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


Vocal Jazz - Released May 22, 2019 | nagel heyer records


Vocal Jazz - Released May 31, 2019 | Resonance Records


Vocal Jazz - Released May 3, 2019 | Jazz Music Social Club


Vocal Jazz - Released May 27, 2019 | Fresh Sound Records


Vocal Jazz - Released January 1, 2014 | Verve


Vocal Jazz - Released January 1, 1998 | Pacific Jazz

Distinctions The Qobuz Standard

Vocal Jazz - Released May 20, 2013 | Le Chant du Monde

Booklet Distinctions The Qobuz Ideal Discography - The Qobuz Standard

Vocal Jazz - Released September 14, 2018 | Verve

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

Vocal Jazz - Released August 27, 2013 | Bethlehem Records

Hi-Res Booklet Distinctions Hi-Res Audio

Vocal Jazz - Released January 1, 1993 | Capitol Records

Distinctions The Qobuz Ideal Discography - The Qobuz Standard
For an overview of Nat "King" Cole's years as a remarkably popular singer, this four-CD box would be difficult to top. Containing 100 songs spanning a 20-year period, this box has virtually all of Cole's hits, some of his best jazz sides, and more than its share of variety, including a humorous previously unreleased version of "Mr. Cole Won't Rock & Roll." Recommended to beginners and veteran collectors alike, its attractive booklet is also a major asset. ~ Scott Yanow

Vocal Jazz - Released January 1, 2009 | FRANK SINATRA DIGITAL REPRISE

Distinctions The Qobuz Ideal Discography

Vocal Jazz - Released November 13, 2015 | Okeh

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

Vocal Jazz - Released September 23, 2014 | Streamline - Columbia - Interscope


Vocal Jazz - Released January 1, 2013 | Verve

Hi-Res Distinctions Hi-Res Audio

Vocal Jazz - Released January 16, 2012 | Boutique

Distinctions Sélection Les Inrocks
A tribute to her musical hero, Nina Simone, Black Orchid is the fourth studio album from British-Malawi jazz vocalist and protégée of Nouvelle Star judge André Manoukian, Malia. The self-produced follow-up to 2007's Young Bones includes 13 interpretations of the legendary singer's biggest hits, including "My Baby Just Cares for Me," "Feeling Good," and "I Put a Spell on You." ~ Jon O'Brien

Vocal Jazz - Released January 17, 2006 | RCA - Legacy

Distinctions The Qobuz Ideal Discography
Nina Simone Sings the Blues, issued in 1967, was her RCA label debut, and was a brave departure from the material she had been recording for Phillips. Indeed, her final album for that label, High Priestess of Soul, featured the singer, pianist, and songwriter fronting a virtual orchestra. Here, Simone is backed by a pair of guitarists (Eric Gale and Rudy Stevenson), bassist (Bob Bushnell), drummer (Bernard "Pretty" Purdie), organist (Ernie Hayes), and harmonica player who doubled on saxophone (Buddy Lucas). Simone handled the piano chores. The song selection is key here. Because for all intents and purposes this is perhaps the rawest record Simone ever cut. It opens with the sultry, nocturnal, slow-burning original "Do I Move You," which doesn't beg the question but demands an answer: "Do I move you?/Are you willin'?/Do I groove you?/Is it thrillin'?/Do I soothe you?/Tell the truth now?/Do I move you?/Are you loose now?/The answer better be yeah...It pleases me...." As the guitarists slip and slide around her husky vocal, a harmonica wails in the space between, and Simone's piano is the authority, hard and purposely slow. The other tune in that vein, "In the Dark," is equally tense and unnerving; the band sounds as if it's literally sitting around as she plays and sings. There are a number of Simone signature tunes on this set, including "I Want a Little Sugar in My Bowl," "Backlash Blues," and her singular, hallmark, definitive reading of "My Man's Gone Now" from Porgy and Bess. Other notable tracks are the raucous, sexual roadhouse blues of "Buck," written by Simone's then husband Andy Stroud, and the woolly gospel blues of "Real Real," with the Hammond B-3 soaring around her vocal. The cover of Buddy Johnson's "Since I Fell for You" literally drips with ache and want. Simone also reprised her earlier performance of "House of the Rising Sun" (released on a 1962 Colpix live platter called At the Village Gate). It has more authority in this setting as a barrelhouse blues; it's fast, loud, proud, and wailing with harmonica and B-3 leading the charge. The original set closes with the slow yet sassy "Blues for Mama," ending with the same sexy strut the album began with, giving it the feel of a Möbius strip. Nina Simone Sings the Blues is a hallmark recording that endures; it deserves to be called a classic. ~ Thom Jurek

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

Vocal Jazz - Released July 12, 2013 | Okeh - Sony Masterworks

Distinctions Découverte JAZZ NEWS
Branching away from standards on her second album Way Down Low, Austin-based jazz vocalist Kat Edmonson also expands her musical worldview, going beyond the sophisticated cabaret of her 2009 debut Take to the Sky and creating a breezy neo-tribute to the swinging '60s. That was the decade that produced Brian Wilson's "I Just Wasn't Made for These Times," one of the few covers on Way Down Low and a sentiment that applies to Edmonson but in a different way. Where the Beach Boy was pining for the days before rock & roll, Edmonson would certainly feel more comfortable in either the '60s or '50s, where bossa nova, swing, and pop mingled happily, as they do here. Certainly, these sounds give Way Down Low a distinctly retro vibe, but Edmonson isn't living in the past, she's pledging allegiance to a tradition, a tradition she finds flexible enough to refashion for modern times. And Kat Edmonson is a modern girl -- after all, she funded the production of Way Down Low via Kickstarter, a move that gave her artistic freedom and professional production, taking full advantage of those two elements. Way Down Low is rich and varied, as are Edmonson's girlish vocals, which never succumb to cloying sweetness or stereotypical scatting. She's nimble and creative within the boundaries of her chosen traditions, which is why Way Down Low feels simultaneously fresh and timeless. ~ Stephen Thomas Erlewine

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


Vocal Jazz in the magazine