Once you get past the gripping visual beauty of Gayle Andrews, the effect of her voice is no less astonishing. Here truly, the elements of sight and sound share equal billing.

She has a controlled intimate style on ballads, plus an approach to a jump beat that reveals an emotional jazz warmth with solid professional phrasing. The total combination of voice, form and face which is Miss Andrews, had a volatile effect on her last New York employer —Dick Kollmar, a theatrical producer and owner of the bistro “The Left Bank.” It was at Mr. Kollmar's insistence, that Gayle be recorded,… “so that all may have the pleasure of hearing her voice.”

Although this session marks Gayle's recording debut, it is by no means the start of her career. Her varied professional singing engagements range from theatre and club dates at the Perseverance Club in Port of Spain, Trinidad, where she packed them in nightly; to the famous Rustic Cabin in New Jersey, well known for its name bands (and incidentally managed by Gayle).

The trail leads from the Belleview Theatre in Paramaribo, Suriname to her own Night n' Gayle Room in New York City. Gayle has also sung her way through Georgetown, British Guiana, San Juan, Puerto Rico and other ports of call along the Spanish Main. Her voice charmed audiences everywhere, and her versatility even won her a straight acting role in Warner Brothers, “Marjorie Morningstar.”

Arranger and conductor, Stu Phillips, is well known for his musical assistance to Chris Connor, Jimmy Rogers, Dori Anne Gray, Benny Fields and Blossom Seely, in addition to his regular TV and movie scoring assignments. The collaborative teamwork on this album has resulted in a fortunate credit for both Gayle and Stu. The blend of voice and arrangement is subtle and natural. A unique approach on “You're the Greatest” is achieved for instance by up tempoing this ballad and allowing Gayle a swinging instrumental-style delivery.

“I Like the Likes of You” is a fun rhythmic romp which Gayle picks up and ends on a playful personality kind of kick. Painstaking research dug up “Suddenly,” a great old Vernon Duke standard which starts sweet, then builds to a colorful Basie like jump. Stu also varies the session with such highlights as a trombone duet in the second chorus of “Easy Does It,” a duet between Gayle and bass on the opening of “Easy to Love,” and a thoughtful piano concerto approach on “The Very Thought of You.”

In a bid for pop sound the cover original, “Love's a Snap”moves in the current Chach beat. The latin application is reused with the light breezy effect on “You, You Romeo.” Gayle's big sound is sensitive and probing as in “You're My Thrill.” Stu thoughtfully provides scoring for a sexy alto to heighten the mood, the result sounding like picture sound track.

Gayle's ballad delivery in general has a delicate huskiness, and her handling of “Nearness to You” will prove the devastating effect this interpretation can have. The amazing ambivalence of her voice is felt when she literally tears away in “Easy Does It.” The effortless changing of styles is even more apparent on “Something's Got to Give.” It is here that Gayle combines both readings, and Stu closely follows by swinging the strings.

—Jerry Rosenfeld (From the inside liner notes of FSRV 136, taken from the original back liner-notes of her debut album "Love's a Snap!")