1. The Best Is Yet To Come
Guitarist/Producer Larry Klein (Grammy Winner 2008 for Herbie Hancock's "River: The Joni Letters"), Fareed Hague, Pee Wee Ellis, Russ Kassoff, and Mark Isham. Songs By Martha and Frank Collett (Sarah Vaughan), David Hazeltine, Margaret Dalton and classics like "Last Night When We Were Young", "Close Your Eyes", "Ill Wind", and "New York State of Mind." Remixed and re mastered by Ralph Lampkin Jr. & John Nuner. Produced by Henry Lewi, Ralph Lampkin, Jr. and Martha Lorin.
Review from In Tune International - Don't Slam That Door
"The Best is Yet to Come" (Coleman/Leigh) begins this wonderful 16 song delight. Her resounding rendition sparkles. Her swinging take reminds me of Morgana King. "Close Your Eyes" (Petkere) is performed in a rhythmic beat. It's an amazingly delightful old fashioned clarinet infused rendition. In a slow blues "Last Night When We Were Young" (Arlen/Harburg) Martha nails it down completely. I loved "You've Changed" (Carey/Fischer) for it's sparkling purity. Martha grasps the entire familiar lyric and sings it all anew."Ill Wind" (Koehler/Arlen) is another bluesy yet mellow rendition by her that makes this CD most satisfying.
Blues Over Broadway
1. Satin Doll
"Martha Lorin possesses a smooth-as-velvet voice enhanced by thoughtful, lyrical phrasing. Listeners are drawn in further by the taut, perfectly discrete ensemble which compliments this intimate romp among the riches of the American Songbook."
“Remarkable intelligence ... Her suede-soft voice wafts behind the beat like reeds in a gentle breeze.”
"Elegant" is the word comes to mind with repeated listening's to Martha Lorin's latest CD. An artist with an affinity for exploring sad songs with an adult, often dry-eyed perspective, she is able to escape a full descent into sorrow here. This is true even with selections like the less-than-optimistically titled "Why Was I Born?" That Jerome Kern/Oscar Hammerstein oldie could have been the center of a big pity party, but she doesn't quite go there. For the most part, she'd rather make us think than cry, which is fine for all but the most masochistic listener.
Martha's extremely valuable and gifted partner in keeping these Blues Over Broadway avoid the depths of despair is pianist/arranger Russ Kassoff. He keeps things moving with rhythmic musical figures that keep "hope" close to the surface. A slowed-down version of the Kander and Ebb theme from the movie musical New York, New York might seem a surprise, but maybe it was percolating in this arranger's mind over his many years playing piano for Liza Minnelli. Guitarist Curtis Robinson has tasty commentary, too, especially throughout the thorough exploration of "Bewitched" - over nine minutes (!) with all those verses to the Rodgers and Hart perennial. Drummer Leon Joyce is nicely restrained and subtle, and Larry Gray adds colors that are anything but gray on cello, flute and bass. These musicians are not working against Martha's intents, nor overcompensating for the lonely feelings inherent in songs such as "The Party's Over" and "Send In The Clowns."
Although she might strike your ear at first as languid and low-key, her interpretations are always thoughtful and interesting. All the musicians here (and Martha is a singer who can rightly be called a musician) respect the material even when dressing it in new clothes. This lady has rich low tones and some really nice, pure head tones. Not for those with short attention spans, this is another mature and worthwhile visit with standards from someone who does it very well.