The Vocal Sound Of Jazz
2025 is a milestone year for The Vocal Sound of Jazz as it marks the beginning of my 45th year of producing the program. The opportunity to create and produce this show each week is something that I have never taken for granted. It’s an opportunity that came to me through a strange happenstance. In the late 1970s I wrote a column for “Metro Magazine”(RIP) a lifestyle publication covering Southeastern, Virginia. The column was lamenting the fact that public radio in our area was almost exclusively a classical music station serving the same market that had a very vibrant and successful full-time commercial classical music station (WGH-FM). They aired no jazz, no alternative music, and very little folk music. Shortly after the column was published, I got a call from the station’s GM and during our conversation he mentioned that the station was making some changes and would be widening its musical scope. I mentioned to him that if that ended up happening that I had an idea for a radio program – a show devoted entirely to jazz vocal music. About a year later my phone rang and the opportunity presented itself. In my wildest imagination it never occurred to me that nearly 45 years later I would still be at it and enjoying it more than...
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CLAIRE MARTIN – ALMOST IN YOUR ARMS...
If there’s jazz royalty in Britain, Claire Martin OBE is definitely ermine clad. Her choice of material is diverse and exemplary and she shines in all kinds of settings, from duo to big band. Her legacy as a live performer and a recording artist is essentially a treasure trove (her work with Richard Rodney Bennett being a personal favourite). And, just in case anyone was inclined to start taking her for granted, she’s conclusively put paid to that by recording a new album that knocks it right out of the ballpark. Her fourth release on the Danish Stunt Records, Almost in Your Arms is something of a Scandinavian extravaganza, being built around the nucleus of Claire’s touring trio of outstanding Swedish musicians. Martin Sjöstedt plays piano and keyboards and is also responsible for the lion’s share of the world-class arrangements on the album. Niklas Fernqvist is on bass and Daniel Fredriksson on drums. They’re supplemented by another leading Swedish player, Karl-Martin Almqvist on saxophone with the album’s producer, James McMillan, playing trumpet, flugelhorn, percussion and additional keyboards and arranging two of the tracks (Apparently, I’m Fine and September Song). Joe Locke is on vibraphone. Guitarist Mark Jaimes fashions a dreamy, floating soundscape on one track, Do You Ever Wonder, which is also a showcase for Fernqvist’s bass. And Nikki Iles takes a break from excelling as a pianist to play accordion on Apparently, I’m Fine. And let’s not forget the star and headliner. From the opening instants of I Feel a Song Coming On, Claire Martin is absolutely in control and at the top of her game,the smooth, husky voice taking the super high speed material in her stride, offering effortless nuanced expression while clearly enjoying herself. The really remarkable thing about this...
VANISHA GOULD – SHE’S NOT SHINY, SHE’S NOT SMOOTH...
Every performer, whether a musician, orator, thespian, or athlete, knows the sensation: despite everything being pre-planned – from wardrobe and stage plot to the materials and the travel route – inevitably, there will be some unforeseen eventuality that threatens to derail the flawless facade of the performance. Simply put, if the devil is in the details, then the danger is in the design. While to some, this inability to control every element may be a stressor, to vocalist and songwriter Vanisha Gould, the vivacity of every onstage moment is the execution of the craft despite, and even due to, the nature of unavoidable flaws. Armed with a fresh perspective and an indomitable ability to hit the song home regardless of circumstances, Vanisha presents She’s Not Shiny, She’s Not Smooth, an homage to the beauty that abides within and around the flaws in everyone’s perfect plans. Vanisha’s embracing of imperfection was not something that initially came naturally, but was a realization and perspective that came with experience. “All of these little things we do, that I do, to make sure everything goes smoothly – you can bet your bottom dollar that something will go wrong,” Vanisha expresses. “That perfect outfit I finally chose? I’ll sweat through it within ten minutes on the stage. That perfect makeup? It’s gone by the time I get off the subway to the gig.” Amidst the ever-present torrent of potential hangups that encompass daily life for a performer, Vanisha embodied the choice that every individual has to make: either be crippled by the entropy of one’s circumstances, or use the cracks in the wall as a new canvas for...
MILTON SUGGS – PURE INTENTION...
Milton Suggs’ new album “Pure Intention” is a stripped-down jazz project featuring just Suggs and pianist Michael King. The album, rooted in blues, soul, and jazz, is Suggs’ first since 2016. His powerful baritone and dynamic range shine through original compositions and reinterpretations of classics, making this a standout vocal album. Jim Hynes (Makingascene.com)...
KRISTIN KORB – SWEET DREAMS...
The album features 12 reimagined Eurythmics classics, interpreted through Korb’s jazz lens. “Sweet Dreams” features Korb’s long-time collaborators Magnus Hjorth on piano and Snorre Kirk on drums. The album also includes contributions from Danish harmonica player Mathias Heise, Swedish saxophonist Karl-Martin Almqvist, Danish trombonist Steen Nikolaj Hansen, and Cuban percussionist Yohan Ramon. This release further marks Korb’s efforts to blend her jazz background with the iconic 80s sound of the Eurythmics, offering new arrangements and interpretations of well-known songs. Her journey to create a tribute album for the Eurythmics began with her memories of the MTV era, when Annie Lennox’s powerful vocals and innovative sounds dominated the airwaves. The Eurythmics’ music had a significant impact on Korb during her teenage years, with Lennox’s performances becoming anthems for young women seeking empowerment. Initially, the Eurythmics were not on Korb’s radar for a new project. In 2021, she had completed a pandemic-era double album, “What If / Why Not”, which blended new arrangements of pop tunes with standards and as she stated expected to focus on composing new material after the release of that album. However, the idea for the Eurythmics tribute came unexpectedly when promoter Amikam Kimmelman contacted Korb about arranging and organizing a show celebrating a world-famous duo for a festival appearance in October 2023. Given the choice between The Carpenters and Eurythmics, Korb chose the latter, intrigued by the challenge of finding her own voice within Annie Lennox’s powerful legacy. Korb approached the project with the plan to create arrangements that would seamlessly fit her Danish band with the addition of a select number of guest artists.Her creative process...
Brazilian Music Spotlight
As part of the 30th anniversary of Tom Jobim’s death, Paula Morelenbaum and Arthur Nestrovski release “Jobim Canção”, an album that arrived on the platforms on November 12 (Biscoito Fino). Nothing more natural for the singer who was part of Jobim’s New Band for a decade, and is internationally recognized as one of the greatest interpreters of this repertoire. And also for the soloist of “Jobim Violão”, an album that is a reference for guitarists and Jobimians. Tracing an arc of five decades, “Jobim Canção” brings together a minimal collection – 10 songs – but representative of the career of composer Antônio Carlos Jobim (1927/1994). “The list started from Paula’s desire to record only songs that she had never recorded before, on her own albums. It was only after selecting the 10 tracks, when we researched the dates of composition of each one, that we realized the arc of five decades of Jobim’s musical creation. It came in handy, echoing the video lessons of the series ‘The Long Art of Antônio Carlos Jobim’, which we made together for the platforms of Piauí magazine”, points out Arthur Nestrovski. For Paula Morelenbaum, living with the maestro, for an intense 10 years, was enriching in all the old ones, especially as a singer and musician. “My only experience had been with the vocal group Céu da Boca, all very young like me. When I joined Nova Banda I was able to travel the world, experience international showbiz. Other than that, Tom always called me to sing solo numbers in shows, albums and programs he did. I understood that he liked my voice and my way of singing.” The ten years of musical interaction turned into friendship, and changed Paula’s perception of the composer’s songs: “I became a PHD in Tom...
As part of the 30th anniversary of Tom Jobim’s death, Paula Morelenbaum and Arthur Nestrovski release “Jobim Canção”, an album that arrived on the platforms on November 12 (Biscoito Fino). Nothing more natural for the singer who was part of Jobim’s New Band for a decade, and is internationally recognized as one of the greatest interpreters of this repertoire. And also for the soloist of “Jobim Violão”, an album that is a reference for guitarists and Jobimians. Tracing an arc of five decades, “Jobim Canção” brings together a minimal collection – 10 songs – but representative of the career of composer Antônio Carlos Jobim (1927/1994). “The list started from Paula’s desire to record only songs that she had never recorded before, on her own albums. It was only after selecting the 10 tracks, when we researched the dates of composition of each one, that we realized the arc of five decades of Jobim’s musical creation. It came in handy, echoing the video lessons of the series ‘The Long Art of Antônio Carlos Jobim’, which we made together for the platforms of Piauí magazine”, points out Arthur Nestrovski. For Paula Morelenbaum, living with the maestro, for an intense 10 years, was enriching in all the old ones, especially as a singer and musician. “My only experience had been with the vocal group Céu da Boca, all very young like me. When I joined Nova Banda I was able to travel the world, experience international showbiz. Other than that, Tom always called me to sing solo numbers in shows, albums and programs he did. I understood that he liked my voice and my way of singing.” The ten years of musical interaction turned into friendship, and changed Paula’s perception of the composer’s songs: “I became a PHD in Tom...
Recent Jazz Vocal Discovery
TANIA GRUBBS QUINTET – THE SOUND OF LOVE
Pittsburgh, Pennsylvania is geo-located at the confluence of three major rivers. Thus, one of its many monikers is the City of Bridges. With The Sound of Love, ‘Burgh’ residing jazz vocalist, Tania Grubbs, and her quintet admirably connect fourteen diverse selections across a span of jazz standards, GASers, originals, and contemporary pop hits. Grubbs, exposed, bursts head-on into the Gershwins’ But Not for Me over James John lll’s brushes and with rhythmic ping-pong. The track swings with great verve and drive. Grubbs takes hold of the reins, plays with time and lyric and ends the cooking with chuckles on a hot mic. Slow Hot Wind (aka, Lujon) from Henry Mancini and Ipanema lyricist Norman Gimbel is an exotic take. Grubbs is both sensuous and inviting here. Pianist David Budway and guitarist Ron Affif solo, each buying into the same vibe. (A Rhyme) This Time, associated with Al Jarreau and guitarist Earl Klugh, presents Grubbs covering in a softer take. Grubbs approaches the poetic lyric in a reserved manner with Budway flourishing expansively in counterpoint. It’s an engaging track. Charles Mingus’ love letter to the Master, Duke Ellington’s Sound of Love offers a vocalist a challenge and Grubbs nails it. The intervallic jumps are pin-point in tune and not strained. This is a highlight track and a brilliant production choice. Arguably one of the lesser-visited tunes from the famed Time Out (Columbia Records, 1959), Dave and Iola Brubeck’s Strange Meadowlark is here a lilting waltz (the original is in 4/4) before moving into the original meter. Grubbs approach is upbeat, engaging and an illuminating listen. Ms. Grubbs’ tasteful original, The Sculptor’s Hands, is a slower, image-provoking piece that was influenced by the work of Pittsburgh’s jazz-loving sculptor, Thaddeus Mosely. Over a light-rock base, Grubbs’ vocal approach is straightforward and similar to a Carole King vibe. Throughout the session. Grubbs’ versatility and consistency of presentation is superb. There’s great light and joy in her vocal spectrum. She’s...
Pittsburgh, Pennsylvania is geo-located at the confluence of three major rivers. Thus, one of its many monikers is the City of Bridges. With The Sound of Love, ‘Burgh’ residing jazz vocalist, Tania Grubbs, and her quintet admirably connect fourteen diverse selections across a span of jazz standards, GASers, originals, and contemporary pop hits. Grubbs, exposed, bursts head-on into the Gershwins’ But Not for Me over James John lll’s brushes and with rhythmic ping-pong. The track swings with great verve and drive. Grubbs takes hold of the reins, plays with time and lyric and ends the cooking with chuckles on a hot mic. Slow Hot Wind (aka, Lujon) from Henry Mancini and Ipanema lyricist Norman Gimbel is an exotic take. Grubbs is both sensuous and inviting here. Pianist David Budway and guitarist Ron Affif solo, each buying into the same vibe. (A Rhyme) This Time, associated with Al Jarreau and guitarist Earl Klugh, presents Grubbs covering in a softer take. Grubbs approaches the poetic lyric in a reserved manner with Budway flourishing expansively in counterpoint. It’s an engaging track. Charles Mingus’ love letter to the Master, Duke Ellington’s Sound of Love offers a vocalist a challenge and Grubbs nails it. The intervallic jumps are pin-point in tune and not strained. This is a highlight track and a brilliant production choice. Arguably one of the lesser-visited tunes from the famed Time Out (Columbia Records, 1959), Dave and Iola Brubeck’s Strange Meadowlark is here a lilting waltz (the original is in 4/4) before moving into the original meter. Grubbs approach is upbeat, engaging and an illuminating listen. Ms. Grubbs’ tasteful original, The Sculptor’s Hands, is a slower, image-provoking piece that was influenced by the work of Pittsburgh’s jazz-loving sculptor, Thaddeus Mosely. Over a light-rock base, Grubbs’ vocal approach is straightforward and similar to a Carole King vibe. Throughout the session. Grubbs’ versatility and consistency of presentation is superb. There’s great light and joy in her vocal spectrum. She’s...
Classic Jazz Vocal Album Spotlight
IRENE KRAL – WHERE IS LOVE (W/ALAN BROADBENT)
This 1996 CD reissue is a classic set originally cut for the Choice label, a program of ballads exquisitely interpreted by singer Irene Kral and pianist Alan Broadbent. The tempos are all quite slow, but the emotional yet cool intensity given by Kral and Broadbent means that there are no slow moments. Among the songs given definitive and memorable treatment are Blossom Dearie’s “I Like You, You’re Nice” and Bob Dorough’s “Love Came on Stealthy Fingers,” “Never Let Me Go,” and especially “Spring Can Really Hang You up the Most.” This is a haunting program, Irene Kral’s best; it sticks in one’s memory long afterwards and can be considered one of the finest sets of ballads ever recorded. Essential music. Written by Scott Yanow...
This 1996 CD reissue is a classic set originally cut for the Choice label, a program of ballads exquisitely interpreted by singer Irene Kral and pianist Alan Broadbent. The tempos are all quite slow, but the emotional yet cool intensity given by Kral and Broadbent means that there are no slow moments. Among the songs given definitive and memorable treatment are Blossom Dearie’s “I Like You, You’re Nice” and Bob Dorough’s “Love Came on Stealthy Fingers,” “Never Let Me Go,” and especially “Spring Can Really Hang You up the Most.” This is a haunting program, Irene Kral’s best; it sticks in one’s memory long afterwards and can be considered one of the finest sets of ballads ever recorded. Essential music. Written by Scott Yanow...
Other Releases of Interest
THE PEARLFISHERS – MAKING TAPES FOR GIRLS
After a hiatus of five years, The Pearlfishers, Glasgow’s finest, return with their ninth album for Marina – most probably their best and most immediate one so far. Driven by main man David Scott’s exceptional songwriting and sophisticated arrangements, Making Tapes For Girls is a goldmine of pop gems – full of witty & colourful lyrics about the affirmative & healing power of music and pop escapism. The title track evokes memories of those days of compiling a C-30/60/90 for your loved one or secretly adored one: “I didn’t know how to say the right thing / So I left it to Joni and Paul…”. Those mix tapes that came straight from your heart & soul – “the nub of it, the truth of it, the ‘you’ of it.” It is another Pearlfishers classic in the vein of My Dad The Weatherfan and Even On A Sunday Afternoon and also David Scott’s nod to Terry Hall’s The Colour Field. All of these 12 new tracks could have made it easily onto such a tape. Kisses On The Window is a very personal and straightforward love song, with a beautiful string quartet arrangement. Hold Out For A Mystic, most definitely the only song in pop history which references Henri Matisse and Billy Childish in the same line (“The Fauve and the Stuckist man”), is built around a cosmic ELO acoustic guitar sound, while Put The Baby In The Milk channels Carole King jumping through some harmony hoops à la Laura Nyro. We experience more name dropping in The Word Evangeline, a rumination on all songs featuring that name, from The Cocteau Twins to Emmylou Harris to Matthew Sweet. Yellow & The Lovehearts is a wonderful two part suite that takes us from full-on shiny pop to a glacial Simon & Garfunkel soundscape. We are even visiting a Fleetwood Mac-ish vibe...
After a hiatus of five years, The Pearlfishers, Glasgow’s finest, return with their ninth album for Marina – most probably their best and most immediate one so far. Driven by main man David Scott’s exceptional songwriting and sophisticated arrangements, Making Tapes For Girls is a goldmine of pop gems – full of witty & colourful lyrics about the affirmative & healing power of music and pop escapism. The title track evokes memories of those days of compiling a C-30/60/90 for your loved one or secretly adored one: “I didn’t know how to say the right thing / So I left it to Joni and Paul…”. Those mix tapes that came straight from your heart & soul – “the nub of it, the truth of it, the ‘you’ of it.” It is another Pearlfishers classic in the vein of My Dad The Weatherfan and Even On A Sunday Afternoon and also David Scott’s nod to Terry Hall’s The Colour Field. All of these 12 new tracks could have made it easily onto such a tape. Kisses On The Window is a very personal and straightforward love song, with a beautiful string quartet arrangement. Hold Out For A Mystic, most definitely the only song in pop history which references Henri Matisse and Billy Childish in the same line (“The Fauve and the Stuckist man”), is built around a cosmic ELO acoustic guitar sound, while Put The Baby In The Milk channels Carole King jumping through some harmony hoops à la Laura Nyro. We experience more name dropping in The Word Evangeline, a rumination on all songs featuring that name, from The Cocteau Twins to Emmylou Harris to Matthew Sweet. Yellow & The Lovehearts is a wonderful two part suite that takes us from full-on shiny pop to a glacial Simon & Garfunkel soundscape. We are even visiting a Fleetwood Mac-ish vibe...
