Search - Martha Tilton :: Complete Standard Transcriptions

Some red-hot jazz sessions with Martha Tilton...

Cha Cha Cha | 05/17/2000

(5 out of 5 stars)

"These radio transcriptions are delightful, and many of the tunes feature small jazz combos, Miss Tilton even let's her jazz musicians solo often. This is a rare treat to hear such a fine pop singer with some hot jazz musicians, this will proove beyond a doubt that Miss Tilton could have been a fine jazz singer, and she was on many of these tracks anyway, you've never heard "San Fernando Valley" swing like Martha swings it... Recommended Highly. Also watch out for a 2 CD set from Collector's Choice music of all of Martha Tilton's Capital recordings, it should be released any day now..."

An outstanding Big Band/Pop Vocals album!

Joe Sixpack -- Slipcue.com | ...in Middle America | 02/26/2003

(5 out of 5 stars)

"This fab set of radio transcription recordings features Tilton at her swinging best... if anything, she sounds even better here than she does in the Capitol studio session collected on the "Liltin' Miss Tilton" 2-CD set on the Collector's Choice label. The bulk of these recordings come from 1941, just before she became a Capitol hitmaker; other sessions date from the end of the War, and from around 1948. They're all quite good, and feature some lesser-known songs from the era (as Tilton set out as a solo artist at just the same time as ASCAP mounted an unsuccessful boycott of he recording industry; hence many relatively obscure composers who had signed up with BMI made it onto her playlists. What comes through more than anything else, though, is Tilton's command of the pop vocal format, and her dynamic embodiment of the lightly-disguised eroticism of many of the romantic lyrics of the time. One song in particular stands out, though, and that's Hy Zaret and Joan Whitney's "My Sister And I," an absorbing and rather unusual ballad about two sisters who have fled oppression and war to live in America, with a chorus in which they recount their night terrors and guilt about the friends and family they left behind, with a chorus that ends, "...But we don't talk about that." Pretty heavy stuff, and more directly political than your average big band dance tune! Anyway, this is a great collection, and raised my appreciation of Tilton's work to a much higher level."