{"id":2160,"date":"2024-11-20T10:00:40","date_gmt":"2024-11-20T09:00:40","guid":{"rendered":"https:\/\/maryblengino.it\/?p=2160"},"modified":"2025-03-24T12:25:16","modified_gmt":"2025-03-24T11:25:16","slug":"lorez-alexandria-the-best-is-yet-to-come","status":"publish","type":"post","link":"https:\/\/maryblengino.it\/en\/lorez-alexandria-the-best-is-yet-to-come\/","title":{"rendered":"Lorez Alexandria: The Best Is Yet to Come\u2026"},"content":{"rendered":"\n

Chicago, Illinois, August 14, 1929<\/em><\/p>\n\n\n\n

Los Angeles, California, May 22, 2001<\/em><\/p>\n\n\n\n

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Lorez Alexandria on the cover of her album The Band Swings, Lorez Sings, recorded in February 1959 for King Records.<\/figcaption><\/figure>\n\n\n\n

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Fonte: discogs.com<\/em><\/figcaption><\/figure>\n\n\n\n
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[\u2026 ]. The best is yet to come and babe, won’t it be fine?<\/em><\/p>\n\n\n\n

You think you’ve seen the sun, but you ain’t never, never seen it shine<\/em><\/p>\n\n\n\n

A-wait till the warm-up’s underway<\/em><\/p>\n\n\n\n

Wait till our lips have met<\/em><\/p>\n\n\n\n

And wait till you find that sunshine day<\/em><\/p>\n\n\n\n

You ain’t seen nothin’ yet\u2026<\/em> [\u2026].<\/p>\n\n\n\n

[\u2026] Il meglio deve ancora venire e tesoro, non sar\u00e0 meraviglioso?<\/em><\/p>\n\n\n\n

Pensi di aver gi\u00e0 visto il sole, ma non l\u2019hai ancora visto brillare<\/em><\/p>\n\n\n\n

Attendi, la temperatura si sta alzando<\/em><\/p>\n\n\n\n

Attendi finch\u00e9 le nostre labbra non si saranno incontrate<\/em><\/p>\n\n\n\n

E aspetta finch\u00e9 non avrai vissuto quel giorno di sole<\/em><\/p>\n\n\n\n

Per il momento, non hai ancora visto niente\u2026<\/em> [\u2026].<\/p>\n\n\n\n

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Her most celebrated albums<\/h2>\n\n\n\n

A resolute and brilliant voice delivers this promise of joy in one of her most famous albums, Alexandria the Great<\/em>, released by Impulse! Records in 1964. The song in question, The Best Is Yet to Come<\/em> (written by Cy Coleman and Carolyn Leigh), is perhaps best remembered for Frank Sinatra\u2019s version, recorded the same year with Count Basie\u2019s orchestra. For fans of the Star Trek<\/em> television series, the song might sound familiar, as it was sung by the actors in an episode of Star Trek: Deep Space Nine<\/em> in February 1999. However, the power of these wonderful American songs, symbols of an era, certainly does not end there.<\/p>\n\n\n\n

Dolorez \u201cLorez\u201d Alexandria Turner, a jazz singer from Chicago, signs this promise of anticipation with the same Sinatra-esque notes, fulfilling it with all her exquisite jazz interpretations. The elegance, lyricism, and finesse of her voice can be compared to those of \u201ccolleagues\u201d like Sarah Vaughan or Ella Fitzgerald, yet her unique musicality affirms that each artist is one of a kind. She showcases how the human voice contributes to the genre that has made originality and improvisation its defining features\u2014jazz.<\/p>\n\n\n\n

On the album Alexandria the Great<\/em>, Lorez performs three major jazz standards: I\u2019ve Never Been in Love Before<\/em> and My One and Only Love<\/em>, two ballads by Frank Loesser and Guy Wood, respectively, and Satin Doll<\/em>, the famous Billy Strayhorn and Duke Ellington composition with lyrics by Johnny Mercer. In Satin Doll<\/em>, Lorez stands out for her dynamic interaction with the piano, guitar, and saxophone, concluding with a scat phrase\u2014an approach she usually only hints at briefly in her recordings. This highlights what she excels at throughout her career: a finely improvised phrasing that weaves through the lyrics.<\/p>\n\n\n\n

The musical accompaniment is enriched by instruments such as Bud Shank\u2019s flute and Victor Feldman\u2019s vibraphone, in addition to jazz rhythm section greats like Jimmy Cobb on drums, Wynton Kelly on piano, Al McKibbon and Paul Chambers on bass, Ray Crawford on guitar, and Paul Horn on alto sax.<\/p>\n\n\n\n

The vocalist also demonstrates great versatility in musical theater gems like Over the Rainbow<\/em> and Get Me to the Church on Time<\/em>, the latter delivered with a solemn orchestral atmosphere. In this version, her vocal technique reveals a trait seen in another singer just a little younger than her\u2014Nancy Wilson\u2014who was equally devoted to jazz and American popular music, rhythm and blues, soul, and cabaret. This trait is the depth and spatiality of her voice, which aligns with the soul music style: a genre that literally translates to \u201cmusic of the soul,\u201d blending jazz nuances with pop and rock influences, characterized by powerful and raw vocal performances.<\/p>\n\n\n\n

Another stylistic similarity between Lorez and Nancy Wilson emerges in their blues-infused atmosphere, particularly in ballads. Their interpretations slow down, filled with pathos, creating a mood similar to pure blues compositions.<\/p>\n\n\n\n

However, when comparing Lorez\u2019s voice to that of other jazz singers like Billie Holiday or Sarah Vaughan, one notices that the melancholic, sorrowful, and sentimental tone is less pronounced in her delivery. In Holiday\u2019s case, above all, the pain of her life is fully absorbed into her voice, making it immediately perceptible to the listener. In contrast, Lorez\u2019s sound alternates between relaxed swing and more vibrant moments, symbolizing a more serene and stable lifestyle\u2014unlike many jazz greats whose turbulent stories inevitably seeped into their music.<\/p>\n\n\n\n

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Now, let\u2019s listen to The Best Is Yet to Come (Cy Coleman, Carolyn Leigh) from the album Lorez Alexandria the Great\u2026<\/mark><\/strong><\/p>\n\n\n\n

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