Funny Girl came a long way from her clowning beginnings, when chattering and kookiness were probably hiding emotional scars and insecurity - since early 1960s she swept every award there is in the world, proved herself a thousand times as best selling artist with unnerving intuition for "Columbia Records" and along the way became major keeper of the flame for American Songbook in spirit, if not always in choice of composers. Most importantly, her vocal artistry far eclipsed those of her legendary predecessors, as trough the years it seems that Barbra Streisand became more subdued and comfortable (or perhaps less inclined to histrionics) than ever before.
No point of criticising Streisand for being Streisand - you don't approach her excessively lush and sentimental albums expecting grit or headbanging - in her own way she modelled herself on classy 1950s songbirds who came before her and I note conscious decision to create beauty and harmony as a shield against the world that is everything but harmonious. "Christmas Memories" is perfect example, where her impeccable voice graces collection of decidedly smooth and soothing music - it could have been jolly, swinging or cheerful but Streisand options for different approach and hers is comforting Christmas album, one that cloaks the listener in tender, compassionate embrace. When she harmonises with herself on Schubert's "Ave Maria" its a statement as much as left-field choice, while "Snowbound" is a knowing nod to great Sarah Vaughan - both of them idiosyncratic selections, both undoubtedly out of commercial considerations of what might sell. It is not a happy Christmas music but rather a reflective, thoughtful and quiet album that heals the wounds and tapes into spiritual sphere like her 1997. "Higher Ground" - its easy to imagine it next to classy albums of another era and perhaps significant of singers disinclination to follow pop charts that she outgrew long ago.
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