The decision to award a Qobuzism is made unanimously by the Qobuz team. In most cases, a Qobuzism is given to a “crossover” album in the best sense of the term, in that it will speak to all of our users.

By awarding a Qobuzism, we aim to draw attention to standout albums across a wide range of genres. In theory a Qobuzism is intended to alert you to an artist’s debut which has ventured into unexplored territory; but albums which merit this distinction can, in practice, come from anywhere! In each instance Qobuz endorses the album entirely, working with the artist in order to give them the greatest exposure possible – both within and outside of Qobuz. 

What we love is to give our Qobuz users the chance to discover recordings which are not necessarily what they would normally go for.



Jazz - Released September 16, 2016 | Motéma - MustHaveJazz - Membran

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Jazz - Released May 13, 2016 | naïve Jazz

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The idea of ​​setting up a quartet of this kind is not new ground for the talented Airelle Besson. In fact, she confessed back in 2014 (the year of that rehearsals with the band began) that she had spent the previous five years studying up on the subject. The chemistry between the band members and Besson takes place very quickly, and the artist puts it down to her choice of collaboration, with Benjamin Moussay (piano, synthesizer) and Fabrice Moreau (drums) both playing important roles. The discovery and addition of the highly adept Isabel Sörling, a Scandinavian vocalist, is another key aspect of the project and one which makes it all the more singular. Organic and minimalist from end to end, the Radio One music ensemble is graceful and delicate. By placing emotion at the heart of the project, the quartet connect with the listener, and vice versa. A wonderful Qobuzism!

Jazz - Released May 11, 2015 | Brainfeeder

Distinctions The Qobuz Ideal Discography - Pitchfork: Best New Music - Indispensable JAZZ NEWS - L'album du mois JAZZ NEWS - Qobuzism

Jazz - Released May 4, 2015 | Jazz Village

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Jazz - Released February 16, 2015 | Jazz Village

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Contemporary Jazz - Released September 22, 2014 | Nome

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Jazz - Released March 22, 2013 | ACT Music

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Jazz - Released September 25, 2012 | MELISSE

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Jazz - Released March 5, 2012 | Jazz Village

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Contemporary Jazz - Released February 2, 2012 | Laborie Jazz

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Jazz - Released November 7, 2011 | Discograph

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Jazz - Released September 2, 2011 | Laborie Jazz

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Vocal Jazz - Released January 1, 2007 | Gitanes Jazz

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Melody Gardot's debut recording, released in 2006, came two years after she suffered a near fatal automobile accident, the differently able Gardot triumphing in accomplishing what many others, including her, could only dream of. This project has her singing and playing guitar and a little piano, but more so presenting this project of all original material. Gardot has an interesting personal story, but even more intriguing music that straddles the line between lounge jazz, folk, and cowgirl songs. She's part sophisticated chanteuse, college sophomore, and down-home girl next door. Her innocence, sweetness, and light are very alluring, much like the persona of tragic songbirds Eva Cassidy and Nancy LaMott. Feel empathy for Gardot, but don't patronize her -- she's the real deal much more that many of her over-hyped peers. "Quiet Fire" is definitely her signature tune, as it speaks volumes of where her soul is at, in a jazz/blues mode, yearning for true love. The title track follows a similar tack, a slow, sweet, sentimental slinky blues that will melt your heart. A finger-snapping "Goodnite" leaves you wanting that night to continue, but also exudes a hope that permeates the entire recording. She might be a bit down on men during the nonplussed "All That I Need Is Love," but her subdued optimism glows cool. "Sweet Memory" might possibly parallel Feist or perhaps KT Tunstall in a rural country mode, while "Gone" is clearly folkish, and the slow "Some Lessons" expresses a contemporary Nashville precept. The laid-back music behind Gardot is basically acoustic, incorporating hip jazz instrumentation, especially the trumpet of Patrick Hughes and occasional organ, Wurlitzer, or Fender Rhodes from Joel Bryant, but with twists including violin, lap steel, and Dobro. The concise nature of this recording and these tunes perfectly reflects the realization that life is precious, every moment counts, and satisfaction is fleeting. Likely to be placed in the Norah Jones/Nellie McKay/Madeleine Peyroux pseudo jazz/pop sweepstakes, Gardot offers something decidedly more authentic and genuine. She's one-upped them all out of the gate. ~ Michael G. Nastos

Jazz - Released December 6, 2005 | Rhino - Warner Bros.

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This album is one of David Sanborn's better early recordings. Although the record is perhaps best known for the altoist's version of Paul Simon's "I Do It For Your Love," Sanborn's playing on some of the other cuts (most notably "Mamacita" and "7th Avenue") finds him really stretching within the R&B/crossover genre. Only "Smile" (which has some mundane vocalizing) is a minus, and it is more than compensated for by Sanborn's passionate improvising elsewhere. ~ Scott Yanow

Jazz - Released October 15, 1993 | Maverick

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