Performer Notes

Music and lyrics written by John Kander and Fred Ebb.
Original score composed by Danny Elfman.
CHICAGO won the 2004 Grammy Award for Best Compilation Soundtrack For A Motion Picture, Television Or Media. "I Move On" was nominated for Best Song Written For A Motion Picture, Television Or Other Visual Media.
Includes a bonus DVD disc.
Includes liner notes by Kander & Ebb.
CHICAGO won the 2004 Grammy Award for Best Compilation Soundtrack For A Motion Picture, Television Or Media. "I Move On" was nominated for Best Song Written For A Motion Picture, Television Or Other Visual Media.
Original score composed by Danny Elfman.
This is a multi-channel Super Audio CD playable only on Super Audio CD players.
CHICAGO won the 2004 Grammy Award for Best Compilation Soundtrack For A Motion Picture, Television Or Media. "I Move On" was nominated for Best Song Written For A Motion Picture, Television Or Other Visual Media.
Personnel: Damon Sharpe, Greg Laswon (vocals, background vocals); Dana Calitri, Curtis King, Singleton Palmer Band, Darren Lee, Joe Pizzi, Ekaterina Chtchelkanova, Nick Richards, Charles King , Eric Troyer, Harrison Beal, Billy Hartung, Melanie Gage, Tata Nicole, Timothy Shew, Edgar Godineaux, Fonzi Thornton, Shaun Amyot, Susan Misner, Deidre Goodwin, Jeff Siebert, Michael Johnston , Rick Negron, Jocelyn Dowling, Roxane Barlow, Robert Montano, Mary Ann Lamb, Deanie Richardson & Second Fiddle, Cynthia Onrubia, Willy Falk, Denise Faye, Cleve Asbury, Mark Harrison , Dennis Collins , Margaret Dorn, Sara Ramrez, Audrey Martells, Darius de Haas, Scott Fowler, Capathia Jenkins, Laura Dean (vocals); Jamie Talbot, Stan Sulzmann (alto, clarinet, reeds, soprano saxophone, alto saxophone); Mitch Dalton (guitar, banjo); Eric Kupper (guitar, keyboards); Jack Cavari (guitar); Freddie Green (banjo); Chris Garrick, Laura Seaton (violin); Alan Barnes, Ray Swinfield (clarinet, bass clarinet, reeds, tenor saxophone, baritone saxophone); Lawrence Feldman (soprano saxophone); Lou Marini (alto saxophone); Chuck Wilson (tenor saxophone); Brian O'Flaherty, Tony Kadleck, Derek Watkins (trumpet); Pete Beachill (trombone, tenor trombone); Keith O'Quinn, Larry Farrell (trombone); Nathan Durham, Owen Slade (tuba); David Hartley, John Saver (piano); Paul Morgan (double bass); Perry J. Cavari (drums); James Saporito, Gary Kettel (percussion); Richie Jones (drum programming); Nicki Richards, Paulette McWilliams (background vocals).
Audio Mixers: Dan Hetzel; Dennis Sands; Richie Jones; Thomas R. Yezzi.
Recording information: Air Studios, London, England; Avatar Studios, New York, NY; Cove City Sound Studio, L. I., NY; Hensen Recording Studios, Los Angeles, CA; Meatlworks Studio, Toronto, Ontario, Canada; Paramount Stage M; Right Track Recording, Bucharest, Romania; Sony Music Studios, New York, NY; Warner Bros. Eastwood Scoring Stage, CA.
Director: Rob Marshall .
Editors: Ellen Segal; Martin Welsh.
Photographer: David James .
Unknown Contributor Roles: Ekaterina Chtchelkanova; Mya Harrison ; Susan Misner; Deidre Goodwin.
Arrangers: Paul Bogaev; Rick Wake; Richie Jones; Douglas Besterman.
CHICAGO has a long and varied history; it began life in the '20s as a play about a showgirl named Roxie Hart, the character whose name was used as the title for a '40s movie inspired by the show. In the '70s, Broadway composers Kander and Ebb (CABARET, NEW YORK, NEW YORK) wrote the songs for a musical version focusing on the '20s-jazz angle and capitalizing on the murder-and-sex theme, and Bob Fosse fleshed the whole thing out to great success. The late-'90s Broadway revival of the show was even more successful and gave rise to a film version featuring Richard Gere, Renee Zellweger, and Catherine Zeta-Jones, movie stars not known for singing.
The film turned out to be a huge hit, and the actors handle their vocal chores admirably, as borne out on this soundtrack disc. Zeta-Jones and Zellweger handle their respective roles of vamp and showgirl well. While Gere will probably never have a solo singing career, his quirky, character-filled singing is perfectly in the style of many male vocalists of the '20s and works just fine. The songs are full of surprise left hooks and catchy refrains, melding early jazz with showtunes in a seamless manner. While the contemporary pop tunes by Anastacia and Queen Latifah tacked onto the end mar one's suspension of disbelief somewhat, this is nevertheless an impressive and entertaining affair.

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