Kole sounded sultry rather than innocent on "Just Imagine," Links of London Key Charm shone most brightly, as she always does, on the straight-ahead swingers like "Chejek to Cheek." Rodgers revisited Tormé's 1962 soul-styled hit "Comin' Home Baby" (an unlikely item of the Tormé canon to re-create), and, just before midnight, Maye provided the finale in the form of the propulsive jazz waltz "Haven't We Met?" which she contrasted with "When the World Was Young" in a more old-fashioned triple meter. (The actual closer, "A Nightingale Sang in Berkeley Square," was sabotaged by the lousy idea of taking a super-intimate love song and trying to expand it into an ensemble number.) Links of London Laughing BuddhA Charm, the greatest benefit of the additional voices was the opportunity to hear one of Torme's classic vocal group arrangements, "What Is This Thing Called Love?" which the singer originally recorded in 1946 with his five-voice combo, Links of London Mel-Tones, and Artie Shaw's full orchestra. It's an amazing amalgam of swing and modern jazz, which quotes liberally from Tadd Dameron's newly minted Cole Porter variation, "Hot House." One wishes that Stritch and company had treated us to a few more of these, such as The Mel-Tones' no less classic mix of "It Happened in Monterey" and "Ramona." Together, Stritch and Rodgers sang the counterpoint from Tormé's 1962 arrangement of "Walkin' Shoes," Links of London m Charm, via overdubs, the "singer originally had recorded in a duo with himself. Stritch's solo re-creations of Tormé's "book" were, however, the central focus of the evening, the most ambitious being the singer and occasional songwriter's tune "County Fair," from the 1948 movie "So Dear to My Heart." This six-minute epic is practically a song cycle unto itself, which sets Rodgers and Hammerstein-type subject matter to Dizzy Gillespiestyle bebop chords.
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