Récif, worthy continuation of the album Là, which it extends with inventiveness and energy. With the drummer-songwriter Adrien Leconte, the pianist Tom Georgel, Victor Aubert on the double bass and Quentin Coppalle on the flute, Marie Mifsud excites and traces a new path between jazz and song, transporting his audience ever further into a poetic universe and crazy, where the malicious rhymes of the original compositions respond to the "derangement" of some famous standards. Marie Mifsud is an amazing singer. Calm and polite in life, she goes crazy on record and explodes even more on stage. Tracing its zigzag route, at the crossroads of French song and jazz, it has an impressive technique, always in the service of a spicy fantasy which, without warning, can cause explosions of emotion. A great talent to be discovered urgently.

Peggy Lee's 1979 album Close Enough for Love is a disco-themed take on her classic themes of love and romance. "You" is a light, mellow funk ballad, while the standard "Just One of Those Things" becomes a propulsive dance anthem. Those looking for songs similar to Lee's trademark "Fever" will want to add the smoldering, sexy "Easy Does It" to their collection. Peggy Lee's voice sounds a bit depressed on this album, indicating, perhaps, an unfamiliarity with the new musical trappings. But that quality also gives the album's more straightforward numbers, like "Rain Sometimes" and "Come in From the Rain" (sounding like Wings), a moving, somber tone. An example of a dated album, but one that is a ripe for a rediscovery.

By the time Karin Korg made "Gershwin with Karin Krog", from late 1973 to mid-1974, she had been making records for ten years. Indeed, her very first session, from November 1963 included two of the musicians to be heard here; pianist Egil Kapstad and drummer Jon Christensen. We also hear tenor saxophonist Bjarne Nerem and ECM bass legend Arild Andersen. This album marks the earliest occasion on which Karin set out to make a complete album devoted to a single composer.

A chronological history of jazz vocal presented by André Francis and Jean Schwarz. 10 CDs with more than 12 hours of music.
The resulting 2 boxed sets of 10 CDs in each, unlike any other available today, groups together the main vocalists in the story of jazz from the first half of the 20th century. Each of these 20 CDs offers in more or less the same proportion, the purest of African-American song with gospel and blues singers, from truculent Ma Rainey to majestic Bessie Smith, sophisticated Sarah Vaughan to popular Louis Prima, the folk-related tones of Charlie Patton to the honeyed voice of Frank Sinatra.

The songs heard on The Love Album first came to light nearly 30 years after their recording, but they should never have lingered in the vaults so long; what's more, if an LP had appeared on schedule, it would have easily remained Doris Day's finest album of the '60s. But neither her commercial fortunes nor the market for Tin Pan Alley songs (even standards) appeared particularly bright in 1967. Day had just broken with her record label Columbia, and was producing herself for the first time; and most of her contemporaries were either fighting the tide of pop culture or only keeping their head above water by covering new standards such as "Sunny" or "The Windmills of Your Mind." Day chose instead to sing a collection of songs whose cumulative age was something like 350 years old (although the chestnut "Are You Lonesome Tonight?" had been revived by Elvis Presley only a few years earlier)…

Love Me or Leave Me was one of Doris Day's greatest, and least likely, successes. Coming out of a string of light movie musicals, she turned in a dramatic performance in this film biography of singer Ruth Etting. She looked nothing like Etting and made no attempt to sound like her, either. But since Etting's recordings of the 1920s and '30s were long out of print and she made only a few films, that was less of a problem than it would have been for a performer whose voice and appearance were better preserved and available. The film was a popular and critical success, but the soundtrack, consisting entirely of Day's renditions of Etting signature songs like the title tune and "Ten Cents Dance," plus a couple of newly written songs, was a blockbuster, spending months at the top of the charts and becoming far and away the best selling of the relatively new 12" LPs of 1955…

In the wake of the Stan Getz albums Jazz Samba (1962) and especially Getz/Gilberto (1964), Brazilian bossa nova was all the rage with the jazz-pop set of the early and mid-'60s, and many pop singers took the opportunity to record albums full of songs by Antonio Carlos Jobim. Doris Day might not come to mind immediately as someone well-suited to the lightly rhythmic style, but she had always had a feel for mid-tempo material that provided a showcase for her warm, rich voice. Still, you might have thought of her as a bit lightweight for the easygoing, yet intricate Brazilian sound. But by her early forties, the eternally ingenuous singer finally was showing signs of maturity. She had taken a distinctly different tack on Love Him!, the 1964 album produced by her son, Terry Melcher, and here she sang the lyrics like a grown-up woman, her voice even betraying an attractive huskiness here and there…

Thana Alexa's voice contains a world of sound, and that is without even mentioning the globe-spanning musical trappings which surround it. Hearing her is like watching a thunderstorm or maybe a wild hawk in flight. She doesn't just sing but uses her voice as an expressive precision instrument, in much the same way all the tones and electronics here are sculpted into an unclassifiably genre-defying whole. Her rich contralto can also be honey-smooth and soothing in the (relatively) rare calm moments here among the rumblings. However, ONA is a work concerned with big issues and ideas and so, for the most part, it demands nothing less than the earth-shaking force of nature.

This reissue combines two similar Doris Day albums originally released on Columbia Records, You're My Thrill and Young at Heart, originally issued in 1949 and 1954 respectively. The 24 tracks include such pop standards as "You Go to My Head," "Bewitched, Bothered & Bewildered, "Imagination," and "Someone to Watch Over Me." Those who appreciate easy listening pop will find this a welcome addition to their collection.

A modern album classic “Radka Toneff: Live in Hamburg” must be one of the finest Norwegian concert albums ever made – regardless of genre. Now this classic is being released on vinyl for the first time, in a 180 g 2LP edition with a gatefold cover. At the same time a new CD edition with an updated cover is being released. “Live in Hamburg” was released over ten years after Radka Toneff passed away, and shows a side of her that had never before been documented on a recording. The album won a Spellemannspris, the Norwegian Grammy award, in 1993. The material on the album comes from a concert the Radka Toneff Quartet held at the legendary jazz club Onkel Pös Carnegie Hall in Hamburg on 10 March 1981. The German radio station NDR broadcast an hour of the concert live, and an edited version of the recording became this album, a modern classic.

“IMAEL”, è una raccolta di cover rivisitate in chiave inedita che mettono in evidenza le particolari sonorità dell’artista. Un insieme di interpretazioni in versione elegante e raffinata, come è già facilmente intuibile dal singolo “Firework” di Katy Perry. Altre grandi Hits sono all’interno dell’album come “Just the way you are” di Bruno Mars, “Titanium” di David Guetta, “Cheap thrills“ di Sia e molte altre.

More than a decade into a creatively charged career, Aubrey Johnson’s debut release, Unraveled, marks this consummate jazz vocalist’s arrival as a composer, arranger, and bandleader with a captivating vision of her own. A musician’s musician equally at home as a side-person and as a bandleader, Aubrey’s ability to deliver dazzling horn-like melodies and improvisations as well as her poetic sensitivity and lyricism are on full display on this recording. While the style of the album is decidedly jazz, a notable variety of influences in the pop, folk, and Braziian music genres provide a quirkiness and uniqueness less often found in more traditional vocal jazz settings.

When Doris Day freed herself from those cotton candy films she appeared in, where her singing for the most part was limited to cute novelty tunes, she showed that she could successfully sink her vocal teeth into some solid standard material. The LPs compiled on this CD come from the late '50s, when she was recording for Columbia with backing from an orchestra headed by Paul Weston. The songs fall into two categories. The first are those where Weston employed a large, sugary string section. The far more interesting tracks are those where the strings were held out and Day was backed by a dance band group with some jazz personages present…

Norway's best-selling jazz album ever is also a recording laced with tragedy. Only weeks after its 1982 release, singer Radka Toneff was found dead in the Bygdøy woods, near Oslo. She was aged thirty. The verdict was suicide caused by an overdose of sleeping pills.
Toneff was born in 1952 and by her mid-twenties had earned acclaim with her own jazz quartet. But it was Toneff's ad hoc duets with the band's pianist Steve Dobrogosz that inspired Fairytales. Recorded over two nights at the Grieg Hall in Bergen, the album has since achieved a certain folklore befitting its title. Toneff studied music at the Oslo Music Conservatory and was a jazz natural as this remarkable outing proves. At times she displays the ethereal grace of a pure diva.

A Norwegian jazz vocalist of legendary stature, Radka Toneff made her award-winning album debut in 1977 and recorded only three albums during her lifetime, which was cut short by her tragic death in 1982. Born on June 25, 1952, in Oslo, Norway, she is the daughter of a Bulgarian folksinger and studied at the Oslo Musikkonservatorium from 1971 to 1975. After founding the Radka Toneff Quintet, whose membership included Arild Andersen (bass), Jon Balke (piano), and Jon Eberson (guitar), among others, she made her solo album debut in 1977 with Winter Poem, an English-language effort. Highly acclaimed, the album was awarded a Spellemannprisen (i.e., Norwegian Grammy) in 1977 for Vocal Album of the Year and was a Top 20 hit on the Norwegian albums chart.