The Boy Next Door

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Editorial Reviews

Barnes & Noble - Steve Futterman
Stacey Kent, one of the most accomplished jazz singers of her generation, turns her attention to a panoply of her musical heroes on The Boy Next Door, a breakthrough project that should cement the British singer’s reputation in the States and elsewhere. Not that Kent needs to raise a ruckus to gain our attention. Subtlety and inference are her secret weapons: Even when tackling a swinger like the Judy Garland signature tune “The Trolley Song,” Kent keeps matters brilliantly under control, her dead-center sense of rhythm and sly vocal inflection winning the day again and again. Kent’s heroes include classic and popular singers, magisterial composers, and world-class ...
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2003-08-26 Audio CD New SEALED in the shrink wrap! #AA8843. FAST shipping, FREE delivery confirmation and online tracking. Thank you!

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Editorial Reviews

Barnes & Noble - Steve Futterman
Stacey Kent, one of the most accomplished jazz singers of her generation, turns her attention to a panoply of her musical heroes on The Boy Next Door, a breakthrough project that should cement the British singer’s reputation in the States and elsewhere. Not that Kent needs to raise a ruckus to gain our attention. Subtlety and inference are her secret weapons: Even when tackling a swinger like the Judy Garland signature tune “The Trolley Song,” Kent keeps matters brilliantly under control, her dead-center sense of rhythm and sly vocal inflection winning the day again and again. Kent’s heroes include classic and popular singers, magisterial composers, and world-class jazz instrumentalists, and the superior songs associated with them. The repertoire is appropriately diverse (Paul Simon’s “Bookends,” Duke Ellington’s “I Got It Bad and That Ain’t Good,” Burt Bacharach’s “What the World Needs Now,” Cole Porter’s “You’re The Top”), and Kent handles it all with confidence and panache. Kent’s earlier albums showed promise -- here she delivers the power punch, in a velvet glove, that is.
All Music Guide - David Jeffries
Wrapping her sweet voice around songs by male singers she admires, Stacey Kent delivers another pleasant and low-key album with The Boy Next Door. Kent's tribute choices range from traditional pop Frank Sinatra, Tony Bennett to mainstream jazz instrumentalists Dave Brubeck, Dizzy Gillespie to the softer side of rock James Taylor, Simon and -- unmentioned in the liner notes -- Garfunkel. With a gentle conviction akin to early Blossom Dearie without the cheeky flair, the album makes for breezy listening. The 16 tracks don't differ enough in tone, making the album a bit too long, but individual moments of warm openhearted excellence make it worthwhile. The sentimentality of "Bookends" or "'Tis Autumn" suit her precious delivery well, while the sly moments of "Makin' Whoopee" feel out of the singer's reach. The bandmembers stay out of the way for the most part, waiting for their solos rather than interacting much with Kent. Drummer Matt Home's light but lively style is especially accommodating and guitarist Colin Oxley's percussive take on "Too Darn Hot" ends up being the album's greatest moment.
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Product Details

  • Release Date: 8/26/2003
  • Label: Candid Records
  • UPC: 708857979721
  • Catalog Number: 79797

Album Credits

Performance Credits
Stacey Kent Primary Artist, Vocals
Dave Chamberlain Double Bass
Curtis Schwartz Background Vocals
David Newton Piano, Keyboards, Background Vocals
Colin Oxley Guitar
Jim Tomlinson Saxophone, Background Vocals
Matt Home Drums
Technical Credits
Irving Berlin Composer
Hoagy Carmichael Composer
Carole King Composer
Paul Simon Composer
Joe Carroll Composer
Cy Coleman Composer
Dizzy Gillespie Composer
Richard Rodgers Composer
Burt Bacharach Composer
Alan Bates Executive Producer
Nacio Herb Brown Composer
Hal David Composer
Walter Donaldson Composer
Duke Ellington Composer
Arthur Freed Composer
Bill Graham Composer
Hugh Martin Composer
Cole Porter Composer
Curtis Schwartz Engineer
Paul Francis Webster Composer
Ralph Blane Composer
Carolyn Leigh Composer
Henry Nemo Composer
Ralph Blaine Composer
Kim Knott Cover Photo
Jim Tomlinson Producer
Jacqueline Brewer Cover Design
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Customer Reviews

Average Rating 5
( 3 )
Rating Distribution

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(3)

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Sort by: Showing all of 3 Customer Reviews
  • Anonymous

    Posted October 1, 2010

    Yowza.

    I was so lucky to hear a song of Stacey's on CBC Radio so that I could look her up and be enchanted by her beautiful music. She has a firm control over all the songs and the listener. The opener, "The Best is Yet to Come" (appropriately named), draws you in with confident and lighthearted instrumentation and vocals, leaving you vulnerable to the devastating beauty of "Say It Isn't So"; the heartfelt support of 'You've Got a Friend"; the sly humor of "Making Whoopee"; and the aching closer, "Bookends". Kent and her skilled band cover her heroes with style and poise throughout.

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  • Anonymous

    Posted October 1, 2010

    Stacey Kent: From Girl Next Door to Contemporary Jazz Diva

    Stacey Kent never intended to be a jazz singer. She was on course for a career in academia, but through an unexpected twist of fate, she found herself enrolled at the Guildhall School of Music with Jim Tomlinson, who would later become her husband and musical soul mate. The rest, as they say, is history. Today, the London-based New Yorker has six bestselling solo albums to her credit, a clutchful of jazz awards on her mantelpiece, and continues to perform to sellout audiences across the world. Ms Kent’s unique, distinctive style could best be described as classic chic, the musical equivalent of the “little black dress”. Just as the little black dress has the power to let a woman’s personality shine through, Ms Kent’s delicately nuanced interpretations of the Great American Songbook eloquently showcase the complex melodies and classy, sophisticated lyrics of American popular music during its golden ages. Vocally, Ms Kent has never sounded better. And there is so much to admire: her dulcet-toned mezzo soprano, with its shimmery jazz lilt and translucent vibrato, her innate sense of swing and instinctive timing, her subtly shaded line readings, and the exquisite delicacy of her phrasing. A master storyteller and communicator, Ms Kent also brings a comparative literature graduate’s acute interpretive skills to her singing, eschewing shopworn sentimentality for a piquant romantic lyricism. Ms Kent’s latest album, “The Boy Next Door”, is a heartfelt and reverent tribute to her musical heroes, which include legendary crooners Frank Sinatra and Dean Martin, octogenarian jazz master Dave Brubeck and Manhattan cabaret doyen Bobby Short. The stylish jazz chanteuse’s repertoire also finds her working outside the Great American Songbook for the first time, with contributions from latter-day pop songwriters Burt Bacharach, Paul Simon and Carole King. Ms Kent puts her own indelible stamp on each number as she weaves her magic on a delectable collection of pop-jazz standards that encompass infatuation, seduction, love, loss and reminiscence. “The Best Is Yet To Come”, the opening track of this album, begins with a beguiling quietness. Abetted by Dave Chamberlain’s supple, tantalizing bass line, Ms Kent’s wonderfully lithe voice floats across the melody in light, flirtatious tones. “The best is yet to come, and babe won’t it be fine,” croons Ms Kent seductively, and you know she’s on to a winner. The cheeky uptown swagger and brash bravado that Tony Bennett brought to the number have been replaced by a relaxed, confident sexuality as she sashays appealingly through Cy Coleman and Carolyn Leigh’s zesty, jazz-inflected tune, which also features a brisk, scintillating piano solo by David Newton. “The Trolley Song”, so long regarded as Judy Garland’s signature tune, has been dusted off the shelves and given a new life by Matt Home’s punchy, throbbing beat. Ms Kent registers a thrilling sense of giddy exhilaration here, with Tomlinson’s playful obbligatos dancing around her sparkling vocals. As she peals joyfully through the Irving Berlin swinger, you can just imagine Ms Kent, with her elfin figure and puckish smile, as the fresh-faced ingénue whose adventure on public transportation would inevitably change her life, and Tomlinson as the dapper, dashing gentleman who sweeps Ms Kent off her feet. “Too Darn Hot”, Cole Porter’s second-act showstopper from “Kiss Me, Kate”, pulses with a palpable sense of urgency that underpins the edgy, syncopated rhythms of the song. Ms Kent’s vocals are preceded by a catchy, insinuating jazz riff, and she infuses the number with a restless, insistent energy. Ms Kent’s effervescence and vivacity are also a perfect match for Porter’s vocal dexterity, wit, warmth and humor; nowhere is this more evident than

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  • Anonymous

    Posted October 1, 2010

    Excellent...I don't think there's a bad one on this CD

    I was turned onto this artist by a review on KNX Newsradio. These are some well crafted tunes, and I especially like The Trolley Song.

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