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SACD

Claire Martin and Richard Rodney Bennett – When Lights Are Low (2005) [SACD / Linn Records – AKD 260]

adminSeptember 16, 2025 115 Views

Title: Claire Martin and Richard Rodney Bennett – When Lights Are Low (2005)
Genre: Jazz
Format: MCH SACD ISO + Hi-Res FLAC

Following their two previous duo albums, ‘When Lights Are Low’ and ‘Witchcraft’, ‘Say It Isn’t So’ presents a final third chapter in the remarkable musical partnership of Claire Martin and the late Richard Rodney Bennett.

One of the most delightful collaborations in vocal jazz, that of Britain’s pre-eminent female vocalist Claire Martin and chameleonic British composer-arranger-pianist-sometime-vocalist Richard Rodney Bennett, ended with Bennett’s death last December at age 76. A year and a half prior, Martin and Bennett had played to SRO crowds at the Algonquin’s now-dismantled Oak Room, saluting Irving Berlin with a show titled ‘A Couple of Swells’. Two months later, the pair laid down 14 Berlin tunes for what would turn out to be their third and final shared disc. As always, Bennett’s lilting arrangements and refined accompaniment are perfectly tailored to Martin’s smoky warmth. As always, her subtle imagination is enchanting, particularly on a breezy Love, You Didn’t Do Right By Me and an inspired blending of Get Thee Behind Me Satan with I Got Lost in His Arms. As a balladeer Martin remains nonpareil, her bruised Better Luck Next Time and What’ll I do flawlessly rendered. Bennett’s rumbling, gravel-pitted talk-sing still captivates as he travels alone across four tracks, mirroring Fred Astaire’s suavity on Change Partners and jauntily navigating He Ain’t Got Rhythm. In their nightclub act, as on previous albums, Martin and Bennett often sang duets. Here they team just once, waiting until the final track to cosily share Waiting at the End of the Road, an ode to heaven-bound fulfilment that proves a fitting finale for their divine union.

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2 min read

SACD

Claire Martin – Perfect Alibi (2000) [Reissue 2008] [SACD / Linn Records AKD 316]

adminSeptember 16, 2025 73 Views

Title: Claire Martin – Perfect Alibi (2000) [Reissue 2008]
Genre: Jazz
Format: MCH SACD ISO + Hi-Res FLAC

With 1998’s Take My Heart, Claire Martin made the transition from jazz to pop, and the British singer continues in a pop-oriented direction on Perfect Alibi. Even if you have a very liberal definition of jazz, this late-1999/early-2000 recording shouldn’t be considered jazz; Perfect Alibi is a pop album, although it’s a pop album with jazz, R&B, and rock references. Not surprisingly, many of England’s jazz enthusiasts are critical of Martin’s pop albums, she was among the most exciting and interesting young jazz vocalists of the 1990s, and they were sorry to see a talented improviser steering clear of improvisation. But from a pop standpoint, Perfect Alibi has a lot going for it. Martin doesn’t improvise on this album, although her performances of Jimi Hendrix’s “Up From the Skies,” the Rascals’ “How Can I Be Sure?,” and other rock and pop songs do have a personal quality. The jazz-oriented Martin of The Waiting Game and Old Boyfriends would have found a way to turn the Stylistics’ “People Make the World Go Round,” Al Kooper’s “More Than You’ll Ever Know,” and Todd Rundgren’s “Wailing Wall” into improvisatory cool jazz. The pop-oriented Martin of Perfect Alibi, however, personalizes those familiar songs without getting into improvisation. As far as Martin’s pop output goes, Take My Heart is a slightly stronger album. But Perfect Alibi is generally likable, although the jazz lovers of 1999 and 2000 hoped that she would get back to recording jazz.

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2 min read

SACD

Claire Martin & Kenny Barron – Too Much In Love To Care (2012) [SACD / Linn Records – AKR 390]

adminSeptember 16, 2025 89 Views

Title: Claire Martin & Kenny Barron – Too Much In Love To Care (2012)
Genre: Jazz
Format: MCH SACD ISO + DSF DSD64 + Hi-Res FLAC

Too Much in Love to Care’ is Claire Martin’s first US studio recording for fifteen years and guest stars Kenny Barron, ‘one of the top jazz pianists in the world’ (LA Times). It was named ‘Best New Album’ at the 2013 British Jazz Awards.

With musical inspirations like Judy Garland, Ella Fitzgerald and Betty Carter, it is no surprise Claire Martin would succeed as a jazz singer. At twenty-one she fronted a quartet and was signed to Scottish label, Linn. Her debut, The Waiting Game was The Times album of the year and immediately put her among the elite of English jazz singers. Soon after the release of the album, she opened for Tony Bennett (who has become a huge fan) at the Glasgow International Jazz festival. Her pristine vocals and intuitive feel for melodic interpretation shaped her musical vision. Subsequent albums brought the attention of the American music culture, when she recorded a live album at Ronnie Scott’s legendary nightclub. Overall Martin has made thirteen records with Linn Records, collaborating with Martin Taylor, John Martin, Stephane Grappelli, Mark Nightingale, Sir Richard Rodney Bennett, Jim Mullen and Nigel Hitchcock. Many of these projects have contained popular modern music and songs of The American Songbook. Ms. Martin has been appointed Officer Of The Order Of The British Empire (O.B.E), in addition she is a co-presenter for Jazz Line Up on BBC Radio 3. Claire Martin’s latest album is a collection of vintage American standards. She has decided to record with piano legend, Kenny Barron. Barron has an extensive career with harmonious jazz arrangement. Backed by Peter Washington (bass), Kenny Washington (drums) and Steve Wilson (saxophone, flute), the band is fully capable of propelling Martin’s talent into American Songbook respectability. Opening the set is a surprising version of the eclectic “Too Much In Love To Care” (apparently unrecorded since Carmen McRae in 1954). Martin’s breezy, sophisticated phrasing is impeccable. The latin-fused quintet (with a jaunty flute by Steve Wilson) swings effortlessly. The singer has always enjoyed a special chemistry with pianists. On the Gershwin classic, “Embraceable You”, she gets to perform a duo with one of the best interpreters of romantic music, Kenny Barron. His playing is concise (almost Basie-like) and lyrical. With a slight up tempo, Martin singing is artistic, reminiscent of her hero, Ella Fitzgerald. Even on a song covered by nearly everyone (“Time After Time”), her take is fresh and vibrant. Barron executes a finger-snapping elegance that shines. Demonstrating a bluesy nuance, “How Long Has This Been Going On” is wistful. Bassist Peter Washington joins with an intricate solo on double bass. Martin possesses all of the requisite elements of jazz singing, including flawless elocution, excellent timing and an ability to intermingle her vocal tones with the ensemble. The band is superb, especially on the saucy cover of “Lazy Afternoon”. Kenny Washington’s drumming is masterful and anchors the stylish, jazzy vibe. The arrangements are never dull. “I Only Have Eyes For You” adopts a gentle swing groove and reinvents itself. There is also a warm familiarity with the material as evidenced by the slow-burning, “I’m Glad There Is You”. Martin injects emotional poignancy, but not excessively. The finale (“Too Late Now”) reunites her with Barron in a heartfelt ballad. Too Much In Love To Care is a superlative album. From the stylistic, “cool” jazz of the quartet to the assured, versatile singing, all of the pieces fit intuitively. The SACD Stereo sound is powerful and engineered with crisp tonality and warmth. The detailed mixing of Martin’s velvet voice and outstanding diction is amazingly clear and distinctive. The separation is first class and uncluttered.

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4 min read

SACD

Claire Martin – He Never Mentioned Love (2007) [SACD / Linn Records – AKD 295]

adminSeptember 16, 2025 80 Views

Title: Claire Martin – He Never Mentioned Love (2007)
Genre: Jazz
Format: MCH SACD ISO + Hi-Res FLAC

Claire Martin returns with this stylish tribute to the late and legendary American songstress Shirley Horn. “He Never Mentioned Love” sees the UK’s finest jazz singer investigate songs memorably performed by her greatest influence.

American singer and pianist Shirley Horn was one of Claire Martin’s greatest influences. In He Never Mentioned Love, Claire’s first album since Shirley died at the end of 2005, she pays homage with a set of songs from Shirley’s repertoire. To demonstrate what’s so great about The Heartache Queen, Claire sings her praises through her own piece – ‘’Slowly But Shirley’’. The ‘silent spaces’ she admired in Shirley’s performances have been assimilated into Claire’s singing style, particularly in her version of ‘’The Sun Died’’, helped along by Gerard Presencer’s aching trumpet solo. In the quietest moments here and in the title track, every smile and every frown is audible in Claire’s luscious voice. Though this selection of songs is mainly slow – in tribute to Horn, who was renowned for performing at drop-dead tempos – Claire’s wonderful sense of dynamics and story-telling still shine through. She’s threatening and needy in ’’If You Go’’, passionate in ‘’Forget Me’’ and pragmatic in ‘’Trav’llin’ Light”. Once again, Claire draws together an enviable collection of top UK jazz musicians, which means exciting solos and fresh arrangements. A mixture of trio, bass-voice duo and voice-guitar duo keeps things intriguing, and this is certainly no tribute band. The producer is bandleader Laurence Cottle, who plays a stunning solo on ‘’You’re Nearer’’, his electric bass speaking through the gruffest low notes and singing through the high ones. Gerard Presencer’s broken altissimo notes have a Kenny Wheeler sound to them, and Nigel Hitchcock’s sax storms through ‘’Slowly But Shirley’’. The Gareth Williams–Cottle-Clark Tracey trio get things swinging whenever they can, especially in ‘’All Night Long’’ where everyone lets rip against a jagged time signature. Claire’s long-time cohort on the guitar, Jim Mullen, also features. He gets his teeth into the feisty ‘’LA Breakdown’’, as Claire’s fractured phrases and belting finale turn this hard-driving bluesy waltz into the ultimate drama. He Never Mentioned Love may be a chance for Claire Martin to remember Shirley Horn, but the sheer individuality that she brings to these songs shows that this is more than a tribute album. Shirley’s passed the flame to Claire, who’s using it to light fireworks. Go girl!

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3 min read

SACD

Claire Martin – A Modern Art (2009) [SACD / Linn Records – AKD 340]

adminSeptember 16, 2025 91 Views

Title: Claire Martin – A Modern Art (2009)
Genre: Jazz
Format: MCH SACD ISO + Hi-Res FLAC

Is jazz still a modern art? It’s a hundred years old, after all, and some performers and fans seem to ignore everything written after 1940. But as far as the work of Claire Martin is concerned the question has only one answer. Apart from being one of the finest singers on the current scene, Martin is constantly searching for new writers and new ways to interpret them, ensuring that her own approach to music stays resolutely in the present. A Modern Art, her thirteenth album, is an eclectic recording that showcases her talents and those of a superb collection of backing musicians-it’s possibly the best album of her career to date, which is saying something.

For her new record, A Modern Art, Claire Martin decided that she wanted to explore more modern contemporary songs that generally fall outside the confines of the Great American Songbook. She chose songs that define her as a modern jazz singer, from the likes of Michael Franks and Donald Fagen, as well as from relative newcomers Pat Coleman and Colin Lazzerini, Mark Winkler and New York Voices vocalist Lauren Kinhan, with a couple of originals thrown in for good measure. While probably mostly unfamiliar to jazz audiences, many of these songs are filled with snappy and clever lyrics and melodies that, given the right treatment, deserve to be heard alongside the classics, proving that jazz is indeed a modern art form. As usual, her smoky-sweet alto voice is the perfect vehicle for delivery of this bag of chestnuts and quirky goodies, and many of the songs are filled with a capricious mix of off-the-wall humor and occasional melancholy. The end result is a remarkably enjoyable new album, easily confirming Claire Martin’s place as First Lady of British Jazz. Her cohorts on this album include many of the usual suspects, including the incomparable Gareth Williams, who graces virtually every song with his extraordinary pianisms. Producer and bassist Laurence Cottle provides an exceptional foundation to all the proceedings with his superb playing and he co-wrote the two Claire Martin originals here, ‘A Modern Art’ and ‘Edge Ways’. The album kicks off with an updated, totally swinging take on the Rodgers and Hart classic ‘Everything I’ve Got Belongs To You’ one of only two standards that appear on the disc. Listen here for some burning hot alto sax work by Nigel Hitchcock – Claire Martin definitely surrounds herself with some amazingly talented musicians! Next up is one of two clever and humorous songs by Pat Coleman and Colin Lazzerini, ‘So Twentieth Century’ which Claire Martin has an amazing way of swingingly delivering to cunning effect. The other, ‘Totally’ is a hilarious and skillful take on the lexicography of modern music with a sophisticated kind of ‘valley girl’ twist. ‘Lowercase’ is a clever survey of life in typographical terms, and includes another really sweet sax fill in the middle. Another hilarious cover is the Cy Coleman standard ‘Everybody Today Is Turning On’ which rings so true, it could have been taken from today’s headlines, instead of from the Broadway musical of thirty years ago! The SACD sound quality, as usual from Linn, is superb. The disc offers a kind of modified stage perspective; Claire Martin’s voice is firmly anchored front and center (as it should be), but there’s enough going on in the surrounds to easily make one feel immersed in the proceedings. Hats off to Linn Records for continuing to support the SACD format; they’re one of the handful of ‘specialty’ labels, along with Mobile Fidelity, Chesky and Analogue Productions that are releasing music on SACD in genres other than classical. Don’t get me wrong – I love classical music, it’s just that there’s a heck of a lot of other styles of music out there that deserve to be heard in high resolution too! This clever and entertaining disc gets four stars – very highly recommended!

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4 min read

SACD

Cikada Duo – Nordheim (2007) [SACD / 2L – 2L39SACD]

adminSeptember 16, 2025 111 Views

Title: Cikada Duo – Nordheim (2007)
Genre: Classical
Format: MCH SACD ISO + Hi-Res FLAC

Since 1960 the composer Arne Nordheim has enchanted both musicians and audience with a unique soundscape. His music may be considered a source to the later Nordic Sound of electronica. Today’s DJs might not willingly announce “Grandfather taught me this”, but that’s actually the case! Nordheim’s music is recently re-vitalized by publications like Dodeka and Electric by the renowned Norwegian label Rune Grammofon, and Nordheim Transformed by Biosphere/Deathprod. CIKADA and 2L now bring you the world premiere recording in surround sound, as originally intended by the composer. CIKADA DUO is Kenneth Karlsson (piano/synthesizer) and Bjørn Rabben (percussion). They are joined by Åke Parmerud (elektronics) and Elisabeth Holmertz (soprano) in this production of Arne Nordheim’s music. Take the stand within the percussion and let yourself be embraced by electronica, vocal and synthesizers in an extreme surround sound recording, produced by the GRAMMY-nominated Lindberg Lyd.

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1 min read

SACD

Chuck Mangione – The Feeling’s Back (1999) [Reissue 2004] [SACD / Chesky Records – SACD282]

adminSeptember 16, 2025 90 Views

Title: Chuck Mangione – The Feeling’s Back (1999) [Reissue 2004]
Genre: Jazz
Format: MCH SACD ISO + DSF DSD64 + Hi-Res FLAC

Charles Frank “Chuck” Mangione is an American flugelhorn player and composer who achieved international success in 1977 with his jazz-pop single, “Feels So Good”. Mangione has released more than thirty albums since 1960… Chuck Mangione laid low throughout much of the ’90s, perhaps the end result of a disappointing string of albums for Columbia during the ’80s. He returned to the road in 1997 and evidently it was a positive experience, since he returned to the studio the following year to cut The Feeling’s Back. For all intents and purposes, The Feeling’s Back is a comeback album, finding Mangione returning to the smooth, melodic style of Feels So Good, but laying off the sappy pop tendencies that dogged his ’80s efforts. Although the end result is a little monotonous — many of the tracks are quiet and slowly swinging, blending together into one long track — it’s charmingly laid-back, mellow and melodic, all of the things that brought Mangione fame and fortune in the ’70s. There isn’t a whole lot in the way of “real” jazz here — the solos are extensions of the themes, and they never stand apart from the lite groove — but this has the “feeling” that Mangione fans have been waiting to feel again. And that’s enough to make it a successful comeback.

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2 min read

SACD

Chuck Mangione – Everything For Love (2000) [Reissue 2001] [SACD / Chesky Records – SACD228]

adminSeptember 16, 2025 90 Views

Title: Chuck Mangione – Everything For Love (2000) [Reissue 2001]
Genre: Jazz
Format: MCH SACD ISO + DSF DSD64 + Hi-Res FLAC

Chuck Mangione, the famed flugelhornist and trumpeter fills his first recording of the 21st century with some wonderfully subdued love songs whose subtle, intimate qualities may surprise those of his fans who best know his boisterous pop hits. More than simply expressing a romantic boy-girl kind of love, Mangione is playing gentle, atmospheric jazz for a wide variety of special people, real and animated. And there is no doubt that the truest love here is that between the artist and some of his old bandmates; saxman Gerry Niewood played with Mangione from 1968 through the mid-’70s, while guitarist Grant Geissman (showing a rich, traditional jazz depth only hinted at on most of his smooth jazz efforts) and bassist Charles Meeks were there during Mangione’s late ’70s pop heyday. “Slo Ro,” dedicated to Mangione’s wife, is a moody reflection piece led by a drifting muted trumpet and the bluesy duality of Niewood’s smoky tenor and Allen’s keys. A seven-minute meditative version of “Amazing Grace” begins as a quiet, prayer-like duet between Mangione and Geissman, who switches partway through from the Wes sound to an electric rock axe for an edgy solo; then, Allen’s organ solo takes this very spiritual rendition to church before Niewood chimes in with a sweet flute solo. Within each song, there are moments when Pellegrini’s drums kick the softness up a few notches, and the peppery horn playing on “Fox Hunt” and the clapping percussion on the Latin-spiced “I Do Everything for Love” show a more playful side than Mangione displays elsewhere. Fans who know Mangione’s whole career will see this as a fine addition to his jazz catalog; those who want more pop hits will be surprised at the low-key nature of the project.

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2 min read

SACD

Chris Whitley – Perfect Day (2000) [Reissue 2001] [SACD / Valley Entertainment – VE 15119]

adminSeptember 16, 2025 84 Views

Title: Chris Whitley – Perfect Day (2000) [Reissue 2001]
Genre: Blues, Blues Rock
Format: SACD ISO + DSF DSD64 + Hi-Res FLAC

Chris Whitley was a Texas-based singer/songwriter who initially began his career as a bluesy roots rocker, but as his career progressed, he moved deeper into rock & roll and alternative rock. Though Whitley’s albums usually received positive reviews, they rarely sold, and his tendency to rework his sound prevented him from developing a sizable cult following among singer/songwriter fans.

After issuing the spare, entirely solo Live at Martyrs’ in early 2000, Chris Whitley returned to the studio with drummer Billy Martin and bassist Chris Wood (of Medeski, Martin & Wood fame) to cut the similarly low-key, all covers album Perfect Day. It’s a mix of blues standards and rock songs with a poetic bent (writers like Dylan, Reed, and Morrison) all given hauntingly minimalistic treatments. Whitley’s guitar work is subdued and spacious, as are Martin and Wood’s constantly shifting backing rhythms. The cover photo of a haggard-looking Whitley sets the tone for his performances: he sounds committed but weary, which gives these renditions a darkly compelling power. “Spoonful,” in particular, often seems on the verge of falling apart, as Whitley’s guitar slashes almost randomly over the rhythm section’s syncopations. But – perhaps like the singer himself – it somehow holds together in the face of desperation, which is a handy way to sum up the album’s impact as a whole.

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2 min read

SACD

Christy Baron – Steppin’ (2000/2001) [SACD / Chesky Records – SACD227]

adminSeptember 16, 2025 90 Views

Title: Christy Baron – Steppin’ (2000/2001)
Genre: Jazz
Format: MCH SACD ISO

Once again, Chesky does it right….this album is absolutely wonderful. Great voice…sexy, sultry, presented with Chesky’s usual technical perfection. The music here is Jazz standard, with some numbers, of course, better known than others. Christy has a perfect voice for this material, and uses it marvelously. Naturally, the instrumental back-up and recording technique are up to Chesky’s usual high standard.

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(more…)

1 min read