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Ghosts
Hania Rani
Ambient - Released October 6, 2023 | Gondwana Records
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Qobuz Album of the Week
On Ghosts, a variety of keyboards—acoustic piano, electric Fender Rhodes, synths—make up the core of Polish composer, pianist, and singer Hania Rani's sound world. It's an ambient place inflected with delicate melancholia and, occasionally, uplift. A third of the tracks are instrumentals, but rather than simply functioning as musical interludes, the voiceless pieces are an integral part of the album's flow. The hypnotic, slightly ominous instrumental "Oltre Terra" opens the album with carefully crafted pulses, pings, and drones. The piece nicely sets up the incredibly catchy "Hello," where Rani, shaded by backup vocals and jazzy keyboard, gives voice to an irresistible melody that rides rubbery electronic bass and brushed drums. "Don't Break My Heart" hints at gospel and rhythm and blues. Special guest Duncan Bellamy of the British rock band Portico Quartet provides spare and subtle percussion and loops that play off Rani's yearning voice. On "Dancing with Ghosts," Rani is joined by Patrick Watson on vocals and piano; accompanied by a panoply of electronic sounds, their voices mesmerize. The next cut, the gently propulsive "A Day in Never," employs hand percussion and rippling piano to support Rani's rhythmically insistent singing. Icelandic multi-instrumentalist Ólafur Arnalds appears on "Whispering House," where tense breathing and spare and lovely keyboard tones fill the air. The effect is spooky: a haunting of a song that is barely there at all. By contrast, "Thin Line" vibrates with psychedelic energy. Strings arranged by Viktor Orri Árnason wend their way over percolating rhythms as Rani's vocals play with a handful of notes and words. The hypnotic track has a gentle quality but in this dreamy context it qualifies as a rocker. © Fred Cisterna/Qobuz
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Future Nostalgia
Dua Lipa
Pop - Released December 13, 2019 | Warner Records
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With her album Future Nostalgia, Dua Lipa perfectly summed up what pop was becoming: a playground more and more quickly digesting the global sound system, in commercial shackles thanks to rapidly changing musical consumption, to be sublimated and taken out on all sides. Besides, isn't that what British music has always done? Originally from London, the singer released a deluxe version of Future Nostalgia, entitled Moonlight Edition, adding eight tracks to the original, including the single We’re Good, along with songs released earlier in 2020 like the single version of her duet with DaBaby, Levitating. Those additions give Future Nostalgia a more rap-oriented accent, less rooted in synthetic disco, namely the duet with American rapper J.I.D. entitled Not My Problem, is the highlight of this reissue. © Brice Miclet/Qobuz
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Linger Awhile
Samara Joy
Jazz - Released September 16, 2022 | Verve
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Releasing her second album, at the young age of 22, Samara Joy signs with the iconic label Verve to release Linger Awhile. The title track, first recorded almost 100 years ago in 1923 by Bailey's Lucky Seven, stands out as the band (guitarist Pasquale Grasso, pianist Ben Paterson, bassist David Wong and drummer Kenny Washington) and Samara power through this upbeat tune at a breakneck pace. Samara’s surprisingly mature vocals shine on each track, from the cool lounge-jazz of standards like “Can’t Get Out Of This Mood”, “Nostalgia” and “Social Call”, to her ever so tender rendition of Monk’s “Round Midnight” or the particularly special “Someone to Watch Over Me”, originally by Gershwin. Samara Joy’s voice is full-bodied, rich and silky smooth as she caresses each standard with warmth and tenderness. She manages to update these timeless classics with a modern twist, sometimes singing original lyrics using the melodies of famous instrumental solos. An earnest and elegant album that introduces these foundational jazz standards to a younger audience whilst still pleasing the most serious jazz aficionados. © Jessica Porter-Langson / Qobuz
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Nostalgia
Annie Lennox
Jazz - Released October 21, 2014 | Universal-Island Records Ltd.
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Annie Lennox's 2014 covers collection, Nostalgia, finds the former Eurythmics vocalist soulfully interpreting various pop, jazz, and R&B standards. In many ways, Nostalgia works as a companion piece to her similarly inventive 2010 album, the holiday-themed Christmas Cornucopia. As with that album, Lennox eschews predictability by picking an unexpected set of songs and producing them with detailed care. While Nostalgia certainly fits nicely next to any number of other standards albums by veteran pop stars, it does nothing to diminish Lennox's distinctive style. On the contrary, working with producer Mike Stevens, Lennox has crafted an album that brings to mind the sophisticated, contemporary sound of her original studio releases while allowing her to revel in the grand popular song tradition. Moving between evocative piano accompaniment, orchestral numbers, moody synthesizer arrangements, and even some rollicking small-group swing, Lennox takes a theatrical -- yet always personal -- approach to each song, finding endlessly interesting juxtapositions and stylistic combinations to explore. She references Miles Davis' plaintive take on the Porgy and Bess classic "Summertime," tenderly evinces a combination of Billie Holiday and Sade on "Strange Fruit," and draws on both Aretha Franklin and Screamin' Jay Hawkins for "I Put a Spell on You." Elsewhere, tracks like "I Cover the Waterfront" and "Mood Indigo" bring to mind similar recordings from Carole King and Bryan Ferry. Ultimately, even without Nostalgia's impeccable production, in the end it's Lennox's burnished, resonant vocals that steal the focus here, and just like the songs she's picked, their beauty will likely stand the test of time.© Matt Collar /TiVo
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Linger Awhile
Samara Joy
Jazz - Released September 16, 2022 | Verve
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With her sophomore album, 2022's Linger Awhile, Samara Joy achieved an uncommon feat, winning the Grammy Awards for Best Jazz Vocal Album and Best New Artist. While Joy is no stranger to accolades, having emerged to acclaim as the winner of the 2019 Sarah Vaughan International Vocal Jazz Competition, her double success at the Grammys was a surprise for a jazz singer, especially one whose impressive style harks back to icons like the aforementioned Vaughan, Betty Carter, and Dinah Washington. Produced by Matt Pierson, Linger Awhile nicely showcases Joy's verdant tone and adept vocalese skills. Part of the album's charm is how straightforward it is, with Joy framed by her acoustic ensemble featuring longtime guitarist Pasquale Grasso, pianist Ben Paterson, bassist David Wong, and drummer Kenny Washington. There are also tasteful contributions by saxophonist Kendric McCallister, trombonist Donovan Austin, and trumpeter Terrell Stafford. Joy brings a dusky warmth to standards like "Guess Who I Saw Today," "Misty," and an achingly slow rendition of "I'm Confessin' (That I Love You)." Particularly notable is her vocalese take on trumpeter Fats Navarro's "Nostalgia," for which she wrote her own romantic lyrics, including some for the legendary bebop trumpeter's original 1947 solo. While Joy isn't the first jazz singer to sing a transcribed solo with lyrics, her artful attention to detail speaks to her maturity and deep feeling for the music -- aspects redolent throughout Linger Awhile.
© Matt Collar /TiVo
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Future Nostalgia (The Moonlight Edition - Explicit)
Dua Lipa
Pop - Released December 13, 2019 | Warner Records
Note : The last track "Un Día (One Day)" is not available in 24-bit, you should download the album through your Qobuz application for PC / Mac.
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Une autre vie
Raphael
French Music - Released March 8, 2024 | Play Two
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The Montreux Years
John McLaughlin
Jazz Fusion & Jazz Rock - Released March 4, 2022 | BMG Rights Management (UK) Ltd
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There are many jazz pianists and saxophonists out there, but you’re much less likely to come across a jazz guitarist. But when they do get noticed, they often end up becoming a genre unto themselves. John McLaughlin is the perfect example. This English guitarist was born in 1942 and is one of the most important figures within the jazz-fusion movement. McLaughlin, who sparkled in Miles Davis' first electric band in the late 1960s (he was at the heart of the trumpeter's ground-breaking album In a Silent Way), went on to become a superstar with the Mahavishnu Orchestra, a renowned group offering a daring cocktail of jazz, rock and Indian music. Whether working with Miles, Santana, Tony Williams or Jaco Pastorius, John McLaughlin always demonstrates that his talent is accompanied by a good dose of mysticism and, most importantly, taste. Alternating acoustic and electric projects, he tirelessly pursues his experimental art. Everything he produces is intrinsically linked to his personal spiritual quest, which means his concerts feel like a kind of communion with the audience. The Montreux Years is the perfect proof of that! Published in March 2022, this album brings together eight tracks (selected by the master himself) recorded at the prestigious Swiss festival between 1978 and 2016. McLaughlin has been at the helm of the Mahavishnu Orchestra (with Bill Evans, Mitchell Foreman, Jonas Hellborg and Danny Gottlieb), in the company of Paco de Lucia and in the bands One Truth (with Stu Goldberg, L. Shankar, Tom Stevens and Sonship Theus), Heart Of Things (with Gary Thomas, Jim Beard, Matt Garrison and Dennis Chambers), Free Spirits (with Joey DeFrancesco and Dennis Chambers) and 4th Dimension (with Gary Husband, Étienne Mbappé and Ranjit Barot). This is the ideal way to experience the work of a musician who lived to serve music. © Marc Zisman/Qobuz
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Nostalgia Machine
Soft Cell
Electronic - Released September 8, 2023 | BMG Rights Management (UK) Limited
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Lune rouge
Erik Truffaz
Jazz - Released October 11, 2019 | Warner (France)
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It is impossible to be disappointed by an Erik Truffaz album when each recording by the trumpeter is such a rich, dense and especially exotic sensory journey. Lune rouge certainly does not break this rule, created with his regular collaborators Benoît Corboz, Marcello Giuliani and the drummer Arthur Hnatek. Vinyls from the past twenty years of the quartet’s work adorn the walls of the recording studio, not as trophies but rather as pieces of a mosaic still in process. “For this record, we wanted to try some new things. We entrusted Arthur Hnatek to compose the base material from which the quartet was able to work some sounds, arrange and rearrange certain elements… We improvised a whole load of parts which acted as hinges between the compositions.” The final material is manipulated, stretched, cut then reassembled to obtain this enchanting soundtrack punctuated with rock here, some dub there, and ambient music elsewhere. Repetitive sequences gives way to lyrical passages, and Truffaz never forgets to include space and air into this idle music which subverts time, space and stylistic conventions. His efforts sometimes disconnect from the solid ground to try and reach the sky. His filiation with Miles Davis fades away more than ever. Magical. © Max Dembo/Qobuz
It is impossible to be disappointed by an Erik Truffaz album when each recording by the trumpeter is such a rich, dense and especially exotic sensory journey. Lune rouge certainly does not break this rule, created with his regular collaborators Benoît Corboz, Marcello Giuliani and the drummer Arthur Hnatek. Vinyls from the past twenty years of the quartet’s work adorn the walls of the recording studio, not as trophies but rather as pieces of a mosaic still in process. “For this record, we wanted to try some new things. We entrusted Arthur Hnatek to compose the base material from which the quartet was able to work some sounds, arrange and rearrange certain elements… We improvised a whole load of parts which acted as hinges between the compositions.” The final material is manipulated, stretched, cut then reassembled to obtain this enchanting soundtrack punctuated with rock here, some dub there, and ambient music elsewhere. Repetitive sequences gives way to lyrical passages, and Truffaz never forgets to include space and air into this idle music which subverts time, space and stylistic conventions. His efforts sometimes disconnect from the solid ground to try and reach the sky. His filiation with Miles Davis fades away more than ever. Magical. © Max Dembo/Qobuz
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Brilliant Trees
David Sylvian
Alternative & Indie - Released January 1, 1984 | Virgin
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Pitchfork: Best New Reissue
For an album of only seven tracks, Brilliant Trees is an eclectic affair fusing funk, jazz, and ambient. Its best pieces are the moody jazz of "Red Guitar," the dusky atmosphere of "Weathered Wall," and "Brilliant Trees" itself, both of which feature the woozy trumpet of Eno collaborator and fourth-world pioneer Jon Hassell. The record also showcases guest players like Holger Czukay. Some CD editions also carry the three-part "Words With the Shaman" to make up a fuller album.© Kelvin Hayes /TiVo
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Stars Die (Remaster)
Porcupine Tree
Progressive Rock - Released March 25, 2002 | Kscope
U.K. art rock outfit Porcupine Tree devotes an entire box set to their early- to mid-'90s downtempo/prog rock period. Stars Die: The Delerium Years '91-97, narrows its focus to the group's psychedelic, pre-ambient Pink Floyd era that relied heavily on guitarist/founder Steve Wilson's more pop-oriented -- but still epic -- compositions. The two discs pack 21 assorted rarities, previously unreleased tracks, and new mixes into an elegant box featuring a deluxe 40-page booklet that's worth the price of the collection itself. Listeners looking for an entry point into this Porcupine Tree period would do well giving this anthology a shot, while fans of acts like Ozric Tentacles, Tangerine Dream, and Flying Saucer Attack, who have remained in the dark about the group, will likely find them to be a new and wonderful addiction.© James Christopher Monger /TiVo
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On the Sunday of Life (Remaster)
Porcupine Tree
Progressive Rock - Released July 5, 1991 | Kscope
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Arvoles
Avishai Cohen
Jazz - Released June 7, 2019 | naïve
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“This music I give you is straight from my heart. I hope it moves you and uplifts your soul.” With Arvoles, Avishai Cohen’s intentions are quite clear. The Israeli double bass player even detailed them in his album booklet. After several recordings – some of which being pop – that prominently featured his voice, he now returns to the territory of pure jazz. Along with his faithful trio featuring pianist Elchin Shirinov and drummer Noam David – a supporting cast expanded on four tracks with trombonist Björn Samuelsson and flutist Anders Hagberg –, Avishai Cohen expresses his trademark poetic virtuosity in particularly lyrical compositions. Themes with strong melodies that leave ample room for improvisation, and brilliantly playing hide-and-seek with grooves and rhythms.As always with him, the music is filled with influences ranging from classical music to be-bop and Afro-Caribbean rhythms… With its beautiful cover art designed by his mother Ora Cohen, Arvoles appears to be the record of a lifetime: the performance of a 49-year-old artist trying to look back, as much as forward. In this regard, themes featuring wind instruments provide stunning nostalgic flourishes. The entire album is loaded with this feeling of nostalgia, like on Childhood, New York 90’s, or the aptly titled Nostalgia… Arvoles is yet another proof of Cohen’s gifts as a composer. Rarely before has Avishai Cohen’s writing been so inspired. © Marc Zisman/Qobuz
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bedroom walls : le salon
November Ultra
Pop - Released June 2, 2023 | Universal Music Division Virgin Music
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PACIFIC
Haruomi Hosono
J-Pop - Released July 24, 2013 | Sony Music Direct (Japan) Inc.
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The Capitol Studios Sessions
Jeff Goldblum & The Mildred Snitzer Orchestra
Jazz - Released November 9, 2018 | Decca (UMO)
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If there's one word that comes to mind while listening to 2018's The Capitol Studio Sessions -- the debut album from part-time jazz pianist and full-time Jeff Goldblum impersonator Jeff Goldblum -- it's charm. Joking aside, just as with his acting, Goldblum's musical stage presence percolates with his unmistakable charisma, and further cements his long-standing persona as a witty, quirky, gregarious presence. While the album often feels like Goldblum giving one big wink and a smile to his adoring fans after another, part of the fun is that he has the chops to back it up. Having studied piano growing up in Pittsburgh and played lounge gigs throughout much of his career, Goldblum is certainly a gifted performer. While he hands much of the improvisational work over to his bandmates, as a bandleader he acquits himself ably throughout the album, with a warm harmonic sensibility and wonderfully swinging style on full display. Here, he is captured live at the storied Capitol Studios in Los Angeles, backed by his longtime ensemble of studio-pros the Mildred Snitzer Orchestra (lovingly named after a family friend in Pittsburgh). Joining him are a select cadre of special guests including singers Haley Reinhart and Imelda May, trumpeter Till Bronner, and on the giddy, self-referential duet "Me and My Shadow," singer/comedian Sarah Silverman. While Goldblum is the main attraction, he smartly spreads the spotlight, allowing Reinhart and May to sashay their ways through saucy renditions of "My Baby Just Cares For Me," "Straighten Up and Fly Right," and "Come-On-A-My-House." Similarly, he gives Bronner a plethora of solo time, with tracks like the ballad "It Never Entered My Mind," and the organ-accented groover "Don't Mess with Mister T.” One of the many impressive aspects of the Capitol Studio Sessions is just how balanced Goldblum's skills are as he deftly moves his audience from perky vocal standards to swinging instrumental numbers -- each transition aided, of course, with some very charming stage banter.© Matt Collar /TiVo
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Like Minds
Wayne Escoffery
Jazz - Released April 14, 2023 | Smoke Sessions
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What Does Anything Mean? Basically (2009 Remaster)
The Chameleons
Pop - Released January 1, 1985 | Blue Apple Music
Easily the high point of the Chameleons' fascination with digital delays, pedals, and making the studio an instrument, the band's second album still is seen by many a fan as being just a little too lost in the production to have the same impact as Script of the Bridge did, despite equally excellent songs. The decision must ultimately be the listener's, but in the end the production argument is much more a quibble than a condemnation -- no matter how you look at it, What Does Anything Mean? Basically proved to be that rarity of sophomore albums, something that at once made the band all the more unique in its sound while avoiding a repetition of earlier work. Ironically, the first track, "Silence, Sea and Sky," turned out to be the least Chameleons-like track ever, being only a two-minute synth intro piece played by Mark Burgess and Dave Fielding. But with the gentle intro to the absolutely wonderful "Perfumed Garden," lyrically one of Burgess' best nostalgic pieces, it rapidly becomes clear exactly which band is doing this. The empathetic fire that infused Burgess' words for songs like "Singing Rule Britannia (While the Walls Close In)," a poetic attack on the Thatcher government, finds itself matched as always by brilliant playing all around. John Lever's command of the drums continues to impress, and Fielding and Reg Smithies remain guitarists par excellence; the searing, sky-bound solo on "Return of the Roughnecks" alone is a treasure. The sublime combination of the rushing "Looking Inwardly" and the soaring, blasting rip "One Flesh," leading into a relaxed instrumental coda, anchors the second side, while "P.S. Goodbye" provides a lovely, melancholic conclusion to an astounding record. CD copies include the 1981 "In Shreds"/"Nostalgia" single as bonus tracks.© Ned Raggett /TiVo
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