,” it’s Saxe’s command over the vocals that make the album what it is. The musical arrangements are nice, sure, but without Emily Saxe at the wheel, this would be just another folksy Americana record.

Keeping You in Mind is a gentle album, perfect for introspection or light conversation. The musical arrangements mesh well with Saxe’s voice to make an understated and calming record. As I drain the last cup (before the next one), I wave goodbye to Emily Saxe and feel like I’ve made a new friend.

7/10