Albums

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Vocal Jazz - To be released November 9, 2018 | Decca (UMO)

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Vocal Jazz - To be released September 28, 2018 | Mack Avenue Records

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Vocal Jazz - To be released September 28, 2018 | Okeh

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Vocal Jazz - Released September 18, 2018 | Record Classics

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Vocal Jazz - Released September 17, 2018 | Session Work Records

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Vocal Jazz - Released September 14, 2018 | JazzWerkstatt Records

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Vocal Jazz - Released September 14, 2018 | JazzWerkstatt Records

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Vocal Jazz - Released September 14, 2018 | Bonsaï Music

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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 September 7, 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
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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 September 3, 2018 | 69 digital

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Vocal Jazz - Released August 31, 2018 | Universal Music Division Decca Records France

Booklet
That Leonard Cohen is still offering inspiration should come as no great surprise. Dubbing her album Anthem after a song by the Canadian singer, Madeleine Peyroux shows us her hand from the off. Perhaps it's her desire to get shot of the ghost of Billie Holiday to whom she has often been compared… But in 2018, Madeline Peyroux is very much Madeleine Peyroux! Style, voice, writing, she has mastered every part of her art and has nothing left to prove. This time, she leaves covers behind and offers new songs, written or co-written with Patrick Warren (Bonnie Raitt, Bob Dylan, Bruce Springsteen), Brian MacLeod (Leonard Cohen, Tina Turner), David Baerwald (Joni Mitchell, Sheryl Crow) and producer Larry Klein (Joni Mitchell, Shawn Colvin, Herbie Hancock). The lyrics are often politically-engaged, and she sets them lovingly to soft-to-downright-melancholy music. The overall effect is one of weightlessness. The arrangements and the production have a velvety feel, and while she takes on Paul Eluard's powerful poem Liberté, she does it with a delicate touch that renders the words even stronger. As is often the case with Peyroux, the boundaries between jazz, pop, soul, blues and folk are savvily blurred together. This makes for a great showcase for her voice, one of the most addictive of her generation. © Max Dembo/Qobuz
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Vocal Jazz - Released August 31, 2018 | Universal Music Division Decca Records France

Hi-Res Booklet
That Leonard Cohen is still offering inspiration should come as no great surprise. Dubbing her album Anthem after a song by the Canadian singer, Madeleine Peyroux shows us her hand from the off. Perhaps it's her desire to get shot of the ghost of Billie Holiday to whom she has often been compared… But in 2018, Madeline Peyroux is very much Madeleine Peyroux! Style, voice, writing, she has mastered every part of her art and has nothing left to prove. This time, she leaves covers behind and offers new songs, written or co-written with Patrick Warren (Bonnie Raitt, Bob Dylan, Bruce Springsteen), Brian MacLeod (Leonard Cohen, Tina Turner), David Baerwald (Joni Mitchell, Sheryl Crow) and producer Larry Klein (Joni Mitchell, Shawn Colvin, Herbie Hancock). The lyrics are often politically-engaged, and she sets them lovingly to soft-to-downright-melancholy music. The overall effect is one of weightlessness. The arrangements and the production have a velvety feel, and while she takes on Paul Eluard's powerful poem Liberté, she does it with a delicate touch that renders the words even stronger. As is often the case with Peyroux, the boundaries between jazz, pop, soul, blues and folk are savvily blurred together. This makes for a great showcase for her voice, one of the most addictive of her generation. © Max Dembo/Qobuz
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Vocal Jazz - Released August 24, 2018 | Bella Donna

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Vocal Jazz - Released August 24, 2018 | Bella Donna

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Vocal Jazz - Released August 21, 2018 | Bella Donna

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Vocal Jazz - Released August 21, 2018 | Bella Donna

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Vocal Jazz - Released August 18, 2018 | Bella Donna

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Vocal Jazz - Released August 18, 2018 | Bella Donna

Genre

Vocal Jazz in the magazine