American Classic

Bow tie, only. Willie like Frank and Tony.
Willie Nelson is among the few surviving elders from country's rebellious pantheon of artists who blazed a trail out of the saccharine stupefaction of 1960s Nashville and laid down the spirit of rugged individualism that has inspired the alt country/Americana revival of the past decade. Over the decades, Willie has become an expert in the fine art of song-catching - virtually the whole of the American song book can be found rolling around in his oeuvre. "When you hear a great song you know it", he says simply, of his talent. "You can't explain why they're great, but you know they are and you want to sing them". He is first and foremost a great songwriter: he wrote "Crazy" - immortalised by Patsy Cline - and "Ain't It Funny How Time Slips Away". The formula of 1978 hit "Stardust", pop classics and standards, has been cleverly re-thought, re-formatted and resumed on Willie Nelson's debut for the jazz label Blue Note. On "American Classic", the country and western iconic crooner "takes another leisurely swim in the vast ocean of popular American song only to find himself becalmed in the sleepy lagoon of smooth (and smoothed-out) jazz classics, 31 years after the agenda-setting survey of popular standards, "Stardust", gave his standing and credibility outside country music circles a considerable boost". BBC This banishes the traditional image of Willie Nelson, in outlaw bandana, spliff dangling from weathered lip, just one step ahead of the tax man. The 73-year old Verve Music Group chairman and commercial producer Tony LiPuma and engineer Al Schmitt have mapped out a selection of suppertime classics, wrapped in elegantly supple jazz arrangements, and Willie has evidently popped into the studio, possibly in a tuxedo, and given them his best shot. If you need a polished, carefree, easy-on-the-ear, relaxed take on "Fly Me to the Moon" or "Ain't Misbehaving", this album is for you. Unlike Johnny Cash, who garlanded his late recordings with audacious covers, Willie has chosen - or forced to choose - the safest road. This time around, the formula abandons Nelson's usual backing band in favour of silky-smooth late-night jazz re-workings (stealthily fronted by pianist Joe Sample, bassist Christian McBride and drummer Lewis Nash) and perfectly manicured orchestral arrangements courtesy of the Grammy Award-winning Johnny Mandel, who can boast collaborations with the likes of Frank Sinatra, Count Basie and Peggy Lee on his CV. To make the album more enjoyable, the venerable LiPuma - only few months after an almost disastrous work with Diana Krall on Quiet Nights - has called up the most famous late-nite, smoothest operators/syrens on the market, the aforementioned, ubiquitous whispering Canadian star and the sweetly perky Norah Jones on the two tracks, "If I Had You" and "Baby, it's Cold Outside", with very little added value. Overall, this is a good and very pleasant listening. Willie's interpretations are mellow and laidback, like the sounds of Starbucks, it's a delight to listen to them, they are honest and clear, but they don't show particular emotions or intimacy. Certainly it is not an album which will impact your world, nor will hand Willie Nelson over to the American Songbook's History. My highlights: "The Nearness of You", "On the Street Where You Live" and "Angel Eyes". Stardust Duets: An American Classic Diana is also on this one, track # 10 The Essential Tony Bennett (Rm) (2CD) Nothing But The Best

I Love Willie but This Ain't Why
I love Willie Nelson. He is a pure original. I remember the album that put him on the general map: "Stardust". It was unbelieveably good. I suppose this album was meant to follow in those footsteps but it just isn't there. Willie is great as always, and his co-artists are superb. But the choice of material is generally not great. There are one or two good tunes but the majority fall flat. He would have been better served by having someone reach further into the great American Songbag. For example:Diana Krall and Willie singing "You've got to See Mama Every Night," would have been killer. I could take 15 minutes and suggest a better album mix for him (probably the majority of his fans could as well). Maybe he ought to have a contest! Ah well, Excelsior. Herb Sontz

Not close to Willie Nelson's best, but not terrible.
I do not like the jazzy feel of this album, but I am a big fan of Willie's songwriting and most of his singing, however - with this album Nelson's experience and mastery of emotion are really tested. I enjoy Willie best when he sings new and original songs that he has written and not the regurgitated standards that record execs shove down his throat like they have in this album. Some of the songs seem dry, too emotionless. With constant touring Willie Nelson has got to be tired and in need of a nice vacation so maybe he can write some new material. I saw him in concert two years ago and, at age 72, he could still entertain a crowd with that Texas flag dropping down as a backdrop and "Whiskey River" to start the show off. He was wearing tennis shoes and a cowboy hat and had that stage presence with 101% effort very obvious. What other entertainer is gonna sing for three hours, instead of sing ten songs and call it a concert. His duet "If I had You" with Diana Krall is nice, but "Baby it's Cold Outside" with Norah Jones is the best song on the album in my opinion, besides Willie Nelson's own "Always on my Mind". Again, I enjoy Willie best when he sings new and original songs that he has written and not the regurgitated standards that record execs shove down his throat. Not his best effort.

American Train wreck
Having listened and seen Willie for about 30 years now, I am afraid, I feel, that this is his worst album yet. I realize that there are many Willie "purists" that rate him for his longevity and their ultimate love for Willie. If I rated him purely for that, he would have received a 10. Unfortunately, the only saving grace on the whole CD was Come Rain or Shine. Each song on this CD sounded the same. I felt like I was in a seedy bar in New York and the bartender was telling me that they were closing. All of the tables had chairs on them except mine and the bar tender was wiping the bar glasses off. Willie's voice at his age was not meant to be showcased as it was. And the style of music actually fought against him. He would have been much better off doing this CD acoustically with his guitar. I can listen to Sinatra or Bennett do Fly me to the Moon, but he was mismatched on almost every song. It seemed to me to be like KC and the Sunshine Band doing Willie's songs. I am sure that not everyone will agree and hope you enjoy this CD. I also can't stand it when anyone else attempts the "Standards" when they have no business doing them, such as Rod Stewart. I saw Willie last November in concert, and he was fantastic. I had great expectations for this and was embarassingly disappointed. My hope is that he will live to do another, and that this one is not his final work. I urge anyone to listen to the samples before purchasing. I hope you like it. I sincerely do.

A treasure
Willie has been making records over 50 years, and there ain't been a bad one yet. Jim Linderman Dull Tool Dim Bulb