theatre
There is something completely extraordinary about Julie Budd’s talent as a singer. Her voice soars,
emotes and rings as clear as a bell in both intonation and diction. She has released numerous albums over
the years and anyone who enjoys a caliber of vocalist such as Shirley Bassey, Melissa Manchester or Mrs.
James Brolin will delight in hearing her sing. For this special engagement with The San Diego Symphony,
Julie Budd will perform The Barbra Streisand Song Book conducted by the magnificent Marvin Hamlisch
on November 6 and 7. Budd has received numerous accolades and as Rex Reed in the New York Observer
put it, “Julie Budd can sing anything better than almost anybody else... her vocal power is positively py-
rotechnic.” The Rage Monthly gave her a ring to learn more
about her remarkable skills and her upcoming concert.
Julie Budd released If You Could See Me Now in 2000 and
The New Classics in 2005. Each song set is a perfect blend
of ballads, newer material and theatre standards. Budd
explains just what appeals to her when she picks out
material to record or perform, “If You Could See Me Now and
The New Classics were very different. The New Classics was
more of a thematic album in a sense that I was really trying
to enjoy some of the newer writers…I always tip my hat to
the Gershwins and the Cole Porters. Not that you wouldn’t
want to, right? I really wanted to look at the newer ones
such as Burt Bacharach, Michel Legrand…I had a theme
in mind so I went in with an agenda. With the other CDs,
it was really a collection of the things that I enjoy doing.
It’s a funny thing with songs. You don’t know why you love
something, you just know you listen to it and you can either
imagine yourself doing it…or you can’t! Sometimes I hear
people doing material and I love it on them and hate it on
me. Material is found in all kinds of different ways. Some-
times, you will go directly to a writer. I was talking to Doug
James who wrote ‘After You’ which is on The New Classics.
I said, ‘Hey Doug. What else do you have? I love what you
do.’ Sometimes, you love someone and you research their
catalog or sometimes, they contact you. It’s so weird. It hap-
pens in so many different ways.”
Mentioning that, she should think about doing an album
of ballads from the great singers from the Capitol label era
Julie Budd
of the 1940s and 1950s such as Nancy Wilson, Peggy Lee and such in the future, Budd responds, “That’s a
brilliant idea. What’s nice about that idea is that material then doesn’t get lost. So much great material,
have you noticed, it gets lost. Then you hear it and you say, “Geez. Why didn’t somebody think of that?”
Just what does she have in store for San Diego audiences in November? Julie shares all the exciting de-
tails of her performance with the San Diego Symphony, “What’s interesting for me with this material is…I
A SpectAculAr
don’t know if you know this, I do my own material. In the second half, I talk about if it weren’t for the great
SINGER
American classic lyricists and composers, that the Lena Hornes and the Julie Budds and the Barbra Stre-
isands and Judy Garlands…we really wouldn’t have anything to do! So, in the second half, I tip my hat to
some of the great American composers by singing some of the songs I do in my own concerts as a tribute to
Set to perform with our
those writers.
SAN DIEGo SYMPHoNY So for the first half of the concert you have all that incredible Streisand material then some of my material
and also some of the material that Marvin [Hamlisch] wrote for Barbra while there is also Steven Brinberg
by bill biss
[impersonator] having some fun with the audience doing the ‘Barbra thing.’ It’s a really varied show. I think
you’re gonna love it. The whole idea of this show is not to do imitations or not to try to sound like anybody
because in truth, nobody owns material and everybody has his or her spin on it. Even when you hear people
To purchase tickets phone
doing their own material, it’s different years later. People mature and they change and they have a different
619.235.0804 or log onto
spin on things themelves. That’s when you know the material really has legs. That’s when you know for the
sandiegosymphony.com.
next 50 to 100 years, people will be singing these songs. The whole idea is to enjoy what is classic, what has
become an American standard and to bring some beauty to the theatre…oh, and by the way, I’m with a
fabulous conductor who happened to be there (laughter). That’s a big part of the equation too!”
10 RAGE monthly | november 2009
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