Dylvie Laine

Though his influence proved less durable than his record sales, Frankie Laine was one of the most popular vocalists of the 1950s, swinging jazz standards as well as half a dozen Western movie themes of the time with his manly baritone. Laine's somewhat artificial Western nature proved more successful in far-off England, where he set two chart records in 1953: his version of "I Believe" stayed at number one in the U.K. for an incredible 18 weeks, and his two subsequent chart-toppers that year ("Hey Joe," "Answer Me") set a record by putting Laine at number one for 27 weeks during the year.

They are two of the greatest talents in UK popular music; whether she is singing her beloved jazz, ballads, or setting Shakespearean sonnets to Dankworth’s music; her voice resonates, clear and true. She is always supported by his Fine alto sax work and his sympathetic arrangements. Theirs is one oF the most durable partnerships in music as they began playing together in the mid-50's, before marrying in 1958.

Florence Evadne, who is performing under the name Cherry Laine, is a Jamaican singer based in Germany and contracted to CBS. She is known for disco hits "A Night in Chicago" (1977) and "Catch the Cat" (1978), which was number one in Spain for two weeks. She issued one album, I'm Hot (CBS 83608), which was recorded at Europasound Studios with arrangements by producer Bernt Möhrle, known for his work with Chilly, and Stefan Klinkhammer, who collaborated with Frank Farian on Boney M.

This album would be worth buying for one track alone, a faultless version of "The Lies Of Handsome Men", Francesca Blumenthal's unsettling little song about self-deception. Not only does Cleo Laine have the musicality and dramatic skill to do justice to a delicate piece like this, she also has the best possible musical director in John Dankworth, who plays some very good alto saxophone here, too. The programme of 13 songs is impeccably chosen, as usual. Few singers, jazz or otherwise, have ever commanded a stylistic range anywhere near Cleo Laine's. For example, after opening with the Blumenthal song she goes on, via Gershwin and Irving Berlin, to Bessie Smith. The most remarkable thing of all about her is that she and Dankworth have been making intelligent, enterprising albums like this for more than 40 years and there is absolutely no sign of wear and tear. Quite the reverse, in fact. The work just goes on getting better.

More elaborate, mid-'80s session that accents Cleo Laine's interpretative abilities. It showcases both her immaculate technique and her ability to build and create moods, pace songs, and embellish lyrics.

Pekka Laine is leading a double life. There is his daytime persona, a longstanding journalist and maker of award-winning documentary series for radio and television. Then there is the other side to him that comes out at night: the guitar player and DIY-composer. As a driving force of The Hypnomen, a band with a cult following, Laine has explored the world of instrumental music since the 1990s. In his intrepid journeys from primitive noise art to the spheres of soulful psychedelia, he has now reached one important milestone. As a result of a series of unpredictable twists and turns, Pekka Laine’s first solo album was born. The making of the album has been a highly personal journey.

Rather than being guests, Cleo Laine and John Dankworth have lent their names to the Duke Ellington Orchestra, giving them considerable control over the session; while Mercer Ellington is listed as leader, the conductor and principal arranger is Dankworth. One unfortunate result of this arrangement is that some of the offerings are "based on variations or adaptations" of the original Ellington and/or Billy Strayhorn compositions. Thus, "Chelsea Bridge" comes out "September Rain," and "Take the 'A' Train" is "Cleo's 'A' Train." Neither come off well - and the latter title is presumptuous. "We're Rockin' in Rhythm" has its moments, especially Dankworth's clarinet solo in the style of Jimmy Hamilton. The best "variation" is "Love Call," based on "Creole Love Call"…

Cleo Laine and James Galway have produced a wonderful album of songs in which there is not a single dud. The whole recording is brilliant, but there is a special place in our hearts for Skylark. Hoagy Carmichael's song has been sensitively arranged and performed by two of Britain's finest musicians. John Dankworth and the rest of the band complement them superbly. It is now approaching 40 years since it was recorded, and sounds as fresh as when it was made.