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Julie Wilson Sings the Gershwin Songbook


Download links and information about Julie Wilson Sings the Gershwin Songbook by Julie Wilson. This album was released in 1999 and it belongs to Jazz, Vocal Jazz genres. It contains 13 tracks with total duration of 55:54 minutes.

Artist: Julie Wilson
Release date: 1999
Genre: Jazz, Vocal Jazz
Tracks: 13
Duration: 55:54
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No. Title Length
1. Sweet and Low-Down / Oh Lady Be Good! 3:11
2. Medley: He Loves and She Loves / My One and Only / That Certain Feeling 5:11
3. They All Laughed 2:36
4. Someone to Watch Over Me 3:30
5. Treat Me Rough / Do Do Do 3:03
6. Medley: Isn'T It a Pity / Funny Face / Soon 6:15
7. A Foggy Day / Love Walked In 3:12
8. Medley: The Lorelei / It Ain'T Necessarily So / Sam Snd Delilah 5:15
9. Medley: They Can't Take That Away from Me / But Not for Me / Nice Work If You Can Get It 7:02
10. Could You Use Me? / Let'S Call the Whole Thing Off 5:43
11. Medley: I've Got a Crush On You / Embraceable You / How Long Has This Been Going On? 6:05
12. The Man I Love 3:06
13. Of Thee I Sing / S' Wonderful 1:45



Julie Wilson returns to her songbook series of albums devoted to classic songwriters with this set of music by George and Ira Gershwin. In a sense, the obvious question is why she hasn't done them before. But it also might be suggested that their work, full of lightly witty romantic sentiments for sophisticated young stage and film characters of the 1920s and ‘30s, is not ideally suited to her seen-it-all persona. She makes use of that contrast, however. If Wilson is a 74-year-old singing "Someone to Watch Over Me," a song written for a starry-eyed flapper of the Prohibition Era longingly idealizing a man she barely knows, she certainly doesn't sing it as that flapper would. She sings wistfully, as if she were remembering a song from long ago that is full of feelings she once had. When she turns to "But Not for Me," sandwiched in a medley between the more positive "They Can't Take That Away from Me" and "Nice Work If You Can Get It," she gives her interpretation a bitter, angry edge; she isn't a young woman lamenting that love songs don't apply to her just yet, she is an older woman despairing that they never will. On the other hand, she uses her lineage to frankly express lusty irreverence in a medley devoted to classical references, mixing "The Lorelei," "It Ain't Necessarily So," and "Sam and Delilah." As usual, she is abetted by her piano accompanist, William Roy, who not only supplies all the instrumental support but also chimes in as a duet partner here and there. The inventiveness with which they address some of the lesser-known Gershwin songs, particularly "Treat Me Rough" and "Isn't It a Pity?," as well as the relatively unfamiliar introductory verses of well-known numbers, suggests they might have leaned more in that direction, rather than trying to recontextualize the standards. But this is a fresh look at Gershwin music, filtered through a different sensibility, valid yet often surprising.