Jane Monheit Taking a Chance on Love
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- Released: September 7, 2004
- Originally Released: 2004
- Label: Sony
Down Beat - p.654 stars out of 5 - "Jane Monheit shuffles accompaniments, attitudes and tempos in her newest recital, whose now familiar roots run deep into a dozen of the finest songs one could want."
Song previews provided courtesy of iTunes
Personnel: Jane Monheit (vocals); Jane Monheit; Michael Bubl‚ (vocals); Lew Soloff, Michael Davis , Andy Snitzer, Roger Rosenberg, Lawrence Feldman, David Taylor , Jim Hynes, Bob Malach (horns); Christian McBride, Orlando Le Fleming, Ron Carter (bass instrument); Romero Lubambo, Miles Okazaki (guitar); Joel Frahm (soprano saxophone, alto saxophone, tenor saxophone); Donald Harrison (alto saxophone); Geoff Keezer, Michael Kanan, Rob Mounsey (piano); Lewis Nash , Rick Montalbano (drums).
Audio Mixer: Al Schmitt.
Recording information: Avatar Studio A, New York, NY (03/13/2004-05/10/2004); Avatar Studios, New York, NY (03/13/2004-05/10/2004); Capitol studios, Los Angeles, CA (03/13/2004-05/10/2004).
Photographer: James White .
Arrangers: Michael Kanan; Christian McBride; Rob Mounsey; Edward Shearmur; Alan Broadbent; Vince Mendoza; Jorge Calandrelli.
While the early 2000s bore witness to a bevy of youthful standards singers with earnestly traditional vocals, New Yorker Jane Monheit preceded Norah Jones, Michael Buble, Katie Melua et al. She wowed the jazz world when she was barely out of her teens with her 2000 debut, NEVER NEVER LAND, and quickly ascended to stardom. Monheit's fourth record, 2004's TAKING A CHANCE ON LOVE, expresses her love for movie musicals of the 1930s and '40s.
From both Monheit's song choices and the fervor she pours into these selections, it's virtually impossible to challenge the sincerity of her affection. Monheit opens by finding a truly original, offbeat angle to the oft-visited Fats Waller classic "Honeysuckle Rose" and continues to connect throughout the 11 subsequent tracks. She teams up with the aforementioned Michael Buble on a charged version of the always-lively "I Won't Dance" and finds every ounce of sultriness in "Why Can't You Behave?" and "Dancing in the Dark." As with most of the acclaimed jazz stylists of her day, Monheit possesses incredible vocal shrewdness, but it is her almost spiritual connection to the tunes of a bygone era that clearly sets her apart.
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