{"id":9766,"date":"2016-05-11T00:00:35","date_gmt":"2016-05-11T07:00:35","guid":{"rendered":"http:\/\/jazzusa.com\/?p=9766"},"modified":"2013-05-13T04:42:51","modified_gmt":"2013-05-13T11:42:51","slug":"cheryl-bentyne-lets-misbehave-the-cole-porter-songbook","status":"publish","type":"post","link":"https:\/\/jazzusa.com\/?p=9766","title":{"rendered":"Cheryl Bentyne &#8211; Let&#8217;s Misbehave: The Cole Porter Songbook"},"content":{"rendered":"<p>GRAMMY award winner Cheryl Bentyne is at her best when singing with her group The Manhattan Transfer. However as a soloist, she has come into her own as a fascinating interpretor of songs written by the legendary composer Cole Porter. As with her previous 2009 import release The Cole Porter Song book, on Let\u2019s Misbehave: The Cole Porter Songbook, Ms. Bentyne offers her fans a wide array of Porter\u2019s hits including \u201cNight and Day,\u201d \u201cBegin the Beguine\u201d and \u201cMy Heart Belongs to Daddy.\u201d<\/p>\n<p>Joining in on the fun is a superb coterie of musicians including guitarists Tom McCauley, Octavio Bailey and Larry Koonse; Corey Allen on keyboards and banjo; Doug Webb on reeds; Chris Tedesco on trumpet; bassist Kevin Axt also on tuba; Dave Tull on drums\/percussion; and 2 heroic performances by the late jazz tenor sax giant James Moody in one of his final recorded appearances. The vocals are humorous, sexy, and mysterious and Bentyne\u2019s inventive singing style swings and sizzles. This is one of her better offerings as a band leader and you\u2019re sure to enjoy it. Check it out. <a href=\"http:\/\/www.amazon.com\/exec\/obidos\/ASIN\/B008BRC7LE\/thesoundsoftimel\/\" target=\"_blank\">Click HERE to purchase<\/a>.<\/p>\n<p align=\"center\"><span style=\"font-size: small; color: #000000; font-family: Verdana, Helvetica;\">Reprinted with permission of&#8230;<br \/>\n<a href=\"http:\/\/www.soundsoftimelessjazz.com\" target=\"_blank\"><img loading=\"lazy\" decoding=\"async\" title=\"Sounds of Timeless Jazz\" alt=\"Sounds of Timeless Jazz\" src=\"https:\/\/jazzusa.com\/sotjlogo.gif\" width=\"540\" height=\"100\" border=\"0\" \/><\/a><\/span><\/p>\n","protected":false},"excerpt":{"rendered":"<p>GRAMMY award winner Cheryl Bentyne is at her best when<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[],"tags":[],"class_list":["post-9766","post","type-post","status-publish","format-standard","hentry"],"_links":{"self":[{"href":"https:\/\/jazzusa.com\/index.php?rest_route=\/wp\/v2\/posts\/9766","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/jazzusa.com\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/jazzusa.com\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/jazzusa.com\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/jazzusa.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=9766"}],"version-history":[{"count":3,"href":"https:\/\/jazzusa.com\/index.php?rest_route=\/wp\/v2\/posts\/9766\/revisions"}],"predecessor-version":[{"id":10510,"href":"https:\/\/jazzusa.com\/index.php?rest_route=\/wp\/v2\/posts\/9766\/revisions\/10510"}],"wp:attachment":[{"href":"https:\/\/jazzusa.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=9766"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/jazzusa.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=9766"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/jazzusa.com\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=9766"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}