The 24 tracks on this double-LP album were recorded live in November 1962, when Barbra Streisand was only 20 years old. The venue was in Greenwich Village on 40 West 8th Street, at the sophisticated and upscale Bon Soir nightclub, and the recording over three days was to be for a debut album with Columbia Records—but it wasn't.

Streisand, her manager (Marty Erlichman), and Columbia Records determined that the recording did not adequately convey what they had in mind, "The electricity that ignited the club had failed to translate onto tape." They decided to instead record Streisand's debut album two months later at Columbia's Studio A on 7th Avenue, NYC. The Barbara Streisand Album (February 1963) was the result, which contains 11 studio versions from among the 24 live tracks. As part of Streisand's many achievements, it received, the following year, three Grammy Awards: Album Of The Year, Best Female Vocal Performance, and Best Album Cover (John Berg, art director). The change of plan certainly did not prevent her rise to fame.

But, alas, the original live tapes were stored in a vault for 60 years. Finally, to celebrate the album's 60th anniversary and Streisand's 60th anniversary with Columbia Records, the tapes were released and, using the advanced recording engineering technology available today, were brought back to life and made into Live at the Bon Soir. We learn this and much more in this beautifully crafted release by Impex Records.

Given Streisand's reputation for high standards, it is no wonder that Impex Records, with its many exceptional audiophile-quality releases over the years, was the record label chosen to partner with, and we are lucky it turned out this way. (IMPEX also has an SACD version, and native 24/96 is already available for streaming on Qobuz.)

Special thanks to Abey Fonn, President and Founder of Impex Records, for offering me a review copy before the general release. I had the great pleasure of meeting Fonn and Nick Getz (son of saxophonist Stan Getz) in Chicago at Axpona 2023 in April, where Impex Records allowed a special (lovely) hearing of their upcoming vinyl release of Getz and Gilberto [Review by Anthony Kershaw forthcoming].

Some Engineering Details

Mixing: Jochem van der Saag

Mastering: Paul Blakemore and Bernie Grundman

Lacquer Cutting: Bernie Grundman

(Grundman sketched his initials on the end grooves of the LPs I received for review.)

Fonn further informed me, "To meet the standards of both Impex Records and Streisand's team, we recut the LP lacquers three times to achieve near-silent test pressings."

Fonn also informed me, “True to her reputation for high standards, Streisand and team was proactive in the project, and nothing was done without their approval”

Barbra Streisand in 1963. Photo credit: Columbia Records/Michael Ochs Archives/Rolling Stone

The Jacket and Booklet

The jacket is simple, tasteful, and thoughtful. On the cover, in shades of pink, is a black and white photo of Streisand performing at the Bon Soir, looking adoringly at the crowd seated before her, followed by two similar photos inside, with “A Note From Barbra” telling us briefly her Bon Soir story, and then, on the back, one of an outside view of the Bon Soir venue and a tracklist. The photos nicely elicit a feel of 60 years ago.

The highly informative six-page booklet follows suit, containing a more detailed description of the tracks and various historically important photos of people and documents and liner notes filled with fascinating facts about her singing and acting—the beginnings of her fast rise to fame. Of particular interest is a photo of her original written contract with the Bon Soir and her quip, "I used to earn $55 before taxes as a clerk. I was now going to earn big bucks: $125 a week ($108 after taxes)."

Also told is the remarkable story of how Marty Erlichman (one of those to whom she dedicates this album) became her manager with just a handshake and has remained so for over 60 years (without any formal written contract). A classic photo of her and Erlichman from the early days happily smiling together is included. A second dedication is to lyricists Alan and Marilyn Bergman, with a recent colour photo of the three together.

Two colour photos of Streisand performing at the Bon Soir are also included.

Typical of Impex’s very high production standards, my pressings were flawless; flat and silent.

The Performance

I can attest that the sound quality is remarkably clean of distortion; a pleasure to listen to. Well done.

Right from the start, on Side 1, Streisand reveals an amount of sophistication, maturity, and skill well above her age of only 20, which continues throughout. She covers songs written by Leonard Bernstein, Tom Jones, Harold Arlen, Johnny Mercer, Arther Hamilton, Cole Porter, Richard Rogers, and others. Overall, her performance over three days is a tour de force. And she sprinkles it with a charming dash of chutzpah and dollops of humour. (In the first track, "Introduction by David Kapralik," she interrupts him to correct the pronunciation of her last name.)

As a mezzo-soprano, her sustained vibrato and musicianship skills are incredible, with smooth transitions and tone from a mighty low register to the higher tessitura. And when needed, she can belt it out with gusto.

For her remarkable ability to sing at a breakneck pace, check out "Come to the Supermarket (In Old Peking)."

Keeping in mind that she is not a formally trained singer makes all this even more impressive. Instead, we can only conclude that she is a naturally gifted vocalist with skill, intuition—and perfect pitch. (And let us remember her other equally unique talents on stage and in movies!).

In this early recording, Streisand also displays a natural knack for improvising and experimenting and a natural spontaneity with banter and humour with the audience (lively, engaged, and enthusiastic). For example, in the last cut of the recording, "I Stayed Too Long At The Fair" (Billy Barnes), she gets ready to start sharing her thoughts, and then she seems to speak to some guy in the audience and says, "Why don't you sing it." The guy responds, "You'll do the lights?" "Right, right, that's my ambition," she replies.

In the Track "Cry Me A River" (Arthur Hamilton), she spends some initial time talking to the audience (with the bassist playing gently and pleasantly in the background), and out of the blue says, apparently referring to her clothing, "This is my boyfriend's suit." Yes, she can be hilarious. She follows it with a spectacular emotional-filled performance of the track, completely winning the audience over. Streisand appears to have une joie de vivre expressed and shared through her singing.

And to top it off, she appears in complete control throughout the three days. The band (guitar, bass, drums, piano), playfully introduced by Streisand in the track "Band Introductions," with much banter and humour, tastefully do their job and stay out of Streisand's way to let her shine; they seem just right for this performance.

Concluding Remarks

It is not possible to overestimate the historical importance of Live at the Bon Soir from Impex Records. It shines a new and endearing light on Barbra Streisand—one of America's most extraordinary talents—when she was only 20 years old, is beautifully and tastefully made, and sounds super.

Very highly recommended.

[Impex was also kind enough to provide me with a press copy. The record is so good, I’ve already included it in the Audiophilia Dream List © - Ed]

LIVE AT THE BON SOIR
HQ-180 33-rpm 2-LP Set

CATALOG: IMP6050
MSRP: $59.99 USD

Further information: Impex Records (no financial affiliation)