Cole Trio

Girl Talk was recorded live to two-track using a single microphone. The liner notes state that Holly Cole's intention in doing so was to preserve the "quintessence of her live performances," and the result is dazzlingly successful. The air of intimacy between artist and listener is so great that, if anything, the feeling of being present in the moment is greater here than on the 1996 live album It Happened One Night. On an album recorded "live in concert," the ambient noises that occur when a large number of people are gathered in one place can seem discordant or inappropriate when you're listening to the CD in your car or your living room; the atmosphere can exclude rather than include you.

Holly Cole's debut recording is a delight. Although she infuses a variety of standards with sensuality (including "If I Were a Bell," "On the Street Where You Live," "Honeysuckle Rose" and "I'll Be Seeing You"), she is also clearly laughing at her image at the same time. Joined by pianist Aaron Davis and bassist David Piltch with guest appearances by violinist Johnny Frigo (on two songs) and bass clarinetist Robert Stevenson (for one), Cole's interpretations of the mostly veteran material are both haunting and ironic, making this a memorable and surprisingly original outing.

Pianist/vocalist Diana Krall pays tribute to the Nat King Cole Trio on her Impulse! set. In general, the medium and up-tempo tunes work best, particularly such hot ditties as "I'm an Errand Girl for Rhythm," "Frim Fram Sauce," and "Hit That Jive Jack." Krall does not attempt to directly copy Cole much (either pianistically or vocally), although his influence is obviously felt on some of the songs. The slow ballads are actually as reminiscent of Shirley Horn as Cole, particularly the somber "I'm Through With Love" and "If I Had You." Guitarist Russell Malone gets some solo space on many of the songs and joins in on the group vocal of "Hit That Jive Jack," although it is surprising that he had no other opportunities to interact vocally with Krall; a duet could have been delightful. Bassist Paul Keller is fine in support, pianist Benny Green backs Krall's vocal on "If I Had You," and percussionist Steve Kroon is added on one song. Overall, this is a tasteful effort that succeeds.

This fine complement to Capitol's earlier collection of Nat "King" Cole Trio vocals (1942-1946) delivers another generous selection of the singer's prime early work. And while it's not as packed with hits as the prior disc is ("Route 66," "Sweet Lorraine," "Straighten Up and Fly Right"), the second volume still contains a nonstop array of Cole's near-perfect singing and tasty piano work. Along with smashes like "Too Marvelous for Words," the collection takes in the usual Cole mix of glowing ballads ("Tis Autumn"), playful novelties ("Ooh Kickeroonie"), and svelte swingers ("When I Take My Sugar to Tea")…

Nat "King" Cole's 16 trio recordings for Decca have been reissued many times (including on this CD), and rightfully so. Cole was already one of the top swing pianists by 1940, his vocal style (best displayed on his first hit "Sweet Lorraine") was quite recognizable, and his trio with guitarist Oscar Moore and bassist Wesley Prince had a memorable sound. Cole's Decca records (his first for a major label) were a breakthrough for Nat, although his Capitol recordings (which started in 1943) really paved the way toward major success. In addition to "Sweet Lorraine," highlights of this fine CD include "Honeysuckle Rose," "I Like to Riff," and "Hit That Jive, Jack" (which has the Trio's most famous group vocal).