Cleo From 5 TO 7

Laine, an accomplished actress and performer, displays her distinctive voice and technique covering everything from standards to show tunes and things in between. One of her best early albums, which is now available on CD.

They are two of the greatest talents in UK popular music; whether she is singing her beloved jazz, ballads, or setting Shakespearean sonnets to Dankworth’s music; her voice resonates, clear and true. She is always supported by his Fine alto sax work and his sympathetic arrangements. Theirs is one oF the most durable partnerships in music as they began playing together in the mid-50's, before marrying in 1958.

More elaborate, mid-'80s session that accents Cleo Laine's interpretative abilities. It showcases both her immaculate technique and her ability to build and create moods, pace songs, and embellish lyrics.

This album would be worth buying for one track alone, a faultless version of "The Lies Of Handsome Men", Francesca Blumenthal's unsettling little song about self-deception. Not only does Cleo Laine have the musicality and dramatic skill to do justice to a delicate piece like this, she also has the best possible musical director in John Dankworth, who plays some very good alto saxophone here, too. The programme of 13 songs is impeccably chosen, as usual. Few singers, jazz or otherwise, have ever commanded a stylistic range anywhere near Cleo Laine's. For example, after opening with the Blumenthal song she goes on, via Gershwin and Irving Berlin, to Bessie Smith. The most remarkable thing of all about her is that she and Dankworth have been making intelligent, enterprising albums like this for more than 40 years and there is absolutely no sign of wear and tear. Quite the reverse, in fact. The work just goes on getting better.

Cleo Laine and James Galway have produced a wonderful album of songs in which there is not a single dud. The whole recording is brilliant, but there is a special place in our hearts for Skylark. Hoagy Carmichael's song has been sensitively arranged and performed by two of Britain's finest musicians. John Dankworth and the rest of the band complement them superbly. It is now approaching 40 years since it was recorded, and sounds as fresh as when it was made.

Rather than being guests, Cleo Laine and John Dankworth have lent their names to the Duke Ellington Orchestra, giving them considerable control over the session; while Mercer Ellington is listed as leader, the conductor and principal arranger is Dankworth. One unfortunate result of this arrangement is that some of the offerings are "based on variations or adaptations" of the original Ellington and/or Billy Strayhorn compositions. Thus, "Chelsea Bridge" comes out "September Rain," and "Take the 'A' Train" is "Cleo's 'A' Train." Neither come off well - and the latter title is presumptuous. "We're Rockin' in Rhythm" has its moments, especially Dankworth's clarinet solo in the style of Jimmy Hamilton. The best "variation" is "Love Call," based on "Creole Love Call"…

Cleo Laine has always had a beautiful voice with a very wide range and she sounds her best in jazz settings. Laine isn't that much of a jazz singer herself since she does not improvise (her scatting passages tend to be played in unison with her husband, John Dankworth) but she swings. Jazz is one of her best sets of the '90s, teaming her with five reeds (including Dankworth), guitarist Larry Koonse and one of two rhythm sections. Gerry Mulligan guests on "Walking Shoes" and "Midnight Sun," Clark Terry is exuberant on "Just A-Sittin' and A-Rockin'" and a medium-tempo version of "A Child Is Born," Toots Thielemans is a strong asset on three songs, Jane Ira Bloom co-stars on "I Told You So" and Mark Whitfield is on the two Terry numbers. Throughout, Cleo Laine is heard in prime form, not offering surprises as much as confirmation of her love for jazz.