Carleton Susannah

Susannah McCorkle, who consistently brings out new meanings in the lyrics she interprets, performs 16 Irving Berlin songs (complete with verses and sometimes lesser-known stanzas) on this delightful set. There is solo space for trumpeter Gregory Gisbert, trombonist Conrad Herwig, young tenor great Chris Potter and altoist Jerry Dodgion; the arrangements by Rich DeRosa are surprisingly modern, and McCorkle is heard in prime form. Among the many highlights are a wistful rendition of "Let's Face the Music and Dance," and a sensuous "Cheek to Cheek," "Let Yourself Go," and a wonderful closer, a version of "Waiting at the End of the Road" on which the singer is accompanied only by the rhythm guitar of Al Gafa…

After recording three "songbooks," the superb singer Susannah McCorkle performed 14 songs by as many composers on this Jazz Alliance CD reissue. Although there are a few older tunes (such as "The Lady's in Love with You," "I Won't Dance," and "I've Grown Accustomed to His Face"), McCorkle emphasizes newer material including songs by Blossom Dearie ("Bye Bye Country Boy"), Oscar Brown, Jr. ("The Call of the City"), Dave Frishberg (the obscure "Foodophobia"), and a tune that stayed in her repertoire, "The People That You Never Get to Love." With fine backup work from pianist Keith Ingham, guitarist Al Gafa, bassist Steve LaSpina, and drummer Joe Cucuzzo, Susannah McCorkle (who never recorded a weak album) showed off her versatility without losing her strong musical personality, purpose, and charm.

Susannah McCorkle spoke Italian, Spanish, German, and Portuguese in addition to English; she had worked as an interpreter before she devoted herself to singing. On her second Concord CD, McCorkle sang ten Brazilian songs plus "Estate," switching between English, Portuguese, and Italian. There is no communication problem as far as conveying her feelings and the high quality of the melodies, so this is a more accessible release than one might think. The vocalist's backup group includes pianist Lee Musiker, Scott Hamilton on tenor, and guitarist Emily Remler.

Susannah McCorkle spoke Italian, Spanish, German, and Portuguese in addition to English; she had worked as an interpreter before she devoted herself to singing. On her second Concord CD, McCorkle sang ten Brazilian songs plus "Estate," switching between English, Portuguese, and Italian. There is no communication problem as far as conveying her feelings and the high quality of the melodies, so this is a more accessible release than one might think. The vocalist's backup group includes pianist Lee Musiker, Scott Hamilton on tenor, and guitarist Emily Remler.

Susannah McCorkle's second Pausa album is highlighted by a remarkable version of "There's No Business Like Show Business." Usually performed in razzle-dazzle style, the song is drastically slowed down and treated as a dramatic ballad by McCorkle, and she shows that the words are actually quite touching. Also on the diverse set are the singer's fresh interpretations of such tunes as "A Fine Romance," "Where or When," "Cheek to Cheek," "Slap That Bass," and even a tolerable rendition of "By the Time I Get to Phoenix." Backed by the Ben Aronov trio and on a few numbers joined by either tenor saxophonist Al Cohn or guitarist Gene Bertoncini, Susannah McCorkle is in such fine form that one truly regrets that her first seven American albums (four on Inner City and three on Pausa) have yet to appear on CD.

There's something incredibly tragic and ironic in the strange reality that finds a beloved jazz singer taking her own life just after compiling a collection of her best loved interpretations. So loved by so many, but perhaps – as she wrote in her liner notes for her wistful reading of "If I Only Had a Heart" – she was one of those people who "have trouble experiencing their own emotions and yearn to feel something, anything." Also in this spirited mix of classics is "Look For the Silver Lining," and her version is, of course, cheery.