Albums

£12.99

Vocal Jazz - Released January 19, 2018 | Okeh

Booklet
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£6.39

Vocal Jazz - Released January 19, 2018 | Jazz Eleven

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Vocal Jazz - Released January 8, 2018 | Indielabel

Vocal Jazz - Released January 5, 2018 | Brand Music Records

Vocal Jazz - Released December 29, 2017 | AAO Music

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Vocal Jazz - Released December 19, 2017 | ZKP RTVSLO

£6.39

Vocal Jazz - Released December 8, 2017 | Jasmine Records

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Vocal Jazz - Released December 1, 2017 | MondoTunes

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Vocal Jazz - Released December 1, 2017 | Verve

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True fans of Ella Fitzgerald must be having a hard time trying to find storage space for the live albums of their idol, since there are so many of them. And yet, this one, completely new, is rather special as it proposes a concert offered in Hollywood’s Zardi’s Jazzland on 2nd February, 1956 - a few days before she recorded her first disc for Verve. Originally recorded by Norman Granz to celebrate this signature on his label, these two sets will in the end remain in the archives to the detriment of Ella Fitzgerald Sings The Cole Porter Song Book, a studio disc that would launch her series of albums devoted to the songbooks of the great American authors… In this year 1956, Ella Fitzgerald is almost 40 already and is far from being unknown. But her transition from Decca to Verve would finally propel her into a completely new level of fame. We hear her here full of exuberance, joy and energy. Her voice is astoundingly fluid, and her sense of rhythm is difficult to surpass. And even when she forgets part of the text, the great entertainer that she is takes over and the adoration from the audience doesn’t waiver one bit. As for her repertoire, she makes the masterpieces her own, penned by Duke Ellington (In A Mellow Tone), Cole Porter (My Heart Belongs To Daddy), Jerome Kern (A Fine Romance) and the Gershwin brothers (S'Wonderful, I've Got a Crush On You). As for the disciples to this voice, we find the pianist Don Abney, bass player Vernon Alley and drummer Frank Capp - all impeccable bodyguards, even if later, musicians of a completely different level will assist the singer. It’s very touching to hear, in the first seconds of the disc, Norman Granz tell the Californian audience: “For me she’s the greatest there is: Miss Ella Fitzgerald!” © MZ/Qobuz
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Vocal Jazz - Released December 1, 2017 | Fire Records

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One year after Giant Sand was put to bed, the faithful and prolific leader Howe Gelb carried on down the classy and experimental route. Martinis and blue smoke evaporate from Further Standards, an intensification of the preceding Future Standards from which he took the compositions back to the studio or the stage. We also find two new tracks here; Presumptuous and All You Need To Know to open the album. But the real added value of the work resides in the omnipresence of Lonna Kelly, who has already appeared on Terribly So, A Book You’ve Read Before and even Blurry Blue Mountain (2010) with Giant Sand. On the guitar, we find Naïm Amor, Thøger Lund on the bass and Andrew Collberg on the drums. Within the atmosphere of a hushed club that’s frozen in the 1940/50s with Nat King Cole and Hoagy Carmichael, the throaty voice of the Tuscan prince finds a notable echo in Kelly’s whispered and velvety vocals. Vulnerable and cavalier, these evocations of antagonizing love should be consumed at nightfall. With moderation. © CS/Qobuz
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Vocal Jazz - Released December 1, 2017 | Caroline Records

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Van Morrison never had to choose between rock, blues, rythm ‘n’ blues, soul and jazz, since he created his own style, the Van Morrison style; that is to say a subtle blend of rock, blues, soul and jazz… Sometimes, however, the septuagenarian bard from Belfast insists a bit more on one of those genres. Like here with Versatile, where the mood is definitely jazzy. Only three months after having released Roll With The Punches, in which he covered soul and blues wonders penned by Sam Cooke, Bo Diddley or Little Walter, this time round he revisits classics that have become legends of the blue note. In this return to the basics, Van The Man sings the Gershwin brothers (A Foggy Day and They Can't Take That Away From Me), Cole Porter (I Get A Kick Out Of You) and some essentials like Let's Get Lost (popularized by Chet Baker), Bye Bye Blackbird, Makin' Whoopee, The Party's Over, Unchained Melody (magnified in the last century by the Righteous Brothers) and I Left My Heart In San Francisco which was one of Tony Bennett’s greatest hits. It’s a 38th studio album that the master of the blue-eyed soul tackles with some serenity. His crooner voice is no longer his same voice from his 20s or 30s, but he manages to make each and every one of his sentences endearing, poignant even. There’s nothing revolutionary here which could compete with his masterpieces Astral Weeks, Moondance or Veedon Fleece, but a great feeling of serenity anyway. That’s not so bad in a way… © MD/Qobuz
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Vocal Jazz - Released November 19, 2017 | EVC Records For Life

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Vocal Jazz - Released November 10, 2017 | Decca

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It’s always some kind of baptism of fire. Not a prerequisite but a way to measure oneself to one’s colleagues from yesterday and today. With the aptly named Standards, his tenth studio album, Seal climbs the Everest of the great jazz and swing classics. After three decades, the Brit doesn’t have anything to prove anymore about the soul quality of his voice. But this retro-flavored enchanted digression reminds us of how this powerful and sultry organ can master any repertoire. Recorded for the most part in the famous Capitol studios in Los Angeles, precisely where Frank Sinatra, Dean Martin, Nat “King” Cole and many others have recorded some of their greatest discs, Standards has incidentally been created with the help of musicians that have assisted these great voices. We find pianist Randy Waldman (Frank Sinatra, Paul Anka), bass player Chuck Berghofer (Ella Fitzgerald, Ray Charles) and drummer Greg Fields (Quincy Jones, Stevie Wonder), all gathered so that Seal would give his reinterpretations of Autumn Leaves, I Put A Spell On You, Love For Sale, My Funny Valentine, I've Got You Under My Skin, Smile, I'm Beginning To See The Light and Let It Snow, Let It Snow, Let It Snow. “This is the album I have always wanted to make, explains the concerned party. I grew up listening to music from the Rat Pack era, so recording these timeless tunes was a lifelong dream. It was a true honour to collaborate with the same musicians who performed with Frank Sinatra and so many of my favourite artists, in the very same studios where the magic was first made – it was one of the greatest days of my recording career.” We can easily imagine that… © CM/Qobuz
£12.49

Vocal Jazz - Released November 10, 2017 | Decca

It’s always some kind of baptism of fire. Not a prerequisite but a way to measure oneself to one’s colleagues from yesterday and today. With the aptly named Standards, his tenth studio album, Seal climbs the Everest of the great jazz and swing classics. After three decades, the Brit doesn’t have anything to prove anymore about the soul quality of his voice. But this retro-flavored enchanted digression reminds us of how this powerful and sultry organ can master any repertoire. Recorded for the most part in the famous Capitol studios in Los Angeles, precisely where Frank Sinatra, Dean Martin, Nat “King” Cole and many others have recorded some of their greatest discs, Standards has incidentally been created with the help of musicians that have assisted these great voices. We find pianist Randy Waldman (Frank Sinatra, Paul Anka), bass player Chuck Berghofer (Ella Fitzgerald, Ray Charles) and drummer Greg Fields (Quincy Jones, Stevie Wonder), all gathered so that Seal would give his reinterpretations of Autumn Leaves, I Put A Spell On You, Love For Sale, My Funny Valentine, I've Got You Under My Skin, Smile, I'm Beginning To See The Light and Let It Snow, Let It Snow, Let It Snow. “This is the album I have always wanted to make, explains the concerned party. I grew up listening to music from the Rat Pack era, so recording these timeless tunes was a lifelong dream. It was a true honour to collaborate with the same musicians who performed with Frank Sinatra and so many of my favourite artists, in the very same studios where the magic was first made – it was one of the greatest days of my recording career.” We can easily imagine that… © CM/Qobuz
£15.99

Vocal Jazz - Released November 10, 2017 | Decca

It’s always some kind of baptism of fire. Not a prerequisite but a way to measure oneself to one’s colleagues from yesterday and today. With the aptly named Standards, his tenth studio album, Seal climbs the Everest of the great jazz and swing classics. After three decades, the Brit doesn’t have anything to prove anymore about the soul quality of his voice. But this retro-flavored enchanted digression reminds us of how this powerful and sultry organ can master any repertoire. Recorded for the most part in the famous Capitol studios in Los Angeles, precisely where Frank Sinatra, Dean Martin, Nat “King” Cole and many others have recorded some of their greatest discs, Standards has incidentally been created with the help of musicians that have assisted these great voices. We find pianist Randy Waldman (Frank Sinatra, Paul Anka), bass player Chuck Berghofer (Ella Fitzgerald, Ray Charles) and drummer Greg Fields (Quincy Jones, Stevie Wonder), all gathered so that Seal would give his reinterpretations of Autumn Leaves, I Put A Spell On You, Love For Sale, My Funny Valentine, I've Got You Under My Skin, Smile, I'm Beginning To See The Light and Let It Snow, Let It Snow, Let It Snow. “This is the album I have always wanted to make, explains the concerned party. I grew up listening to music from the Rat Pack era, so recording these timeless tunes was a lifelong dream. It was a true honour to collaborate with the same musicians who performed with Frank Sinatra and so many of my favourite artists, in the very same studios where the magic was first made – it was one of the greatest days of my recording career.” We can easily imagine that… © CM/Qobuz

Genre

Vocal Jazz in the magazine