Andrea Marcovicci | Here, There and Everywhere

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Pop: 60's Pop Folk: Gentle Moods: Solo Female Artist
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Here, There and Everywhere

by Andrea Marcovicci

A recording for Baby-Boomers. With songs from ’65 – ’85 Andrea blends poignancy and whimsy to capture an era of rebellion and reflection with the music of Peter, Paul and Mary, The Beatles, Joni Mitchell, Billy Joel, Simon & Garfunkel, and Judy Collins.
Genre: Pop: 60's Pop
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1. Summer, Highland Falls
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3:02 album only
2. Secret Of Life
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2:54 album only
3. In My Life
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2:11 album only
4. The 59th Street Bridge Song (Feelin' Groovy)
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2:35 album only
5. Downtown
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2:34 album only
6. Someday Soon
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2:41 album only
7. All I Want
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3:00 album only
8. Leavin' On A Jet Plane
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3:22 album only
9. Here, There And Everywhere
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2:27 album only
10. For No One
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2:28 album only
11. If There Walls Could Speak/MacArthur Park
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4:49 album only
12. All In Love Is Fair
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2:53 album only
13. When I'm Sixty-Four
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2:33 album only
14. The Way We Were
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2:27 album only
15. Send In The Clowns
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3:10 album only
16. Time In A Bottle
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2:47 album only
17. The Sweetest Of Nights And The Finest Of Days
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2:59 album only
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ABOUT THIS ALBUM


Album Notes
“The greatest cabaret star of her generation, she sings with a haunting tenderness that once heard is never forgotten.”
--Sheridan Morley, THE INTERNATIONAL HERALD TRIBUNE

“Andrea Marcovicci has an incandescent enthusiasm and masterly balance between poignancy and wit.”
--THE NEW YORK TIMES

“Her seductive physical beauty is uncannily reflected in a lilting voice shot through with fire. Andrea Marcovicci - torch singer, spellbinder, heartbreaker is here to stay.”
--PEOPLE

“Andrea Marcovicci is at the top of her career, and she’s one of the few who can consistently fill a room with crowds searching for a bit of musical elegance.”
--VARIETY

ABOUT ANDREA MARCOVICCI: ABOUT ANDREA MARCOVICCI: Andrea Marcovicci, the Queen of Cabaret, "torch singer, spellbinder, heart-breaker" (People) was hailed as the "most Sinatra-like" of the new generation of cabaret performers by Life Magazine. She “has the capacity to caress a song with a warming embrace… Marcovicci steals the heart …the epitome of elegance and showbiz savvy,” declared Variety, while Stephen Holden wrote in The New York Times, "Andrea Marcovicci has an incandescent enthusiasm and a masterly balance between poignancy and wit."

Cabaret legend Andrea Marcovicci has entertained sold-out audiences from coast to coast whenever touring her numerous critically acclaimed shows. She holds the record for the most seasons ever played at New York's legendary Oak Room of the Algonquin Hotel - twenty-five years - and is the final performer ever to perform there! She's also played to sold-out houses at the esteemed LICEU Opera House in Barcelona, at Town Hall in New York, and at her Carnegie Hall solo concert.

In 2005 Andrea released her very own Calendar replete with luscious photos and anecdotes of her life and career in television, film and theatre. An actress and singer, Andrea began on the daytime television series "Love Is A Many Splendored Thing". She debuted on Broadway in "Ambassador", the musical adaptation of the novel by Henry James, staring Howard Keel and last appeared on the Great White Way in Frank D. Gilroy's play "Any Given Day" with Sada Thompson. Her numerous appearances off-Broadway include "Coco" at the York Theatre, "The Wedding of Iphigenia", "Variety Obit", and "The Seagull". She performed Ophelia to Sam Waterston's Hamlet for Joseph Papp's Shakespeare in the Park. Regionally, she received rave reviews for leading roles in "St. Joan", "Burn This", and "Cat on a Hot Tin Roof" at the American Conservatory Theater, San Francisco and her most recent of many appearances at 42nd Street Moon, SF, (where Andrea had previously starred as Daisy in "On A Clear Day"), in the title role of "Coco", played to sold-out houses. In Los Angeles, she starred opposite Anthony Newley in "Chaplin", portraying all the legendary actor's wives and starred in the Philadelphia revival of "Lady in the Dark" at the Prince Music Theatre. Her film credits include: "The Front" (nominated for a Golden Globe Award) with Woody Allen, "The Hand" with Sir Michael Caine, "The Stuff" with Michael Moriarty, "Spacehunter" with Peter Strauss, "The Canterville Ghost" with Sir John Gielgud, Henry Jaglom's "Someone To Love" (featuring Orson Welles in his last film appearance), and "Jack the Bear", as Danny DeVito's wife. Her many television appearances include "General Hospital," "Arliss" for HBO, "Cybil", "Taxi", "Magnum P.I.", "Hill Street Blues", and "Trapper John, M.D.", among others and numerous made-for-television movies. She has appeared in two Henry Jaglom films - "Irene in Time" and "Someone to Love" for which she provided commentary for the DVD release.

Andrea was most honored to usher in the Millennium with the Chicago Symphony Orchestra. Her concert work includes appearances with the San Francisco Pops, Florida Philharmonic, and Oregon and Ft. Worth Symphonies among others. Her 1993 Carnegie Hall solo debut, with the American Symphony Orchestra, was to a sold-out audience. Prior to that, Carnegie Hall commissioned "December Songs" specifically created for Andrea by Maury Yeston. The concert was then reconceived as a ballet by Lynn Taylor Corbett and premiered with Andrea at The Carolina Ballet in 2002. Lincoln Center commissioned both her Noel Coward show and her "Kurt Weill in America". The latter was recreated for cast and appeared as part of the prestigious Lyrics & Lyricists series at the 92Y where Andrea has four times served as Guest Artistic Director and Director, and twice directed the "Cabaret Concert for Young Audiences" at the New York Cabaret Convention.

Enjoying the intimate art of cabaret performance, Andrea has appeared at numerous prestigious nightclubs throughout the country including the famed Oak Room of the Algonquin Hotel in New York City, The Rrazz Room in San Francisco, Le Chat Noir of New Orleans, The Gardenia in Hollywood, and many others. Her London cabaret debut in 1994 sold out a one-month engagement at the Music Room at Pizza on the Park. Sheridan Morley, theater critic of The Spectator and The International Herald-Tribune, called her "the greatest cabaret star of her generation." Peter Hepple in The Stage and Television Today wrote, "Marcovicci cast her spell, with a voice of supreme tenderness, much rangier than at first appeared, with a thrillingly controlled vibrato, marvelous diction and phrasing that can only come from a skilled actress."

Andrea Marcovicci has performed at the White House and her numerous fundraising efforts have produced everything from building additions to aiding the disenfranchised. In recognition of her accomplishments in the arts, she is the recipient of several awards and honors including three Lifetime Achievement Awards and two honorary degrees.


Reviews


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Alberto CAPELLI


Being an interpreter is much more than just being a singer: it means getting in touch the music(and the world , the values, the emotions the music comes from) with the listener's world and emotions.
That's what Andrea is doing. Listening to her singing is a precious gift to our souls.
Alberto

Alison M. Swann

Here, There and Everywhwere
The track that brought me in was the title cut, Here, There and Everywhere. I heard her sing it live on A Prairie Home Companion on NPR and loved the way she sang it and the fact that she did not change the gender. It was very sensual. After hearing the entire CD, Here, There and Everywhere remains my favorite song. This CD makes me want to hear her live at the Algonquin. Any singer who dares to adapt solid gold hits like these, songs so identified with the vocalists/bands who originally performed them, to cabaret is bold. I think it is easy to evaluate them out of the context of cabaret and be overly critical. Marcovicci takes each song and sets it free to be heard and float off. That\'s a neat quality, but one it may sometimes be difficult for us to appreciate.

carolyn okeefe

here there everywhere
I can't imagine rating any AM recordings less than four stars. This one is uneven but there are some real gems: Feelin' Groovy, the title song, and For No One. I winced on the All I Want song because I like the Joni Mitchell original and didn't think AM's voice was suited to it. Still, sometimes I like that AM isn't perfect; it makes her realer to me, so I may end up liking that song after more listening. In general I would prefer AM either sticking with 1-- freshening old standards OR 2--doing songs I haven't heard pop artists sing.