by Lindsay PlanerNot-so-modestly heralded on the front album jacket as " … the greatest discovery in singing … in the last fifteen years," Joanie Sommers' debut did reveal a vivacious vocalist exhibiting a tremendous amount of depth for someone still in their teens. Positively The Most (1960) consists of a dozen Great American Songbook entries with distinct arrangements by the top-shelf talents of Tommy Oliver and Marty Paich. Rather than attempting to market Sommers as an old-style balladeer, the smart jazz and pop scores not only update the familiar titles, but likewise provide the perfect point of departure for the singer and her audience alike. The opener "My Heart Belongs To Daddy" is one of two items from the Cole Porter catalogue. Her frisky vocals are matched by the up-tempo instrumentation as she exudes the lyrical double-entendre, while maintaining a mature dignity. Sommers playfully glides over Paich's samba-tinged "Something I Dreamed Last Night" with ease and just enough room to show off her considerable range of interpretive skills. Tommy Oliver's dramatic approach to the Rodgers and Hammerstein staple "It Might As Well Be Spring" is a prime opportunity for the singer to reveal herself in the 'torch' tradition. The organic fluidity in Sommers' delivery takes on a storybook quality rooted in improv, yet steeped in the drama inherent in songs from the stage and screen. This is not surprising, as it had initially been written for the musical remake of the film State Fair (1945). Duke Ellington's "I'm Beginning To See The Light," is a return to a jazzier big band sound. Sommers' subtle girlish charm simply glistens against the sassy brass interjections and brisk countermelodies. Conversely, the slow and tempting "Heart & Soul" stands out from the pack with plenty of Sommers' introspective intimacy. Much of Paich's true artistry lies in his uncanny ability to present performers at their best -- vocalists and instrumentalists alike. A prime example can be heard as Sommers mixes a sensitivity with a profundity of character, ultimately conjuring up the likes of Billie Holiday and Lena Horne. She switches the mood into high-energy overdrive, closing out the first side of the LP with a rousing rendition of "I Like The Likes Of You". Another distinction occurs as a wonderfully warm and inviting "What's New" predates and arguably foreshadows the stylish collaboration between Linda Ronstadt and Nelson Riddle some two decades on. The second Cole Porter powerhouse is a rowdy "So In Love" as Sommers' keeps a lid on the hot steppin' proceedings, sporting buoyant, yet even-tempered leads. Her sultry side resurfaces on "Oh, But I Do," while "Old Devil Moon" is a highlight as the hypnotic cha-cha rhythm churns beneath Sommers' potent phrasing. "Just Squeeze Me" bestows Paich an opportunity to augment Sommers in the context of a Duke Ellington classic. There are hints of Sarah Vaughn and once again Lena Horne as Sommers coos her way through the selection. Positively The Most wraps up with a full-throttled and wailing "Just Too Young For The Blues" that is perhaps a reference to the artists dearth of time on the planet. However, as evidenced on her long playing entrée, she unquestionably possessed talents well beyond her years. In 2007, Collectors' Choice Music coupled Absolutely The Most with Softly, The Brazilian Sound (1964) making both available after years out of print.