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Some Enchanted Evening

Some Enchanted Evening

5.0 3
by Art Garfunkel

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If Some Enchanted Evening, an exquisitely sung and superbly produced album of standards, sounds like it could have been recorded in 1975, there's some good explanations. First and foremost is that Art Garfunkel's voice is in remarkable shape, sounding little the worse for wear after the passing of three decades. The second reason is the presence of Richard


If Some Enchanted Evening, an exquisitely sung and superbly produced album of standards, sounds like it could have been recorded in 1975, there's some good explanations. First and foremost is that Art Garfunkel's voice is in remarkable shape, sounding little the worse for wear after the passing of three decades. The second reason is the presence of Richard Perry, the fabled producer who was behind Garfunkel's classic recording Breakaway. Together, the two collaborators turn back time; yet their approach to vintage songs is anything but retro. By finding just-right tempos and devising luscious vocal arrangements and subtle instrumental settings that bring additional luster to the timeless material, Garfunkel and Perry imbue this project with respect and affection rather than the forced nostalgia of some of the less sensitive contemporary artists revisiting the Great American Songbook. Perry understands the unique quality of Garfunkel's light-toned voice and marvelously intimate delivery like no one else, and the singer's memorable readings of heartfelt ballads ("I'm Glad There Is You," "What'll I Do"), breezy numbers ("Let's Fall in Love," "It Could Happen to You"), bossa nova ("Quiet Nights of Quiet Stars"), and other durable standards is testament to the creative mind-melt of artist and producer. Together they've turned in an unexpected masterwork.

Editorial Reviews

All Music Guide - Thom Jurek
There is a strangeness that is nearly otherworldly in hearing Art Garfunkel -- half of one of the most enduring duo's in rock's history books -- singing pop standards. Garfunkel was primarily a harmony vocalist in his duo with Paul Simon, but it was that voice that added authority and excitement to their recordings. His own solo records have been less successful, perhaps because he was a never a songwriter per se, though he has written. On 2002's Everything Waits to Be Noticed, he worked with Maia Sharp and Buddy Mondlock and the result was deeply satisfying. Some Enchanted Evening's material is most appealing because it is so well known and has been interpreted by some of the greatest singers in history -- Sinatra, Bennett, Washington, Fitzgerald, Vaughan, just to name a few -- and it's also the most treacherous. Let's face it, Rod Stewart's multi-volume Great American Songbook series sold well, but it was a critical and musical disaster because he has no idea how to phrase these songs: he sounded like a rock vocalist trying to swing (and he didn't pull it off at all.) Here, Garfunkel claims in a liner comment that he is "under the sway of two magnificent singers: Chet Baker and Johnny Mathis." OK. But he has neither Baker's dryly vulnerable restraint nor Mathis' grand sense of drama. Garfunkel tries a naturalist approach to songs by Johnny Mercer ("I Remember You"), George & Ira Gershwin ("Someone to Watch Over Me"), Harold Arlen ("Let's Fall in Love"), Antonio Carlos Jobim ("Quiet Nights" [aka "Corcovado"]); Lerner & Loewe ("I've Grown Accustomed to Her Face"), Irving Berlin ("What'll I Do"), and Rodgers & Hammerstein ("If I Loved You"); and that's only about half. The first three alone are, for all their beauty, barbed wire fences with lipstick and perfume traces left on their pointed spires. Perhaps it's also why Garfunkel wrote on another panel "It wasn't Monet, it was France..." In other words, he was seduced by both the dreamy nature of the material, and its magical, love-soaked melodic and lyric lines as well as his being spellbound by the two previously mentioned singers. Unfortunately, he doesn't have the voice to pull this off. His sense of subtlety is too prevalent here. His voice lacks that phrasing that Baker's had, where he sang like he played trumpet. The subtlety in Baker's delivery was vulnerability that had an edge. Here, Garfunkel's so soft , one could crush his voice and, worse yet, the song, in an alley. His breathy delivery is also fraught with a kind of unwelcome rawness that contributes to his lack of authority. Check the break and crack in "I'm So Glad There Is You." There are a few places here where his singing fits the material or brings something new to it: on "Quiet Nights," his softness is exactly what the song demands, a whisper nearly from the one who articulates not only lyric, but the rhythm. The best performance on the album is in "I've Grown Accustomed to Her Face," where Garfunkel sings clear and true; there's no smoke or whisper in the grain of his voice, just the way the material finds its way inside him and he lets it out naturally, without artifice. The other nagging flaws here are the arrangements: the strange pedal steel guitar (played by Dean Parks), with the synth strings and woodwinds are just awful; the drum loops on "You Stepped Out of a Dream," and the weird, weird weird synth bass on "Some Enchanted Evening." What these arrangements do is force the singer into a different place, one full of smoke and mirrors where the tune isn't there, just its framework, leaving too much weight on the vocalist to bring it all together. Art Garfunkel is, when he wants to be, a singular vocalist who possesses gentleness, power and emotional authenticity, when he wishes to. It is almost totally absent on Some Enchanted Evening.

Product Details

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Album Credits

Performance Credits

Art Garfunkel   Primary Artist
Steve Gadd   Drums
Bob Glaub   Bass
Randy Kerber   Synthesizer,Bass,Keyboards,Synthesizer Bass,Synthesizer Strings
Dean Parks   Guitar,Pedal Steel Guitar
Richard Perry   Bass (Vocal)
Lee Thornburg   Trumpet,Soloist
Doug Webb   Clarinet,Flute,Soprano Saxophone,Tenor Saxophone,Woodwind,Soloist
Frank Simes   Guitar,Soloist
Chris Frazer Smith   Harmonica,Soloist
Nick Sample   Bass
Alex Navarro   Piano,Synthesizer Strings
Mike "Brotha Jinx" Thompson   Guitar,Keyboards,Vibes,fender rhodes,Wurlitzer,Synthesizer Strings,Synthesizer Pads
Michael Montilla   Percussion
Chris Golden   Bass

Technical Credits

George Gershwin   Composer
Irving Berlin   Composer
Art Garfunkel   Author
Gene Lees   Composer
Harold Arlen   Composer
Richard Rodgers   Composer
Nacio Herb Brown   Composer
Hugh Brown   Art Direction
Raoul Cita   Composer
Jimmy Dorsey   Composer
Ira Gershwin   Composer
Oscar Hammerstein   Composer
Antonio Carlos Jobim   Composer
Gus Kahn   Composer
Randy Kerber   drum programming
Alan Jay Lerner   Composer
Johnny Mercer   Composer
Richard Perry   Producer
Ralph Rainger   Composer
Dee Robb   Engineer
Leo Robin   Composer
James Van Heusen   Composer
Hy Weiss   Composer
Frederick Loewe   Composer
Ted Koehler   Composer
Victor Schertzinger   Composer
Paul Madeira   Composer
John Scher   Management
Nick Sample   drum programming
Dylan Margerum   Engineer
Lauren Wild   Producer
Bobby Ginsburg   Engineer,drum programming
Jeff Phurrough   Engineer

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Some Enchanted Evening 5 out of 5 based on 0 ratings. 3 reviews.
Anonymous More than 1 year ago
This album has some wonderful songs that Art delivers in his distinctive personal style. All of the choices are really nice, and if you're an Art Garfunkel fan, this is for you. It might make you a fan if you listen to it once or twice. I especially like his rendition of What'll I Do ~ pure Garfunkel sound.
Guest More than 1 year ago
Ce 30 janvier 2007 Art Garfunkel vient de diffuser sont dernier opus tant attendu (cf. le Concert de Kenwood House English Heritage, où le Journal était présent). Il le signe de sa claire indépendance, frôlant le total détachement : “It wasn’t Monet, it was France It’s not what we say but the dance we’re in therin lies the mysterious glue in this set of songs I sing to you” (Ce n'était pas Monet, c’était la France Ce ne sont pas ce que nous sommes qui nous défini, mais nos expressions et pas de danse, dans ce disque se trouve ce ciment mystérieux de chansons , juste pour vous). Une CERTAINE SOIRÉE ENCHANTÉE est une célébration musicale des œuvres des plus grands paroliers du XXème siècle, comme Rodgers et Hammerstein, Irving Berlin, Harold Arlen, Antonio Carlos Jobim et George Gershwin. Un vrai retour aux sources qui tranche avec son dernier album. Garfunkel souligne « L'album est le chapitre organique suivant dans ma vie » là où il réfléchit sur la paternité et le monde chaotique que nous vivons. Et d’ajouter : « en ce monde nerveux que je veux apaiser. C'est un grand temps pour la modération, pour l'attention, pour le dialogue, pour le grand soupir et l'humeur équilibrée. Un grand temps pour une douce harmonie, viscérale, charmante et sereine ». Il réalise son dessein, en modestie, pour son 12ème album solo, enregistré à Los Angeles et à New York au cours de la dernière année, Garfunkel s’est adjoint des talents reconnus avec le producteur Richard Perry (Barbra Streisand, Rod Stewart, Carly Simon, Ringo Star et Harry Nilsson) les chansons s’enchaînent en consonance comme pour ébarouir les tensions imaginaires de l’homme et parvenir à l’essentiel universel que la musique met à son service. Sa voix n’a pas pris une ride (non pas que le jeunisme soit vertu), mais ce timbre demeure chaleureux et chargé de vraies ressources. Un grand silence intérieur pour une écoute caressant les rythmes jazzy qui font le bonheur des grands mélomanes. Indispensable Frédéric M. Bontemps
Anonymous More than 1 year ago