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Streisand is more than credible as a jazz singer
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Singer, actress, movie director: Barbra Streisand is unquestionably among the most cherished and respected artists in America, as her many fans would be only too happy to confirm. But the question of the moment is: Is she any good as a jazz vocalist?

"Love Is the Answer," Streisand's first studio album in four years, finds the diva taking on such jazz and pop standards as "In the Wee Small Hours of the Morning," "Spring Can Really Hang You Up the Most" and "Here's That Rainy Day."

Streisand enlisted no less a jazz eminence than singer-pianist Diana Krall to produce the album, and a first-rate lineup of accompanists includes pianists Bill Charlap and Alan Broadbent, guitarist Anthony Wilson, bassists Robert Hurst and John Clayton, and drummer Jeff Hamilton.

Perhaps hedging her bets, Streisand has released the album in two versions: a single disc with orchestral arrangements by Johnny Mandel; and a deluxe edition including a second disc on which she's accompanied only by the core jazz combo. "You Must Believe in Spring" appears as a bonus track on the "with strings" disc; otherwise, you can hear the same 12 songs with and without orchestral embellishment.


The difference is significant.

Without strings, "In the Wee Small Hours of the Morning" evocatively captures the melancholy mood suggested by its title, with Streisand delicately finessing the lyrics and Krall contributing a just-right piano solo. But with the orchestra added, this dreamy performance is reduced to an exercise in gooiness. It's like watching a movie with overemphatic soundtrack music.

In fairness, some listeners might not object to such sweetening. But Streisand, who started out working in nightclubs, doesn't need it. Sure, she can be a bit awkward, in much the same way as an opera singer botching a pop song. But nobody expects her to be Billie Holiday.

Still, there are times when Streisand stretches out, when her voice meshes beautifully with the small-group setting, and musical categories simply don't matter. Accompanied by pianist Tamir Hendelman, bassist Clayton and drummer Hamilton, she gets to the essence of "Some Other Time." It's a performance that's all the more affecting for its restraint.

And Streisand maintains a persuasive rapport with pianist Broadbent, Clayton and Hamilton on "Where Do You Start?"

Reportedly, Streisand caused pandemonium recently when she performed material from "Love Is the Answer" at New York's tiny but legendary Village Vanguard jazz club. As a whole, the album doesn't quite merit such a response. But in its best moments, it demonstrates that Streisand indeed has her jazzier side.

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Some other recent jazz recordings that are worth your attention:



"Mostly Coltrane" (ECM) is pianist Steve Kuhn's tribute to legendary saxophonist John Coltrane, in whose quartet Kuhn played for six weeks. Coltrane is most famous for leading his "classic" quartet with McCoy Tyner on piano, Jimmy Garrison on bass and Elvin Jones on drums. Kuhn nods to that combo's legacy while putting his own spin on the material.

The song selection, including "Crescent," "Central Park West" and "Like Sonny," is excellent, with Kuhn eliciting top-notch support from saxophonist Joe Lovano, bassist David Finck and drummer Joey Baron.

No doubt the album benefits from Kuhn's annual stints at New York's Birdland jazz club in honor of Coltrane's birthday. Lovano regularly performs on those occasions, and his chemistry with Kuhn is terrific. Coltrane would have been pleased.


Lovano leads his own Us Five band on "Folk Art" (Blue Note), an album that channels the spirit of freedom that defined New York's loft-jazz scene of the 1970s. Accompanied by pianist James Weidman, bassist Esperanza Spalding, and drummers Otis Brown III and Francisco Mela, the saxophonist isn't afraid to pursue his more avant-garde impulses. Yet the disc is anything but off-putting, balancing adventurousness with accessibility.

The disc gets off to an exhilarating start with "Powerhouse," which features Lovano burning through a tune that, in its frenzied angularity, recalls the compositions of Thelonious Monk. By the time Lovano gets to the fascinating "Ettenro" — an homage to Ornette Coleman — you'll feel as if you've had a short but illuminating course in the infinite possibilities of jazz.


In the 1990s, saxophonist Joshua Redman was about as hot as a jazz artist can get. With albums such as "Joshua Redman," "Spirit of the Moment: Live at the Village Vanguard" and "Mood Swing," he brought a youthful exuberance to the music. But as the decade ended, his career cooled a bit.

With 2007's "Back East," an album emphasizing sax, bass and drum performances, Redman regained his buzz. On its follow-up, "Compass" (Nonesuch), the saxophonist explores a variety of instrumental configurations involving bassists Larry Grenadier and Reuben Rogers and drummers Brian Blade and Greg Hutchinson. Like Lovano, Redman has a way of rendering the line between traditionalism and experimentation irrelevant. On tracks such as "Faraway" and "Round Reuben," you hear a performer who's thoroughly engaged with his art.

By Calvin Wilson

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