Albums

Vocal Jazz - Released January 25, 2019 | Jazz Village

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In this third album, the enchanting and beautiful Leyla manages to capture moments of pure joy. She is the kind of musician that tells a story. A New-Yorker with Haitian roots, Leyla settled in the bayou of Louisiana to explore her Creole roots and to dig out and spread the message of social and environmental injustice. She really came into her own during those eight years spent in the New Orleans sunshine and has even abandoned her cello to embrace the clarinet, violin, piano and electric guitar. Now, the multi-instrumentalist is mixing it up more than ever, supported by a group for the very first time, King James & The Special Men. The retro folk of The Capitalist Blues dabbles in calypso (Mize Pa Dous), R&B (Me and My Baby) and Creole blues (Lavi Vye Neg) and Leyla’s vocals alternate seamlessly between Creole and English. A very well-arranged album that captures the leisurely lifestyle of the tropics. © Charlotte Saintoin/Qobuz
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Vocal Jazz - Released December 7, 2018 | Decca (UMO)

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Jacob Collier, the young prodigy whose career was spring-boarded by the popularity of his YouTube videos, has made a name for himself by fusing jazz and vocals with groove, folk, trip-hop, classical, Brazilian gospel and soul. His first album in 2016, the aptly titled In My Room (a reference to his cover of the Beach Boys song with the same name), was influenced by great soul artists like Stevie Wonder, Bobby McFerrin and Ed Motta. Two years later with Djesse Vol.1 which he recorded with the Metropole Orkest conducted by Jules Buckley, Collier reveals a new facet to his musical talent and ability to think outside of the box. For this album, he wrote the compositions and arrangements and clearly moves away from jazz to embrace a variety of genres: pop, gospel, musical, world, soul, the list is endless. His symphonic and melodious music is supported by the voices of groups Take 6 and Voces8, soul sister Laura Mvula, Moroccan Hamid El Kasri and even his own mother, Suzie Collier. In this musical pick-and-mix, Jacob Collier even covers Every Little Thing She Does Is Magic from The Police and All Night Long from Lionel Richie to make this journey even crazier. © Clotilde Maréchal/Qobuz
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Vocal Jazz - Released December 7, 2018 | Exile Productions Ltd.

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The prophet has returned! Van Morrison, he who brought us the timeless Gloria and Brown Eyed Girl, steps back in time for his new album The Prophet Speaks. The Irish bard delves into the world of jazz, blues and rhythm’n’blues with his renditions of classics from John Lee Hooker, Sam Cooke, Willie Dixon and Soloman Burke, to name but a few. Such are the talents of Van The Man that he even includes six of his own compositions (Got to Go Where The Love Is, 5am Greenwich Mean Time, Love Is Hard Work, Spirit Will Provide, Ain’t Gonna Moan No More and The Prophet Speaks) within the genre of jazz’n’blues’n’soul. “It was important for me to get back to recording new music as well as doing some of the blues material that has inspired me from the beginning” he says. Once again, the album features its fair share of musical virtuosos, including killer organist Joey DeFrancesco (who co-wrote You’re Driving Me Crazy with Morrison), guitarist Dan Wilson, drummer Michael Ode and saxophonist Troy Roberts. A classy and classical album that doesn’t look to reinvent the genre but rather to revive its original soul. © Max Dembo/Qobuz
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Vocal Jazz - Released November 30, 2018 | BMG Rights Management (UK) Limited

Bryan Ferry is the ultimate dandy, the singer that never gets old and who does as he pleases. The former boss of the flamboyant, decadent and glamourous Roxy Music has a profound passion for jazz, and particularly jazz from the ‘20s and ‘30s. He released his first solo album in 1977, These Foolish Things, then in 1999 the magical and charmingly old-fashioned As Time Goes By, and three years later he brought us his vision of The Jazz Age, both instrumental and vocal, of the aromas of Cotton Club, the legendary dancing of Harlem during the Prohibition and anthems from the Roaring Twenties. The dandy Ferry revisits this sepia-coloured jazz with a unique and timeless elegance thanks to his slightly husky, velvety voice. Bitter-Sweet journeys through the past, both in his vocals and instrumentals, sometimes swinging, sometimes melancholic, set in the ambiance of another era. His inspiration this time came from the German TV series Babylon Berlin based on detective novels by Volker Kutscher set in the 1920’s - the ideal setting for a blend of jazz, ragtime and blues. He revisits old songs from his solo albums and from Roxy Music (While My Heart is Still Beating and Dance Away) surrounded by expert musicians from his Bryan Ferry Orchestra. The ex-Roxy is an elegant, stylish and top-class performer - it’s hard not to get caught up in his travel through time. © Marc Zisman/Qobuz
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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 November 30, 2018 | Blue Note Records

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 November 23, 2018 | Warner Music Entertainment

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Jools Holland, the musical virtuoso, director and well-loved host of the BBC 2 programme Later… with Jools Holland since 1992, joins forces with the first-rate vocals of Marc Almond and the musicians of the Rhythm & Blues Orchestra. This musical extravaganza is full to the brim with pure entertainment, original songs as well as traditional ones (When the Saints Go Marching In) and classics from Edith Piaf (L’Hymne à l’amour), Irving Berlin (How Deep Is The Ocean) and Bobby “Blue” Bland (It’s My Life Baby and I’ll take Care Of You), not forgetting the hit single Tainted Love that Almond sang in 1981 whilst part of the duo Soft Cell. On this album, A Lovely Life to Live, the pair go on an incredible journey exploring the timelessness of rhythm’n’blues and rock’n’soul. As Marc Almond himself says: “If this album were a film, it would be a black and white film from the late 1950’s and early 1960’s, set in London with Dirk Bogarde, with a brief stopover in Paris where he would meet Deneuve and Delon in a smoky bar. Jools and I have a history of working together that goes back several years and now, on the album, we can finally show our shared love for Bogarde, London, vintage cars, afternoon tea and the blues.." © Clotilde Maréchal/Qobuz
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Vocal Jazz - Released November 23, 2018 | Warner Music Entertainment

Jools Holland, the musical virtuoso, director and well-loved host of the BBC 2 programme Later… with Jools Holland since 1992, joins forces with the first-rate vocals of Marc Almond and the musicians of the Rhythm & Blues Orchestra. This musical extravaganza is full to the brim with pure entertainment, original songs as well as traditional ones (When the Saints Go Marching In) and classics from Edith Piaf (L’Hymne à l’amour), Irving Berlin (How Deep Is The Ocean) and Bobby “Blue” Bland (It’s My Life Baby and I’ll take Care Of You), not forgetting the hit single Tainted Love that Almond sang in 1981 whilst part of the duo Soft Cell. On this album, A Lovely Life to Live, the pair go on an incredible journey exploring the timelessness of rhythm’n’blues and rock’n’soul. As Marc Almond himself says: “If this album were a film, it would be a black and white film from the late 1950’s and early 1960’s, set in London with Dirk Bogarde, with a brief stopover in Paris where he would meet Deneuve and Delon in a smoky bar. Jools and I have a history of working together that goes back several years and now, on the album, we can finally show our shared love for Bogarde, London, vintage cars, afternoon tea and the blues.." © Clotilde Maréchal/Qobuz
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Vocal Jazz - Released November 9, 2018 | Okeh

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

If there's one word that comes to mind while listening to 2018's The Capitol Studio Sessions -- the debut album from part-time jazz pianist and full-time Jeff Goldblum impersonator Jeff Goldblum -- it's charm. Joking aside, just as with his acting, Goldblum's musical stage presence percolates with his unmistakable charisma, and further cements his long-standing persona as a witty, quirky, gregarious presence. While the album often feels like Goldblum giving one big wink and a smile to his adoring fans after another, part of the fun is that he has the chops to back it up. Having studied piano growing up in Pittsburgh and played lounge gigs throughout much of his career, Goldblum is certainly a gifted performer. While he hands much of the improvisational work over to his bandmates, as a bandleader he acquits himself ably throughout the album, with a warm harmonic sensibility and wonderfully swinging style on full display. Here, he is captured live at the storied Capitol Studios in Los Angeles, backed by his longtime ensemble of studio-pros the Mildred Snitzer Orchestra (lovingly named after a family friend in Pittsburgh). Joining him are a select cadre of special guests including singers Haley Reinhart and Imelda May, trumpeter Till Bronner, and on the giddy, self-referential duet "Me and My Shadow," singer/comedian Sarah Silverman. While Goldblum is the main attraction, he smartly spreads the spotlight, allowing Reinhart and May to sashay their ways through saucy renditions of "My Baby Just Cares For Me," "Straighten Up and Fly Right," and "Come-On-A-My-House." Similarly, he gives Bronner a plethora of solo time, with tracks like the ballad "It Never Entered My Mind," and the organ-accented groover "Don't Mess with Mister T.” One of the many impressive aspects of the Capitol Studio Sessions is just how balanced Goldblum's skills are as he deftly moves his audience from perky vocal standards to swinging instrumental numbers -- each transition aided, of course, with some very charming stage banter. ~ Matt Collar
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Vocal Jazz - Released November 9, 2018 | Decca (UMO)

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Vocal Jazz - Released September 28, 2018 | Okeh

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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 | 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 August 31, 2018 | Universal Music Division Decca Records France

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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 July 6, 2018 | Okeh

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Vocal Jazz - Released June 27, 2018 | M.Z.Records

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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 April 27, 2018 | Legacy Recordings

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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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