Sue's News, Reviews & Fan Mail

To add your own comments to this page, email them to bob@sueraney.org

Your email address will not appear with your comments, but always include your full name and home city. You may also provide a nickname if you wish to remain anonymous. Finally, photos of Sue and Carmen would be most welcome.

Bob, Sue & I are so honored for you to do this. It doesn't seem possible.
Tell us more.

Sue Raney & Carmen Fanzone, July 6, 2007

Bob, thanks for your birthday wishes – I love reading all the responses from such lovely, kind people. I’m so grateful to you for this website – thanks again for your love and support. Thanks, also, to Sylvia Gentil, Randall Livesay, Arnold Hori, Jim Gillivan, John Gilbert, All About Jazz and our friend Bill Reed for their birthday greetings. I was so amazed that “Gil” has so much information about my career - WOW!

Blessings and love to each and all of you.
Sue
p.s. The story Dennis Guillaume told touched me so much. Thanks to him, too.

Sue Raney , June 27, 2008

July 23, 2008

I happened to come across an old VCR tape that I had taped a movie on that aired on PBS - at the end of the movie, a special on the music of Henry Mancini began --- and lo and behold, there was Sue Raney, singing "Dreamsville" - you could've knocked me over with a feather - I'd never heard anything like it - it literally stopped me in my tracks! What a glorious voice, and style. Since then, I've tried to find the album, but sadly, it is out of print. Do you know if her "Music of Henry Mancini" album will ever be re-released? I would dearly love to have it! Since then, I've been able to purchase a couple of CDs of her music, but will not be happy until I manage to find "Dreamsville" --- She is an amazing singer and I would love to hear her in person. — Donna Castele

I just kept checking eBay until I finally found one that I could afford. So don’t give up hope; they are out there.— Bob

July 4, 2008

June 26, 2008

Hello from Denmark.
I am a jazz musician in Denmark and I am a big fan of Sue Rainey. Not least the work she did with Supersax. That record is absolutely a masterpiece and I had the chance to thank Mrs Rainey for "the record of my remote island.."

Thanks for the home page.

Jesper Carlsen
Denmark

Happy Birthday, Sue!

June 18, 2008

The fan site has its first birthday, too. Here are some birthday wishes from some of the greatest Sue Raney fans in the world. And from this guy, 4 months and one week older than Sue, this reassurance: You're still seventeen to me, and you still sound as good as you did then -- even better. -- Bob Boston

Happy birthday from Delft! Your birthday is one I can't forget, because it happens to be mine as well! I'm your birthday-twin, as you called it, and I hope you will have a wonderful day tomorrow with lots of good friends and family to pamper you.
Love,
Sylvia Gentil

To Sue: As I write this note I'm listening to your "Heart and Soul" on a CD "I Hear Music," a gift you gave to the world.
To my old (78) ears it is treasure, reminding me of the joys of real music and real talent. May God bless you on this special day!
Randall Livesay

Aloha - Hau'oli La Hanau
As Hawaiians would say on your 2008 birthday.
Arnold Hori/Honolulu/Hawaii

Just tell Sue for me that her #1 fan in the San Francisco area is thinking of her and will raise a glass in her honor - full of the good stuff!
Jim Gillivan

Hey Bob, Give Sue my warmest wishes for a glorious birthday...
John Gilbert

Happy Birthday, Sue. Thanks for all the ongoing musical pleasure you continue to provide. It's a Blessing. Best, Bill Reed

Hello!
We're celebrating Sue Raney's birthday at All About Jazz today.

Cheers!
Your friends at All About Jazz
http://www.allaboutjazz.com

Friday, May 30, 2008
I just discovered the fabulous Sue Raney on my TV music channel! Oh, how I wish I had known about her sooner. The intriguing part about it is that my birthdate is exactly ten years to the day, before hers; mine being June 18, 1930! Best regards to you and, especially, Sue.

Cliff Brown

Tuesday, March 18, 2008
From: Brady Benton

Dear Bob,

I am a HUGE Sue Raney fan, and I'm so appreciative that you have started a Sue Raney web-page. It's great, and long overdue.

A couple of things, however. First, you have some slight errors on the DISCOGRAPHY page. From what I have been able to discover through my own research over time, here is some of the info that I find differs from what you present:

* "When Your Lover Has Gone" and "Songs For A Raney Day" have indeed been released together on a "CD Compilation". However, they have also been released individually as separate CDs, both in standard jewel-box format as well as the collectible cardboard "mini-LP" style releases. In all cases, the master used for "Songs For A Raney Day" was the full stereo mix, but unfortunately, only the mono version of "When Your Lover Has Gone" has ever been issued on CD, which is a shame since the entire LP received a full stereo release. One track from that set, "Heart And Soul", has been included in its stereo mix on the CD compilation "Capitol Sings Frank Loesser: I Hear Music".

* "Happiness Is A Warm..." was released in 1965, not 1964. I believe she had her bad car crash in 1964 which would have prevented her from doing much of anything that year.

* "Alive & In Love" was released in 1966 (possibly even late 1965), definitely not 1968! It was the first of her three albums on Imperial! "New and Now" was second, in 1967, and "With A Little Help From My Friends" was her third and final LP for Imperial in 1969 (not 1968 as you have listed). The first two have been released on CD, but unfortunately, only "Alive..." uses a stereo master. For some completely unexplained reason, a mono master was used for "New And Now", a truly unfortunate choice as the sound is infinitely better in stereo on this album.

* You are missing "The People Tree", a Christian-themed album, co-written by Sue as well and released on Light Records in 1972.

* The album called simply "...Sings the Music of Johnny Mandel" was issued on vinyl only and released in 1983. Subsequently, the "Quietly There..." album added five new songs to the existing "The music of Johnny Mandel" album was then released on CD in 1988 (not 1987, unless I'm mistaken).

* "In Good Company" was issued in 1990, not 1992.

* "Autumn In The Air", to the best of my knowledge, came out in 1997, not 1998.

* While not readily available, it was my understanding that the initial release of "Heart's Desire..." was in late 2006, not 2007.

Finally, I'm attaching a Word Document that contains my most up-to-date research on Sue's 45 rpm releases, at least up through her Imperial years. Unfortunately, I do not have release dates for these at this time. I do know that I'm missing one E.P. on this list which was released overseas and contained four songs from the film "The Girl Can't Help It", with Sue singing on one of them. I'll see if I can track that info down and forward it on to you later.

Again, I'm thrilled with your website, and I hope you do not take offense to my input here.

Most sincerely,
Brady L. Benton
Vice President of Film, Television and Special Markets
peermusic - Los Angeles

Offense?? Far from it, Brady. Thanks again for the info and the photos that follow, along with the list of 45's. -- Bob

Brady's List Of Sue Raney 45's:

"Betwixt And Between" / "No Use"
KC (Kansas City) Records 103

"What's The Good Word, Mr. Bluebird" / "The Careless Years"
Capitol F3745 / Capitol (UK) 14757

"Please Hurry Home" / "Don't Take My Happiness"
Capitol F3806 / Capitol (UK) 14792

"Till There Was You" / "Pal Joey Theme" - instrumental only
Capitol F3847 (B-side only. Billed as "Nelson Riddle & his orch. with Sue Raney")

"My, My, How The Time Goes By" / "Periwinkle Blue"
Capitol F4038 / Capitol (UK) 14923

"Restless Sea" / "Ever"
Capitol 4110

"I Don't Look Right Without You" / "Swingin' In A Hammock"
Capitol 4228 / Capitol (UK) 15045

"Biology" / "Too Soon" "Biology" / "I Stayed Too Long At The Fair"
Capitol F4360 Capitol (UK) 15132

"One Finger Symphony" / "The Word Got Around"
Capitol 4429

EP: "I Get The Blues When It Rains"/"Rain" / "Rain On The Roof"/"September In The Rain"
Capitol PRO1464

"Before The Rain" / "Now Is The Hour"
Imperial 66151

"Who's Afraid" / "Little Things Mean A Lot"
Imperial 66184

"Any Old Time Of Day" / "Smile"
Imperial 66211

"There Goes My Everything" / "Try To See It My Way"
Imperial 66222

"Parade (A Banda)" / "Wait Until Dark"
Imperial 66265

"Early Morning Blues And Greens" / "Knowing When To Leave"
Imperial 66340

1/14/08

In 1994, I believe, Sue Raney performed with Richard Rodney Bennett at the Herbst Theater in San Francisco. That was one fabulous night. One piano, one singer. And, I should add, a full house. I took my three daughters to show them what real vocal music was all about. We met Sue backstage, and she was most gracious to us.

I can recall both Dick Whittinghill and Gary Owens, in the late 60s, would play two of her songs on KMPC in Los Angeles, Knowing When To Leave and Once Was A Time I Thought. I found the latter in your discography (now to find a seller!) but the Bacharach song I have never been able to find. I would love to find those in almost any condition. I was blessed with a copy of both songs on a hand-made cassette from Sue herself. But time has taken its toll on the content.

If you want a real laugh, and since imitation is the sincerest form of flattery listen to The Mamas and The Papas sing Once Was The Time I Thought. It is note for note with Sue's, albeit a lot shorter.

Keep up the good work!

Bob, It's time for Sue Raney to release another CD. I hope one is in the works.
ANY time is time for a new Sue Raney recording.

If CD's wore like LP's, all mine would be dust!

Jerry Bogner 1/2/08

Dear Bob,

I found your website spotlighting Sue Raney while researching her for my blog. It's a very nice tribute to a great singer, one I truly admire. While searching for more information about a 45 rpm single I have that features her, I was chagrined to find out that it hasn't been included on any of her albums or cds. In my blog, I digitize some of my favorite old records like this and tell people about the artist, so Sue was one that definitely needed to be included. Especially since this record can't be found anywhere else. It was from when she had just joined Capitol Records and was produced by the great Nelson Riddle. Sue only sings on one side, but it's a marvelous interpretation of a song from the Broadway musical "The Music Man" entitled "Till There Was You," recorded on October 29th, 1957. I thought you, as well as her many fans, would love to hear this mostly "lost" song of hers. It's posted on my blog, Music For Every Mood and here is the link to it:

http://musicforeverymood.blogspot.com/2007/12/she-was-just-seventeen.html

sincerely,
Kenny Harrelson

Date: Saturday, November 10, 2007 12:51 PM

From: Arnold M Hori

Wonder if you've seen the posting by Will Friedwald of the New York Sun? In the issue dated Nov9-2007, he recaps the Sue Raney story and also reviews Heart's Desire.

http://www.nysun.com/article/63697?page_no=1

I have enjoyed your web pages. I have been a long time Sue Raney fan and have all the LP/CDs you list plus another one titled "Sue Raney's People Tree". It has recordings of Christian songs which she wrote. It was printed in 1972 by Lexicon Music of Waco TX. A few years ago, I was at a San Diego Sue Raney concert and asked her about the album. She said that she knew of one other copy and that was one she saw being waved in the audience while she was performing at a concert in Japan. She also noted that it was only supposed to have been distributed to the religious community; however, in the 1980's while browsing through the collection of the Mom & Pop record shop in Honolulu HI, I saw Ms. Raney's picture on the cover and bought that copy. Each song is inspired by a different passage of the Bible (don't know if it's New or Old Testement) and had background singers from different church groups. All music was arranged by Ralph Carmichael. I have not listened to it very often but have enjoyed owning the LP.

/Arnold Hori/Nov10-2007/Honolulu Hawaii/

Sue recently participated in an online Q&A interview with the webmaster of a Doris Day fansite, the subject of which was Sue's Heart's Desire CD. You can read the interview here.

Dear Bob,
I've known of Sue Raney for only about two years now. It didn't take very long for her to become my favorite singer.
Miss Raney, in the Don Wolff interview, said she needs to come to my corner of the world, NYC. That's very exciting news. I'd love to see her in performance, preferably live, or even on TV. Now you know MY heart's desire. It would be an act of kindness if you can list any of her appearances on the web site.
One last thing: I played HEART'S DESIRE for the great drummer, Joe Morello, famous for his work with the classic Dave Brubeck Quartet. He enjoyed it, and asked me to tell her "she sang very well". I hope I just did.
Jerry Bogner

Click here to hear the 12-minute interview.

Bob, I was talking to Med Flory about Sue Raney last Tuesday night and we both agreed that she ranks up there with the best of the best. He was delighted with her stint with the "Voices" and I never tire of listening to her vocals. Sue Raney I salute you!!!!!!
John Gilbert

Visit California Coast Jazz At:

http://community-2.webtv.net/johnnyjazz/johnnyjazzsjazzpage

August 31, 2007

Hello Bob,
I came across your website dedicated to Sue Raney and I wanted to relate a personal story if you'll allow me. Many years ago (about 1962-3) I was a young and ambitious student at Washington State University studying music. In those days jazz in legit schools was pretty much forbidden. In our school, we could perform on our own, but the music department wanted no part of it. I formed a big band and, while banned from practicing in the music building, we were allowed to rehearse occasionally in the student union ballroom. I don't have to tell you we were wet behind the ears when it came to jazz and anything we knew we taught each other.

I don't remember the details, but one day I found that a beautiful young singer named Sue Raney, from the big city of L.A., was going to be on campus when someone contacted me to see if our big band would provide backup for her. I eagerly accepted and, at the appointed time, after an all too brief "rehearsal", Miss Raney performed in the student union. While we did our best, I'm afraid if must have been agonizing for Miss Raney. My stomach still tightens a bit when I recall one point, after a miscue at the beginning of an arrangement, Sue stopped us and noted that "...we're among friends here" and graciously restarted the tune. We did manage to complete the program but I know Sue Raney must have vowed never to get into a situation like that again. To us she was very kind and encouraging, however, I knew it hadn't been a great experience for her.

After that day I went on to complete my BA and BM at Washington State and, after a few years teaching in L.A., I completed my masters at North Texas State University. (There is a reason for this explanation so please bear with me.) Before pursuing doctoral work, I took a position at a small university South of Fort Worth for a few years. During that time I directed the jazz ensemble and taught woodwinds. Two young ladies who were students there asked me for help singing jazz. I immediately loaned them a few albums as examples. Among the albums was my one and only record by Sue Raney that included several of the arrangments we had played those many years before. Apparently the young ladies liked Sue's work too because I never saw the album again. Since then I have often bemoaned my stupidity for letting it out of my hands.

Although I have frequently recalled that fateful day when we put Sue Raney through her terrible ordeal, I have chosen to remember the great example she provided, to a green group of young musicians, with great fondness. Jump forward to last week when, while surfing the web I happened onto a copy of that lost album on CD. I couldn't believe my luck after so many years. There it was...Happiness Is A Warm Sue Raney! I ordered it and a couple more and I'm anxiously awaiting their arrival.

I don't know if you have personal contact with Ms. Raney, but, if possible, I would like to let her know that her labors were not lost on those kids in Pullman, Washington that day. I for one have used her name and her work as an example for students and pros alike over the years. During a time when our idols included Stan Kenton, Bud Brisbois, Gabe Baltazar, Georgie Auld, June Christy, The Four Freshmen, and Ella Fitzgerald, for at least one of the 18 young wanna be's, Sue Raney has always ranked right at the top.

Thanks for your website and for lending me an ear.

Bob's Note: Yes, I did forward Dennis's letter to Carmen & Sue.

Our Minister,Dan Pure gave me a CD of Sue Raney. Dan is a friend of Sue Raney. I listen to that CD all the time. Sue has such a rich beautiful voice.I would love to contact Sue and tell her how much I love her singing.— Linda Bortner August 20, 2007

Here's a link to Bill Reed's People vs. Dr. Chilledair website that contains several items about Sue Raney — including Bill's hearty agreement with the following Rex Reed review, and a link to a video of Sue singing with Stan Kenton.

Bill has more to see there in addition to Sue, so enjoy it all! — Bob

This article was published in the July 23, 2007, edition of The New York Observer.

In a musical world of declining values, where even jazz and cabaret singers are disposable, songs are contrived and so-called "stylists" grow more dispensable every day, I'm glad there is Sue Raney. This sophisticated, supernaturally gifted California-based singer and vocal coach has developed a cult following that spans several decades of studio recordings and appearances in clubs and concert halls. But like most great singers, she gets harder to find all the time, both on CD and in person. That's why a new Sue Raney recording (I still call them "albums") is such a cause for rejoicing. Heart's Desire (Fresh Sound), her first CD in nine years, is a 14-track tribute to Sue's idol, the legendary Doris Day. It's a genuine masterpiece no serious fan of the Great American Songbook can afford to miss.

One great singer's homage to another is not a new idea, but few have conceived a project this ambitious with so much imagination and originality. The concept was to honor a cross section of the familiar songs that made Doris one of the most popular and enduring movie stars of all time without a single acting lesson. But what makes Heart's Desire unique is Sue Raney's ability to transform each tune into a work that sounds brand new. The material runs the gamut from creamy ballads like "My Dream is Yours" and "I'll Never Stop Loving You" to novelty songs like "Shanghai" and "Put 'Em in a Box, Tie 'Em with a Ribbon," but without exception they feel and sound like things you might hear between "takes" on other singers' albums—not the canned, antiseptic perfection of contemporary arrangements.

The rapturous beauty of Ms. Raney's voice, laced with humor, is sheer magic, but she also reaches across spaces to find fresh subtexts, and touches you emotionally on her journey. The result is a collection of familiar songs associated with Doris Day that do not sound cobbled from anyone else's golden oldies. Example: "Que Sera, Sera," a throwaway tune I never wanted to hear again, raised an eyebrow when I saw it listed as the first cut on the CD. But when I heard jazz pianist-arranger-conductor Alan Broadbent's lush string arrangement for the first time, I was so devastated I had to play it five times in a row. Taking this tired old workhorse at a breathy, wistful pace worthy of Shirley Horn, Sue convinces you that you are hearing it for the very first time. Similar truths and revelations await on Broadbent's gorgeous charts for "It's Magic," "With a Song in My Heart" and yes, even the awful "Everybody Loves a Lover," which shimmers with a hip, humorous salsa beat. In every song, Sue's velvety voice finds new inflections, new emotions and new tempos to rescue the repertoire from the encroachment of nostalgia.

The title tune, by Broadbent and Dave Frishberg, has nothing to do with Doris Day, but personifies the unifying themes and dreams behind the entire project. It's worth noting the special patina of inescapable irony rubbed across the musical landscape of this exquisite accomplishment: It was recorded in the same Capitol Records studio that was once home to Sinatra, Kenton, Judy Garland, Nat King Cole, Peggy Lee, June Christy and others; it's where Sue made her first recordings with Nelson Riddle and Billy May 50 years ago, when she was 17. Passing seasons have kissed her forehead. At a time when most girl singers under 30 sound exactly alike, her voice is stronger, better, more luxurious and exhilarating than ever. She's collected enough rave reviews through the years to paper an airplane hangar, and she's no stranger to the standing ovations and obsessive adulation of her own admirers, but in the songs of Doris Day she has found true inspiration. That glorious voice, rising and falling in crescendos of perfectly modulated harmonic patterns, clear and elegant as baccarat, never wears thin or weary around the edges. She's the vocal equivalent of a pointillist painting, hitting vowels and consonants in the center of the notes, making thrilling little points until all the dots come together in a total melodic canvas. Doris Day songs bring out a Cinderella quality in her singing that blends innocence and girlish wonder with the timbre and resonance of a seasoned artist. Broadbent's lavish symphonic arrangements provide new places in which her abundant voice may nestle. No plan. No pyrotechnics. No lousy rock and roll. No (God love her) Andrew Lloyd Webber. She's in a class by herself, and if the people who book New York nightclubs weren't so stupid and myopic, we could enjoy her special brand of alchemy in person instead of endless exposure to toneless hacks like Stacey Kent and Maude Maggart.

Meanwhile, be grateful for crumbs. The world is so cacophonous and overwhelming that it's a challenge to persuade people to sit down and listen to eloquence. But if you're a student of the old school of sublime singers like Sue Raney and your brain needs musical oxygen, or if you're unlucky to be under 20 and don't know who Doris Day is, then buy Heart's Desire and die in ecstasy.

The following review of Heart's Desire is posted on Doug Ramsey's blog at http://www.artsjournal.com/rifftides Thanks to Doug for permitting me to post it here. Take a look as his website for a lot of other jazz news.

Sue Raney is hardly without a following, but it is a puzzle why a singer of her gifts never achieved widespread fame. For far too long, general audiences have been unaware of Raney's sublime work. Happily, EMI recently reissued All By Myself, one of her early Capitol albums. She seldom makes new recordings, and most of her reissued albums are on CDs that are hard to find except as imports. Since the death of Albert Marx and the end of his Discovery label, American companies have missed the boat on this exemplary artist. Raney's new Doris Day tribute is one of the best albums of her career. The Spanish label Fresh Sound recorded it last fall in Los Angeles with a full orchestra arranged and conducted by Alan Broadbent. Day was in the last wave of quality popular singers blessed with good material, and Raney makes the most of "Secret Love," "Love Me Or Leave Me" and twelve other songs. A singer who has achieved technical perfection that encompasses tonal accuracy and range into the stratosphere, she provides a moment of thrilling vocalese when she parallels the lead trumpet in an interlude on "Sentimental Journey." For the most part, however, she just sings the songs, and sings them superlatively. Her treatment of "Shanghai" ("I'm just around the corner in a phone booth....") is a joy. But then, so is the entire CD. Broadbent's arrangements perfectly complement Raney. There are succinct solos by Broadbent at the piano, Carmen Fanzone (Raney's husband) on fluegelhorn and saxophonists Bob Sheppard and Gary Foster. Doris Day did not record Broadbent's and Dave Frishberg's "Heart's Desire," a modern ballad that equals the best of the great American song book, but Raney's version dedicated to Ms. Day is likely to steal your heart. To hear and see Raney as guest vocalist with a latterday Stan Kenton band, go here for "Let There Be Love" and "I Got It Bad And That Ain't Good." There is nothing wrong with your computer; the clip is black and white. Posted by doug ramsey on July 16, 2007 1:05 AM

Review: The Best Of Supersax & LA Voices

Med Flory Presents The Best Of Supersax And The L.A. Voices, Featuring Sue Raney. Group 7 Music 2005

One might say it's the rebirth of Supersax and the L.A. Voices. As Med Flory relates, "For the last twenty years the Voices have been doing a Rosebud in the bowels of some Sony warehouse, So in order for people to dig this album while I'm still alive, I decided to put it out myself" So, thank the powers that be, because this is one great piece of American jazz, performed by stellar musicians in the finest bebop tradition.

"The Song Is You" The voices start matters off singing the melody and the ensemble plays Bird's solo in harmony. The interpretation of Bird's message is clear, clean and swings like The Flying Wallenda's. This is one masterful arrangement that pleases the ear, which is what superlative jazz is supposed to do, unlike the cacophony that passes for music (at times) in this day and age. It gets no better than this.

"Just Friends" This tune was one of Bird's favorites and Sue Raney's sweet voice captures the essence of this piece magnificently leading the Voices ....The section work is flawless and I know Charlie Parker is as happy as a sissy in Boys Town. The juxtaposition of the Voices and the instrumentalists is beyond simple accolades. Words can never convey 'sound' adequately, it is for the ear to relish and enjoy.

"Ko Ko" is one of the highlights of this recording. Med Flory vocalizes Bird's chorus at racehorse tempo and the Voices embellish it with clever ripostes accenting the vocal magically with their verbal sally. How do I like this tune? Let me count the ways......

"Embraceable You" Sue Raney comes through on this song so sweetly that it will melt your heart. The Voices make this old chestnut rise from the ashes and sashay along like it was brand new. Again the section work is superb as Charlie Parker is paid homage to in a manner befitting his elegance. When Raney sings the words " How I Need You Baby" it takes its toll on the soul with a sweetness that defies words.

"Out The Window" Clever lyrics and a captivating shuffle beat get it all on this Med Flory penning. I defy anyone to dig this tune without a bit of jitterbugging dancing in the mind. This number goes right to the heart of hip.

"Supersax" Med Flory tells the musical story of Bird and Supersax with words supreme. Parker is talked about by the soloists most respectfully. This is Med Flory at his best. Yes indeed, "Supersax will always play the word of Bird"

"Skylark" The Voices sing this remarkable melody beautifully. Harmony, thy name is "The L.A. Voices" The trumpet solo is a work of art, albeit brief.

These are but a few of the 16 tunes on this album and all of them deserve to be heard again. I only hope that this will be the resurgence of the finest interpreters of Charlie Parker's music, as well as the gems that Flory has always given us.

I have enjoyed this recording more than I can express. Maybe some will think that I have been too praiseworthy, my answer to that is, listen for yourself and if you don't agree, you must have the ear of Van Gogh. 5 Stars