| 'Pia and Phil' shows ample vocal talents By Ernie Santosuosso, Globe Staff ALBUM REVIEW "Pia & Phil" presents Pia Zadora singing classic popular songs with more professionalism to quiet many of her carping critics. On her recently released CBS Associated Records Album made with the London Philharmonic Orchestra - "Phil" for short - Zadora demonstrates ample vocal talents. While the mere mention of Zadora's name caused two colleagues to grimace, after listening to a segment of her tape, their assessment amounted to somewhat surprised words of praise. "Pia & Phil" is a collection of a dozen of Tin Pan Alley's most tasteful products. Arrangements are by Robert Farnon, conductor of the London Philharmonic, joined by pianist/accompanist Vincent Falcone, who was once Frank Sinatra's musical director. Zadora, who previously has made pop-rock records that have earned her considerable popularity in Europe, shows in this new-departure LP a sincere respect for a lyric and a keen sense of dynamics. Despite the critical and popular succes of rock singer Linda Ronstadt's experiment with middle-of-the-road music on her "What's New?" album, Ronstadts' singing occasionally strayed into excessive loudness, probably attributable to her conditioning in the rock arena. Zadora's intonation, on the other hand; is kept consistently under control through each of the ballads on "Pia & Phil". She is a distinctively credible singer who may not pose a threat to Sarah Vaughan or Cleo Laine, but who, nevertheless, possesses a legitimate singing voice that needed only to be placed in a proper context. All of this LP's tunes have survived the test of time. They are obviously carefully selected pearls, none offering too rigorous a vocal challenge, but, nonetheless, performed artfully. The lush, full-bodied arrangements played by 92 musicians assuredly complement Zadora's pleasing soprano voice. In the interpretation of "Maybe This Time", a song associated with Liza Minnelli, Zadora injects a faint nuance of the latter's dramatic style without sacrificing her own individual approach. Zadora's relaxing reading of "Embraceable You" is custom-made for martinis and memories as she treats Ira Gershwin's romantic lyrics with a soothing respect. The most refreshing inclusion in this album is the Frank Sinatra-related "All My Tomorrows", from his movie, "A Hole In The Head"", which she addresses with equal skill. "Smile", composed by Charlie Chaplin, focuses on her smart pacing and breath control, particularly in the upper range. ("Smile" coupled with "Come Rain Or Come Shine" is the single being marketed from the album.) "Come Rain Or Come Shine" is a shrewdly calculated show-stopper, showcasing the singer's projection and sense of theatrics. Once the excitement stirred up over Zadora's first recorded venture into Tin Pan Alley has subsided, the question remains: Can she duplicate this success with a subsequent album of standards, songs that don't seem to wear out their welcome? Ronstadt's "What's New?" caught the public by pleasant surprise, but her second album, "Lush Life", while also a quality performance, did not generate the impact of its predecessor. As in Ronstadt's case, Pia Zadora, enjoying the vindication spelled out by the early reaction to "Pia & Phil", is causing a lot of detractors and cynics to sit up and listen. Album review from the Boston Globe, 01/05/1986, page B8, section : arts and film |
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