Albums

£67.49

Vocal Jazz - Released January 1, 2005 | Verve

One of the first box sets for completists only, 1993's ten-disc The Complete Billie Holiday on Verve 1945-1959 was considered nearly a necessity by anyone interested in jazz vocals. Verve returned to the catalog 12 years later with a much tighter, much smarter collection: The Complete Verve Studio Master Takes. Encompassing six discs, the set skips the many live performances and the few alternate takes included on the previous box. Overall, the work compares well to her earlier material for Columbia. Although the old familiar cracks rarely appeared in her voice during her Columbia, Decca, and Commodore years, the song selections weren't all gold, and the needs of that era (the 1930s and '40s) dictated that each side end around the three-minute mark. With Verve during the '50s, Holiday recorded nothing but standards in the studio, and indulged in many longer performances that often resulted in relaxed, methodical songs. Aside from Holiday's mastery of vocal jazz as a form, the practice also allowed for some lengthy, perfectly loving solos by musicians including Ben Webster ("Ill Wind") Harry "Sweets" Edison ("I Didn't Know What Time It Was," "Day in, Day Out"), Benny Carter ("I Get a Kick Out of You," "Prelude to a Kiss"), and Charlie Shavers ("I Wished on the Moon"). If the previous "Complete on Verve" set was an expensive bauble that listeners rarely returned to, this "Complete Verve" is a much brighter proposition. (The accordion-like packaging, however, leaves much to be desired.) ~ John Bush
£22.99

Vocal Jazz - Released June 18, 2007 | Capitol Records

A reasonable sampler featuring several Wilson hits from the '60s and '70s. Although it's impossible to fully convey the depth of her career from one album, this set at least didn't skimp on the jazz and blues numbers that earned her her reputation. ~ Ron Wynn
£18.99

Vocal Jazz - Released January 1, 1999 | Verve

Distinctions The Qobuz Standard
£16.99

Vocal Jazz - Released October 2, 2006 | Parlophone UK

Roulette, the same label that brought the world Jimmie F. Rodgers' "Kisses Sweeter Than Wine" and Joey Dee's "Peppermint Twist," also recorded some wonderful vocal sessions on Joe Williams, Dinah Washington, and Sarah Vaughan. While most of these were dates for ballads and lush strings, they also allowed their artists latitude for a variety of settings. When a Sarah Vaughan album titled After Hours sold better than others -- despite featuring only guitar and bass accompaniment -- they replicated the formula for 1962's wonderful Sarah + 2. Only the personnel changed; Barney Kessel took over from Mundell Lowe, while Joe Comfort stood in for George Duvivier on bass. The results are excellent, highlighting the power of Vaughan's voice, whether she's singing a rosy "All I Do Is Dream of You" or one of the most turgid torch songs, "All or Nothing at All." Her best feature is "When Sunny Gets Blue," a spotlight for her dynamic range. ~ John Bush
£16.99

Vocal Jazz - Released September 10, 2007 | Parlophone UK

£15.49

Vocal Jazz - Released August 12, 1994 | Rhino Atlantic

Two of singer Chris Connor's finest Atlantic albums are reissued in full on this single CD. The laid-back yet coolly emotional jazz singer is heard backed by top-notch rhythm sections (with either Ralph Sharon or Stan Free being the pianist/arranger) and occasional horns (trumpeter Joe Wilder, flutist Sam Most, tenors Al Cohn and Lucky Thompson, flutist Bobby Jaspar and Al Epstein on English horn and bass clarinet) adding some short solos. Connor (then around 30) was in her prime, and her renditions of such songs as "Poor Little Rich Girl," "Lonely Town," "I'm Shooting High," "Moonlight in Vermont," and even "Johnny One Note" are memorable and sometimes haunting. ~ Scott Yanow
£7.99

Vocal Jazz - Released May 17, 2005 | Rhino Atlantic

Recorded at the Village Vanguard with a great quartet (including guest Kenny Burrell on guitar), Chris in Person finds vocal heavyweight Chris Connor showing an even better sense of chops and swing as on her studio dates. She gets off to a great start with the apt "Strike up the Band," torches her way through a few of her standards ("Lover Come Back to Me," "Angel Eyes," "'Round Midnight"), and shows she can swing in a soul groove with an ebullient cover of Ray Charles' "Hallelujah I Love Him So." Add in a pair of songs, "Poor Little Rich Girl" and "All About Ronnie," known best (if at all) as Chris Connor songs, and fans of the best cool singer of the '50s get a rich, dynamic live set showing Connor lighting up a crowd. ~ John Bush
£17.49
£12.49

Vocal Jazz - Released May 27, 2014 | CAPITOL CATALOG MKT (C92)

Hi-Res
£22.49
£15.99

Vocal Jazz - Released November 10, 2017 | Decca (UMO)

Hi-Res
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 (UMO)

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
£22.49

Vocal Jazz - Released January 1, 2009 | Verve

Although many of Billie Holiday's recordings for Commodore and Decca are often overlooked -- at least in comparison to the songs that bookend her career (for Columbia and Verve) -- they include some of her best work, beginning at the end of the '30s with "Strange Fruit" and stretching to the end of the '40s with "God Bless the Child." In 1939, Billie Holiday was a jazz sensation without a hit record. She gained that hit record, and began her journey to musical immortality, when her label Columbia refused to record "Strange Fruit," and jazz fan Milt Gabler welcomed her to his aficionado label, Commodore. Gabler recorded Holiday often over the next ten years, both at Commodore and through his work at Decca in the mid-to late '40s. While on Commodore, Holiday focused on downcast ballads, including "I Cover the Waterfront" and "I Gotta Right to Sing the Blues" (dubbed "loser" songs by Gabler), but she also excelled with warm and affectionate material too, "Embraceable You" and "On the Sunny Side of the Street." Regardless of the material, her backing consisted of small groups usually led by a pair of saloon-sound maestros: Doc Cheatham on trumpet and Eddie Heywood on piano. That sound was in for a switch when Holiday moved to Decca, however, beginning with another big hit, "Lover Man," a pop ballad with the full crossover treatment -- strings and all. (Gabler had no compunction about false notions of purity, and he happily recorded Holiday with strings and backing choruses whenever the song demanded it.) Even more than her work for Commodore, Holiday's work for Decca was melancholy and resigned in the extreme, with sterling treatments of yet more loser songs: "Don't Explain," "Good Morning Heartache," "You Better Go Now," and "What Is This Thing Called Love." Individually, the songs are excellent, and as a package, The Complete Commodore & Decca Masters can hardly be beat. It's a splendid accompaniment to similar sets devoted to Billie Holiday's Columbia and Verve output, and while completists will bemoan the lack of the many alternate takes -- most of the Commodore sides have two alternate takes for each master recording, available elsewhere -- this is all the war-years Billie Holiday one could hope for. ~ John Bush
£13.99

Vocal Jazz - Released January 1, 2005 | Capitol Records

The music on this album features the popular singer June Christy in a ballad-oriented program. She is backed by trombonist Frank Rosolino, a French horn, a sax section, a rhythm section, and a harp, all arranged by her husband, tenor saxophonist Bob Cooper. One in a long string of Christy's Capitol recordings, this fine set (highlighted by "Bewitched," "Do Nothin' 'Till You Hear from Me," "Kissing Bug," and "My Ship") holds its own with the singer's best sets. ~ Scott Yanow
£18.99
£15.49

Vocal Jazz - Released December 2, 2016 | Sony Classical

Hi-Res Booklet Distinctions 4 étoiles de Classica - 5 Sterne Fono Forum Klassik
£12.00

Vocal Jazz - Released February 25, 2019 | nagel heyer records

£12.00

Vocal Jazz - Released January 17, 2018 | nagel heyer records

£12.00

Vocal Jazz - Released July 2, 2018 | nagel heyer records

£11.99

Vocal Jazz - Released April 10, 2019 | Mad Jazz records

£11.99

Vocal Jazz - Released April 17, 2019 | Mad Jazz records

£12.00

Vocal Jazz - Released March 20, 2018 | nagel heyer records

£12.00

Vocal Jazz - Released August 28, 2018 | nagel heyer records

Genre

Vocal Jazz in the magazine