Me And Vocal Jazz
Already in my review of Cécile McLorin Salvant’s album I’ve said that I don’t listen a lot to contemporary vocal jazz. Too many of the albums just sound too interchangeable, without individual character. Cécile McLorin Salvant is one major exception to that rule.
So I didn’t expect a lot when I just clicked on one of the latest new Jazz release on Qobuz’ streaming site, the album “We Could Be Lovers” that was just released on Impulse.
We Could Be Lovers (Impulse 2015)
How wrong I was!
After listening for about 3 minutes I noticed that this album really is different, this is not one more of the many jazz vocalists that will never stand out from the crowd.
I then checked her biography and discovered she comes originally from Australia, had received a full scholarship for Berklee, probably the best music school of the planet, and has just signed her first album with Impulse, a label that is doing great things again after being one of the major jazz labels in the 60s (see also my review of the Kenny Barron and Dave Holland duo album here).
One warning ahead: this is as mainstream jazz as it gets. As you’ve probably seen from my blog before, I don’t mind that one bit.
You get jazz standards, but also some of their own compositions. She also plays the piano, and not just a bit, she swings like crazy (see some of the YouTube extracts below). Impulse was kind enough to give her outstanding musicians for this album,
The entire album and style sometimes recall the early Diana Krall, but you’ll quickly notice that she has already found her own voice, her own style, at the age of 27 nonetheless.
And I must admit, any singer doing Moon River get extra cookie points from me…. Reminds me every time of my first trip to NYC with my wife where we watched Breakfast at Tiffany’s on the hotel rooms VCR.
Keep your eyes and ears open for her!
My rating: 4 stars
Below two examples of her work, an earlier live recording during her time at Berklee, and the official clip of one of her tracks from the new album (not her strongest one by the way, but still fun to listen to).
EDIT: I was notified by a reader that this album doesn’t seem to be available in the US yet. My chin dropped and I just couldn’t believe it. But it is true, Amazon US features this album only as “Import”. Seriously? Dear Execs at Universal, what are you thinking? Are these the 1980s? Is there one good rationale reason (probably beyond the weird parallel world of music licensing rights) why you wouldn’t make available an album by an Australian artist on a supposedly US label (impulse) in the US? I really don’t get it.
UPDATE: You’ll find a review of her live concert in Zurich in 2015 here.