Some things are worth the wait – even 60 years. And Live at the Bon Soir is a recent release that contains the original 24 songs performed by Barbra Streisand recorded at the Greenwich Village supper club Bon Soir from November 5-7, 1962 (Columbia Records). The CD represents an historic moment during a time in her early career when she received rave reviews for a role in the Broadway musical I Can Get It For You Wholesale and a contract with Columbia. As singer and actor (remember Funny Girl and A Star is Born) she is only one of a few to have Oscar, Emmy, Grammy and Tony awards.
But let’s focus on twenty year old Streisand’s Bon Soir stint that reveals a fully developed singing style that is oozing with a kind of smooth pop sometimes jazzy sophistication where sonority, pathos and lyricism become stylistic trademarks. In a word or two, Streisand’s voice hums like a fine-tuned orchestra. In the personable booklet she writes, “The initial plan for my first album was to record it at the club, and these early tapes have been sitting in my vault for six decades. I’m delighted to finally bring these out into the light and share what would have been my debut album, Live at the Bon Soir,”
Of course the recording has undergone some careful remastering for acoustic reasons which has not compromised the almost like being there feeling when listening. And being there would be sitting at one of twenty-five tables that looked onto the dimly lit club’s cramped stage where Streisand was supported by atmospheric touches from Peter Daniels (piano), John Cresci (drums), Averill Pollard (bass) and Tiger Haynes (guitar). The recording opens with a brief introductory welcome by Columbia executive David Kapralik – then the musical magic begins.
The selections represent a variety of go-to American songwriters such as Harold Arlen, Richard Rogers, Cole Porter and two from Leonard Bernstein’s I Hate Music cycle. Many are show stoppers but Streisand’s Cry Me a River, When The Sun Comes Out and I’ll Tell The Man In The Street are certainly among them – as bravos from the audience indicated. She puts it out there with such remarkable vocal range, diction, intonation and inward conviction that if in the classical world could equal Diana Damrau or prime time Kathleen Battle and Renee Fleming.
Streisand’s approach is so unique and recognizable that after a few notes you know it is her. And don’t be surprised to hear new interpretive twists sung sans kitsch in familiars like Happy Days Are Here Again and Who’s Afraid Of The Big Bad Wolf? Thought you knew Bewitched, Bothered and Bewildered and A Taste Of Honey? Streisand’s sweet toned over the phrase phrasing gives new meaning to these classics. And the brief Soon Its Gonna Rain shines through with pitch perfect sweet spot notes.
The disc ends with I Stayed Too Long At The Fair, a tune where Streisand’s high notes could have easily resonated from 185 acred Greenwich Village to the Upper West Side’s Metropolitan Opera house. Live at the Bon Soir may be a retro release but the performance is simply timeless.