This is the third and final volume in the complete recordings of Lil Green in chronological order as reissued by the Classics Blues & Rhythm Series. By 1947 Lil Green was beginning to sound more than a little like Ida Cox, even when handling songs from Tin Pan Alley rather than straight up out of the tried and true traditional blues repertoire. Comparisons could also be drawn between Lil Green and Nellie Lutcher or Julia Lee. While her "crossover" performances are worthwhile, there's nothing quite like hearing this woman savor the flavor of Bessie Smith hits like "Aggravatin' Papa," "Outside of That," and "You've Been a Good Old Wagon (But You Done Broke Down)." Green's own "Lonely Woman" has a powerful undercurrent running through it – there is even a remote possibility that Ornette Coleman was inspired by this record when conceiving his own composition of the same title in 1959. Even if the link is purely coincidental, these melodies have something wonderful in common. Green's final recordings for the Victor label are strengthened by the presence of tenor saxophonists Budd Johnson, Lem Johnson, and David Young.
Ballad singer Johnny Hartman's third and final Impulse session is not quite on the same level as the first two. Although the earlier of the two sessions has several near-classic performances (including "My Ship," "Waltz for Debby," and "It Never Entered My Mind"), the second date has weaker material, primarily several songs from movies or shows, including "Sunrise, Sunset." Hartman is in fine form whether backed by the Hank Jones quartet or accompanied by an octet arranged by pianist Bob Hammer.
This album gathers highlights from Montserrat Figueras career for the Astrée, DHM, EMI and Alia Vox labels. 5 of the 35 tracks have already been reissued in a portrait album released in the 1990s by Astrée, La 'Voix de l Emotion'. Jordi Savall wanted to keep the same title for this much more comprehensive double album, in tribute to the late Montserrat Figueras, his wife and collaborator of 43 years. 35 year-career: 35 tracks a dazzlingly clear soprano voice, a line of the purest silk, as strong as it was delicate.
There was more to Scott McKenzie than "San Francisco," though this album came out so long after that single peaked on the charts that few people ever bothered to buy it. There's nothing here quite like the title song, and none of the rest captures a magical mood or moment the way that the single did, though there is some very pretty music. McKenzie's rendition of Donovan's "Celeste" has a languid beauty, while his version of John Sebastian and Zal Yanovsky's "It's Not Time Now" is a more standard, rhythmic folk-rock piece.