Albums

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Vocal Jazz - Released February 9, 2018 | Decca (UMO)

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In four albums, Worrisome Heart (2008), My One And Only Thrill (2009), The Absence (2012) and Currency Of Man (2015), Melody Gardot has managed to sneak in between Diana Krall and Norah Jones to also find her place in the selective club of the female singers that are “a bit jazzy but not too much”, this oneiric cast that was so popular during the 50s, and in which she soon made the singularity of her very sensual voice resonate. A voice that she ceaselessly took touring to locations all over the world, and multiple times over at that. And so, there are enough recordings in the cellar to release a live album. However, live discs are rarely a must. There is often something missing, this small impalpable thing, that only those present that night will have kept inside of them… This Live In Europe from Melody Gardot is lucky to have kept, precisely, this “small thing”… The American has probably meticulously built it (apparently, she has listened to more than 300 recordings before making her decision!) by avoiding the true-false best of. “Someday, someone told me, ‘never look back, because there’s no way you’re going back’, she says. It’s nicely said, but if you don’t look back sometimes, it’s hard to see that time is on the verge of catching up to you. We all need to quickly look back into the rear-view mirror from time to time in order to adjust our trajectory. This disc is precisely that, the rear-view mirror of a 1963 Corvette, a postcard of our touring all over Europe. We spent most of our time on the road these last few years, and we’ve taken advantage of this trip to not only get around and get some fresh air but also to try, as much as possible, to get rid of the rules and create something exciting. I’ve been dreaming for years of releasing a live album like this one.” This desire can be felt in every moment of this disc comprised of titles recorded in Paris, Vienna, Bergen, Amsterdam, Frankfurt, Barcelona, Lisbon, Zurich and London. Whether she performs her hits Baby I'm A Fool and My One And Only Thrill or covers the classic Over The Rainbow, Melody Gardot offers up a different point of view, but it’s always an open performance. To help her in her introspective trip that is constantly shifting, she is surrounded by her impeccable musicians, discreet but decisive. Drummer Charles Staab, saxophonist Irwin Hall and bass player Sami Minaie are completely in tune with her singing, like some kind of thin hand that you take and only let go of after the last note. Finally, there is this album cover which will lead to extensive press coverage… or not. © MD/Qobuz
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Vocal Jazz - Released May 4, 2018 | Silvertone

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She loves Madeleine Peyroux and Melody Gardot and she doesn't care who knows it. But Hailey Tuck does have a little something of her own up her sleeve. It's a personal touch that makes this young Texan, who has made landfall in Paris, an attractive voice in its own right, and not a pale imitation of anyone else. Larry Klein, who produced her two idols, even agreed to put together the first album of this starlet who shares a hairdresser with Louise Brooks, and a wardrobe with Josephine Baker. Klein even put together a perfect and never over-produced backdrop, with the help of some five-star studio musicians like drummer Jay Bellerose (Elton John, Robert Plant) and guitarist Dean Parks (Joe Cocker, Steely Dan)… In terms of their repertoire, the eclecticism and quality of these covers also displays thoroughgoing good taste. And the fact that she revisits That Don't Make It Junk by Leonard Cohen, Cry To Me, made famous Solomon Burke, Cactus Tree by Joni Mitchell, Some Other Time by Leonard Bernstein, Underwear by Pulp, Alcohol by the Kinks, Junk by Paul McCartney, I Don’t Care Much from the soundtrack to Cabaret and indeed the wonderful Say You Don’t Mind by Colin Blunstone, Hailey Tuck deploys her voice intelligently and with a dash of retro in every word and every phrase. Let this beautiful and timeless Qobuzissime carry you away... © Max Dembo/Qobuz
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Vocal Jazz - Released January 1, 2013 | Blue Note

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Vocal Jazz - Released May 5, 2017 | Verve

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What better way of making a new record than surrounding yourself with new collaborators? That was the idea that Youn Sun Nah had for She Moves On. Four years after Lento, the Korean singer has taken on a close-knit group comprising John Zorn, Jamie Saft on the piano, the Hammond organ, the Fender Rhodes and the Wurlitzer (he also produced the record), and Brad Jones on the bass alongside drummer Dan Rieser, who worked with Norah Jones in Little Willies. But it is above all the presence of the guitarist Marc Ribot on five of these eleven tracks that draws attention. Surrounded by these four strong personalities, Youn Sun Nah explores a fairly varied repertoire that owes as much to rock as to folk, to rhythms as to lyrics, taking in covers of Joni Mitchell (The Dawntreader), Paul Simon (She Moves On), Lou Reed (Teach The Gifted Children), Jimi Hendrix (Drifting with a searing solo from Ribot) or the traditional Black Is The Color Of My True Love’s Hair. Three original compositions, Traveller, Evening Star and Too Late, complete this album which is resolutely inspired by American music and which presents her impressive voice in a context which rightly recalls Norah Jones, or Melody Gardot. But Youn Sun Nah's vocal personality is strong enough that she never seems to be stepping on her illustrious sisters’ toes, and she offers, from the outset, a record that is all her own. © MD/Qobuz
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Vocal Jazz - Released September 14, 2018 | Verve

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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 October 21, 2014 | Verve

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With Wallflower, Diana Krall has made a journey to the wellspring of pop. For this album, coming out on Verve, the Canadian singer and pianist revisits tracks that were made famous by The Mamas & The Papas, Elton John, the Eagles, the Carpenters, Gilbert O’Sullivan, 10CC, Randy Newman, Crowded House, Bob Dylan and the Beatles. Diana Krall lends this collection charm, class and refinement which are all her own… © CM/Qobuz
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Vocal Jazz - Released October 27, 2017 | Blue Note

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It’s always good when the genius of an artist is rekindled. With this luxurious album, Gregory Porter puts his body and soul into the repertoire of one of his idols: Nat King Cole. A unique musician who slalomed between pure jazz and easy listening, a virtuosic pianist, an innovator with a great finesse, and, clearly, a fascinating singer/crooner equipped with a velvet voice, profound and romantic, recognizable by all, Nat King Cole is in good hands here! He has one of the most impressive soul’n’jazz voices of the past few years. Above all, Gregory Porter has a much richer and more complex soul to that of his peers, with all due respect! For Nat King Cole is a common theme in the life of the Californian forty-year-old who knows every nook and cranny of the Great Black Music. "He was one of a kind. He left such great music - such beautiful things to listen to that you can’t help but be influenced by that extraordinary timbre, style, and ultimate cool… I wrote this little song when I was five and put it on a tape and played it for my mother when she came home from work. She said ‘Boy you sound just like Nat King Cole’! I remember thinking how strange that name was, going through her records, and first seeing his image: this elegant, handsome, strong man sitting by the fire, looking like somebody’s daddy. Then I put the vinyl on the player and out of those speakers came that voice, that nurturing sound. It filled a void in me. My father wasn’t in my life; he wasn’t raising me; he wasn’t showing any interest in me. So Nat’s words, ‘pick yourself up, dust yourself off, start all over again’ - all of these life lessons and words of wisdom were like fatherly advice. They were coming out of the speakers like Nat was singing those words just to me. I would listen to his albums and imagine that Nat was my father." This love for Nat King Cole’s music pushed him to adopt the jazzman as a substitute father! Furthermore, after having played in the musical It Ain’t Nothin’ But the Blues, Porter decided to take his relationship to Cole to the stage by writing Nat King Cole & Me, a largely autobiographical musical that showed for the first time in 2004. "In a certain way I tried to find my father. I wrote it after my father died. This spectacle, for which I composed most of the music, speaks about Nat King Cole. But mostly in the way in which I got closer to his music because of the absence of my father. It was like a kind of therapy that I prescribed to myself. Almost 800 people came to watch each night." With help from the arranger Vince Mendoza and with a group composed of the pianist Christian Sands, the bassist Reuben Rogers and the drummer Ulysses Owens, Gregory Porter will satisfy the needs of fans of the singer/pianist who died in 1965. © CM/Qobuz
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Vocal Jazz - Released November 9, 2018 | Decca (UMO)

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Vocal Jazz - Released November 30, 2018 | Blue Note Records

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In 2017, Gregory Porter released a tribute album - or rather a love letter, to the man he considers his ultimate hero: Nat King Cole. A remarkable musician who weaved his way between pure jazz and easy listening, an innovative and highly skilled pianist-virtuoso, and of course, a captivating singer/crooner with his deep, romantic and velvety voice that set him apart from everyone - this genius had never before been commemorated in so much style. In this live performance recorded on the prestigious stage of the Royal Albert Hall in London, Gregory Porter is supported by his trusty quartet (pianist Chip Crawford, bassist Jahmal Nichols, drummer Emanuel Harrold and saxophonist Tivon Pennicott) as well as by the 70 musicians of the London Studio Orchestra, conducted by Vince Mendoza. He features pieces that are closely associated with Nat King Cole (Mona Lisa, Nature Boy…) but also some of his own compositions ( Hey Laura, When Love Was King, Don’t Lose Your Steam…). Throughout One Night Only it is fascinating to see how Gregory Porter is just as comfortable when singing alongside the sophistication of the string section as he is in the rougher and groovier sequences. A vocal range that makes this show truly magical. © Clotilde Maréchal/Qobuz
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Vocal Jazz - Released March 22, 2013 | ACT Music

Hi-Res Booklet Distinctions 4F de Télérama - Le top 6 JAZZ NEWS - Qobuzissime - The Qobuz Standard - Hi-Res Audio - Sélectionné par Ecoutez Voir
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Vocal Jazz - Released November 9, 2018 | Okeh

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Vocal Jazz - Released January 1, 2013 | Philips

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Vocal Jazz - Released March 2, 2018 | Okeh

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After a beautiful homage to Nat King Cole, the most French of the British singers flew out to New Orleans in order to record new compositions with his fellow travelers, a local brass band and the virtuoso guitarist Freddy Koella, co-director of Who’s Happy ?. Dancing percussion, brass instruments filled with soul, guitars blending blues and jazz, nothing is missing from his groovy fiesta that is sometimes punctuated nostalgic and laidback overtones and in which Hugh Coltman managed to slip in his personal touch. There resides the strength of a disc which respects tradition that he tackles with a contemporary eye. It is worth noting the participation of Melissa Laveaux on Hand Me Downs. © Clotilde Maréchal/Qobuz
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Vocal Jazz - Released September 7, 2018 | Blue Note (BLU)

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Kandace Springs is a reincarnation of the great soul divas. Divine beauty, a charming name, since she released her first album, all eyes have been on this young woman. Soul Eyes, released on Blue Note in 2014, saw her float away into a sublime cloud of soul-jazz with pop highlights. Four years later, she is attracting attention with a full different creation, named Indigo. Roberta Flack, Luther Vandross, Billie Holiday and Nina Simone are just a few names of her childhood influences, names that are still casting their spell over her performances. A warm timbre, a supple and delicate diction that goes hand in hand with her mastery of the piano, Indigo is a stunning mix of covers and original pieces written by Evan Rogers and Carl Sturken. The album opens on the pop-romantic overture Don't Need The Real Thing; funk airs follow on People Make The World Go 'Round and a jazzy instrumental on Unsophisticated: Springs seems unsure about where to really let her voice take off, but it works! She is testing out her capacities and limits in some contradictory registers. Fix Me even ventures into classical, with a mix of Prélude opus 28 n°4 by Chopin, imitation Gainsbourg and a more soulful Jane B sound. It's an unexpected mix but it is all brought together marvellously by the smoke timbre of this winning singer. © Anna Coluthe/Qobuz
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Vocal Jazz - Released May 19, 2017 | ACT Music

Hi-Res Booklet Distinctions 4F de Télérama - 5 Sterne Fono Forum Jazz
What better way of making a new record than surrounding yourself with new collaborators? That was the idea that Youn Sun Nah had for She Moves On. Four years after Lento, the Korean singer has taken on a close-knit group comprising John Zorn, Jamie Saft on the piano, the Hammond organ, the Fender Rhodes and the Wurlitzer (he also produced the record), and Brad Jones on the bass alongside drummer Dan Rieser, who worked with Norah Jones in Little Willies. But it is above all the presence of the guitarist Marc Ribot on five of these eleven tracks that draws attention. Surrounded by these four strong personalities, Youn Sun Nah explores a fairly varied repertoire that owes as much to rock as to folk, to rhythms as to lyrics, taking in covers of Joni Mitchell (The Dawntreader), Paul Simon (She Moves On), Lou Reed (Teach The Gifted Children), Jimi Hendrix (Drifting with a searing solo from Ribot) or the traditional Black Is The Color Of My True Love’s Hair. Three original compositions, Traveller, Evening Star and Too Late, complete this album which is resolutely inspired by American music and which presents her impressive voice in a context which rightly recalls Norah Jones, or Melody Gardot. But Youn Sun Nah's vocal personality is strong enough that she never seems to be stepping on her illustrious sisters’ toes, and she offers, from the outset, a record that is all her own. © MD/Qobuz
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Vocal Jazz - Released April 27, 2018 | ECM

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After two albums at the head of a rather jazzy quartet, Elina Duni is now releasing a collection of songs under her own name that evoke love as well as loss and departure. Recorded in the studios La Buissonne in the south of France in July 2017 under the artistic direction of Manfred Eicher from ECM, Partir is undeniably her most personal opus. Her most intimate too. In this album entirely written and produced on her own, the singer from Tirana plays on the piano, on the guitar and on percussions in tunes drawing from a multitude of sources, from folk to popular music: traditional songs from Albania, Kosovo, Armenia, Macedonia, Switzerland and Arabic Andalusia, but also Jacques Brel’s Je ne sais pas, Alain Oulman’s Meu Amor, Domenico Modugno’s Amara Terra Mia or even Let Us Dive In by Duni herself. To highlight her voice’s expressiveness, she has logically opted for sleek arrangements. In this context, her singing is beautifully emphasised and becomes the common theme throughout her electric repertoire. An organ that can be poignant at times, particularly when she sings about suffering, in a sort of Balkan fado, like a European blues following in the footsteps of Billie Holiday − the ultimate ambassador of human flaws, whom she admires above everything else! The listener comes out dazed by the captivating beauty of what turns out to be Elina Duni’s most stunning album so far… © Marc Zisman/Qobuz
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Vocal Jazz - Released October 27, 2017 | Capitol Records, LLC

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It is important to realize that Norah Jones is not just a famous persona waving from the cover of a glossy magazine, or simply “a pretty face". The truth is far deeper... Day Breaks is further evidence of her undeniable talent, but also of a tangible artistic evolution. Mixing beautiful original compositions with a sprinkling of great classics (Horace Silver, Neil Young and Duke Ellington), the sixth album from the New Yorker who grew up in Texas brings her many and diverse passions together in one place.  Always lying within the realms of jazz, soul, pop and folk, it is her sincere and visceral love for the former that inhabits this stylish album, which doesn't dwell in the past for a single second. Over the years, the piano (much like her vocals) have toggled between nonchalance and pugnacity. Saxophonist Wayne Shorter, bassist John Patitucci and drummer Brian Blade are among the accomplices invited to the party here, and the experience of those involved is truly telling. Somehow, Day Breaks manages to see eye to eye with Come Away With Me, her first disc released back in 2002, and one that propelled her to the top of the charts. This 2016 vintage is even more structured than previous efforts. Mastered to perfection, the latest effort serves to epitomize the grace and beauty of this timeless artist. © MZ / Qobuz
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Vocal Jazz - Released January 1, 2009 | Verve

Distinctions The Qobuz Ideal Discography
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Vocal Jazz - Released April 27, 2018 | Legacy Recordings

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Vocal Jazz - Released January 1, 2013 | Blue Note

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Vocal Jazz in the magazine