Albums

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

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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 May 20, 2013 | Le Chant du Monde

Booklet Distinctions The Qobuz Ideal Discography - The Qobuz Standard
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Vocal Jazz - Released January 1, 1998 | Pacific Jazz

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Vocal Jazz - Released January 1, 2013 | Verve

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Vocal Jazz - Released January 1, 2014 | Verve

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Vocal Jazz - Released January 1, 1960 | Verve

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Vocal Jazz - Released August 27, 2013 | Bethlehem Records

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

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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
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Vocal Jazz - Released September 30, 2014 | Bethlehem Records

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Vocal Jazz - Released January 1, 2014 | Verve

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Vocal Jazz - Released January 1, 1993 | Capitol Records

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

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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
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Vocal Jazz - Released November 13, 2015 | Okeh

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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 September 23, 2014 | Streamline - Columbia - Interscope

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

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Vocal Jazz - Released January 1, 1992 | Warner Jazz

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The recording history of Little Jimmy Scott is peppered with long hiatuses from the studio. He was absent for a period of seven years from 1962 to 1969 and then for more than 15 years from 1975 to 1990. Bordering on singing in the range of a counter tenor, Scott brings a distinctive, immediately recognizable sound and sensitivity to material he sings. It is hard to find any other vocalist, other than Billie Holiday, who matches Scott's depth of emotion that he applies to the classic standards he favors. All the Way was recorded more than 40 years after Scott made his first album for Roost. Over those years, even with his long absences, he has been able to command the services of top of the line musicians. He is one of those rare vocalists that jazz musicians like to be on the stage or in the studio with. And this album is no exception, featuring an all-star lineup that includes Kenny Barron, Ron Carter, and Grady Tate on rhythm. David "Fathead" Newman's soulful sax on such cuts as "All the Way" compliments Scott's delivery perfectly. Like Scott, Newman leaves abundant room between the measures to allow the song to breathe, the listeners to gain the full flavor of what he has played and to anticipate what's to follow in a second or two. On such tunes as "Angel Eyes" and "At Last," Scott's delivery goes beyond mere poignancy, and moves close to reverence, such respect he has for the classics he has put in the song list. This is good stuff. Strings magically appear on some tracks. But they are done tastefully and don't get in the way. Jimmy McDonough's knowledgeable highlights of Scott's career are a welcome added attraction. ~ Dave Nathan
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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
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Vocal Jazz - Released January 1, 2013 | Verve

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Vocal Jazz - Released January 1, 1998 | Capitol Records

Distinctions The Qobuz Ideal Discography

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Vocal Jazz in the magazine