Sarah McKenzie Live in Berlin – May 5, 2017

Better late than never

This will be a post about all the things I’ve recently been late at.

Well not all the things, but at least two of them. One is recognizing the 2nd anniversary of my blog!

On May 22, 2015, I’ve published my first post here. We’re now a bit more than two years and 194 posts later, and I’m still doing it.

And really, what keeps me motivated doing this, beyond my passion for good music, is your feedback. I’ve heard from so many of you individually, so many encouraging comments, and appreciative notes, I just have to say a big THANK YOU!

The second thing I’m really late at is a review of the concert of Sarah McKenzie I saw about a month ago now.

Sarah McKenzie Live at Passionskirche Berlin

I’ve written about her three times already (here, here, and here) and I remain a great fan of this young Australian singer. So when I had the opportunity to see her live in Berlin, I grabbed it.

And I’m very glad I did. My review of her last album was a bit mixed. There was nothing wrong with the music per se, I just felt the album was a bit overproduced, a bit sterile.

Obviously, live you get a completely different experience.

Let me get the negative points out of the way first.

  • Never do a Jazz concert in a church

The Passionskirche in Kreuzberg is a beautiful building and room, but why on earth somebody would want to do a Jazz concert in there really is beyond me. The acoustics are really bad, and the long reverb half killed the excellent swing of the band. Well at least, for the first time in my life I had a beer (they sold drinks before the concert) in a church. An interesting experience.

  • No pictures please

Unfortunately, the organizers didn’t want me to take any pictures, although I had brought my little Fuji X100T. That’s really a pity, as I believe a concert report with some pictures of the event is much more interesting for the reader. So sorry guys, text only.

But as of now starts the positive part: It really was a fantastic concert.

Her band was as good as ever, and we got a really great mix of standards and her own compositions. So the program switched between the good old classics of  I’m old fashioned to her new Paris in the Rain. 

What were my highlights? Well, as always, Moon River, in a duet with guitar only. Pierre Boussaguet on bass, who managed to even improvise a Bach Cello Suite into his bass solo. A blues, where the entire band was just swinging like crazy.

And, maybe my personal favorite, Sarah has now added You Must Believe In Spring to her repertoire. I´ve written here how much I love this Michel Legrand Song that was made famous in the Jazz world by Bill Evans. It was fantastic hearing her perform this gem.

In a nutshell: Sarah Mckenzie is still on tour, including her very first time at the legendary Montreux Jazz festival in July. Here are her tour dates, make sure you check her out when you can, she is just amazing!

 

Sarah McKenzie – Paris In The Rain – A Review (more or less)

I’ve previously praised the young Australian singer Sarah McKenzie for her last album on Impulse, We Could Be Lovers, have seen her perform live, and mentioned her in my Top 10 Jazz Covers of Pop songs. I was even able to exchange a couple of friendly words with her during the above mentioned concert.

So in a nutshell, I really like her. Hence, when I saw on Facebook that she is about to release a new album, I gotvery excited.

(Side note: following artists I like is one of the few useful purposes for me of Facebook. Why is it that in my generation the only people that regularly post updates are the ones you don’t care about? There seems to be some form of inverse correlation between posting activity and content value, with some rare exceptions)

Paris In the Rain (Impulse 2017)

So, now the album has been out for weeks, and I’m only just about now writing about it.

Sarah McKenzie Paris In The Rain Impulse 2017 (24/96)

Why is that? Well, not because I didn’t listen to it enough. The thing is, I was really trying to like it, but in a way something was just a bit wrong. And I spent the last month trying to put my finger on it.

Is it the singing? Absolutely not, that’s beautiful as ever.

Is it the songs? No, we get standards, like Tea For Two, beautiful ballads, like Little Girl Blue, own compositions such as Paris in the Rain, see below (she also has 4 other own compositions on the album!).

 

 

Is it the musicians? Again, not really. Actually, they do play extremely well. Sarah and Impulse were able to assemble some great musicians here: Mark Whitfield und Romero Lubambo on guitar, Warren Wolf on the vibraphone, Reuben Rogers on bass, Gregory Hutchinson on drums.

The horns are excellent too, from Dominick Farinacci on the trumpet, Jamie Baum on the flute, to Scott Robinson and Ralph Moore on saxphone.

So what is it? It was only when I read that this album was produced again (like the previous one) by Brian Bacchus, when the penny dropped. It is just a bit too perfect! That may sound a bit silly, but the album could use a little bit of “dirtiness” to my ears.

Bacchus, while not a household name, has worked with some of the greatest names in Jazz (e.g. John Scofield). However, he also produced Norah Jones and Gregory Porter. Not that I’m comparing this album to Norah Jones, unlike her this is 100% Jazz, but you get the total perfection of a Norah Jones album. This really doesn’t fully replicate the full energy I felt when I saw her live. I’d really love it if her next album will be a live one!

So why I strongly encourage you to check out this album, I’d even more recommend you see her live. As mentioned, she’s on facebook, and here’s her website that has the tour dates.

My rating: 4 stars

You can find the album here (Qobuz) and here (Prostudiomasters).

Jazz Loves Disney – Who Would Have Thought This Actually Is A Great Album?

Verve

Verve obviously is one of the great classic record labels of the Jazz history, where Norman Granz to produce all the classics from Billie Holiday to Ella Fitzgerald to Oscar Peterson.

These days, Verve, as most other traditional Jazz labels, is part of one of the big players, in this case Universal Music. However, in spite of being part of this large multinational company, and some major restructuring, Verve still puts out some beautiful recordings

They also able to pull together artists from other labels to do some great compilations. Interestingly enough, these compilations aren’t best-of’s of previously recorded material, but actually new productions that were done just for these albums. A great example is the beautiful album Autour de Nina, reviewed here.

Walt Disney

Well, I must admit, for my side, I’m not a huge disney fan. OK, I liked the Jungle Book as a kid, but hated Mickey Mouse.

That said, Disney truly cared about music in his movies.

Did you actually know that the Jazz standard Someday My Price Will Come made famous by Miles Davis actually came from Disney’s Snow White? I must admit, I completely forgot about that.

Walt Disney’s movie A Silly Symphony from 1935 is another great example of the usage of classical music in a movie.

Anyway, I wasn’t prepared at all to actually like the following album:

Jazz Loves Disney (Verve 2016)

Jazz Loves Disney 24/44 Verve 2016 Gregory Porter Jamie Cullum Stacey Kent Melody Gardot

Well, first of all, look at the names of the artists here: We’ve got Melody Gardot and Stacey Kent, two of the best current Jazz singers out there, but the other names are equally impressive.

As usual with this kind of album, the production is quite perfectionist. So this could all feel as artificial as being trapped as a character of Arielle, but it actually doesn’t.

It really swings nicely, and really shows a whole new aspect of these songs.

My absolute favorite is The Bear Necessities in a beautiful duet by Raphael Gualazzi and Melody Gardot (yes, Jungle Book again), but there really isn’t a really weak track on this album

Check out these trailers to get an impression:

Check it out!

My rating: 4 stars
You can find it here (Qobuz) and here (Acoustic Sounds)