Manhattan Cameratas

2011 two CD collection from the Jazz/Pop vocal quartet. Formed in New York City in 1969, The Manhattan Transfer rose to the top of the UK charts in 1977 with 'Chanson D'Amour,' a record that kicked off a love affair between the British public and the vocal quartet. They racked up eight further UK chart entries, all of which are included in this 40-track retrospective. Effortlessly switching from Rock 'n' Roll to Pop, Bebop, old time Gospel, Bossa Nova and '30s Jazz Swing, this set demonstrates why The Manhattan Transfer are considered the most versatile vocal harmony group on the planet.

This fourth album from Manhattan Transfer was the first for Cheryl Bentyne, who replaced Laurel Masse after the original singer's auto accident and subsequent decision to leave the group. Though replacing Masse was difficult, Bentyne's energy and style proved to be the perfect complement to the group's already dynamic performance…

As the Manhattan Transfer went on, so did the legacy of the jazz vocal ensemble. In that regard, though the competition was scarce, this group did elevate the art form to a higher level without much compromise. This two-CD, 39-track compilation represents many of the high points of the group. If anything is missing, some of the vocalese influenced by Eddie Jefferson should have been included. Still most fans will recognize "Ray's Rockhouse," "Route 66," "Four Brothers," "Tuxedo Junction," "That Cat Is High," "(Sing) Joy Spring," and their immortal take of the Jon Hendricks lyric to "Birdland." Unless it is a complete collection, you'd be hard pressed to find a better grouping of the Manhattan Transfer's prime body of works.

The dictionary definition of "pastiche" is an artistic composition imitating or caricaturing previous works, so given the lack of homegrown material here, it is hard to say what the Manhattan Transfer meant by this title. In any case, this assortment of odds and ends from various eras in American music – recorded in New York, Los Angeles, Nashville and Australia – finds the Transfer casting its lines in search of a direction that it had yet to find. But there are signs that they were getting close. The Transfer's stunning rendition of "Four Brothers," with composer Jimmy Giuffre present in the sax section, marks the beginning of their championing of the words of Jon Hendricks and placed the Transfer in position to claim the long-vacant throne of group vocalese. Otherwise, there are curiosities like a quasi-C&W-tinted rendition of "Love for Sale" staffed by some of Nashville's finest…and a few fair covers of rock and R&B numbers…

Many of the Manhattan Transfer's recordings up to the point of Vocalese showed off their diversity and covered a wide variety of music, including jazz. This set was quite a bit different, for it is dedicated to the vocalese of the great Jon Hendricks. The Manhattan Transfer (singers Cheryl Bentyne, Tim Hauser, Alan Paul and Janis Siegel) perform a dozen songs using Hendricks' lyrics, including "That's Killer Joe," "Rambo," "Ray's Rockhouse" and "Sing Joy Spring." Utilizing their regular band of the period (which includes guitarist Wayne Johnson), the Count Basie Orchestra (directed at the time by Thad Jones), the Four Freshmen (on "To You"), tenorman James Moody, Bobby McFerrin (guesting on "Night in Tunisia"), McCoy Tyner, Dizzy Gillespie (on "Sing Joy Spring"), altoist Richie Cole, and Hendricks himself, among many others, the Transfer give these boppish tunes definitive vocal treatments. This is one of their finest jazz recordings and a classic of its kind.

This eclectic collection of songs encompasses jazz, bebop, swing, doo wop, rock & roll, and gospel; all are trimmed in an attractive pop texture. These 16 compositions are taken from the vocal quartet's albums, which span 12 years (1975-1987). Each selection is inviting, as all four song stylists display their individual vocal skills and admirable harmonies. Laurel Masse appears on recordings up until 1979, when Cheryl Bentyne replaced her. Other members include Tim Hauser, Janis Siegel, and Alan Paul.

This eclectic collection of songs encompasses jazz, bebop, swing, doo wop, rock & roll, and gospel; all are trimmed in an attractive pop texture. These 16 compositions are taken from the vocal quartet's albums, which span 12 years (1975-1987). Each selection is inviting, as all four song stylists display their individual vocal skills and admirable harmonies. Laurel Masse appears on recordings up until 1979, when Cheryl Bentyne replaced her. Other members include Tim Hauser, Janis Siegel, and Alan Paul.