reviews

POLISHED, COOL: BETH McDONALD

In public appearances, one of Beth McDonald's performances is a tribute show to Peggy Lee, and it’s not hard
to understand why - there are a lot of similarities. A sort of detached cool, polished to perfection, but
almost…almost unapproachable.

But Ms. McDonald is a songwriter, too - and one of my favorite of the original tracks is on the “Home” album -
titled “Second Guessing.” The liner notes say it was inspired by a friend going through marital turbulence. One
of the questions I ask about original material - is does it simply touch on personal things (”The wind blew
through the window today…”) or does it touch on themes that are more universal. This song won me over with
the final line: “I guess only time will tell | If I want you to hold me | or I just need to be held.”

In short, her original material stands up just fine against the standards.

Ms. McDonald fronts a Washington, DC, area band - the New Legacy Jazz Band. The band’s leader, Alan
Dale is on drums. Props to the horn guys - Tim Leahey on trumpet and flugelhorn and Jon Mathis on trumpet
(and guitar).

But it’s Ms. McDonald’s voice that shines here. Versatile, whether handling blues, ballads, lullabies or her
sultry take on Peggy Lee’s signature song, “Fever.” And although I firmly believe Muppet songs are best
performed by performers clad in felt, I’ll forgive “Rainbow Connection” on the “At Last” disc - if only for Ms.
McDonald’s winsome handling of the material.

I wouldn’t mind hearing Ms. McDonald and the guys let go a little - I’d gladly trade a little of the polish of these
works to hear her and the band open the throttle a couple of notches. But that’s just picky. My favorite of the
pair is “Home.” But both discs represent work of the highest order, and are highly recommended.

-Doug Boynton, girlsingers.org, girlsingers.co.uk
http://girlsingers.org/?p=310#more-310

TWO VIEWS OF BETH McDONALD

With singer/songwriter Beth McDonald, music is intensely personal. All aspects of music—performance,
composition, arrangement, song choice and delivery—are branded with McDonald's vision. Her liner notes are
full of mention of her family, motherhood and love. Her style is 1920s-1940s standards waxing nostalgic (yet
still freshly modern) of the simpler, more wholesome things in life. This feeling is enhanced by her scrubbed,
girl-next-door appearance and honest singing style. There is no vocal bragging here with excessive scatting
and vocalese, just old and new songs well sung and played.

At Last: Love Songs And Lullabies
At Last is subtitled Love Songs and Lullabies and is presented as such. The title song is given no torch
treatment (don't expect Beyonce's barn burning take). No, McDonald plants her flag in the standard and sings
it like a high love ballad, buttoned down by a carefully considered rhythm section. She doubles her voice to
superb effect, performing harmony with herself. Sylvia Fine's "Lullaby In Ragtime" from 1959's Five Pennies is
beautifully old-fashioned while beautifully recorded with modern technology. McDonald's repertoire choice is
tart and intelligent as a spring strawberry bursting in your mouth.

McDonald's song writing skills are exceptional. "Dancing With Wonder" is perfectly quaint without being hokey.
This song, with Jared Denard's steady ukulele, has an oddly country flavor, not unlike Norah Jones only with
more country chicken broth added. It could be sung by Faith Hill with great success." The Way You Look
Tonight" continues the trend of straight performance, reverent and honorable to the composer's original
intentions. It is this detail that gives this collection its charm. McDonald takes an almost Floyd Cramer
approach to the arrangement (Lou Rainone's fine piano bears this out admirably).

"Can't Help Falling In Love With You" and "What A Wonderful World" are presented in the same vein as the rest
of the recording, that is with McDonald's individualistic style. Vocalists have rarely painted within the lines with
such success, avoiding boring performances. McDonald closes with a bonus "You Are My Sunshine."
Doubtless she has sung this song to her children.

Home
Where At Last casts McDonald in the wholesome, motherly role, Home has her donning a bit of rouge and
flaunting the vamp in a collection of fun and provocative originals and standards. Her playfully scolding "Why
Don't You Do Right" and the breezy "Sway" show her stretching in positive directions. "Home," the first of four
original McDonald compositions, finds the singer in a country, church choir singing mood, again with a melody
and hook that would flatter the likes of Faith Hill. Duke Ellington's "I Aint Got Nothing But The Blues" gently
swaggers with the boast of John Mathis and Tim Leahey's trumpets.

The disc finds firm grounding in the ballads "I've Got A Crush On You " and "Cry Me A River," with Wayne
Wilentz providing the tasty piano comping that makes the performances sound so lush. Sultry takes on
"Besame Mucho" (the disc's lone instrumental), "Fever" and "Temptation" slowly increase the temperature,
with the last two creating a humid juggernaut for the close of the recording.

It is difficult to find fault with either of these albums save for the conservative approach applied. However, this
conservatism is also the charm. Beth McDonald deserves much, much more attention and the jazz public
deserves to hear much, much more of her.

- C. Michael Bailey, AllAboutJazz.com
http://www.allaboutjazz.com/php/article.php?id=31883

BETH McDONALD
AUGUSTA, GA - With a sophisticated, somewhat timeless, style, Beth McDonald brings all the power of her
vocals to center stage with the releases of “Home” and “At Last.” Performing throughout the Mid-Atlantic area,
McDonald has built a career on an impeccable voice. Swinging through the rafters of the soul, she unwinds
her harmony in a delicate breeze of sensation. On “Home,” McDonald seems to have found her place. Her
own comfort with music comes through on every track, and the smooth vocals highlight the simplicity of the
lyrical content. Within this composition, McDonald shines bright with an awareness of the beauty of having a
place to land. Particular delights can be found in the simple lyrics of “Home,” the sweet sentiment of “Would
you Dare,” and the powerful vocal of “It Would be so Easy.” Listeners may well find particular delight in the
stunning composition of “Second Guessing,” which may well inspire a thousand questions per hearing. With
the release of “At Last: Love Songs and Lullabies,” McDonald shows off her soft side while displaying an
amazing array of vocal talents concerning classic songs. Whether it’s the belting chords of “At Last” or the
brilliant brightness of “You are my Sunshine,” McDonald takes over these older songs with a smooth
sensibility. Whether it’s the haunting hum of “Can’t Help Falling in Love” or the sweet soul of “The Way You
Look Tonight,” McDonald visualizes the amount of emotion that these particular compositions should always
carry. A stunning voice that breathes life into recordings old and new, Beth McDonald is a singer to behold.

-J. EDWARD SUMERAU
http://www.metrospirit.com/index.php?cat=1993101070394080&ShowArticle_ID=11011003093710838

Jazz singer Beth McDonald is the kind of singer that is very pleasing to listen to, which is good because as of
late it has been a major chore to hear singers that are pure singers without trying to sound too much like a
musician. She’s that good that she has the confidence to release two albums, both very different from one
another.

Home (Classic Avenue) is more along the lines of jazz and pop, and hearing her in a song like “Sway” makes
me wish she was open to do something more contemporary. I say this because what I hear is someone with a
sensuality that sounds modern yet classic, soothing to the touch and just something that is very pleasing. That
might be partly to do with how she carries herself with the selection of songs here, whether it’s “I Ain’t Got
Nothing But The Blues”, “Besame Mucho”, or “Don’t Ever Leave Me”, and even with an album that’s 17 songs
deep, not one of these will make you want to move to the next one or save half for later. Top notch performance
from start to finish.

At Last: Love Songs & Lullabies (Classic Avenue) is similar in feel but perhaps the songs chosen are more
direct, whether it’s for her husband or for her children. It feels a bit more intimate, especially her own
compositions “Dancing With Wonder”, “Longer”, and “Moon Song”. They offer a brief glimpse into the woman
that is McDonald, and those who listen may relate to them through their own personal experiences. Top pick
on this album would have to be her version of the Kermit The Frog hit song, “The Rainbow Connection”,
passing along to her children a message that perhaps one day we’ll find a place where lovers and dreamers
can celebrate and unify with everyone else who dares to love and dream.

Both albums are perfect companion pieces, so buy both together or try one before picking the other.

-John Book, Run-Off Groove
http://www.thisisbooksmusic.com/2009/04/28/the-run-off-groove-235/

BETH McDONALD/HOME: Young jazz singer savvy enough to surround herself with cats that played with the
real cats from back in the day checks in with an eclectic mix of tunes from the familiar to originals. Reaching
for a supper club sophistication that she would have had to absorbed from Chris Connor records, McDonald
knows what she wants and certainly has an ear cocked toward getting it. Certainly a nice, new charmer to get
to know better.

BETH McDONALD/AT LAST: Lullabies and love songs that rang her bell during her pregnancy, McDonald
plays this from the heart whether reaching far back or not. Recorded without any pressure, midwived by the
same crew that was around on her “Home” release, if you dug her once, you’ll be sure to dig her again.

-Chris Spector, Midwest Record Recap

BETH McDONALD - AT LAST, LOVE SONGS AND LULLABIES: This CD is like a jazz love song for Beth's
children, but it's not "dumbed down" with kids stuff or "simple songs" - it's the full enchilada for jazz listeners,
but the pace is relaxed & just as you might imagine if your mom were singing for you! She's joined by some
excellent players (LouRainone & Wayne Wilentz on piano; Jay Miles & Tom Baldwin doing bass, Alan Dale on
drums, Jon Mathis playing trumpet & guitar, Tim Leahey's trumpet/flugelhorn & Jared Denhard on Celtic harp),
who play great straight-ahead jazz, but intersperse some very unique sounds in the mix (including the kids
laughing their buns off). I wish I had the talent Beth displays for jazz vocals, but then, that's why she made the
album & I didn't... ha! ha! Hardcore jazz-heads may not appreciate it, but I found it very entertaining and a
perfect introduction to jazz for the kids in my life. I give this one a HIGHLY RECOMMENDED, for sure!

-Rotcod Zzaj, Improvijazzation Nation #88

BETH McDONALD - HOME: It was a very different style that we reviewed from Beth in issue #88... that CD was
dedicated to her child... this outing includes 4 originals from Ms. McDonald, as well as stunning vocals on all
the other 13 tracks. Her rendition of Duke's "I Ain't Got Nothing But the Blues" is one of the best I've heard
(lately) from a lady vocalist, but it's her original track titled "It Would Be So Easy" that made my ears perk up &
really listen... the whole spirit of jazz & blues is captured on this composition, and Beth's vocal displays talent
far beyond the norm. The interplay between the keyboard and her voice on "Fever" took me right back to the
mood inspired when Peggy Lee sang it, albeit with a more "sophisticated" sound, somehow. Seems to be a
lot of Peggy here, with other tunes like "He's A Tramp"... those songs were part of an era in jazz all their own, &
it's nice to revisit that whole "groove" thing through McDonald's shining talent. If you love listening to bright
female jazz vocals with high spirit, you'll agree when I declare this album MOST HIGHLY RECOMMENDED.
Beth is able to wrap you in a web of enchantment that won't soon fade. Very nice jazz for laid-back listening.

-Rotcod Zzaj, Improvijazzation #91

A CLASSY JAZZ HOME

Wow! That is the first thing that I thought when I heard the album Home. This is a seventeen track album by
jazz and blues vocalist Beth McDonald.
Beth has been gathering a nice fan base in the Mid-Atlantic States, playing solo gigs and singing with different
aspects of the New Legacy Jazz Band.
No matter how good a vocalist is, the people providing background music need to be just as good to make the
songs really enjoyable. And Beth has gathered some very good musicians to back her really good vocals.
The musicians on the album are Lou Rainone, Wayne Wilentz, Jay Miles, Tom Baldwin, Alan Dale, Jon
Mathis, Tim Leahy and Jared Denhard. Wayne plays piano and besides heading up his own trio, has
performed and recorded with a bunch of Mid-Atlantic groups. Sharing piano duties is Lou, who besides
performing and recording, teaches clinics in the U.S. and far away places like Taipei, Taiwan. Bassist Jay had
worked with Beth as a member of the New Legacy Jazz Band. Also on bass is Tom, who has played for the
likes of Eartha Kitt and has performed at venues like Wolftrap. Alan is on drums and has also played with some
top tier musicians and vocalists as well as being the leader for the New Legacy Jazz Band. Alan co-produced
the album with Beth. . I couldn’t find out much on Jon but he plays terrific guitar and trumpet on this album for
Beth. On both fluglehorn and trumpet, Tim has performed at a lot of venues, including the Penn State Jazz
Festival. On Celtic harp is Jared, who has record several Celtic styled albums and has had his music
performed and recorded by such notable groups as the United States Air Force Band.
One of the surprises in personnel that I found was the mixer and co-recorder of the album. Chris Biondo and
Marc Moss each recorded part of the album at their own studios. I don’t know much about Marc. But Chris did
wonderful work with Eva Cassidy before her untimely death back in the mid ‘90’s.
That first song on Home is Why Don’t You Do Right. This Joe McCoy song has been often covered, even as a
smoking hot scene with Jessica Rabbit in the semi-animated film, Who Framed Roger Rabbit and the original
done by Peggy Lee in the film Stage Door Canteen. Performers from Sinead O’Conner to Natalie Cole have
done this song. On this album, Beth gives a wonderfully sultry, yet silky rendition of the classic tune. The
trumpet solos on the song are killer too.
Next up is Sway. Now, most jazz vocals fans know that this song has been around for quite a while. But it wasn’
t that immensely popular until the Pussycat Doll put out their version. Here, Beth keeps the tempo sweet and
gentle, with just a touch of sultry.
The third song is an original composition called Home. The song is a beautiful ballad. It doesn't quite fit the
jazz mode. The song sounds more like a mild Country or possibly folk tune.
Things march right back into the jazz and blues mode with Duke Ellington’s I Ain’t Got Nothing But The Blues.
Beth gives a nice performance on this great classic. Once again the trumpet solos are great and the piano is
too.
Soft and gently samba styling can be found in parts of Don’t Be A Baby. That’s followed by a really good
rendition of the Gershwin brother’s terrific classic, I’ve Got A Crush.
I mentioned Peggy Lee earlier. Beth gives a nice turn to a song that Peggy co-wrote with Sonny Burke. This is
the smile effecting jazz tune, He’s A Tramp.
Then it’s on to another true classic, Cry Me A River. Beth’s rendition reminded me a bit of Crystal Gayle’s.
The Celtic harp features a prominent role in the original ballad Would You Dare. This is a beautiful, soft and
gentle song.
Beth added a strictly instrumental piece to the album with Besame Mucho. It is a great piano laden Latin song.
Another original tune written by Beth is It Would Be So Easy. This one typifies the 40’s jazz music that Beth
mostly sings. It is a toe tapper with great vocals and too cool trumpet.
The album has a rendition of Fever. Beth gives the song a more subtle, less sultry touch.
A fun toe tapping time can be found in Beth’s cover of the classic Johnny Mercer tune, Goody Goody.
Soft and gentle, yet a bit haunting, Beth wrote Second Guessing for a friend going through a separation from
his wife.
Beth does a nice job with the Tom Waits song, Temptation.
Light guitar and a great trumpet solo make Waitin’ For The Train To Come In even better.
Beth closes the album with an aching rendition for the Hammerstein tune, Don’t Ever Leave Me.

As I said earlier, Beth McDonald has been gathering a huge fan base around the Mid-Atlantic states. With this
new album, Beth shines bright. So bright that she should be getting some new fans from other parts of the
country, even possibly other parts of the world.

BETH'S LOVES AND LULLABIES

Mid-Atlantic jazz vocalist Beth McDonald has terrific pipes. Smooth and mellow when needed, or sultry and
brassy other times, Beth is a pleasure to listen to. One of her latest ventures is an album filled with lullabies
and love songs. The title for the album is At Last. The subtitle for the album is, no surprise, Love Songs &
Lullabies.
As with her album Home, Beth has recruited some top musicians. In fact, there are the same musicians on
both albums. (See above for musician info.)
Beth begins the album with a classic song that not only has been covered by a lot of vocalists but also been
used in a lot of commercials The song is It Had To Be You, which Beth does a wonderful rendition of.
The love ballad At Last is the second song. The liner notes for this song tell us that the lyrics from this song are
inscribed in her first child’s baby book. It seems that Beth and her husband had waited a long time to have a
baby. So, even though this is normally a love ballad between adults, it really does fit for the love felt with the
birth of a first child.
Beth then does a really decent job with Sylvia Fine’s tune, Lullaby In Ragtime.
Dancing With Wonder is the first of three original songs that Beth has on the album. The song is a light toe-
tapper with a slight Country or folk influence. It is about babies and even has an infectious baby laugh in it.
Beth is a big fan of Peggy Lee, often using Peggy’s songs in her repertoire. On this album, Beth does an
endearing rendition of Peggy’s LA La Lu. This song is one of the better love ballads from the Disney classic,
Lady And The Tramp.
The second original song on the album is called Longer. Loving, longing and aching vocals combined with a
stronger bass and piano make this a very endearing song.
Things lighten back up a bit with the great tune, The Way You Look Tonight. Although a lot of people from Fred
Astaire to Michael Buble have done this song, I usually associate it with Frank Sinatra. Beth sings a great
rendition of the song.
Then it’s on to the toe-tapping Irving Berlin tune, Always.
Moon Song kind of reminded me of a light and gentle Carole King piano laden song. It is the last original tune
on the album.
A light samba touch was added to Can’t Help Falling In Love With You. Beth gives a wonderful performance on
this song,
Great horn music opens What A Wonderful World. This song has been covered a lot. Beth does a nice job with
it. Speaking of horns, there is a terrific horn solo in the middle of the song.
Moving the tempo up a bit, there is the Hammerstein tune, Because of You. Then there is the piano laden
endearing tune Baby Mine.
A perfect song that Beth added to the album is The Rainbow Connection. Originally done by Kermit the Frog,
people like Willie Nelson have sung it. Kermit even did the song as a duet with Debbie Harry on The Muppet
Show. Beth adds her own special vocal touch to this great song.
There is a bonus track on the album; It is a terrific jazz take on You Are My Sunshine. What a great way to end a
great album.

Beth McDonald has all the talent to make herself an international jazz sensation. Listen to At Last and I think
that you will agree with me.

-Bruce E Von Stiers, www.bvsreviews.com
http://www.bvsreviews.com/bethmdonald.htm
http://www.bvsreviews.com/bethmcdonald2.htm