Joe T Vannelli VS Eartha Kitt Where IS MY Man Sacchi

One of the leading sopranos of her generation, Ekaterina Siurina enjoys an international career that takes her to the top opera houses in Europe and America. She made her professional debut as Gilda in Rigoletto, singing opposite the world-renowned baritone Dmitri Hvorostovsky. Commenting on her recent performance as Violetta in La bohème, Parterre Box called her singing “deeply touching, with arching beams of tone.”

Eartha Kitt recorded for RCA Victor Records from 1953 to 1957, an association that produced five albums and assorted singles. The bulk of this material is contained on this two-CD set from the British reissue label Avid, which takes advantage of the 50-year copyright limit on recordings in Europe to assemble the collection, mastered from old records, without having to take the trouble to get permission or pay a licensing fee. The first of the four "classic" albums to be included is what is referred to the as the "American version" of That Bad Eartha. It might be more accurate to describe it as the 12" LP version of That Bad Eartha, which differed considerably from the initial ten-inch LP version…

Eartha Kitt is at home in cabaret, on the Broadway stage, and in film and television. The versatile performer has done it all in her prolific career, highlighted in this superb collection of studio-recordings from Camden, entitled "My Heart Belongs to Daddy". This collection is highlighted by her legendary signature-standard "C'est Si Bon", which she made famous in the Broadway show New Faces Of 1952. Other highlights in this must-own collection are "I Want to be Evil", "Just an Old-Fashioned Girl", "Careless Love", "Lilac Wine", "Lullaby of Birdland" and "Lazy Afternoon".

Although not released until 2000, the tracks on Eartha Kitt's THINKING JAZZ were recorded at a studio session in 1991 and a German live date in September, 1992, towards the end of Kitt's self-imposed European exile. This is one of Kitt's most straightforwardly jazz-oriented albums, with none of her usual pop and cabaret overtones. The five-piece combo playing behind her-clarinet and tenor saxophone plus rhythm section-is tight and economical, and the arrangements give each member room to stretch out without dissolving into extended jams. Kitt's spectacular voice remains front and center throughout, although the instrumental "God Bless the Child" that provides the link between the studio and live material shows that even without her contributions, this would be a swinging album.