Maury Yeston’s Nine (1982 Original Broadway Cast Recording)

Act 1:
I was introduced to Nine around 2003 when the revival cast recording was released. As a teenager, I bought the CD on a whim, having never seen the show, but Yeston had an impressive reputation, and he had two major league shows win Best Musical at the tony’s by this point, and Jane Krakowski had some press coverage with her descending-from-the-ceiling-upside-down knockout performance of “A Call From The Vatican” (seen here if interested: https://youtu.be/UvhMAw6gCDw. Hearing Anita Morris’s version of the showstopper is a treat. Her almost manic finale combining belting, crying, high soprano notes, and vocal shivers, is really something else.

I did pause my listen-through of the 1982 Broadway Recording to reminisce on Jane Krakowski’s variation from the 2003 Revival, and I will admit, there is something almost perfect about Jane’s vocal rendition. I also, for the sake of objectivism(?), listened to the London (Becky Norman), Australian, Movie (P Cruz) and “Maury Yeston Songbook” (Alice Ripley) versions of the track as well.

The second half of act one unfolds with lush orchestrations and theatrical vocals with an obvious attention to the loony-ness and psychosis of some of the characters. Even in longer numbers like “Follies Bergeres”, and long song-and-dance-and-drama number sung in Franglais, where I literally don’t understand what’s happening for 8 minutes, Yeston’s score pulls me in deep regardless. It’s actually memorizing to hear the complexities of the overlays of vocals and orchestrations in this number. It reminds me of how good Les Miserable’s showstopper “One Day More”, or Rent’s “Christmas Bells” can be, even though it’s impossible to understand what anyone is saying.

The eponymous lullaby/choral number “Nine” sounds like it was written for his show Titanic, with a soaring melody and never a missed opportunity for flute heavy orchestration. Titanic, premiering in 1997 around 15 years after Nine, feels more like one long orchestral work turned into a musical, rather than a play with songs. (Also worth noting that Titanic is one of my favorite musicals and won the 1997 Best Musical Tony). The song “Nine” is later recorded as more of a solo number in the 2003 revival, where it loses some of his angelic, lullaby-esque feel.

By the time the Act 1 Finale track comes, I realize that every track so far has been extremely diverse in its musicality, while also maintaining a very classic Maury Yeston feel.

[Intermission]
A, very opinionated, side note: Maury Yeston’s Compilation album “Maury Yeston Songbook” is an essential album that belongs in every theatergoer’s collection. If for nothing else but Betty Buckley’s insane interpretation of Nine’s “Be On Your Own”

Act 2
Act 2’s favorite numbers for me include Be On Your Own and Unusual Way, but the Broadway recording doesn’t have the same oomph for these numbers as future recordings will. It might be worth it for me to compile the entire score as a playlist with my favorite versions from each recording, as it seems to vary widely among the songs. As well there are songs added from the motion picture soundtrack. Maury Yeston’s Nine was chosen to listen-through today because I haven’t given it a proper listen in years, and I’ve been on a Maury Yeston kick, having recently obtaining his Tom Sawyer ballet, as well as re listening to Titanic.

Concluding Thoughts
In short, this musical is amazing, and the score is enough to keep you enthralled, even if you know nothing of the story-line. The second act is stronger in future recordings, but nevertheless a fantastic album. Maury Yeston is an American treasure, I hope his works live until forever.