Albums

£15.99

Vocal Jazz - Released April 5, 2010 | Fremeaux Heritage

£14.49

Vocal Jazz - Released October 26, 2010 | Columbia - Legacy

£13.99

Vocal Jazz - Released April 19, 2005 | Rhino Atlantic

Distinctions The Qobuz Ideal Discography
Most of this highly recommended set is taken from a series of 1957 sessions in which singer Chris Connor exclusively interprets songs of George Gershwin. To fill out the CDs, additional Gershwin cuts from other, otherwise unrelated dates by the vocalist have been added. Connor's cool delivery gives many of the largely familiar songs new life. She is assisted by such fine musicians as trumpeter Joe Newman, tenorman Al Cohn, flutist Herbie Mann, vibraphonist Milt Jackson and pianist Ralph Sharon, who add tasteful and concise solos. Many of the selections were quite rare before this well-conceived and appealing reissue was put together. ~ Scott Yanow
£22.49
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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
£12.49

Vocal Jazz - Released January 1, 1994 | Clef Records

The first of seven volumes to present all of Billie Holiday's Verve recordings, JAZZ AT THE PHILHARMONIC gathers live performances from 1945 to 1947, as well as her 1957 Newport Jazz Festival set and the two songs she sang at the Seven Ages of Jazz Festival in 1958. Throughout, Holiday's voice transcends fluctuations in sound quality to swirl straight into the listener's blood. Lady Day exhibits total control of her achingly expressive, emotionally charged voice and sweeps it through the phrasings of "Fine and Mellow," "The Man I Love," and "Trav'lin' Light" with the fluid ease and interpretive brilliance of a seasoned instrumentalist. There is a noticible difference in vocal timbre in the Newport recordings-- thicker, darker and more bluesy. While not as techinically proficient as her earlier work, there is an appeal to this style as well-- since the sweet, sexy embellishments in "Nice Work If You Can Get It" and the sustained notes in "My Man" suggest new approaches to time and phrasing. JAZZ AT THE PHILHARMONIC is a memorable collection and, at moments, manages to capture Holiday at her finest.
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Vocal Jazz - Released March 19, 2012 | Parlophone France

Featuring performances of Great American Songbook standards "The Best Is Yet to Come," "They Can't Take That Away from Me," and "It Might as Well Be Spring" alongside classic French chansons "Ces Petits Riens," "Samba Saravah," and "Jardin d'Hiver," Dreamer in Concert is the first live album from Grammy-nominated New Jersey jazz singer Stacey Kent. Recorded at La Cigale in Paris in May 2011, the 13-track collection also includes four previously unrecorded songs, including covers of Antonio Carlos Jobim's "Water of March" and "Dreamer," and two new compositions co-penned by saxophonist husband Jim Tomlinson with author Kazuo Ishiguro ("Postcard Lovers") and Portuguese poet Antonio Ladeira ("O Comboio"). ~ Jon O'Brien
£12.00

Vocal Jazz - Released June 7, 2018 | nagel heyer records

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

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Vocal Jazz - Released March 16, 2018 | nagel heyer records

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Vocal Jazz - Released March 15, 2018 | nagel heyer records

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

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Vocal Jazz - Released October 26, 2018 | nagel heyer records

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Vocal Jazz - Released November 27, 2018 | nagel heyer records

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Vocal Jazz - Released September 10, 2018 | nagel heyer records

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Vocal Jazz - Released November 13, 2015 | Okeh

Booklet
With Tenderly, her first album for the label OKeh, Stacey Kent returns to the repertoire of great standards that made her famous. Nothing but a pure and quiet intensity that comes with astonishing vividness, intimately revealing both the soul of the song and of the artist simultaneously. This is probably where the magic of this American singer lies. With this record, Kent also inaugurates a new remarkable collaboration by joining forces with Brazilian guitarist Roberto Menescal. Just like Julie London with Barney Kessel, and Ella Fitzgzerald with Joe Pass, Stacey Kent found in Menescal the ideal companion to transcend some of the most beautiful pages of the great american songbook. Simple, beautiful and powerful. © CM / Qobuz
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Vocal Jazz - Released July 28, 1998 | RCA Records Label

Nina Simone recorded for RCA Records between 1967 and 1972. While she was in fine form during those years, she didn't make her best records there, and sounded particularly ill at ease whenever she did pop-rock covers, which was more often than she should. However, these songs are selling points for a certain audience, namely the audience RCA is targeting with their generous 40-track collection, The Very Best of Nina Simone. True, her recordings during these five years were a little inconsistent, as she covered the classics, performed new songs, and tackled contemporary material, so perhaps it's fitting that this compilation is also a little schizophrenic. Nevertheless, that doesn't make the compilation much more than an interesting summation of a conflicted, occasionally rewarding, era of Simone's career that will be useful for already-dedicated fans that want to explore a little deeper than just her classic recordings. ~ Stephen Thomas Erlewine
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Vocal Jazz - Released September 14, 2018 | Verve

Hi-Res
Two generations. Two styles. Two voices. And an album in common… For about twenty years, crooner Tony Bennett and singer and pianist Diana Krall had produced a few duos here and there, but never an entire album. With this Love Is Here To Stay, they jumped right in and involved another five-star tandem in their enchanted parenthesis of refined vocal jazz: George and Ira Gershwin. They went digging through the vast repertoire of the most famous brothers of 20th American popular music to create this album that seems from another time, produced with the trio of impeccable pianist Bill Charlap, Peter Washington on the double bass and Kenny Washington on drums… Tackling the Great American Songbook is always a redeeming and almost necessary baptism of fire for any worthy jazz singer. And these two didn’t wait for 2018 to do it. Here, each one excels in what they do best, even if, at 92 years of age, Tony Bennett obviously doesn’t have the same organ as he did when he sung I Left My Heart In San Francisco, which made him popular in 1962. Sinatra’s favourite singer knows it, and manages to find a range in line with his vocal condition. The result is particularly touching. A great professional, Diana Krall adapted her singing to the New Yorker, turning their exchanges into endearing, slightly retro flirting. The 38 years between them become the main asset of an old-fashioned yet delightful album. © Clotilde Maréchal/Qobuz
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Vocal Jazz - Released December 1, 2017 | Exile

Hi-Res
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 December 1, 2017 | Verve Reissues

Hi-Res
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

Genre

Vocal Jazz in the magazine