Claire Martin - Too Darn Hot!

Styles: Vocal Jazz
Year: 2002
File: MP3@320K/s
Time: 56:44
Size: 133,4 MB
Art: Front

(4:53)  1. Something's Coming
(3:51)  2. Love At Last
(4:14)  3. The Gentleman Is A Dope
(4:10)  4. These Foolish Things
(5:29)  5. It's Raining In My Heart
(3:52)  6. Too Darn Hot
(5:26)  7. Black Coffee
(4:13)  8. Noir
(4:40)  9. Love Is A Necessary Evil
(4:41) 10. When I Fall In Love
(3:43) 11. I Can Let Go Now
(5:28) 12. Four Walls
(1:58) 13. Blue Motel Room

Talented and hip beyond her years the most exciting jazz star to soar to my attention in a decade. By Rex Reed The New York Observer

Too Darn Hot! (Linn Records AKD 198) is Claire Martin’s ninth album for Linn Records. Claire makes a welcome return to her jazz roots with a "dream-team" line-up of UK jazz musicians. Visit http://www.linnrecords.com/ to download soundclips and find out more. This album features many songs from the Great American Song Book: Rogers and Hammerstein's The Gentleman is a Dope, Leonard Bernstein’s Something’s Coming from West Side Story, a superb arrangement of Cole Porter’s Too Darn Hot!, as well as luscious readings of When I Fall in Love and Black Coffee. These tracks are alongside new material by Joel Siegel (Noir) and Geoffrey Keezer (Four Walls) whilst Claire once again pays homage to one of her key influences Joni Mitchell with the final track Blue Motel Room, an a cappella duet with Ian Shaw. Collaborating with producer Richard Cottle, Too Darn Hot! features the cream of British talent and features Nigel Hitchcock, Gareth Williams, Laurence Cottle, Ian Thomas, Clark Tracey and Phil Robson. Special guest artists include the much-acclaimed pianist Geoff Keezer who is featured on his own composition Four Walls which was written for Claire.

The Tapestry String Quartet play on two arrangements by Sir Richard Rodney Bennett, again written especially for Claire, It’s Raining in my Heart and When I Fall in Love. Sir Richard has been a champion of Claire's work since her debut album The Waiting Game (Linn Records AKD 018) for which he wrote the liner notes.

Introducing Claire Martin.....Claire Martin achieved instant recognition with her 1992 debut album, The Waiting Game, which was chosen as one of The Times (London)records of the year. Sir Richard Rodney Bennett concluded his liner notes for the album with the unabashed exclamation: 'This record knocks me out!' Tony Bennett was equally enthusiastic when he appeared on the same bill as Claire at the Glasgow Jazz Festival and has since had the pleasure of sketching Claire during a recent awards ceremony. Claire has a keen interest in all areas of popular music from jazz to pop. On her recordings, songs by Harold Arlen and Irving Berlin rub shoulders with Stevie Wonder, Phoebe Snow and Milton Nascimento, reflecting her eclectic roots. Claire counts Shirley Horn, Joni Mitchell, Betty Carter and Ella Fitzgerald among her stylistic influences. In January 1995 Claire made her American debut with four sell-out shows at The Nest in Washington DC to great acclaim from the Washington Post and The Village Voice. Later that year Claire won the Best British Vocalist category at the British Jazz Awards, and took her group to Ronnie Scott's to make her first live album, entitled Offbeat (Linn Records AKD 046), which includes an outstanding interpretation of Phoebe Snow's Something Real. New York Times contributor James Gavin, author of The History of New York Cabaret wrote: 'In an era when young jazz singers tend to sound far too much like their idols there's no mistaking the voice of Claire Martin who combines a cool, burnished tone with the ear of a born musician.' Following enthusiastic reviews for her appearances in the United States, Claire recorded Make This City Ours (Linn Records AKD 066) in New York, her fifth album for Linn and featuring an international line-up including American saxophonist Antonio Hart.

In March 1996 Claire appeared as guest vocalist on Years Apart (Linn Records AKD 058) with guitarist Martin Taylor recreating the 1934 Hot Club of France. Claire recorded Undecided, originally sung by Beryl Davis.

Claire also provided the lyrics for the title track and had the pleasure of recording in Paris alongside the legendary violinist Stephane Grappelli, who described her as ‘a wonderful artist, who swings and has such warmth to her voice.' The sixth album to be released was Take My Heart (Linn Records AKD 093). This was a change of direction for Claire she started to explore other genres including soul, R&B, folk, and rock. For example, Claire was joined by Noel Gallagher (Oasis) on the track Help and she also covered a Nick Drake track, Riverman. Following on from these explorations Claire released her seventh album Perfect Alibi (Linn Records AKD 122), in April 2000, this time with an appearance by guest artist John Martyn. Every Now and Then the Very Best of Claire Martin (Linn Records AKD 177) is a collection of the best tracks from the first seven albums. Too Darn Hot! is a welcome return to jazz for Claire Martin. It also heralds her first new material for 2 years.  Claire has performed throughout Europe and North America at festivals in Germany, France, the Netherlands, Norway, Denmark, Canada and the United Kingdom including the Edinburgh, Glasgow and Harrogate International Festivals and with many of the world's great orchestras including the BBC Big Band and the RIAS Big Band in Berlin. In 2001 Claire toured the Far East, Europe, and Australia. In addition to her busy concert schedule Claire Martin presents 'Jazz Line-up' on BBC Radio 3. Claire will be performing songs from Too Darn Hot at Ronnie Scott’s Jazz club, London, November 4th 9th 2002. http://www.jazzreview.com/jazz-news/news-story/vocalist-claire-martin-is-too-darn-hot.html


Personnel: Claire Martin (vocals); Ian Shaw (vocals); Phil Robson (guitar); Tapestry Quartet (strings); Nigel Hitchcock (saxophone); Geoffrey Keezer (piano, electric piano); Gareth Williams (piano); Richard Cottle (organ, keyboards); Geoff Gascoyne (double bass); Laurence Cottle (bass guitar); Clark Tracey, Ian Thomas (drums); Miles Bould (percussion).

Too Darn Hot!

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Sarah L King - Fire Horse

Styles: Vocal

Year: 2024

File: MP3@320K/s

Time: 53:13

Size: 123,3 MB

Art: Front

(3:37) 1. Holding On To Love

(4:38) 2. Devil May Care

(4:22) 3. Born Yesterday

(5:33) 4. Mystery Ride

(4:00) 5. Lush Life

(4:05) 6. As Though You Were Mine

(4:42) 7. Stolen Moments

(4:24) 8. Skyscapes

(5:06) 9. Black Dog

(4:08) 10. Show You The Way To Go

(4:08) 11. Snow Blind

(4:24) 12. Your Biggest Fan

Starting her musical path with coaching from Mike King, one of the UK's leading contemporary vocal coaches, Sarah L King (no relation), surfaced as a solo jazz vocalist, releasing an EP of standards and several singles. Her passage was helped by a family heritage consisting of an accomplished jazz trumpeter father and an orchestral conductor grandmother. An early career as a writer and director of short films provided the right impetus to be a compelling musical narrator.

King's debut album, Fire Horse, has the multi-talented Claire Martin producing. Martin and King have assembled a supporting band of top-level British musicians. They include Jim Watson on piano and keyboards. Watson brings extensive experience gained with artists of the calibre of Kurt Elling and Sting. Likewise, electric bassist Laurence Cottle has played with notable names such as Jason Rebello and Eric Clapton. He also leads his own big band. Double bassist Jeremy Brown has been a member of Stacey Kent's group and is a professor of jazz double bass at the Royal Academy of Music. Drummer Ian Thomas has recorded with Robbie Robertson and BB King. Add the talents of James McMillan on flugelhorn, Chris Traves on trombone and Ian Shaw, as well as Martin, on backing vocals and you have a cracking line-up.

Starting her musical path with coaching from Mike King, one of the UK's leading contemporary vocal coaches, Sarah L King (no relation), surfaced as a solo jazz vocalist, releasing an EP of standards and several singles. Her passage was helped by a family heritage consisting of an accomplished jazz trumpeter father and an orchestral conductor grandmother. An early career as a writer and director of short films provided the right impetus to be a compelling musical narrator.

Personnel: Sarah L. King (vocals); Jim Watson (piano & keyboards); Laurence Cottle (electric bass); Jeremy Brown (double bass); Ian Thomas (drums); James McMillan (flugelhorn); Chris Traves (trombone); Claire Martin & Ian Shaw (additional vocals)

 

Fire Horse

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Wilma Baan - So nice

Styles: Vocal
Year: 2021
File: MP3@320K/s
Time: 50:14
Size: 120,7 MB
Art: Front

(4:28) 1. So nice
(3:59) 2. Social call
(4:24) 3. Close enough for love
(4:09) 4. Do nothing till you hear from me
(3:08) 5. Better than anything
(5:29) 6. Folks who live on the hill
(4:46) 7. Teach me tonight
(4:02) 8. Day by day
(3:10) 9. End of a love affair
(4:29) 10. Where do you start
(3:20) 11. I didn't know what time it was
(4:45) 12. Here's to life

When you hear 'So Nice', the debut release from vocalist Wilma Baan, you may wonder why you haven't heard her before. Wilma's rich, mellow tone, impeccable timing and elegant delivery pay homage to her musical influences (Julie London, Nancy Wilson, Dianne Reeves) on this accomplished recording of 12 treasures from the standard repertoire.

The arrangements by Graham Harvey provide a sparklingly fresh take on these much-loved songs including a wonderfully sensitive version of the inexplicably under recorded 'Day by Day' and on a poignant rendition of 'Here's to Life', producer Claire Martin coaxes every nuance and shade from Wilma's charming vocal performance.

Chris Traves' mellifluous trombone solo on 'Close Enough for Love' demonstrates the generous contributions made by Chris (he also co-produced the album with Claire Martin) Josh Morrison and Dave Chamberlain throughout the recording (Dave can be heard playing the guitar on tracks 1 & 8).

For Wilma,'So Nice' represents the fulfilment of a long-held ambition; to record songs that have deeply moved and inspired her and that have sustained her love for the jazz repertoire through the years.
https://www.allaboutjazz.com/album/so-nice-wilma-baan

Personnel: Wilma Baan - vocals; Graham Harvey - piano, Fender Rhodes, arrangements; Dave Chamberlain - double bass, guitars (1, 8); Josh Morrison - drums; Claire Martin - percussion; Chris Traves - trombone (3), percussion

So nice

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Claire Martin, Scott Dunn & Royal Philharmonic Orchestra - I Watch You Sleep

Styles: Vocal
Year: 2023
File: MP3@320K/s
Time: 71:04
Size: 167,7 MB
Art: Front

(4:30) 1. I Watch You Sleep
(5:37) 2. Autumn in New York
(4:25) 3. It's Only a Paper Moon
(3:34) 4. For Ev'ry Man There's a Woman / It Was Written in the Stars
(5:35) 5. Round About
(4:32) 6. I'll Always Leave the Door a Little Open
(4:59) 7. I Wish I'd Met You
(5:13) 8. Don't Play Games with Love
(4:30) 9. Goodbye for Now
(3:27) 10. Early to Bed
(4:06) 11. I Never Went Away
(2:53) 12. Let's Go and Live in the Country
(4:24) 13. Not Exactly Paris
(3:59) 14. My Ship
(4:01) 15. I Wonder What Became of Me
(5:13) 16. It Was Written in the Stars

A flawless song list comprising Richard Rodney Bennett originals plus some of his favourite standards, stunning arrangements by conductor Scott Dunn, plus the unfailingly mellifluous vocals of Claire Martin, combine to produce an extraordinarily beautiful tribute to Bennett which marks the tenth anniversary of his death.

Whether it's the majestic sound of the RPO strings in the Bennett/Siegel opener ’I Watch You Sleep’ – an utterly gorgeous song in the hands of Bennett's great friends and erstwhile musical partners Martin and Dunn which, aside from Shirley Horn's exquisite version on her 1988 trio album, Softly, has been covered remarkably infrequently the iridescent vibraphone which introduces a deluxe arrangement of Vernon Duke's ‘Autumn in New York’ with its vivid imagery of “glittering crowds and shimmering clouds in canyons of steel”; the clarion call of Ryan Quigley's flugel in ‘Round About’ (another overlooked gem from the team of Duke and lyricist Ogden Nash which seems to hover atmospherically in the air); or the adroit splicing together of a brace of Harold Arlen/Leo Robin songs,

‘ For Ev’ry Man There's a Woman/It Was Written In The Stars’, penned for the 1948 US film noir Casbah, the 16-track album presents an incredibly touching statement from the heart. Whether navigating through the elegiac orchestral textures of ‘I Never Went Away’ or intimate duo and trio versions of ‘I Wonder What Became Of Me’ and ‘I Wish I’d Met You’, Martin's enormous gifts as a storyteller have never sounded more potent.
https://www.jazzwise.com/review/scott-dunn-with-claire-martin-and-the-royal-philharmonic-orchestra-i-watch-you-sleep-scott-dunn-celebrates-richard-rodney-bennett

Personnel: Claire Martin - vocals; Rob Barron - piano; Matt Skelton - drums; Jeremy Brown - double bass; Ryan Quigley - flugelhorn; Scott Dunn - conductor, arranger, piano on tracks 15&16; and with the Royal Philharmonic Orchestra.

I Watch You Sleep

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Claire Martin, Barb Jungr, Mari Wilson - Girl Talk

Styles: Vocal
Year: 2006
File: MP3@320K/s
Time: 69:25
Size: 161,6 MB
Art: Front

(3:17) 1. Girls Talk
(2:51) 2. Doctor's Orders
(2:32) 3. Walkin' Miracle
(3:56) 4. Different for Girls
(1:47) 5. Substitute
(4:04) 6. Wivers and Lovers
(2:35) 7. Keep Young and Beautiful
(3:14) 8. My Guy
(3:51) 9. Terry
(3:30) 10. You Keep Me Hangin' On
(2:39) 11. Girl Talk
(1:27) 12. Wishin' and Hopin'
(3:02) 13. Ladies Who Lunch
(2:09) 14. I Enjoy Being a Girl
(2:48) 15. A Woman's Touch
(3:47) 16. Single Girl
(4:04) 17. D.i.v.o.r.c.e.
(1:47) 18. Let's Jump the Broomstick
(3:24) 19. Chapel of Love
(4:32) 20. It Should've Been Me
(2:32) 21. When Do the Bells Ring for Me
(2:35) 22. Needle in a Haystack
(2:52) 23. I'm Gonna Make You Mine

Award winning British Jazz Singer of the Year Claire Martin, International Cabaret award winner Barb Jungr and Neasden Queen of Soul Mari Wilson, solo and in harmony, bring the songs you love to hate to life again in this glamorous celebration of all things girlie.

"Take three of the UK's finest female vocalists, add a bunch of songs at the oh-so-cheesy end of the spectrum and sprinkle liberally with postmodern irony and that, in a nutshell, is Girl Talk. As camp as Christmas and huge fun, this brassy, sassy and supremely arch review takes a deliciously tongue-in-cheek look at love, marriage and make-up in the 21st century via the hallowed classics of yesteryear. Heard solo and in glorious three-part harmony, Mari Wilson, Barb Jungr and Claire Martin are all fabulous singers in their own right, and by some strange work of alchemy their respective worlds of pop, cabaret and jazz combine seamlessly in this common cause. Of course one can't ignore the fact that some of these songs are in fact completely brilliant. It's great to hear Bacharach and David's "Wives and Lovers", Sondheim's "Ladies Who Lunch" and the evergreen Motown number "It Should've Been Me". Also included are such epics of stereotyping as "A Woman's Touch" ("A touch of paint, one magic nail, can turn a kitchen chair into a Chippendale"), complete with its comedic music hall style arrangement. In the role of MD, accompanist and producer Adrian York performs heroically." (Jazzwise, Peter Quinn, 2006)

"These three British divas have combined to deliver a series of tunes all coming from a woman's perspective. You can't deny the strong harmonies they put together and with 23 tunes in all, there is sure to be something appealing for all. It is good entertainment." (O's Place Jazz Newsletter, 2006) https://jazzsociety.se/items/girl-talk-31802

Girl Talk

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Claire Martin & Richard Rodney Bennett - Say It Isn't So

Styles: Vocal
Year: 2013
File: MP3@320K/s
Time: 36:40
Size: 85,0 MB
Scans: Front

(2:20)  1. Steppin' Out with My Baby
(2:40)  2. Change Partners
(3:45)  3. Get Thee Behind Me, Satan - I Got Lost In His Arms
(2:13)  4. He Ain't Got Rhythm
(2:48)  5. Love, You Didn't Do Right by Me
(3:22)  6. How Deep is the Ocean
(3:00)  7. Lonely Heart
(2:44)  8. Shakin' the Blues Away - Blue Skies
(2:58)  9. Better Luck Next Time
(3:13) 10. Say It Isn't So
(3:44) 11. What'll I Do?
(3:37) 12. Waiting at the End of the Road

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.

Like 'Witchcraft' the new album is a songbook, focusing here on the work of the great Irving Berlin. Such is the rapport between the duo that every one of the 12 songs strikes vocal jazz gold: the emotional honesty, the perfect pacing and the genuine warmth of the music-making is heard in every phrase, not to mention Linn's superb recorded sound.

Martin sprinkles her magic over everything she touches here, from an effervescent ‘Steppin' Out' to a heart melting ‘What'll I Do'. I've never heard the latter sung more beautifully. Bennett really shines in a terrific arrangement of ‘He Ain't Got Rhythm', clearly having a ball with the lyric (He attracted some attention/When he found the fourth dimension/but He Ain't got Rhythm). A magnificent finale to a unique collaboration.
http://www.linnrecords.com/review-claire-martin-richard-rodney-bennett-say-it-isnt-so-jazzwise.aspx

Say It Isn't So

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Claire Martin - A Modern Art

Styles: Vocal
Year: 2009
File: MP3@320K/s
Time: 52:47
Size: 121,4 MB
Art: Front

(3:35) 1. Everything I` ve Got Belongs To You
(3:19) 2. So Twentieth Century
(3:39) 3. Love Is Real
(4:33) 4. Lowercase
(3:11) 5. A Modern Art
(3:35) 6. Edge Ways
(3:08) 7. Love Of Another
(4:57) 8. Totally
(3:30) 9. Everybody Today Is Turning On
(4:15) 10. Sunday Morning Here With You
(3:25) 11. Promises
(4:28) 12. Things I Miss The Most
(3:33) 13. As We Live And Breathe
(3:32) 14. Nirvana

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 thrteenth 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.

The musicians are some of the best around and all play with skill and empathy. Mark Nightingale's trombone adds a funky edge to the album, guitarist Phil Robson once again displays his ability as an accompanist his duet with Martin on David Cantor's "Nirvana" is exquisite and long-term collaborator, arranger and producer Laurence Cottle, who also plays bass, is recognizably crucial to the overall feel of these songs.

Martin's singing is exceptional distinctive, expressive and stylish. She can be smoky and sensual on Michael Franks' "Sunday Morning Here With You," for example or playful and funny. On "Edge Ways," written by Martin and Cottle, the singer is sensual and playful satirizing an egotistical and overly-talkative old friend or rival over a suitably upbeat and cheery backing. Donald Fagen and Walter Becker's "Things I Miss the Most" is given a Latin groove which, added to Martin's light-hearted vocal, gives the song a warmer, more positive feel than the original. Martin is not averse to making a small lyrical adjustment here she goes to bed with a copy of a celebrity gossip magazine, rather than the more dubious literature favored by the protagonist in the Steely Dan version.

The album highlight is undoubtedly "Love is Real." This is a gorgeous ballad, co-written by pianist Esbjorn Svensson, bassist Dan Berglund and drummer Magnus Öström (collectively known as e.s.t.), with lyrics by bassist Charlie Haden's son, Josh. Svensson died in a diving accident in 2008 and Martin sings this as a tribute to the pianist. Her vocal performance is heartbreaking, adding even more emotional intensity to an already powerful song. This is a song that stays in the memory. Given the quality of the album as a whole this is high praise indeed A Modern Art is a gem. ~ Bruce Lindsay https://www.allaboutjazz.com/a-modern-art-claire-martin-linn-records-review-by-bruce-lindsay.php

Personnel: Claire Martin: vocals; Gareth Williams: piano; Laurence Cottle: bass; Nigel Hitchcock: alto sax; Mark Nightingale: trombone; Phil Robson: guitar; James Maddren: drums; Chris Dagley: drums; Sola Akingbola: percussion.

A Modern Art

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Claire Martin - The Very Best of Claire Martin: Every Now and Then

Styles: Vocal
Year: 2001
File: MP3@320K/s
Time: 66:35
Size: 154,3 MB
Art: Front

(4:29) 1. When the Sun Comes Out
(4:44) 2. Be Cool
(4:43) 3. It's Always Four A.M.
(6:18) 4. Partners in Crime
(5:27) 5. Summer (Estate)
(4:09) 6. No Moon at All
(4:28) 7. Chased Out
(2:04) 8. Off Beat - Live
(6:15) 9. Would You Believe? - Live
(4:13) 10. Devil's Gonna Get You
(4:32) 11. Riverman
(3:08) 12. The Waiting Game
(7:57) 13. More Than You'll Ever Know
(4:03) 14. Any Place I Hang My Hat Is Home

Claire Martin has been one of the more outstanding new voices of the 1990's, not only in her native England, but in the US as well. For her eighth album for the British Linn label, Martin has decided to look back by compiling some selections from those previous releases and include some of the better offerings found on her Linn recording resume. It's interesting that while most of the musical agenda is made up of jazz tunes, most of them fall into the unfamiliar category. Martin makes it without using well known standards as a crutch. Good for her!

From her 1997 release Make This City Ours comes "Any Place I Hang My Hat Is Home" which offers some fine alto sax by Antonio Hart and piano by Gareth Williams. Her own "Devil's Gonna Get You" from her first album, the 1993 release Devil May Care gives some solo room to Jim Mullen on guitar and Arnie Somogyi on bass. The requisite nod to Latin rhythms comes with a swinging "Partners in Crime". One of the prettiest and most poignant ballads on the set is "It's Always Four A. M." from perhaps her finest CD, The Waiting Game. She does this with just Jonathan Gee's piano in support which sets off the purity of her voice. The thing that strikes one as each tune unfolds is Martin's amazing consistency. Whether the tune be from her first album, or from her last, the same high quality of interpretation and delivery remains intact. Recommended.~ Dave Nathan https://www.allaboutjazz.com/every-now-and-then-the-very-best-of-claire-martin-claire-martin-review-by-dave-nathan.php

Personel: Claire Martin - Vocals; Steve Melling, Jonathan Gee, Gareth Williams -Piano; Arnie Somogyi, Peter Washington - Bass; Clark Tracey, Greg Hutchinson, Jeremy Stacey, Ian Thomas - Drums; Mark Nightingale, Nichol Thomson - Trombone; Jim Mullen - Guitar; Antonio Hart - Alto Sax; Paul Stacey - Guitar/Bass Guitar/Keyboard; Robin Miller - Harmonica; Darragh Morgan, Anna Giddey, Brian Wright, Catherine Browning, Chris Payne - Violin; Charlotte Glasson, John Murphy, Sophie Sirota - Viola; Sarah Barker, Jo Richards - Cello; Mark Smith -Autoharp; Duncan Mackay, Alistair "Titch" Walker - Trumpet; Mornington Lockett - Tenor Sax; Robin Aspland - Wurlitzer; Andy Wallace - Hammond Organ

The Very Best of Claire Martin: Every Now and Then

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Callum Au, Claire Martin - Songs and Stories

Styles: Vocal 
Year: 2020
File: MP3@320K/s
Time: 46:36
Size: 107,9 MB
Art: Front

(5:41)  1. Pure Imagination
(4:14)  2. Let's Get Lost
(4:24)  3. I Get Along Without You Very Well
(3:39)  4. The Folk Who Live on the Hill
(2:34)  5. Hello, Young Lovers!
(6:57)  6. I Concentrate on You
(3:55)  7. I Never Went Away
(4:33)  8. The Night We Called It a Day
(3:37)  9. Stars Fell on Alabama
(3:58) 10. Don't Like Goodbyes
(2:56) 11. You and the Night and the Music

Two leading lights of the British jazz scene: composer, arranger and trombonist, Callum Au, and internationally admired singer, Claire Martin, join forces for a new album, “Songs and Stories” on the Copenhagen-based Stunt label. The album, featuring a total of 82 exceptional musicians, from the UK, Europe and the USA, is a stunningly arranged selection of jazz standards and American Songbook classics, given compelling, sensitive, modern orchestral and big band treatments, whilst drawing extensive style and influence from the definitive peaks of this genre in past eras.This is Claire Martin’s first big band or large orchestral recording and she is thrilled to be working with Callum Au, who she regards as a “major talent”, with many great successes ahead of him. The album features a superb line-up of soloists and lead musicians including Ryan Quigley, Andy Wood, Freddie Gavita, Nadim Teimoori, Sam Mayne, Louis Dowdeswell, Andy Martin, Matt Skelton and John Mills plus conductor Mark Nightingale.The Bricusse-Newley standard “Pure Imagination” opens the album with a warm, stately, brass-led fanfare, blending gently into a lilting rhythm, at perfect tempo, ushering in Claire Martin’s sublime, mellow tones, reflecting all the wonder of the song’s lyrics. Strings help expand the flawless sound, as Claire sensitively builds the song, halting for an immaculate trumpet solo by Freddie Gavita.

The album continues with a punchy, swinging take on the Loesser-McHugh classic “Let’s Get Lost”; then a fabulously romantic reading of Hoagy Carmichael’s happy-sad “I Get Along Without You Very Well” with its flowing, shimmering strings and sumptuous arrangement. Claire Martin has the ability to breathe fresh life and meaning into songs that have perhaps become taken for granted, and her vocal on “The Folks Who Live on the Hill” does just that with the faultless emphasis and control for which she is renowned. “Hello, Young Lovers!” is snappy, pacey and exhilarating spotlighting, as indeed the whole album does, Callum Au’s inspired approach to the arrangement in this case, with a respectful bow to the golden age of jazz big Track six sees Cole Porter’s “I Concentrate on You” receive a remarkable transformation with a delightfully insidious melodic riff, introduced initially on piano before the full band and strings gradually infuse the piece with colour and touch, including a fine tenor sax solo by Nadim Teimoori. This track is a high point on an album of undeniable peaks. Claire’s vocal is, once again, outstanding  revealing her consummate ability to interpret lyrics, apply the ideal emphasis, and judge just when to employ a soft, restrained voice and when to let the controlled power of her singing have free rein.

The thoughtfully-chosen material continues with “I Never Went Away” (Richard Rodney Bennett), “The Night We Called It a Day” (Matt Denis-Tom Adair), “Stars Fell on Alabama” (Parish-Perkins), “Don’t Like Goodbyes” (Harold Arlen & Truman Capote) and “You and the Night and the Music” (Schwartz-Dietz). The whole album is sheer joy – full of invention, talent, virtuosity, passion and an overwhelming feeling that a large collective of musicians were all in absolute unison and enjoying every minute of it… as indeed every listener should, as well. Callum Au has composed and arranged music in numerous genres, but especially for big band and large jazz ensembles. He has worked with some of the world’s leading artists, including Quincy Jones, Jamie Cullum and the Royal Philharmonic Orchestra – and on London stage shows including ‘The Rat Pack’, and ‘The Songbook of Judy Garland’; as well as BBC Radio 2’s Friday Night is Music Night and The Proms.  Claire Martin, OBE, needs no introduction to followers of music. One of the very finest jazz singers in UK history, and indeed high on any world list. She has won British Jazz Awards eight times; received an OBE and a BASCA Gold Badge Award for her contributions to jazz; recorded over 20 albums, including 18 for her customary label, Linn Records; and has collaborated with a host of musical celebrities including Kenny Barron, Stephane Grappelli, Richard Rodney Bennett, Martin Taylor, John Martyn and Jim Mullen. https://clairemartinjazz.co.uk/discography/songs-and-stories/

Songs and Stories

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Claire Martin - Believin' it

Styles: Vocal
Year: 2019
File: MP3@320K/s
Time: 51:34
Size: 119,2 MB
Art: Front

(3:53)  1. Come Runnin’
(3:54)  2. Rainy Night in Tokyo
(3:38)  3. Believin’ it
(4:01)  4. I’m Not in Love
(4:00)  5. Broken Wings
(3:37)  6. Timeline
(3:48)  7. A Little More Each Day
(4:10)  8. You Dream Flat Tires
(3:48)  9. Cherry Tree Song
(4:20) 10. The Great City
(3:57) 11. P.S. I Love You
(5:40) 12. Love Dance
(2:43) 13. I Told You So

From the super-fine musicianship to the beautiful recorded sound, Claire Martin's first album with her new all- Swedish trio is a towering success. Featuring new lyrics by Imogen Ryall to an Andy Bey scat solo, the title-track, 'Believin' It', crystallises all of Martin's outstanding qualities: infallible pocket, dazzling technique, lustrous timbre and phrasing to die for. If anything, Martin's reworking of Pat Metheny's 'Timeline', for which she has penned new lyrics, is even more spectacular, with her control of the rapid-fire melodic line a thing of wonder. As well as singularly beautiful versions of the Ivan Lins classic, 'Love Dance', vibist Joe Locke's Bobby Hutcherson tribute `A Little More Each Day' and the Gordon Jenkins/Johnny Mercer standard, 'P.S I Love You', there are deeply swinging takes on Curtis Lewis's 'The Great City' and Roc Hillman's 'Come Runnin'' (Martin's own homages to Shirley Horn and Lena Home respectively), there are stellar re-imaginings of Joni Mitchell's 'You Dream Flat Tires', Michael Franks' 'Rainy Night in Tokyo', plus John Surman and Karin Krog's enchantingly folk-like 'Cherry Tree Song'. Elsewhere, to hear Martin's fine re-workings of 1970s and 1980s UK/US pop rock, head straight for 'I'm Not In Love' and 'Broken Wings', the latter lit up by a coruscating solo from Sjostedt. An album that unfailingly touches the heart and lifts the soul. https://www.linnrecords.com/review-claire-martin-believin-it-jazzwise

Believin'it

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Claire Martin - Bumpin' - Celebrating Wes Montgomery

Styles: Vocal Jazz
Year: 2019
File: MP3@320K/s
Time: 52:41
Size: 121,2 MB
Art: Front

(4:36)  1. Road Song
(4:21)  2. Polka Dots and Moonbeams
(4:23)  3. Willow Weep for Me
(5:30)  4. 'Round Midnight
(6:07)  5. If You Could See Me Now
(4:29)  6. Going out of My Head
(4:58)  7. I Could Get Used to This (Bumpin')
(4:08)  8. West Coast Blues
(5:07)  9. Back in the Room (Bock to Bock)
(4:57) 10. Born to Be Blue
(3:58) 11. The End of a Love Affair

Two award-winning jazz musicians from the UK, singer Claire Martin and guitarist Jim Mullen, celebrate the music of perhaps the most iconic guitarist in jazz history, Wes Montgomery, to mark the 50th anniversary of his death. 

The concert will feature classic Montgomery compositions such as Full House, Road Song and Bumpin’ plus well-known songs from his repertoire including Willow Weep for Me, If You Could See Me Now and Goin’ Out of My Head. http://ystadjazz.se/event/claire-martin-feat-jim-mullen-celebrating-the-music-of-wes-montgomery/?lang=en

Personnel:  Claire Martin (UK) – vocals; Jim Mullen (UK) – guitar; Magnus Hjorth – piano; Thomas Ovesen (DK) – bass; Kristian Leth (DK) – drums

Bumpin' - Celebrating Wes Montgomery

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Mark Winkler - The Company I Keep

Bitrate: MP3@320K/s
Time: 55:56
Size: 128.0 MB
Styles: Vocal jazz
Year: 2017
Art: Front

[4:12] 1. Walk Between The Raindrops (With Jackie Ryan)
[5:12] 2. Strollin' (With Cheryl Bentyne)
[4:27] 3. Midnight In Paris
[3:30] 4. But It Still Ain't So (With Steve Tyrell)
[5:42] 5. That Afternoon In Harlem
[3:15] 6. They Can't Take That Away From Me
[4:58] 7. Stolen Moments (With Claire Martin)
[4:27] 8. Love Comes Quietly
[5:18] 9. Rainproof (With Sara Gazarek)
[5:20] 10. The Sum
[4:00] 11. Lucky To Be Me
[5:28] 12. Here's To Life

Mark Winkler: vocals; Jackie Ryan: vocals (1); Jamieson Trotter: piano (1, 2, 4, 6, 7), Hammond B-3 (4); Lyman Medeiros: bass (1, 2, 4, 6, 10, 11); Mike Shapiro: drums (1, 2, 6, 10); Bob McChesney: trombone (1, 5, 7); Ron Blake: trumpet (1, 7); Brian Swartz: trumpet (1, 7); Bob Sheppard: saxophone (1, 4, 7, 9, 10), clarinet (11); Cheryl Bentyne: vocals (2); Larry Koonse: guitar (2, 3); Rich Eames: piano (3, 12); John Clayton: bass (3, 7-9); Jeff Hamilton: drums (3, 5, 7-9); Don Shelton: clarinet (3); Paul Cartwright: violin (3); Bob Mann: guitars (4); Kevin Winard: drums (4), percussion (10); Eric Reed: piano (5, 8); John Beasley: piano (10); David Benoit: piano (11).

The utility of music, at its very core, is entertainment. It is not all about dissonance and consonance, tonal conflict and resolution; heart and intellect, pathos and ethos. Somewhere in everything music has to offer, there must be a smile. It is in music's smile that vocalist Mark Winkler exists. An elegant West Coast mainstay, vocalist/lyricist/composer Winkler, drove across my radar first with his 2011 recording Sweet Spot (Café Pacific Records). I was struck by how well Winkler could skirt the orbit of con brio cabaret singing, with its fun, entertainment core, and remain completely fixed in his capacity of jazz singer and composer.

Winkler followed Sweet Spot with his bold 2013 release, The Laura Nyro Project (Café Pacific Records). An exceptional duet recording with The Manhattan Transfer's Cheryl Bentyne, West Coast Cool (Summit Records, 2013) came next, followed by the fun and good-natured Jazz and Other Four Letter Words (Café Pacific Records, 2015).

Winkler had a period of personal loss in 2016 that would have crushed lesser musical mortals. Rather than dwell in the loss, Winkler circled his wagons, and, by wagons I mean his friends, producing the present recording, The Company I Keep. The recording is tacitly a duets recording, where Winkler shares singing duties with the likes of Jackie Ryan "Walk Between the Raindrops" and Steve Tyrell "But It Still Ain't So." Sometimes the duets are with musicians: pianists David Benoit, Josh Nelson and Eric Reed join Winkler regular Jamison Trotter in providing the singer support. Add to this the contributions of reeds player Bob Sheppard and a picture is complete. With friends like that, how can one go wrong.

The recording, engineering, and sonics are exceptional, as well as the arrangements (mostly by Trotter). The project is composed of a a dozen pieces, half with lyrics composed by Winkler and half carefully selected by him and his cohorts. Beautifully, the "standards" (if you will) are not so standard. Donald Fagan's "Walk Between Raindrops," shared with Ryan and Prince's "Strollin'" shared with Cheryl Bentyne are pure genius in song selection. What is amply apparent is that Winkler is enjoying himself and his friends and vice versa. "Stolen Moments" with Claire Martin (using the late Mark Murphy's lyrics) and "Rainproof," sung with Sara Gazarek (this latter with Winkler lyrics) demonstrates Winkler's artistic resilience and determination.

Winkler's complete dedication to his friends is also expressed in the cover art, which includes West Coast dignitaries well known to our electronic pages (in no particular order): Lauren White, Jeffrey Gimble, Barbara Brighton, Andrew Abaria, Richard Winkler, Judy Wexler, and Dolores Scozzesi. Mark Winkler, I am so glad you (we) have them all. ~C. Michael Bailey

The Company I Keep mc
The Company I Keep zippy

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Claire Martin - The Waiting Game

Styles: Vocal Jazz 
Year: 1992
File: MP3@320K/s
Time: 50:28
Size: 117,3 MB
Art: Front

(3:30)  1. You Hit the Spot
(4:45)  2. Be Cool
(5:11)  3. This Funny World
(3:04)  4. Better Than Anything
(3:42)  5. If You Could See Me Now
(4:33)  6. Some Cats Know
(3:09)  7. The Waiting Game
(4:44)  8. It's Always Four a.m.
(4:12)  9. The People That You Never Get To Love
(3:14) 10. Tight
(6:51) 11. Everything Happens To Me
(3:27) 12. The Key To Your Ferrari

One thing Claire Martin won't be accused of is having a conventional or unadventurous repertoire. On the superb The Waiting Game, she delivers an engaging version of Betty Carter's "Tight" and insightfully turns everything from Thomas Dolby's "The Key to Your Ferrari" to Joni Mitchell's "Be Cool" into acoustic jazz. "You Hit the Spot" and "Better than Anything" aren't standards, but the soulfulness Martin brings to these neglected classics indicates that they deserve to be. The unique and distinctive improvisor doesn't avoid standards altogether her heartfelt interpretation of "Everything Happens to Me" being a fine example  but thankfully, she's not one to overemphasize them. Consistently, Martin's singing is as strikingly personal as it is expressive. ~ Alex Henderson https://www.allmusic.com/album/the-waiting-game-mw0000184952

Personnel:  Vocal – Claire Martin;  Bass – Arnie Somogyi;  Drums – Clark Tracey;  Guitar – Jim Mullen;  Piano – Jonathan Gee

The Waiting Game

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Ray Gelato - Giants of Jive

Styles: Saxophone Jazz
Year: 1990
File: MP3@320K/s
Time: 49:06
Size: 112,9 MB
Art: Front

(4:35)  1. Sing, Sing, Sing
(3:59)  2. On the Sunny Side of the Street
(5:27)  3. T'Ain't What You Do (It's the Way That 'Cha Do It)
(4:19)  4. Flying Home
(3:13)  5. Please Mr Policeman
(3:14)  6. All the Jive Is Gone
(4:55)  7. Late Night Blues
(2:15)  8. Big Fat Mamas Are Back in Style Again
(3:59)  9. The Eel
(5:16) 10. It Don't Mean a Thing (If It Ain't Got That Swing)
(3:05) 11. Baby It's Cold Outside
(4:43) 12. Perdido

Ray Gelato is credited for helping kick off the Swing revival in the early '80s. This interest in vintage Swing/Jazz and R&B went massive in the '90s, spreading all over the US, and spawning bands like The Brian Setzer Big Band and The Cherry Poppin’ Daddies to name but a few. Ray started playing the tenor sax in 1979 and learned initially by playing along to his Dad’s old Rock'n'Roll records. He diligently learned the solos of such greats as Bill Haley’s sax player Rudy Pompilli, and Little Richard's sax man Lee Allen and was gigging within six months of owning a tenor sax! Playing the Rock'n'Roll and Blues circuits, he credits this training ground for him developing a huge sound on the tenor and realizing that your tone is your trademark. During this time, Ray also started studying music formally at the City Lit College in London and took private lessons from UK sax great, the late Pat Crumly. His interest in music soon developed beyond R&B and Rock'n'Roll into really studying the jazz greats such as Ben Webster, Coleman Hawkins, Lester Young and many more. He numbers amongst his strongest influences, Illinois Jacquet, Gene Ammons and Coleman Hawkins. However, Ray still recognizes the importance of those early Rock'n'Roll / R&B sax greats, and always keeps a part of them in his playing, up to this day.

Ray is proud to have been a part of the vibrant London club scene of the early to mid 1980's. Fronting the highly successful band The Chevalier Brothers gained him great experience working before an audience.  At their peak, The Chevalier Brothers were playing around 200 shows a year ! It was in this band that Ray developed his distinctive, Louis Prima  influenced vocal style that people still love to this day. Respected Jazz critics such as Jack Massarik (Eve Standard), Clive Davis (The Times) and Martin Chilton (Daily Telegraph) have given Ray very high accolades about his ‘Swing based' saxophone playing, giving special note to his sound and phrasing and also to his original, swinging vocal style .Ray has had a fruitful career and has been fortunate to have worked with many greats in this business including, Sam Butera, Scott Hamilton, Al Grey ( Count Basie), Buddy Tate, Van Morrison, Al Casey (Fats Waller). He has also performed with Pete Long’s Echoes of Ellington Orchestra, The Barcelona Big Blues Band, and Philadelphia’s City Rhythm Orchestra. Ray and his acclaimed band The Giants have been a favourite at the world-famous Ronnie Scott’s Jazz Club in London, holding down a 14 year residency over the Christmas period. Personal highlights of his career include playing Umbria Jazz in Italy 8 times! The Montreal Jazz Festival, Carnegie Hall, The Blue Note NY, The Lincoln Center NY and Sir Paul McCartney’s wedding. He has also opened for Robbie Williams at The Royal Albert Hall and performed on two occasions for HM The Queen. Mr. Gelato continues to lead his long running band The Giants and is also touring with the great Claire Martin O.B.E  in a show entitled A Swingin’ Affair.  https://www.raygelato.com/

Personnel: Ray Gelato (vocals, tenor saxophone); Claire Martin (vocals); Mark Seymour (trombone, background vocals); Simon Wallace (piano); Clark Kent (double bass); John Piper, Ian Thomas (drums).

Giants of Jive

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Claire Martin & Ray Gelato - We've Got A World That Swings

Size: 107,3 MB
Time: 45:48
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz Vocals
Art: Front

01. We've Got A World That Swings (3:15)
02. This Could Be The Start Of Something Big (2:26)
03. Now Baby Or Never (4:03)
04. More Than You Know (5:53)
05. C'est Si Bon! (4:22)
06. A Swingin' Affair (2:03)
07. All I Do Is Dream Of You (3:36)
08. Come Dance With Me (4:13)
09. The Coffee Song (3:25)
10. Ornithology (3:49)
11. You Came A Long Way From St. Louis (3:03)
12. Something's Gotta Give (2:20)
13. Smack Dab In The Middle (3:15)

'We've Got A World That Swings' is a brand new album collaboration between the UK's premier jazz singer, CLAIRE MARTIN and saxophonist/vocalist/bandleader RAY GELATO and over 13 tracks, the pair pay an unashamed homage to the beauty of swing.

Claire and Ray first worked together 20 years ago, but more recently they went on the road together presenting a live show that wowed packed houses with their interpretations of some of the best tunes from The Great American Songbook. The logical end to the tour was to record a complementary album... and the set, 'We've Got A World That Swings', hits the sales racks on May 20th.

On the album the duo are backed by an all-star trio - David Newton (piano), Dave Whitford (bass) and Sebastian de Krom (drums) and between them and Ray and Claire they find freshness and vitality in familiar material - songs like 'Come Dance With Me', 'The Coffee Song', 'Something's Gotta Give' and Charlie Parker's 'Ornithology'. The album's only original is Ray's own 'A Swinging Affair' and it proves why the legendary jazzer is nicknamed 'The Godfather of Swing' (and why Paul McCartney chose him to play at his wedding!)

We've Got A World That Swings  

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Ray Gelato - The Full Flavour

Styles: Saxophone Jazz
Year: 1995
File: MP3@320K/s
Time: 61:48
Size: 141,9 MB
Art: Front

(4:19)  1. Basin Street Blues/Sleepy Time Down South
(3:09)  2. Undecided
(5:00)  3. Dark Eyes
(3:45)  4. Don't Let It Go to Your Head
(2:09)  5. Forget About Livin'
(3:02)  6. That's Amore
(4:17)  7. That's Life
(3:53)  8. Exactly Like You
(4:22)  9. Up a Lazy River
(2:49) 10. Orange Coloured Sky
(5:30) 11. Apple Honey
(4:54) 12. Under a Blanket of Blue
(2:39) 13. As Time Goes By
(5:52) 14. Since You Moved in with Me
(2:50) 15. Caterina
(3:10) 16. That Old Black Magic

Ray Gelato, a key member of the British jump band the Chevalier Brothers during 1982-1988, plays tenor sax solos in the tradition of Illinois Jacqwuet and Charlie Ventura, in addition to taking vocals. In the Ray Gelato Giants, the role model is clearly Louis Prima, although with touches of Frank Sinatra, heated swing, and bits of bebop. Their debut record, The Full Flavour, features a hot septet (with trumpeter Dave Priseman, trombonist Dave Keech, and Al Nichools on tenor and alto) playing some Prima (including "That Old Black Magic" and a medley of "Basin Street Blues" and "Sleepy Time Down South"), Charlie Ventura ("Dark Eyes"), Dean Martin, Nat "King" Cole, and heated swing ("Apple Honey"). There are also two fine vocals by Claire Martin and a rare up-tempo version of "As Time Goes By." One of the best retro-swing releases of the mid-'90s. ~ Scott Yanow  http://www.allmusic.com/album/full-flavour-mw0000036442

Personnel:  Ray Gelato - lead vocals, tenor saxophone;  Richard Busiakiewicz – piano;  Dave Keech – trombone;  Clark Kent - double bass;  Alan Nicholls - tenor saxophone, alto saxophone; John Piper – drums;  Dave Priseman – trumpet;  Claire Martin - vocals (#2,12)

The Full Flavour

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Bobby Wellins - Nomad (Feat. Claire Martin)

Bitrate: MP3@320K/s

Time: 64:29

Size: 147.6 MB

Styles: Saxophone jazz, Vocal jazz

Year: 1993/2008

Art: Front

[5:43] 1. CUCB

[5:42] 2. Be My Love

[4:35] 3. Nomad

[4:25] 4. Sandu

[7:44] 5. Love For Sale

[7:27] 6. Willow Weep For Me

[5:41] 7. Remember Me

[2:59] 8. This I Dig Of You

[5:51] 9. Little Rootie Tootie

[4:45] 10. Silent Love

[4:25] 11. This Here

[5:07] 12. Cabin In The Sky

This Scottish jazz saxophonist was born Robert Coull Wellins to a father who played saxophone and clarinet, and a mother who sang. The couple performed professionally, and had appeared in the Sammy Miller show band, as well as doing shows as a duo. Wellins' father started him on lessons on alto saxophone when he was 12; the lessons including a complete round of music theory which naturally involved learning some piano. He studied at Chichester College of Further Education, including keyboard harmony, and continued at the RAF School of Music in Uxbridge where he began clarinet. Upon graduating, Wellins entered the world of so-called palais bands, including stints with British show-band vets Malcolm Mitchell and Vic Lewis. The latter leader took his whole band on an ocean liner to New York, where Wellins had the thrill of running into his idol, the great tenor saxophonist Lester Young.

Wellin's recording career kicked off in 1956 when he joined the piano-less Buddy Featherstonhaugh quintet, also featuring the young Kenny Wheeler on trumpet, who eventually became one of England's most well-known jazz players. The experience in this band consolidated Wellins' decision to concentrate on tenor saxophone. In the early '60s, he was hired by bandleader Tony Crombie for his latest band, beginning what would be a long association between Wellins and the influential British pianist Stan Tracey. The positive creative energy extended beyond whatever band they were in, leading to ambitious co-operative productions. The "Culloden Moor Suite" was Wellins' first major extended composition, written for and performed in this period by the New Departures Quartet supplemented by a 14-piece orchestra. The suite was recorded in 1964, and the following year the Tracey quartet recorded a suite of pieces inspired by Dylan Thomas' Under Milk Wood. Three decades later this record was remembered fondly, picked repeatedly in jazz magazines as an all-time favorite of British jazz.

In the '70s, Wellins began concentrating on his own groups, usually a quartet formation. He began recording as a leader, which he continued to do regularly excepting the types of gaps that seem to occur in the careers of every jazz musician. Further collaborations with Tracey took place in the '80s, along with a very special recording project including the wonderful jazz trombonist Jimmy Knepper, whose projects were unfortunately few and far between after his former boss Charles Mingus smacked him in the mouth and messed up his trombone embouchure permanently. The oversize coach overflowing with liquor and musicians that is known as the Charlie Watts big band of course dropped by and picked up Wellins, who appears amongst the throngs of players on the 1986 release Live at Fulham Town Hall. In the '90s, the saxophonist released some of his most well-received work to date, and was planning a collection of music associated with premier saloon singer Tony Bennett for the early 2000s. He also has developed a flair for the intricate and oddball music of Thelonios Monk, performing it in several repertoire groups. His influence and importance to several generations of British jazz musicians and improvisers is obvious just by checking out how many of them mention him as either an influence, collaborator, teacher -- or all three. ~bio by Eugene Chadbourne

Nomad (Feat. Claire Martin)    

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Size: 110,9 MB
Time: 47:44
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz Vocals
Art: Full

01. My Ship (Claire Martin & Montpellier Cello Quartet) (3:19)
02. Catch Me If You Can (4:04)
03. She's Leaving Home (Claire Martin & Joe Stilgoe) (4:20)
04. Early To Bed (3:31)
05. Featherfall (Claire Martin & Montpellier Cello Quartet) (4:44)
06. The Man Who Sold The World (Claire Martin & Montpellier Cello Quartet) (4:15)
07. 'Round Midnight (Claire Martin & Montpellier Cello Quartet) (5:23)
08. Lost For Words (Claire Martin, Joe Stilgoe & Montpellier Cello Quartet) (4:57)
09. My Man's Gone Now (Claire Martin & Montpellier Cello Quartet) (5:20)
10. Two Grey Rooms (Claire Martin & Montpellier Cello Quartet) (4:16)
11. Goodbye For Now (3:31)

Few vocalists are as elegant and eloquent as Claire Martin. She's been dubbed "The First Lady of British Jazz," but she doesn't simply belong to her own people; she's one of the crown jewels of the jazz world, contributing classy and intelligent music via her steady flow of albums on the Linn imprint.

In the past, Martin has tried plenty of different things. She collaborated with pianist-composer Richard Rodney Bennett, tipped her cap to Shirley Horn, visited the Great American Songbook, connected with pianist Kenny Barron, and forged alliances with a variety of other musicians in various settings. She tries something new again on Time And Place, joining forces with The Montpellier Cello Quartet, a group that she first performed with in 2012. On tracks like "My Ship" and "Round Midnight," this outfit adds rich, stylish and sophisticated backing; on pieces like David Bowie's "The Man Who Sold The World," the cellos bring a sense of allure and seduction to the music; and on "Featherfall," the strings deliver tear-inducing backing that heightens Martin's emotional performance. It must have been written in the stars that Martin and The Montpellier Cello Quartet would meet.

While the voice-and-cello combination is at the core of this project, Martin has other collaborators here that add volumes to the music. A small jazz combo brings her upbeat arrangement of "Catch Me If You Can" to life, Mark Anthony Turnage delivers an arrangement of Joni Mitchell's infrequently-covered "Two Grey Rooms" that gives Martin a chance to channel the composer, and electric bassist Laurence Cottle adds some indigo-hued sounds to "Round Midnight." Then there's the work of pianist Joe Stilgoe, adding upmarket support and blending nicely with the strings on his own "Lost For Words."

Somebody with Martin's skills and experience knows full well that there's a time and a place to try certain things; she certainly found them here on this aptly-titled gem. ~Dan Bilawsky

Personnel: Claire Martin: vocals; Dan James: cello; Sarah Davison: cello; Joe Giddey: cello; Siriol Hugh-Jones: cello; Joe Stilgoe: piano, vocals; Gareth Williams, piano; Jeremy Brown: bass; Laurence Cottle: electric bass; Ben Reynolds: drums.

Time & Place

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Monday, January 13, 2014

Claire Martin - Secret Love

Styles: Jazz Vocals
Year: 2009
File: MP3@320K/s
Time: 52:29
Size: 120,8 MB
Art: Front

(3:31)  1. Secret Love
(5:56)  2. But Beautiful
(4:10)  3. The Meaning of the Blues
(3:08)  4. Jive
(2:54)  5. Love Is a Bore
(4:17)  6. Where Do You Start
(6:18)  7. God Give Me Strength
(3:29)  8. Get Happy
(4:49)  9. My Buddy
(3:48) 10. Cheek to Cheek
(5:44) 11. Don't Misunderstand
(4:21) 12. Something Cool

Secret Love is the 10th album for Linn records from the first lady of British jazz and (as ever) she brings great musicians and formidable but not over-sung material together to craft something that will last a lifetime. Claire Martin always performs with personality, attitude and an attention to sonic detail, and it's testament to her great technique and vocal power that she's as astonishingly good live as she sounds on this album. Johnny Mandel's "Where Do You Start?" is a heart-rending, intimate portrayal of a disintegrating relationship, sung in a duo with long-standing collaborator, guitarist Jim Mullen. Claire's great control of rhythm and pace means that she can make much out of little instrumentation. Jim's liquid guitar phrases support Claire's golden-syrupvocal perfectly and give her the space to bend and shape the rhythm to the emotional ups and downs of the song. In Bacharach and Costello's "God Give Me Strength", Claire calls on her significant vocal range, and moves from breathy whispers to lungfulls of power in just a few bars. She holds her own easily against the three percussionists giving it their all, and wringspassion from every belted-out note. It's not just in the slower, more passionate numbers that Claire excels, though. Gareth Williams, one of Claire's favoured pianists, has created a dizzyingly fast arrangement of "Cheek to Cheek", in which Claire paces herself on the intro, before dense piano-work from Gareth gives the song liftoff. Laurence Cottle  the jazz musician's bass guitarist  unveils a lyrical, vocalised solo at breakneck speed here, and there's plenty of space for the trio to swing. 

Again, in the percussion-centric "Get Happy", the musicians are given free rein to solo, led by Nigel Hitchcock's boppish sax, once Claire and Clark Tracey have shared the intro together on voice and drums. Two more of Claire's buddies - Sir Richard Rodney Bennett and saxophonist Bobby Wellins - come together with her to celebrate the life of recently departed writer, broadcaster and mutual friend Joel Siegel with the song "My Buddy". A wistful and breathy solo from Bobby, velvet vocals from Claire, and Sir Richard's understated piano create a poignant and delicate tribute. Claire's diction and delivery arean extension of her speaking voice and attitude (of which she has plenty!) There's never a sense that she's over-acting or over-emphasising - which marks her as a natural. So, hold on. Why hasn't Claire got Grammies and platinum discs coming out of her ears? Why is she such an unsung singer? At least this conspiracy means that we haven't lost her to the impersonal gigs that megastardom brings...yet. ~ Kathryn Shackleton   http://www.bbc.co.uk/music/reviews/grdp

Secret Love

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Claire Martin - He Never Mentioned Love

Styles: Jazz Vocals
Year: 2009
File: MP3@320K/s
Time: 60:38
Size: 139,5 MB
Art: Front

(5:06)  1. He Never Mentioned Love
(3:56)  2. Forget Me
(5:15)  3. Everything Must Change
(2:44)  4. Trav'llin Light
(6:13)  5. The Music That Makes Me Dance
(3:38)  6. All Night Long
(4:58)  7. If You Go
(5:01)  8. A Song for You
(4:08)  9. Slowly But Shirley
(4:35) 10. You're Nearer
(5:23) 11. L.A. Breakdown
(4:10) 12. Slow Time
(5:26) 13. The Sun Died

Eleven Claire Martin albums have preceded He Never Mentioned Love, and if none are part of your jazz library, then there’s a significant gap in your knowledge and appreciation of contemporary vocalists. This time around, the finely tuned Brit pays tribute to the songs and spirit of Shirley Horn. Or, as Martin more articulately puts it, she spends “a really heartfelt hour remembering someone who I really love.” Martin, whose voice is one of the most satisfying instruments in jazz, doesn’t sound like Horn, nor does she attempt to. But they do share a dusky, contemplative self-assurance, making it eminently clear that each track is equally indebted to heart and mind. A salute to Horn demands not only sublimely intelligent singing, but also inspired piano work. Since Martin doesn’t play, she wisely calls on the superb Gareth Williams. 

Additional instrumental highlights come from guest guitarist Jim Mullen, working his subtle brand of magic on “Everything Must Change,” and blazing sax accompaniment by Nigel Hitchcock on an “All Night Long” that sounds like an Edward Hopper painting brought to urgently shadowy life. And, is there a finer expression of love for a lost pal than “A Song for You,” especially as Martin handles it, treating Leon Russell’s delicate lyric like a priceless treasure that demands care both gentle and firm? ~ Christopher Loudon  http://jazztimes.com/articles/18948-he-never-mentioned-love-claire-martin

He Never Mentioned Love

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