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Dec 21, 2011Does fall just short at times of mimicking a brand of saccharine faux-post-big-band jazz that flourished in the '50s and early '60s, but Haden and his team are too masterful to allow their tribute to lose its stylishness.
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May 4, 2011The music is consistently smooth and satisfying. If this album was a French pastry, we would all be eating desert for supper.
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MojoMay 6, 2011If Diana Krall's Goodby and Norah Jones's Ill Wind are strikingly vulnerable, intimate performances of classics, it's perhaps the obscurer selections that stand out. [Feb 2011, p.107]
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May 5, 2011All the performances are touched by Haden's instinct for doing the right thing quietly. It hasn't been out front for weeks in the French jazz album charts for nothing.
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May 4, 2011The album's concentrated focus on a single mood is relentless. Listening to it from the beginning to the end is like being trapped in a dream with a twisty plot that draws you deeper and deeper into a period Hollywood fantasy of the bad and the beautiful.
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May 4, 2011Sometimes this build-up can establish a cocktail lounge atmosphere, but in most cases its emotional resonances hover on the right side of poignant.
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May 4, 2011The repertoire leaves room for instrumental chops from saxophonist Ernie Watts, while Haden's big bass fiddle thumps out the time with authority.