Search - Etta Jones :: At Last

Smooth Soul

julie higgins | Raleigh, NC | 06/16/2000

(5 out of 5 stars)

"This album is outstanding! Etta's voice moves over you like warmth and pulls you in. I stand there mesmerized by her voice. It is a great soundtrack for a rainy day in your life or a sunny day. It has such passion and longing, and the album really covers her wide range of talents. What a way to unwind after a long day. I highly recommend Etta Jamesfor anyone who enjoys good old smooth jazzy sounds."

One of Etta Jones' Finest Recordings

fastfeet76 | NY, NY United States | 08/14/2001

(5 out of 5 stars)

"Etta is in her finest form and at the height of her powers on these 10 tunes. I have had the great privalege of seeing Etta live many times and she just seems to get better. Etta's emotional and rich interpertation of "At Last" is one of the best readings this song has ever had. Etta swings like only she can on "You're A Sweetheart" "He's My Guy" "You're Driving Me Crazy" and especially on "Wonder Why." But without a doubt the highlight of this album is the coda -- a medley of "Cottage For Sale" and "Don't Take Your Love From Me" ,,, you'd have to be crazy to do that. My favorite jazz singer shows off her versatality and ability to transform any tune into a song that can only belong to Etta Jones."

Jones spells out her separate identity from James (at last)

Samuel Chell | Kenosha,, WI United States | 02/27/2007

(4 out of 5 stars)

"This is comparatively "late" Etta, and the date (1993) would not be hard to place for any one familiar with the career of a singer who deserves to occupy the same tier as Holiday, Fitzgerald, Vaughan, McRae, and Wilson. All of the former underwent significant vocal changes over the course of their careers, and Etta was no exception. The voice has deepened, there's a hint of strain and unmistakable pain in contrast to the utterly natural, effortless elocution of her '60s dates for Prestige. Yet she retains formidable power (dwarfing that of late Lady Day), and there are no wavering vibratos or forced falsetto breaks in her vocal register.



For listeners already familiar with the "Don't Go to Strangers" period, this date can be recommended as rising above some of Etta's other post-80s material on the basis of the thoughtful program, her deeply soulful and moving readings of material that she stamps as her own, and the supporting cast, which rivals the ones available during her days with Prestige. There's practically none better than Benny Green or Mike Renzi, who take turns in the piano chair. As a bonus, violinist Tom Aalfs provides some surprisingly fresh and effective support on the tracks with Renzi."