"…This album is a must-have for Julie London fans and thankfully she worked with Bagley again on the more upbeat but no-less-languid Nice Girls Don't Stay for Breakfast, which keeps the guitar heard here, but after the title track replaces the strings with a jazz organ and horn."
Sophisticated Lady (1962). "Sophisticated" is the right word to describe Julie London's cool vocal approach; it can be shoved into the background, but if you listen closely there's a lot of turmoil going on under its seemingly calm surface. Similar to Chet Baker's unruffled way with a lyric, London's self-described "thimble full of a voice" ends up describing how pain hasn't quite iced over all her emotions rather than proving how unfeeling she is. Also like Baker, so many of her best recordings are steeped in the style and mood of laid-back West Coast jazz. Sophisticated Lady is one of a string of records London cut in the early '60s with less of a jazz feel than most of her sessions from the '50s, but it's still a worthy album. If it's not exactly an essential session, it is a good one, and the backing orchestra is to blame for the album's shortcomings - not the vocalist…
Mendelssohn’s magnificent Violin Concerto would never have been written if not for Ferdinand David, whose incomparable violin playing fascinated and inspired his famous friend. His playing technique apparently knew no bounds, so this will be a welcome addition to the catalogue.
Judith Hill has been praised by Rolling Stone for her “stellar powerhouse vocals.” In addition to penning and performing her own material, Judith – who wrote her first song at the age of four – has backed such artists as Stevie Wonder and the late Michael Jackson. Hers is one of the stories told in director Morgan Neville’s acclaimed 20 Feet From Stardom, a film that shines the spotlight on the untold true story of the backup singers behind some of the greatest musical legends of the 21st century.