"All the Lonely People finds Donna Byrne picking up where she left off when we last marked her vocal passage (3/03, p.42), backed by the same rhythm team, with Harry Allen in for his colleague, Scott Hamilton, and two guitarists sharing the spot previously occupied by pere Pizzarelli. The program is varied, sprinkled with surprises and choices whose felicity becomes apparent as soon you hear Ms. Byrne’s way with them.

Her voice continues to have a dusky transparency with a slightly raspy texture which she brings to the fore as she feels the need, as well as a fluidity that implies she does not necessarily have to think through every phrase. The stream of her singing seems to owe as much to some degree of innate impulsion as to strategizing. This is not to say she doesn’t plan her CDs, with regard to repertoire and personnel, but that once the music starts, she both captures and is captured by a kind of centripetal flow that overrides thought and centers her performance. She makes it sound so damn natural and spontaneous, one is left with the impression that these particular songs were meant to be sung exactly the way she sings them.

Some specifics? She opens with an up tempo romp through “Speak,” with Harry Allen’s tenor clearing the way. She dares encroach on sacred Sinatra sod with a meticulously constructed “Lonely,” featuring, midway, a breathy Harry Allen
psalmic statement, after which she caps the track with an absolutely heart wrenching denouement. Jesus H. Sinatra!! The Blues rears its wanton head in the “Evenin’” with some lovely Allen tenor, some well chosen bass notes from Wood and a swaggering
finish from Ms. Byrne. “Unhappy Boy,” perhaps last recorded by Nancy Wilson and Cannonball Adderley in 1961 (6/93, p.30), is revived and celebrated with delicious solo trades by Allen and both guitarists who find themselves together only on this track. Donna makes great good sense of Jon Hendricks’ lyric to Monk’s “Ask,” supported only by Tim Ray’s implicitly dissonant piano. She dips into the Nat Cole
songbook for “Lookin’” with Tim Ray’s gritty piano solo work framing her Blues-tinged vocal.

This is the lady’s second recording of “Dreamed,” the first (5/98, p.105) on which she was accompanied by a lone Dave McKenna, whereas on this more recent version, by full trio plus the whisper of Harry Allen’s tenor. She invests her first chorus with a subtle, almost unendurable, tension, which she releases during an all but ecstatic closing chorus. Then, there is a rousingly up tempo“Caravan” fueled by Jim Gwin’s churning drums and strong solos from Tim Ray and Harry Allen. And I must not fail to mention Ms. Byrne’s small stroke of genius when she opens “Rigby” with the lines “All the lonely people/where do they all come from,” framing the issue properly, for a change. It’s about loneliness, not about someone named Eleanor. This is simply another superlative recording from one of our most accomplished and creative
Jazz/Cabaret singers."
Alan Bargebuhr

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This very good singer came into the business almost by accident; something for which we should be grateful. Byrne is yet another fine singer to come my way recently who is a relative latecomer inasmuch as she is no longer a twenty-or thirty-something wannabe; and how refreshing it is to hear a mature voice and seasoned style. She has a firm but gentle voice with a very pleasing touch of huskiness.

Byrne explores the meanings of the lyrics that she sings with unerring perception, something that is especially appropriate on a selection of songs that explore many different aspects of life, its ups and downs, through which Byrne has herself travelled. She brings a late-night intimacy to love songs such as My Old Flame and Shadowland, and is deeply moving on the paired songs with which she ends the set. To the mid- and up-tempo pieces, among them Talk To Me Baby and the opener, she imparts a lithe swing and her natural joyousness is very appealing.

The supporting musicians are all in fine form with the core trio providing superior support and there are nice solo moments from pianist and bass player (the latter being Byrne's husband), and the drummer, on a seriously swinging I'll Always Be In Love With You. Of the two guests I need say no more than that Hamilton and Pizzarelli are at their customary best. There is a long, absorbing and very good note by Richard M. Sudhalter, which details the ups and downs of Byrne's life and career. Add in exemplary sound and all that I can add is that this CD is very warmly recommended.
Bruce Crowther

From Bruce Crowther's Web Site:

A highly talented singer, mature and unforced, Donna Byrne sings with the liquid grace of a horn player. Her interpretation of lyrics shows a profound understanding of their emotional depths. Joined here by the excellent rhythm section of Tim Ray (p), Marshall Wood (b), Jim Gwin (d), Bucky Pizzarelli (g), along with tenor saxophonist Scott Hamilton, Donna delivers a fine set of mainly standards. This is a thoroughly engaging CD by a singer of considerable merit and who deserves the wider attention she is now beginning to receive.
Bruce Crowther

Tony Bennett called her "one of the best young singers in the country today," the country being the USA. It's a big claim to live up to, but Donna Byrne certainly is very good. She sings in an open, unpretentious but wholehearted style. She also has a highly resourceful arranger in Marshall Wood, her husband and bass player. Let's hope this polished gem doesn't get overlooked in an increasingly crowded field.

After six prior releases on Arbors and other independent labels, Donna Byrne springs into view with this European, A-Records release. A mature vocalist of considerable depth and artistry, Donna Byrne has, in spades, the sort of burnished vocal sound that modern, white girl-singers often try to emulate, but rarely achieve. This musical advanced standing extends to Byrne's savvy choice of repertoire, and employment of soloists such as Bucky Pizzarelli and Scott Hamilton, whose sympathetic presence here evokes Rosie Clooney's better Concord discs. A swinger of some considerable passion, bearing long lines, and a full dynamic range, Donna Byrne rarely over-embellishes a phrase, knowing precisely when to put out, but more importantly, when to hold back. These welcome qualities are nicely offset by her intelligent, heartfelt way with a lyric, and a sense of emotional clarity, which acts as an impetus to the music at hand. More than a mere clone of Rosie, Peggy or the Helens, Donna Byrne swings past any white-chick cliché's to project an exciting brand of sensuality and passion that is hers alone. The rhythm section here, including the insightful piano of Tim Ray, tastefully swinging bass of Marshall Wood, and in-the-pocket drums of Jim Gwin, offers unparalleled support to the proceedings on this noteworthy endeavor. With Licensed To Thrill, Donna Byrne has caught our attention, and for all intents and purposes, plans to keep it.

So, this is yet another exceptional program by Ms. Byrne, as she continues to handle vocal technique with such seeming ease one is swept along, unaware of the "mechanics" of her art. Her voice is a pure stream of lyric poetry, free of affectation, direct and expressive, modulated and accelerated at will, as she takes obvious pleasure in making use of the raw song materials at hand. All one need hear is how she slows and then revs, on the You And The Night straight-aways, preparatory to racing around the turns, to know this is a canary who could feed an army, if she decided to sing for (her) supper. The repertoire is varied and never less than interesting, with Devil Moon, perhaps, the only chestnut close to being over-roasted. The ravishment she offers in Shadowland, a Dave McKenna tune blessed with Meredith D'Ambrosia lyrics, on which she's accompanied by only pianist Ray, is in and of itself worth the price of admission. Not to mention the bite of her sweet bitterness in interpreting Don't Care, a generally overlooked gem from the 1987 Broadway revival score of Cabaret. Yet another highlight is Talk, given a reading that leavens coyness with just the right amount of irony. The rhythm trio of Ray, Wood and Gwin, held over from previous recordings is -- once again-- tight and bright, and the addition of Pizzarelli "pere" adds further rhythmic impetus to the ensemble. Donna Byrne remains in the front rank of contemporary Jazz/cabaret song stylists.

On Licensed to Thrill, her sixth solo album, Donna Byrne is supported by an excellent rhythm section augmented on six of the thirteen titles by the ever-dependable tenor sax of Scott Hamilton and the ever-welcome work of veteran guitarist Bucky Pizzarelli. Good diction combined with sesitivity for lyrics and the ability to swing are the hallmarks of a superior artist and all these virtues are present here. Her work is is very much in the mainstream of jazz singing and vocal excesses are thankfully absent. An up-tempo You And The Night And The Music, in which the singer skillfully negotiates changes of tempo, and an exceptionally fine and swinging rendition of Old Devil Moon contast with a slow, studied, meaningful performance of My Old Flame on which Scott Hamilton plays a full chorus. Other highlights are a bouncy Nobody Else But Me with solos by Scott Hamilton and Bucky Pizzarelli; an emotive top drawer interpretation of I'll Always Be In Love With You, and a driving version of Fat's Domino's R&B classic I'm Walkin' .

Jazz vocalist Donna Byrne's animated manner of spinning a lyric is augmented by her warm intonations and acute sense of swing. Here, she garners terrific support from guitarist Bucky Pizzarelli and saxophonist Scott Hamilton. The artists project a scenario that might be conducive to an upscale hotel lounge, as Byrne embraces a jazzy set consisting of familiar standards. She understates an abundance of themes while delving into these compositions with a cool, low-key demeanor amid a few dreamy swing vamps. The musicians whirl through a potpourri of ballads and upbeat numbers with a charismatic edge. On Shadowland, pianist Tim Ray sets the mood by counterbalancing Byrne's whispery verse via a series of introspective musings. Hence, Byrne receives sympathetic support from Pizzarelli, Hamilton, and her rhythm section of choice. The musicians transmit an overall vibe that offers a bit of respite from the daily drudgeries of life. Recommended.

AMG Rating: 4 stars

Boston-based vocalist Donna Byrne has produced several fine albums over the past 15 or so years. She has consistently proven to be a singer with a strong jazz feeling, a voice that is on the husky side, but not heavily so, and a penchant for choosing superior songs. Her latest release, Licensed to Thrill (AL Records – 73230), ranks with her best. Her instrumental support is provided by Scott Hamilton on tenor sax, Tim Ray on piano, Bucky Pizzarelli on guitar, Marshall Wood on bass and Jim Gwin on drums. While she is warmly comfortable with a ballad like My Old Flame, she chooses on this disc to emphasize her rhythmic side, whether it is gently present as on I Don't Care Much , or more emphatic on tracks like I'm Walkin' or Old Devil Moon. Listen to her take on Dave Frishberg's ode to perseverance, The Underdog, for proof that this lady cares about lyrics. Licensed to Thrill is an album that will serve as a fine introduction to those unfamiliar with Donna Byrne, and will be a welcome addition to the CD libraries of the many who are already her fans.

Donna Byrne offers a varied program of ballads and swingers and is convincingly transcendent with all she touches, largely because she's in such complete command of her vocal instrument that she can concentrate on ancillary issues, such s dramatic interpretation, phrasing, and the detailing of individual notes.

She's served rhythmically by the same organic trio that helped make here previous CD [Byrnin'] a winner, but this time there's additional coloration available in the presence of Mike Monaghan's reeds, Kenny Wenzel's brass, and Mike Turk's harmonica (Don't Mean) and blues harp (On My Own). And perhaps, most significantly, there is that titan of mainstream piano, Dave McKenna, sliding onto the piano bench at some very tasty junctures. McKenna is the sole accompanist on what turns out to be a masterful version of Melancholy Baby. You think you're tired of that crusty old chestnut? Listen to Byrne and McKenna and think again. Both pianists work on Sentimental, On My Own, and the ballad medley right before the end, and in each instance they're easy to tell apart because ray is electric piano, while McKenna, not surprisingly, is thoroughly acoustic.

Another of the album's high spots comes when Tim Ray, this time on acoustic piano, is Byrne's sole accompanist on the Rodgers & Hart paean to loss, He Was Too Good. It's a rhapsodically beautiful track. The Title track, Don't Dream, was originally in the Basie book as Neal Hefti's L'il Darlin', while Lonely People is a Bill Evan line, a fact of which pianist Ray is apparently well aware. Two songs are drawn from what you might consider the Lee Wiley songbook - Street and East, the latter of which is make all the more groovy by Monaghan's and Wenzel's straight ahead tenor and flugelhorn statements.

When you see the disc in the bin at your local Jazz emporium, you won't see the last two tracks listed on the jewel box. These are "hidden" or "bonus" tracks, the point of which escapes me, but not so the music. The juxtaposing of Cottage and House, songs written some 35 years and worlds apart, by Willard Robison & Larry Coney and Burt Bachrach & Hal David respectively, is almost too sublime, especially when you consider the way "climb the stairs/and turn the key" (from House) connects to "the key's in the mailbox (from Cottage).

Finally, The Song Is, an appropriately bright swinger, with some blazing Monaghan tenor out of Zoot, brings the session's high orbit to a successful splash down. And, did I mention, the lady scats (Don't Mean) too?

A true gem of a singer, Donna Byrne's latest is a 14-track journey through the pages of the Great American Songbook, and along the way she brilliantly captures the essence of each of these chestnuts. But Byrne knows how to extend herself far beyond mere recitation of the words. Her delivery is so engaging, so dazzling, so bright that each tune is an entertaining foray into the world of the art of jazz vocal. Not only is she equipped with an extraordinary set of vocal chords, excellent and top of the line timing and phrasing, she does not let herself get hemmed in by conventional vocal wisdom, letting her imagination provide the direction for the session. Whether it be on a rousing up tempo number like It Don't Mean a Thing (if It Ain't Got That Swing) (where she uncharacteristically indulges in some scatting exchanging ideas with Mike Turk's harmonica), to her poignant delivery of He Was too Good to Me, Byrne applies the right amount of swing, elan, wit or romanticism, whatever is needed to make the performance go.

Another factor in making this CD go, are two sets of outstanding musicians who walk the line between their role as Byrne's sideman and their own special set of musical skills. Jazz piano institution and fellow New Englander Dave McKenna provides the piano backdrop. But while he makes no attempt to overshadow the singer, his years as a top flight jazzman comes clearly through on such tune as My Melancholy Baby. The other pianist on the set, Tim Ray, is also not overshadowed as he helps with a swinging let's have fun with the melody on The Surrey with the Fringe on Top. Erstwhile reedman Mike Monaghan gets plenty of time with his slightly biting tenor on such cuts as East of the Sun (and West of the Moon). Byrne's regular rhythm section, Jim Gwin on drums and husband Marshall Wood on bass, shows that familiarity in no way breeds contempt but rather respect, harmony and mutual admiration.

Liner notes for my copy don't mention two cuts in the play list. Track 13 is a lovely medley of Cottage for Sale /A House Is Not a Home and 14, a race car I Hear Music. But the good news is that this omission results in an unanticipated bonus. This her latest album only solidifies Byrne's position as a major contemporary jazz vocalist.

The first time I saw and heard Donna Byrne was on our concert stage in January 2000. Not having an inkling of what to expect from this lovely lady, she captivated me as well as the audience with her graceful body and hand motions that she employs so delicately as she vocalizes. Ms Donna Byrne returned to our concert hall for her second appearance on Tuesday, February 20. She brought with her the same fine swinging group led by husband, Marshall Wood on bass.

Although Donna was the featured attraction, recognition must be paid to the worthy quintet of fine musicians who backed her. On tenor sax and clarinet, Dick Johnson, a musician with great and deserved credentials. The other lead player was Ken Wenzel who is able to switch from trumpet to trombone, to flugelhorn, and even to flute. He was an impressive soloist on all instruments. Pianist Tim Ray shone as accompanist to Donna as well as an adept soloist. The drummer, Jim Gwin, was excellent and a great asset to the band. Leader and arranger Marshall Wood is to be commended for fronting this fine group.

Ms Byrne's selections of slow, medium and up-tempo numbers displayed her ability to be comfortable in any tempo. She has a very relaxed, laid-back style but at the same time she can scat-sing with the best of them. She earns kudos as one of the finest jazz singers in the country. Her voice, throaty and breathy, is reminiscent of Peggy Lee, even appearance-wise. On stage, Donna Byrne comes across svelte, lithe and sultry.

Memorable moments of the concert were: a very touching and poignant version of My Old Flame and Body and Soul, beautifully phrased and tender, a Jobim composition, Agua De Beber with Ms Byrne delivering the vocal, Tim Ray on piano and Jim Gwin on drums combining to create a stunning musical showpiece, Dick Johnson on alto sax performing a Charlie Parker-esque solo on the ballad Sweet and Lovely, also, Kenny Wenzel switching to flute on the very pretty I'll Never Love This Way Again. The evening with Donna Byrne and Her Swinging Quintet featuring Marshall Wood was a high level of musical entertainment enjoyed by the many concertgoers in attendance.

". . . [Donna] is a performer of warmth, subtlety, charm, resourcefulness, and considerable inner strength, which inform her work. . . . When those who cover jazz have had the occasion to hear her, they have been unstinting in their praise of her interpretive gifts. More tellingly, musicians such as the widely admired lyrical cornetist Ruby Braff, who has witnessed all the great singers and accompanied some of them (including Lee Wiley and Tony Bennett) has said of Byrne, with whom he's also shared the bandstand: 'There are no phony affectations. [Her work is] beautiful and completely believable. What more can one ask for?' . . . when it comes to melodic adornment, judicious embellishment, and just the right shading of a word, . . . Byrne's a big leaguer."

For her latest album, Donna Byrne returns to her Ol' Socks label for which she made her first CD in 1990. Over the ensuing eight years, the voice, while a little huskier, has lost not an iota of its attractiveness; neither has Byrne mislaid any ability to deliver a varied and interesting agenda of tunes in a most entertaining way. Swing is the tempo of choice for the first two numbers The More I See You and Somewhere in the Hills. While there's a bit of a bossa nova beat present in the Antonio Carlos Jobim/Ray Gilbert not-too- oft-recorded "Hills," swing is the dominant tempo of the record. Stevie Wonder's If It's Magic gets an unusually plaintive reading from Byrne, accompanied by Tim Ray's piano, which is in synch with the tune's mood. Byrne introduces Green Dolphin Street and breathes new life into it with a verse sung a cappella and a masterfully delivered scatting chorus. Her interpretation ranks with Ella Fitzgerald's and Sheila Jordan's readings of this classic standard. There are many other goodies on the CD. Don't Take Your Love From Me, starts out with a Latin beat and segues into a bluesy tempo featuring fine bass work by Byrne's husband Marshall Wood. Down With Love is done with a slightly Peggy Lee sardonic touch through which Byrne opines that this "pain" called love, as well as anything and anyone associated with it, should be put away for good. Again Wood does yeoman work on the bass. The album ends with a romping version of Just Friends, where Byrne delivers the lyrics at a breakneck pace. At no time, however, does she lose the beat or her pitch; nor in any way does she slur the words as so often happens when a song is delivered at this pace. Tim Ray and Jim Gwin stretch out splendidly on this tune. Her fifth album validates Donna Byrne as one of the most accomplished and entertaining jazz vocalists on the scene today, deserving far greater recognition than she has been afforded to date.

Here are some husbands and wives making music together. At the risk of being repetitive, I will underscore what I have said before (10/97, p. 92) by suggesting that (1) Donna Byrne, while still plowing primarily on the Christy/Connor/O'Day collective, is actually a technically superior vocal craftsperson to two of those fabled three and every bit the equal of the third. She is one of those few vocalists who apparently does not suffer fools or extraneous accompaniment easily, so once again we find her in a no-nonsense, tightly-knit, straight-to-the-finish-line set of mostly standards which she dispatches with her usual show-me-a-rose-or-leave-me-alone disposition. She must be wondering, by now, what she has to do to come to the attention of as many listeners as some of her contemporaries (i.e. - Diana Krall) and all I can say is: "Peoples! Heads up! Pay Attention! This is one fine Jazz Vocalist!!"

From her rapturous readings of "September Song" and "All the Way" to the lighter than air effect she achieves by alternately floating over the rhythm section or jumping in (Lover/Friends) fully engaged, she covers the vocal bases with stylish authority. And one must not overlook the rarely sung verse to "Lover" which makes Byrne's reading as definitive as it needs to be. No small portion of credit goes to the rhythm team which cooks exceedingly. Tim Ray has a refreshingly clean linear pulse to his lines. Jim Gwin crackles with cool heat. Marshall Wood is clearly her bass player of choice: he has played on all her previous CDs and has been deeply involved in the productions thereof. It turns out he's her husband, but I like to think she'd dump him if he didn't handle his bass as well as he does.

Donna Byrne is one of those singers who's at home with virtually any style, while staying loyal to the superior standards. She applies her long experience to her well-developed vocal equipment and comes up with always-interesting interpretations. This collection is particularly adventurous, ranging from ballads to Broadway musicals to Brazil to Stevie Wonder to Eddie Arnold to Tin Pan Alley to jazz standards.

The More I See You gets the supercharged treatment, which is followed up with and infectious Antonio Carlos Jobim piece. Wedged between that pair and a lively reworking of Green Dolphin Street is her extraordinary delivery of the Kurt Weill - Maxwell Anderson classic, September Song. She begins by singing the exceptionally long verse a cappella, delivered perfectly, and then continues with the quiet support of the trio as she sings the familiar chorus with penetrating feeling. This is easily the best performance of the song since Walter Huston's unique and touching interpretation in the original case of Knickerbocker Holiday -- 1938.

She divides her performances down the middle between singing for the sake of the song, stressing its meaning and melody, and using the song primarily to exercise her wide-ranging vocalizing abilities. This results in a virtuoso presentation that is simultaneously impressive and unsettling. Impressive wins.

Much credit for the success of the whole is shared by the supporting trio, which included Marshall Wood on bass, Jim Gwin on the drums, and Tim Ray at the piano. There's ample opportunity to hear them in instrumental stretches, as well as giving Donna a substantial foundation wherever she goes.

This is a disc where you can miss a lot if you don't listen attentively. And if ever it was true that a record is worth having for the sake of one track, this is the one. Life isn't complete without the Donna Byrne version of September Song.

Herb Pomeroy and Donna Byrne have worked together in clubs and concerts for the past ten years, and this whole group previously assembled on record five years ago. The reunion proves artistically worthwhile.

Donna has a natural jazz feel and is refreshingly free of undue histrionics or affectation. She sails happily and effortlessly through up-tempo numbers like It's a Wonderful World, topped and tailed with Doxy, the tune Sonny Rollins wrote on the same sequence, and Just One of Those Things, in which a touch of Ella comes through. This ballads Ill Wind and I Have Dreamed are outstanding performances, much enhanced by Dave McKenna's superbly measured piano accompaniments; the rest of the rhythm section sits these out, and so, on I have Dreamed, does Herb. Donna and Dave work wonders with this Rodgers-Hammerstein song from "The King and I."

Pomeroy, erstwhile Kenton and Hampton sideman and leader of his own big band, is also an experienced jazz educator with the Berklee College of Music. His qualifications of a thorough grasp of the art of jazz improvisation and mastery of his instruments are well in evidence on this album. The same qualities inform the work of Sargent and McKenna, the latter's solo being of a consistently ear-catching inventiveness.

Marshall Wood, Donna's husband and producer of the album, modestly allows himself only two solos -- in Do Nothin' Till You Hear From Me and Billy Strayhorn's The Intimacy of the Blues -- plus a brief walking one in the old Basie number (attributed to Buck Clayton) Taps Miller. Gwin, a classically trained percussionist, solos only in a sequence of fours in Lullaby In Rhythm. Both provide firm but unobtrusive support.

The programme contains a variety of . . . devised by Pomeroy and Wood. Of the five purely instrumental tracks, I like best Taps Miller and Do Nothin' Till You Hear From Me, which has deft plunger work from Herb. Take The A Train goes at the same slow temp as the Glenn Miller version but without the sweetness.

The entire set is a model of creative musicianship and good taste.

Hard to believe that it's been five years since Herb, Donna, and Co. recorded Let's Face the Music and Dance, but it has. This musical reunion is an obvious joy for them, and for us as well. Donna, a jazz vocalist at the top of her game, displays her extraordinary sense of melody, lyric, and improvisation.

The collaboration of voice and horn expanded by Dave McKenna's piano, Gray Sargent's guitar, Marshall Wood's bass, and Jim Gwin's percussion are a fine example of the oneness that great artists can create when they know and understand each other's musical minds. Donna once told me that playing with Dave was an absolute joy -- " like he was inside of your head" -- in this case they're all in there together. Come along for the ride -- you're sure to enjoy it

This is a wondrous display of Herb's, Dave's Gray's and Marshall's skills on their bluesy rendition of Summertime. And if you're a Herb Pomeroy groupie, as I am, you'll flip over his Do Nothin' Till You Hear From Me and "A" Train.

This is a record for mature people who enjoy hearing quality tunes played and sung by experienced jazzmen whose names are note likely to be forgotten by next month.

Trumpeter Pomeroy and pianist Dave McKenna are good examples of this, but so also is the less familiar Donna Byrne, one of the best singers of jazz-friendly standards currently on the scene, one who approaches her lyrics with both intelligence and swinging time, and without distorting syllabic emphasis or resorting to stagey histrionics to get her meanings across.

Herb's horn is on the mark throughout, with the dry lyricism and sardonic wit that characterized so much of "Sweets" Edison's playing behind Billie during the '50s, while Gray Sargent's, Guitar touches what bases McKenna leaves open. Quite obviously Marshall Wood, who has the good fortune to be Donna's husband, and drummer Jim Gwin keep their treble clef companions as happy as they are themselves.

Following a medley of Doxy and It's A Wonderful World, we hear Lullaby in Rhythm, Ill Wind, Taps Miller, Take The A Train, Just One Of Those Things, No More, Summertime, Do Nothing Till You Hear From Me, Your Red Wagon, I Have Dreamed, and The Intimacy Of The Blues. Donna's vocals are heard on seven of the 12 tunes.

This enjoyable 1997 release on Arbors Records features the stellar horn playing of Herb Pomeroy and the exuberant vocals of Donna Byrne, both familiar names in the Boston jazz world. Here they join with New England's Dave McKenna on piano, Gray Sargent, guitar, Marshall Wood on bass and Jim Gwin, drums, to produce a really fine and seamless session of classics and standards.

Listeners will enjoy the lovely renditions of favorites like Take The A Train (with a stunningly lazy, sweet intro by Herb), Summertime, and Do Nothin' Till You Hear From Me, albeit these are sans Donna. They are terrific instrumental versions.

In addition, Byrne and Pomeroy together do some special work with Ted Koehler and Harold Arlen's Ill Wind and Rodgers and Hammerstein's I Have Dreamed. Another really nice track is the upbeat Just One Of Those Things, by Cole Porter, which is treated with zing and spice by Donna and this first-rate rhythm section. Herb's laying here is offered like commentary peppered in between a superb call and response going on with Gray's guitar and McKenna's piano - it's delightful!

Byrne's style on the straight ahead No More is typical of what makes her a fine vocalist: strength, clarity, excellent intonation and clear pronunciation of lyrics delivered with feeling and meaning.

My favorite track on the album, hands down, is Red Wagon. Here a bluesy guitar and sexy songstress make you sit up and take notice! Then there's Herb taking it out in his fine solo in the center. Gwin is really an excellent drummer, he's quite noticeable on this cut. And the blues riffs really work here, as Donna carries it all off with pizzazz. The closer, an instrumental take on Billy Strayhorn's The Intimacy Of The Blues, is a sweet treat to end with.

What a joy this disc is! I hope we hear more soon from Herb, a consummate musician (he played with Charlie Parker, Stan Kenton, Lionel Hampton) who spent more years teaching than recording. Now that he's retired from 40+ years at Berklee, he may have more time to record. He and Byrne make a great team. Good for Arbors, a fine jazz label, for putting out this one!

Inspired by Louis Armstrong, Herb Pomeroy took the trumpet as his instrument, and by age 25 had performed with Charlie Parker and toured with Stan Kenton and Lionel Hampton, for whom he arranged and played in his band.

Boston-bred singer Donna Byrne, who has twice toured Hawaii with the Benny Goodman tribute band and performed in such noted New York City spots as Rainbow & Stars and The Blue Note, is heard on seven songs, including Lullaby in Rhythm, Ill Wind, Just One Of Those Things, and I Have Dreamed.

Besides Herb Pomeroy on trumpet and flugelhorn, the combo includes the wonderful Dave McKenna, piano; Gray Sargent, guitar; Marshall Wood, bass; and Jim Gwin, drums.

Donna Byrne is a Boston-based singer who has been working for at least two decades, but only has a few recordings to her name. When I reviewed her previous recording, Let's Face the Music and Dance (Stash) I placed her in the lineage of Lee Wiley, Peggy Lee, and Barbara Lea. On this session, however, I'm most reminded of another singer - Anita O'Day.

Byrne is an assertive singer. She doesn't coo and croon her way through a song, she jumps right in and makes it her own. It's You or No One and Lullaby of the Leaves are prime examples of this approach here. Another affinity she shares with Anita is a no-nonsense approach to a ballad. She displays an ability to speak to the emotional core of a lyric without resorting to vocal hair-tearing and histrionics, as on Sometime Ago and the title cut.

Other parallels to O'Day appear when she sings an exciting scat chorus on Lady Be Good. Byrne can also do good things with a novelty tune, like Three Bears.

Byrne has surrounded herself with some fine players. Ken Peplowski's reed work is worthy of special mention, as is Bill Cunliffe's on the piano. This is a satisfying set from an accomplished singer I'd like to hear more from.

Rating: 3 1/2 stars

In 1995 Donna Byrne was described by Tony Bennett as one of the "best young jazz singers in the country." More often that not, these complements are little more than throw always done as a courtesy. But Byrne's latest album reveals she deserves that complement and more. Teamed with outstanding instrumentalists, they perform a program of a couple of jazz standards, nods to Stevie Wonder and the Beatles, but mostly classic entries from the Great American Songbook.

Irrespective of the source of the song, Byrne brings to each of them a freshness and style that's a joy to listen to and, for a musician, a pleasure to share the performance with her. Byrne is blessed with perfect pitch from which she never waivers no matter what she's singing. Her sensitivity to the picture lyrics are conveying and her impeccable phrasing coupled with bass player (and Byrne's husband) Marshall Wood's arrangements that accent the most favorable features of her vocal qualities, help make the album an auspicious event.

How all of this comes together is nowhere better illustrated than with the medley of When Your Lover has Gone and Lover, Come Back to Me - an album highlight. On the former, the trumpet of the venerable Herb Pomeroy embroiders pretty musical figures behind Byrne's poignant rendition of the first half of the medley. Then Artie Cabral's high powered drumming leads the segue into the second part of the medley as Ken Peplowski's tenor barges upon the scene behind Byrne's exciting swinging. Peplowski picks up the solo cudgels engaging in an extended conversation with Gray Sargent's guitar as Byrne follows on with a moody chorus of the first half of the medley. The result is more than six minutes of an excellent performance of two warhorses with new saddles thrown over them.

The other medley on the album shares the highlight award. On the first half of the pair of songs, Byrne's wordless vocalizing and Peplowski's sax replicate tenor sax player Lucky Thompson's authoritative 1956 recording of Oscar Pettiford's Tricrotis, transforming it into a jazz sonata for vocal scat and tenor sax. Byrne follows by sliding into a medium tempo Exactly Like You. The remaining tracks are done with equal enthusiasm and proficiency making the listener not only pleased with this album, but looking forward in anticipation of her next release.

Donna Byrne's second album as a soloist further establishes her as one of today's more accomplished (if underrecognized) jazz singers. Joined by a congregation of all-star musicians, Byrne runs through 13 standards, adding to each her unique musical imprimatur.

The album's kickoff tune, the mile-a-minute What a Little Moonlight Can Do, features guitarist Gray Sargent, who is also prominent on Dream Dancing. One of the session's highlights is the "Time" medley -- I Didn't Know What Times It Was and Too Late Now. Byrne likes to start off a song with an unhurried a cappella rendition of the verse, segueing into a medium-paced tempo, like on "I Didn't Know What Time It Was, which features excellent support from master pianist Dave McKenna. A contrast to this medley is a plaintive, sad Too Late Now, with Sargent's contemplative guitar ruminating behind Byrne. "Blame It On My Youth reveals the influence of Mabel Mercer on Byrne's style. A phenomenal arrangement of Limehouse Blues is a highlight of the album. It starts off with Marshall Woods' bass providing just the right, sensuous background for Byrne's slow, slinky first chorus. McKenna and Sargent come in to pick up the pace; the alto sax of Dick Johnson takes over with Byrne; finally, Johnson solos and then supports another patented Byrne solo for a rousing six-minute conclusion to this exciting and entertaining arrangement of the 1924 warhorse.

Herb Pomeroy is heard on just a few cuts, but his flügelhorn comes to the fore on I Remember You, sharing the solo spotlight with Johnson. Byrne and McKenna duet on Something to Remember You By, avoiding the saccharine interpretation usually given this 1930 hit. The title tune once again hooks up Byrne and Woods' bass, with Jim Gwin's drums keeping time without being intrusive; Pomeroy and Sargent get plenty of solo space here. It's quite evident by the enthusiasm shown by each musician that all are having a very good time. Graced with excellent diction, a unique and very entertaining approach to lyrics, and a clear, crystalline, jazzy voice, Donna Byrne is a talented singer, and should be far better known than she is now.

AMG Rating: 4 stars

Donna Byrne has everything a good singer needs, and she knows how to make the best use of it. For proof, this album reveals all. She has all the essentials: the voice, the control, the comprehension. What puts her in the top rank are such subjective elements as temperament and savvy. She has a good sense of when to call on the various qualities of her voice and delivery to carry best the message of the song.

This CD is especially appealing because her perceptive performances are supported by superior musicianship in several settings. There are tracks exclusively with Dave McKenna's noted piano accompaniment. Many of them have the important addition of Marshall Wood's bass and Jim Gwin on drums. And then there's Gray Sargent's guitar, absorbing whether playing tight accompaniment, soloing, or tangling with McKenna. Other tracks add the alto sax of Dick Johnson, known best in recent years for leading the Artie Shaw Orchestra and, in beautiful form, Herb Pomeroy putting all his experience to work on his flugelhorn. Collectively they make the best company a singer could ever want, and they're given plenty of room to show what they can do.

Listening to Ms. Byrne's singing, there's no question but that she appreciates and enjoys the company she's keeping. The songs are well chosen, with some choice verses included. They address various moods, and she makes the most of each. She travels comfortably through a wide vocal range, and in tempo and mood as well. Her abilities show best on the slow, contemplative ballads where the beauty of her full voice is most evident, delivered with phrasing and inflection that extract all the meaning from the lyrics. Especially effective are such choice songs as Cole Porter's Dream Dancing and Edward Heyman and Oscar Levant's Blame It On My Youth. And check out those two medleys.

All those good things -- the songs, the musicians -- help to make a good album better. But the singer is the thing. And Donna Byrne has an enthusiasm for life, very evident here, that takes her through a steady string of winning tracks.

Boston-based jazz singer Donna Byrne has released her second recording and this will, without a doubt, make a name that will recognize her extraordinary talents both nationally and internationally -- and not just on of Beantown's best-kept secrets!

Supported by some great jazz musicians, the legendary Dave McKenna on piano, Marshall Wood on bass, Herb Pomeroy on flugelhorn, guitarist Gray Sargent, Dick Johnson on alto sax, and drummer Jim Gwin, Ms. Byrne has a simple and direct way of approaching a song that works very well in her favor. And her taste in music is exceptionally fine: from What A Little Moonlight Can Do through Dream Dancing to For All We Know, right down through The Lonesome Road, Ms. Byrne weaves a magic spell.

On the album are two medleys artfully put together by Ms. Byrne: Johnny Mercer's I Remember You and Dietz and Schwartz's Something To Remember You By is heartwrenching. The second, a "Time" medley counterpoints Rodgers and Hart's I Didn't Know What Time It Was with Too Late Now. All in all, Let's Face The Music And Dance is a musical treat by a singer whose time has come.

Great tunes sung with great style and phrasing are the hallmarks of this collection, 13 selections from the best of American composers. The settings range from voice and piano duo (Dave McKenna's genius on Blame It On My Youth) to a full sextet for Cole Porter's Dream Dancing.

The interplay between McKenna and guitarist Gray Sargent is exceptional, the full band enriched by clarinetist Dick Johnson, flugelhornist Herb Pomeroy, bassist Marshall Wood, and drummer Jim Gwin.