A fresh look at Kurt Weill
author: J.B.
Kurt Weill’s reputation is intertwined with that of his early collaborator Bertolt Brecht, but while Brecht was politicizing his lyrics, Weill was more interested in the art of his melodies. Anne Kerry Ford’s new set of Kurt Weill songs, simply titled Weill, provides a fresh look at the composer, including examples of his collaborations with a variety of different lyricists, including Ira Gershwin, Maxwell Anderson, and Langston Hughes.
Ford is a vocalist more in the cabaret tradition, also known for an acting career. For many of the songs here, particularly those with Brecht lyrics, like the demanding "Pirate Jenny," her theatrical training is helpful in interpreting dramatic and sometimes thorny lyrics.
Ford clearly takes inspiration performing in Weill’s native Germany backed up by the German WDR Big Band, one of the best bands in Europe. The great jazz pianist Roger Kellaway wrote most of the arrangements, giving a jazz feel to some of the tunes. This is particularly strong on “One Life to Lead” with lyrics by Gershwin, which even features some scattish vocalizing over William Artope’s trumpet.
“My Ship,” also from Lady in the Dark, Weill’s Broadway collaboration with Gershwin and Moss Hart, is a beautiful ballad feature for Ford with simple but elegant piano accompaniment from John Boswell. It is also interesting to hear Ford singing the alienation and blues of Hughes’ “Lonely House” and effectively rising to the concluding emotional crescendo.
Indeed, Ford has a strong voice that is never overwhelmed by the orchestra on tunes like the opener “I’m a Stranger Here Myself.” Ford handles the lowdown brass voicings of Kellaway’s arrangement, as well as Odgen Nash’s suggestive lyrics quite well on another standout tune that would be of strong interest to jazz listeners.
Evidently, Kurt Weill is set for another Broadway revival. LoveMusik a musical directed by Harold Prince, dramatizing Weill’s relationship with Lotte Lenya and featuring his songs, is scheduled to debut soon. Those Broadway patrons would certainly also enjoy Ford’s Weill. It is clearly an independently conceived self-contained project, which straddles cabaret and big band vocals in a way that could appeal to a wide theater-going audience. The result is a well-selected set of Weill songs (no “Mack the Knife”—too obvious) that showcases Ford’s voice and gives a deeper appreciation for the breadth of Weill’s compositions for musical theater.
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Ford shines throughout this impressive and wonderfully satisfying collection
author: Jeff Rossen
For the most part, when people think of Kurt Weill, the thoughts are generally of serious, dramatic creations. But there’s so much more to his work, something Anne Kerry Ford proves sensationally on her simply titled “Weill”. Kicking off with an irresistible mix of sultriness and coquettish charm on “I’m a Stranger Here Myself”, Ford puts together an hour-plus program that mixes some of Weill’s better-known titles with a healthy dose of those more rarely heard, and she and arrangers Roger Kellaway and John Boswell craft outstanding presentations of the works, whether it’s the grand, epic storytelling sweep of “pirate Jenny”, which Ford delivers in a tour-de-force that’s a stunner, or the restrained simplicity and rich tenderness of Ford’s vocal backed by Boswell’s rich piano.
Combining live recordings with the WDR Big Band at Philharmonic Hall in Cologne, Germany, with studio creations- and were it not for the applause at the end of the live selections, one would be hard-pressed to separate them-Ford’s warm voice works wonders with Weill’s melodies while her considerable acting talent conveys the stories and emotions of lyricists Ira Gershwin, Bertolt Brecht and others. One feels the desperation and anger in “Lonely House” and regret and resignation in “It Never Was You”, and then there’s the playfulness of “Tschaikowsky” and “Tango Ballad” (with guest Brian Lane Green). But whatever the style of Weill’s music or the story the song tells, Ford shines throughout this impressive and wonderfully satisfying collection
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Weill's fans have cause to rejoice over this CD
author: Marty Clear
Kurt Weill’s music is often considered an acquired taste but that’s not exactly right. Probably, Weill’s unique straddling of American and European styles, his merging of operatic, theatrical and popular genres and his sometimes-catchy and sometimes-melodramatic melodies are more likely to immediately attract or repel. If you don’t find his music immediately fascinating, it’s unlikely you’ll spend enough time with it to acquire the requisite point of view to appreciate it. For people who connect with Weill, this new celebration of his work by cabaret singer Anne Kerry Ford should be bliss. Kerry offers 15 Weill songs, mostly from his later years in America, and delivers them with warmth, depth and just a twinkle of humor that helps brighten Weill’s imposing intellectuality. She gets immeasurable help on this live recording from the WDR Big Band, a German outfit that delivers an old-school Vegas punch to such numbers as the glorious opener, “I’m a Stranger Here Myself.” Other assistance comes from arranger/pianist Roger Kellaway, who adds gorgeous touches to “My Ship”, and from jazz guitarist Robben Ford (formerly of L.A. Express, and currently the husband of Anne Kerry Ford) who punctuates “Solomon Song” with some tasty acoustic touches.
Ford’s voice is perfect for the material, with a wide tonal and emotional range and just enough dramatic warble to push the songs, but enough restraint to keep them form falling overboard. Weill’s fans have cause to rejoice over this CD that packs some new punch into old songs. People who don’t care for Weill probably find their opinions changed, but that’s not Ford’s fault. She delivers a heartfelt performance, so meticulous it’s easy to forget that this is a live album. - Marty Clear
Reprinted from the Sarasota Herald-Tribune, copyright 2006
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This is Anne's best so far--provocative and exciting!
author: M. Power
Anne is maturing into an exciting and provocative modern voice. Her work with Weill's material speaks to the present moment and makes me feel her words.
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