Jill Barber - Encore!

Styles: Vocal
Year: 2024
Time: 41:24
File: MP3 @ 320K/s
Size: 95,4 MB
Art: Front

(2:51) 1. Plus je t’embrasse
(4:05) 2. Ménilmontant
(3:07) 3. Nuages
(2:52) 4. De temps en temps
(3:42) 5. Padam padam
(2:58) 6. La mer
(4:06) 7. Ordinaire
(6:06) 8. Mal de vivre
(4:12) 9. Les eaux de Mars
(3:42) 10. Que reste-t-il de nos amours?
(3:39) 11. Parlez-moi d’amour

“For me, singing in French is a physical, sensory experience ... It’s a new language in which I can express myself artistically and be vulnerable.” (Jill Barber under her homepage)

It is already the fourth album with/by JILL BARBER, which we discuss under our side and – let's say it her voice is still getting used to. Many say guarantees: “Wow, a really charismatic voice that is recognized again always and everywhere!”

Others, on the other hand, could also notice: “Oh, strange this voice, which gives the songs a clearly recognizable, but somehow sometimes childlike charisma in high tones!”

It is always a matter of subjective (listening) feeling – and that is decisive and decisive in music. But especially with JILL BARBER the boundaries of sky high jayscent to quite annoyed are quite fluent.

This feeling does not change on their current album “ ENCORE! ”. But, but, but... ...and here we would be at a real plus point in the context of her 2024 album: “ ENCORE! “ Barbers (second) purely French-language album, which follows her most successful (also French-language) album “Chansons” from 2013, in which she covered a large number of classic French chansons, which accompany the language of this language in the French language.

And right here – with her now eleven-year-old album JILL BARBER ENCORE!is once again using “ENCORE!”: Where “Chansons” stopped, she is now setting her new interpretations of French-language classics, including songs by BLOSSOM DEARIE, ROBERT CHARLEBOIS, CHARLES TRENET, who now she now include the legendary PIdeveloped the extra classreation, which would certainly have inspired the good Edith in this intensity, away.

Thus, “ ENCORE!” actually becomes an absolutely fascinating album for friends of French chansons, which, in addition to the specially chosen cover versions, the quiet chanson and cocktail lounge atmosphere, which can probably best be described as the adjective 'dreamlike'.

But it is not only the aura of the French Chanteuse Piaf, which the Canadian musician knows how to capture perfectly, also another musician, this time from a completely different genre, revives her in an inimitable way with “De temps en temps”: the American-born, dancing and singing actress JOSEPHINE BAKER, who accepted French citizenship in 1937 and belonged to the Resistance in the Second World War. With her fascinating as well as very revealing manner, she was the muse of many artists and was considered the 'Black Venus'.

It is precisely this aura that JILL BARBER revives with her Baker song like a 'White Venus' by noting herself: "The black-American, Anglophone Joséphine Baker made this song famous in 1939 and later became one of the greatest stars in France. At that time, it was daring for a woman to sing about her desire for physical affection without the need for a relationship and I think it is still quite sexy and empowering today.”

And that behind every note and many texts on “ ENCORE!” now also a lot of eroticism plays a big role, is quite striking. But eroticism and chanson basically often belong as closely together as the swing and the big band, which also often sounds on Barber's album. But the French chanson is simply much more intimate, which can be enjoyed to the fullest of this finely designed yellow LP, which is why another special song from the LP is “Oridinaire”, which JILL BARBER explicitly emphasizes: “When I first heard this classic by Robert Charlebois, I was completely enchanted... It is a conjuring of a famous singer. I approached this performance like an actress by becoming the central figure of the song in all her fragility. In combination with Drew's lush and dramatic string orchestration, this is really pure emotion.”

But not only “Ordinaire” is the pure emotion on “ENCORE! “. Basically, it is each of the 11 songs that literally strip before us in the versions of the Canadian musician until we discover her whole beauty. And this is exactly where this extraordinary voice from JILL BARBER fits perfectly.

FAZIT: One decade after her world success “Chanson” JILL BARBER once again collaborates with the Grammy-nominated producer Drew Jurecka and the musicians, who accompanied her eleven years earlier on “Chanson’s” (their most successful album to date) to produce “ENCORE!”, the long-awaited sequel. “ ENCORE!” is a wonderfully arranged and richly orchestrated album that contains completely new interpretations of classic songs by Edith Piaf, Charles Trenet, Blossom Dearie, Django Reinhardt, Robert Charlebois, Josephine Baker and others, and continues the atmosphere like Aura, with which JILL BARBER has already conquered the hearts of their fans with the French language and selected cover songs.

However, it will become apparent whether, after so many years, there is still favourable to the easing musical times for this 11-year-old success concept. “ ENCORE!” is a successful 'addition' of the "Chansons" album. Especially recommended is the coloured vinyl pressing, which spreads a similarly warm and relaxed-dream mood on the turntable as the songs between the grooves.
http://www.musikreviews.de/reviews/2024/Jill-Barber/ENCORE/

Personnel: Vocals - Jill Barber; Bass - Chris Banks; Guitar - Nathan Hiltz, Justin DuHaime; Others - Winds, strings, harps, bandoneo, accordion

Encore!

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Jill Barber - Homemaker

Styles: Vocal
Year: 2023
File: MP3@320K/s
Time: 35:00
Size: 80,9 MB
Art: Front

(3:07) 1. Instant Cash For Gold
(3:21) 2. Beautiful Life
(4:13) 3. Homemaker
(3:06) 4. Joint Account (Feat. Slow Leaves)
(3:40) 5. Woman Of My Own Dreams
(3:27) 6. Hell No
(3:40) 7. My Mother's Hand
(3:11) 8. Big Eyes
(3:49) 9. Helium
(3:19) 10. Still In Love

Jill Barber returns to her folk roots with her new album, "Homemaker", delivering ten quietly profound songs about the complexities of motherhood, marriage, and the struggle to feel at home in one’s own identity. Having spent the last 20 years playing nearly every folk and jazz festival in Canada and captivating audiences across the globe, touring Japan, Europe, Australia, Mexico, South America, the USA and the Middle East, It was over the past few years that Jill began to feel an increasing disparity between her public image and the reality of her domestic life as an exhausted wife and mother.

Whereas her most recent albums have been bathed in lush string arrangements,"Homemaker" sees emotions laid bare, with a stripped-down production style reminiscent of her acclaimed debut Oh Heart and double Juno Award nominated follow-up For All Time. Written and recorded in her adopted hometown of Vancouver where she lives with her husband and two children, Homemaker is the first record that sees Jill in the role of a producer, co-producing with Erik Neilsen, and features some of Vancouver’s top session players. “"Homemaker" is an intentional push-back against the worn-out notion of what it means to be ‘just a homemaker’.

It is a statement about the humility and strength that it takes to do the meaningful work of creating a home for others, while still holding space for your own dreams." 1 Instant Cash for Gold 2 Beautiful Life 3 Homemaker 4 Joint Account (feat. Slow Leaves) 5 Woman of My Own Dreams 6 Hell No 7 My Mother's Hand 8 Big Eyes 9 Helium 10 Still in Love. Editorial Reviews https://www.amazon.com/Homemaker-Jill-Barber

Homemaker

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Jill Barber - Entre nous

Styles: Vocal 
Year: 2020
File: MP3@320K/s
Time: 37:39
Size: 88,8 MB
Art: Front

(2:59)  1. Entre nous
(3:07)  2. Chat domestique
(2:49)  3. Joue avec le feu
(3:07)  4. Le monde est beau
(3:55)  5. Les étés de Montréal
(3:26)  6. Comme les fleurs
(3:19)  7. La pluie
(3:22)  8. Reflets
(3:34)  9. Suzanne
(4:17) 10. Nos retrouvailles
(3:41) 11. Coeur de ma jeunesse

I'm sure that there are many of you, like me, who are willing to purchase or ‘pre-order’ a new album based solely from the artist name alone?   Ah yes, I’m dropping hints of my age by recalling fond memories of riding the bus to my favorite record store on the day of the release (no online ordering back then heck, no internet even growing up in the Dark Ages was so challenging).  Scouring the album racks, hoping your choice would be found in the correct space, listed under the correct genre; or better yet, taking a copy from the store-front display if your musical taste was deemed worthy enough, and then eagerly giving it several spins when you got back home.  By 2020 standards, this whole process seems so alien and archaic, with access to digital music so readily and easily available, yet one thing remains the same true music fans have no reservations in purchasing music (unheard) from artists that always bring joy into their lives.Upon learning that Vancouver, BC singer-songwriter Jill Barber was releasing a new album this summer, her first since the groundbreaking 2018 “Metaphora” release, I had no reservations in pre-ordering a copy once the announcement was made.  Learning, too, that this was to be a fully-fledged French language project, the first since her incredibly successful 2013 “Chansons” album, I was very curious to see what Jill had in store for us this time around.  Both “Chansons,” (an album of classics and jazz covers) and her 2011 “Mischievous Moon” albums happened to be the first two Jill Barber CDs that made their way into our collection, purchased when stumbling upon them both here in a PA music store many years ago.  And with the formal release of “Entre nous” last Friday, Jill provides an absolute gem of an album, perfectly timed for not only the summer season, but for raising all of our spirits during this on-going tumultuous 2020 pandemic. In a bold move for an Anglophone, “Entre nous” not only sees Barber opting to flex her love of the French language once more, but also presents her first collection of original French songs, co-written with Francophone collaborator Maia Davies, and produced by acclaimed Montreal & NYC producer Gus Van Go.  As you extract the CD or “Mimosa” colored vinyl for that first spin, I highly recommend absorbing the pastels and outfit adorned by Jill from the album cover artwork, as this imagery perfectly captures the retro, throw-back nature of what your senses shall soon detect.  Inspired by French pop music of the 1960s, Barber reaches a new level of intimacy with the language of love on “Entre nous.” Offering a true time-travel adventure as she whisks you away to a 60s era Quebec City café-bar or summers’ eve stroll along a Parisienne cobbled street, these eleven tracks provide a very welcomed and quite remarkable 38 minutes of charming, romantic escapism.

Opening with the title track, the champagne-soaked sounds of this toe-tapper set a very pleasing and definitive tone; rich in vintage instrumentation cues that remain prevalent throughout the album.  Charming blasts of vibrophone and mellotron, with a chorus of congas, are joined by a triple onslaught of timeless organ sounds courtesy of Wurlitzer, Farfisa and Hammond to perfectly complement Jill’s authentic and era-appropriate vocal delivery.  Inspiring you to dance along to the cha-cha paced “Chat domestique” one moment, then forcing your full, seated attention for “La pluie” the next, the common thread binding each and every track together is the nostalgic timelessness of each composition.  “Quand on est ensemble / Notre amour fleuri / On s’est fait une famille / Elle grandit aussi,” Jill recites during “Nos retrouvailles,” accompanied by some light acoustic guitar and piano keys that are equally at home in 1960 and 2020; at least until luring you back to the past with tambourines and traditional Gallic accordion that accompany the chorus: “Non retrouvailles seront un jardin planté de nos tendresses / On s´embrassera comme si on ne se quittera jamias / Nos retrouvailles feront de nos deux corps une forteresse / On s´embrassera comme si on ne se quittera jamais.”With firmly established musical roots within the folk, indie and jazz genres, “Metaphora” proved that Jill is equally at home with pop music too, a genre represented well here on this new release.  “Les étés de Montréal” is a light back & forth duet with popular Quebecois artist Yann Perreau (an English version titled “Summer Nights in Montréal” was released as a stand alone single last month), while “Le monde est beau” has a breezy pace, complete with simple, yet wonderful hand-claps to accompany Jill’s delivery of the catchy chorus.  Vintage early 60s sounds return with the eerily beautiful “Comme les fleurs,” the moving organ notes reminding me of the Santo & Johnny classic, “Sleep Walk,” while “Reflets” should feel more at home maybe in the Southern region of France, given the slight flamenco guitar riffs that play alongside Jill in an otherwise instrumentally muted number.  “Regarde mon visage plein de regrets / Ne fais pas les mêmes erreurs que j´ai faites,” she recites, “Regarde mon visage plein d´espoir / Je ne ferai jamais les erreurs de ma mêre.”

“Chansons” was a well-received French language album due in part to Jill’s unique interpretation of classic French tunes, so it seems perfectly fitting that she should once again record a popular cover version.  Yet with “Suzanne,” she changes her navigational course somewhat, turning a popular English language track into a haunting French interpretation.  And while there are no shortages of Leonard Cohen covers (indeed, “Suzanne” was included on “Homage,” an excellent Cohen tribute album by Toronto artist Andrea Ramolo in 2018), Barber’s switching of language and sweet, somber tones really accentuate Cohen’s biographical words.  “Comme une pierre / Tu veux rester à ses côtés / Maintenant tu n´as plus peur / De voyager les yeux fermés / Une flamme blûle dans ton coeur.” I am a connoisseur of all things mid-century modern, fond of the ‘atomic’ era of design, architecture and lifestyle, so the retro sounds of “Entre nous” naturally appeal to me.  

Closing my eyes, it is too easy to picture myself seated in an Eames chair, perhaps in a room furnished like Don Draper’s Manhattan home (Mad Men) with a generous serving of whisky in hand, and few cares in the world as I get lost in Jill’s music.  “Entre nous” is a stunning collection of songs that belong in every home, whether French speaking or English speaking, it really makes no difference.  Like a fine Bordeaux, or a classic Citroen DS, this is a magnificent piece of French culture that will continue to be appreciated through the ages. Bravo to Jill Barber for creating this true ray of sunshine; an album perfect for any occasion, and a total lock for my year end Top 20 albums list.  Skip this one at your own peril, it’s a beauty! https://greatdarkwonder.com/review-jill-barber-entre-nous/

Entre nous

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Jill Barber - Metaphora

Styles: Vocal
Year: 2018
File: MP3@320K/s
Time: 29:16
Size: 69,8 MB
Art: Front

(2:43)  1. The Woman
(3:07)  2. Girl's Gotta Do
(2:47)  3. I Hooked Your Heart
(2:39)  4. Bigger Than You
(3:47)  5. Mercy
(3:04)  6. Clumsy Heart
(3:45)  7. Cage Without a Key
(3:16)  8. Love Is
(4:04)  9. Hold On

A bold entre into the world of contemporary pop music, resulting in a Jill Barber we've never heard before. Metaphora showcases her power and vulnerability as both an artist and a woman. Evolving over the course of many albums from folk to jazz, R & B and pop, Jill's success is defined not by genre, but by her undeniable songwriting chops and distinctive voice. Metaphora is a continuation of Barber's musical story that confidently tackles everything from issues of empowerment, sexual politics, the complications of love, and depression. It's introspective and personal. It's also a dance party. Mutual friendships and living on the same street led Jill to sit down with Ryan Guldemond, the enigmatic lead singer of Mother Mother, for inspiration and creativity. Ryan's commitment to Jill and unwavering enthusiasm garnered co-writing credits on four of the nine songs on Metaphora, including the instantly catchy lead single, Girl's Gotta Do, a hook-filled and very timely call to arms that aims to challenge the patriarchal status quo, as we usher in a new era of equality says Barber. Writing with Ryan was a big departure for me, and very exciting. He's extremely creative and not afraid to push my creative boundaries recalls Barber. The sessions became part songwriting and part therapy because I was writing about things that felt pretty raw; politics, sexism, being a mother. I started to realize that this was going to be a very different kind of album for me. I had more that I needed to say and Ryan helped bring that out with his uncanny knack for melody and song structure.~ Editorial Reviews https://www.amazon.com/Metaphora-Jill-Barber/dp/B07BZC5K9D

Metaphora

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Jill Barber & Matthew Barber - The Family Album

Styles: Vocal And Guitar Jazz
Year: 2016
File: MP3@320K/s
Time: 41:41
Size: 96,8 MB
Art: Front

(3:53)  1. I Must Be in a Good Place Now
(2:48)  2. Song to a Young Seagull
(3:34)  3. One True Love
(4:19)  4. The Sweeter the Dawn
(3:17)  5. Today
(4:28)  6. Summer Wages
(4:16)  7. The Partisan
(3:44)  8. Big Picture Window
(3:27)  9. Grandpa Joe
(4:22) 10. If I Needed You
(3:29) 11. Comes a Time

Brother and sister singer-songwriters Matthew Barber and Jill Barber always knew they’d make an album together. Growing up outside Toronto in the 1990s, they shared not only a left-handed guitar (older brother Matthew got the first one) but also a passion for music that fuelled their respective artistic careers. Two different paths were carved, but never did they diverge so much that they might not meet up again. Eventually they did and The Family Album was born. Produced by Matthew and Jill themselves, The Family Album is a folk record. It’s a record that enthusiastically harkens back to sibling singers of yesteryear, but also one that is not afraid to paint from a broad palette of both traditional sounds and contemporary flourishes. There are just enough hooks and plenty of licks. The vocals are up front, the harmonies are simple, the performances are live and the exquisite band is laid-back. Mixed by Grammy-winner Michael Piersante, the record is warm and full of textures. https://nac-cna.ca/en/event/14683

Personnel:  Jill Barber – vocals;  Matthew Barber – vocals, acoustic guitar;  Julian Brown - upright bass, keyboard bass;  Robbie Grunwald - piano, organ, wurlitzer, accordion;  Drew Jurecka - violin, mandolin, bass clarinet;  Dean Stone – drums, percussion;  Joey Wright – acoustic and electric guitar, mandolin, banjo.

The Family Album

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Jill Barber - For all Time

Styles: Vocal And Guitar Jazz
Year: 2006
File: MP3@320K/s
Time: 42:07
Size: 97,8 MB
Art: Front

(4:19)  1. Just for Now
(3:20)  2. Don't Go Easy
(4:17)  3. When I'm Makin' Love to You
(4:24)  4. Ashes to Ashes
(3:44)  5. Hard Line
(3:43)  6. For all Time
(4:06)  7. Legacy
(3:19)  8. Two Brown Eyes
(3:33)  9. Goodnight Sweetheart
(3:23) 10. The Knot
(3:53) 11. Starting to Show

At first listen, Halifax, Nova Scotia-based singer/songwriter Jill Barber sounds like merely the latest in a lineage that stretches back at least as far as her fellow Canadian Joni Mitchell. Her debut album For All Time is a familiar blend of folk, country, soft rock, and occasional torchy jazz influences, along with one oddball ringer, the Melanie-style Tin Pan Alley throwback (complete with tootling clarinet!) "When I'm Makin' Love to You." That playful tune is an early indication that Barber isn't interested in being just the next Norah Jones, and closer listens reveal a stronger talent. Foremost, Barber has an outstanding voice, smoky and soulful with both a country twang and the self-assuredly idiosyncratic phrasing of a jazz singer. Secondly, her lyrics generally avoid singer/songwriter cliché, and tunes like the shuffling folk-rocker "Hard Line" and the sorrowful lullaby "Goodnight Sweetheart," with its pedal steel and Floyd Cramer-style piano part, are melodic and instantly memorable. Fans of Canadiana will appreciate the album's special guests, including Luke Doucet, members of long-running country-rockers Blue Rodeo (lead singer Jim Cuddy provides a great harmony vocal on the choruses of the Emmylou Harris-like "Don't Go Easy") and Jill's brother, singer/songwriter Matthew Barber, but the focus through this intimate, live-sounding record is on Jill Barber, where it belongs. For All Time is a tremendously encouraging debut. ~ Steward Mason https://www.allmusic.com/album/for-all-time-mw0000806691

?Personnel: Jill Barber (vocals, guitar); Les Cooper & the Soul Rockers (vocals, guitar, slide guitar, mandolin, harmonica, Mellotron, vibraphone, percussion); Aaron Holmberg, Meaghan Smith, Rose Cousins, Jim Cuddy, Matthew Barber (vocals); Andre Wahl (guitar); Luke Doucet (acoustic guitar, resonator guitar); Spencer Evans (clarinet, piano); Bob Packwood (piano, organ); Julian Brown (piano); Blake Manning (drums, percussion)

For all Time

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Jill Barber - Chances

Styles: Vocal
Year: 2008
File: MP3@320K/s
Time: 33:38
Size: 77,9 MB
Art: Front

(3:42)  1. Chances
(3:00)  2. Be My Man
(2:41)  3. Old Flame
(4:42)  4. Oh My My
(3:38)  5. Take It Off Your Mind
(3:41)  6. Wishing Well
(2:58)  7. Never Quit Loving You
(2:40)  8. All My Dreams
(2:51)  9. Leaving You
(3:41) 10. One More Time

On her album Chances, Canadian chanteuse Jill Barber picks up the torch where the golden age of music left off. Stepping away from her folk past, Jill delivers an album of ten original, fully orchestrated songs that strongly evoke and could themselves become classics. From the moment you hear her sultry voice on the opening title track, you are transported to another time and place. 

“The best songs ever written are the ones that somehow transcend time and fashion, “says Jill. ”They may be old, but they haven’t aged. It is that timeless quality that I aspire to in my own songwriting."https://jillbarber.bandcamp.com/album/chances

Personnel: Les Cooper (guitar); Aisslinn Nosky, Nancy Kershaw, Karen Graves, Chris Church (violin); Johann Lotter, Julia Knight, Karen Moffatt (viola); Orley Bitov, Kevin Fox , Alex Grant (cello); Robbie Grunwald (piano); Victor Bateman (bass guitar); Joel Stouffer (drums); Jill Barber (vocal).

Chances

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Jill Barber - Jill Barber Sings The Standards EP

Bitrate: MP3@320K/s

Time: 14:14

Size: 32.6 MB

Styles: Vocal

Year: 2015

Art: Front

[3:58] 1. Ev'ry Time We Say Goodbye

[3:44] 2. A Kiss To Build A Dream On

[2:41] 3. Lullaby Of Birdland

[3:50] 4. Sukiyaki

2 time Juno Award nominee Jill Barber, is one of Canada’s brightest stars – selling out theatres coast to coast and headlining the country’s most prestigious festivals. Her albums have sold over 100,000 copies and her album Mischievous Moon spent 13 straight weeks at #1 on the Canadian Jazz Charts and debuted at #12 on the US Billboard Jazz charts. Her song “Chances” was also featured on the soundtrack for the hit series “Orange is the New Black.” She has fans in Josh Ritter, Kathleen Edwards, Kris Kristofferson (who hails Jill as a “real songwriter, a damn good songwriter”) and collaborator Ron Sexsmith.

Having earned over twenty award nominations and with two top-selling albums in English, in 2013 Jill released the french language album “Chansons,” after a celebrated performance at the prestigious Montreal Jazz Festival where she sang (for the first time ever) a French translation of one of her songs, “Tous Mes Rêves” (“All My Dreams”). Chansons has firmly established Jill as an artist to watch in both French and English.

Jill Barber Sings the Standards

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Jill Barber - Mischievous Moon

Bitrate: 320K/s

Time: 41:15

Size: 94.5 MB

Styles: Vocal jazz, Jazz-pop

Year: 2011

Art: Front

[3:39] 1. Chances

[2:57] 2. Be My Man

[2:55] 3. Never Quit Loving You

[4:10] 4. Mischievous Moon

[4:07] 5. Took Me By Surprise

[4:06] 6. Tell Me

[4:40] 7. Oh My My

[3:48] 8. Tenderness

[2:38] 9. Old Flame

[2:05] 10. A Wish Under My Pillow

[3:26] 11. If It Weren't For Loving You

[2:38] 12. All My Dreams

The first notes of the first song on this album fill you with foreboding: brushed drums, a simple string bassline, and even simpler piano chords played in pulsing eighth notes, Fats Domino style. Sweet Mother of Claudine Longet, you wonder, what have I gotten myself into? Then Jill Barber's voice comes in, with that unmistakable mid-century blend of little-girl timbre and orotund vowels, and you have your answer: you've gotten yourself into a mess of nostalgia, and the only thing that will deliver you to the other side of these 41 minutes with your sanity intact will be the quality of the songs. Luckily for you, these are great songs. Also luckily for you, Jill Barber and her co-conspirators recognize no functional difference between torch ballads, Patsy Cline-era country music, and cocktail jazz. Best of all, if their love of these various musical anachronisms is ironic, it's impossible to tell -- the wordless background vocals, the plinking pianos, the string sections, and Barber's little-girl-about-town singing style all combine to create what sounds like a purely and sincerely loving pastiche of musical elements that, for anyone under the age of 60, will sound both eerily familiar (from movies your parents like) and utterly foreign. From the decorous cha-cha of "Took Me by Surprise" (with its unbelievably cheesy horn chart) to the torchy orchestral pop of "Tenderness," the music is certainly gimmicky, but the pleasure is real. And this is pop music, people: pleasure is pretty much all that counts. ~Rick Henderson
 

Mischievous Moon

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Jill Barber - Fool's Gold

Bitrate: 320K/s

Time: 31:26

Size: 72.0 MB

Styles: Easy Listening, Country/jazz vocals

Year: 2014

Art: Front

[3:04] 1. Broken For Good

[4:01] 2. The Least That She Deserves

[3:13] 3. Let's Call It Love

[3:40] 4. The Careless One

[2:49] 5. If Only In My Mind

[3:41] 6. To The Last

[3:10] 7. Lucky In Love

[2:33] 8. Darlin' It Was You

[2:39] 9. Only You

[2:32] 10. If You're Going To Break My Heart

Jill's distinct, evocative voice soars over songs inspired by doo-wop rhythms and country ballads, evoking feelings of a bygone era: “I can’t help but feel nostalgic for other eras of music. When I listen to Etta James, or Ray Charles or Carole King, I feel almost intoxicated. It stirs something in me. When I write my own music, my greatest hope is that it ends up becoming the perfect soundtrack to some great romance, or at the very least a great cocktail party.”

Jill's songs have always set a romantic mood, and on Fool's Gold, the romance is still very much alive, but she also introduces a new sexy Motown-inspired sound on the lead single “Broken for Good.” “What I love about Motown is that it knows exactly how to deliver a message: with a strong backbeat, punctuated by horns, a driving bass line and an immediate pop appeal. It will ultimately get inside your soul but first it'll just make you want to move your body.”

Fool's Gold

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Jill Barber - Chansons

Styles: Chanson
Year: 2013
File: MP3@320K/s
Time: 38:57
Size: 89,2 MB
Art: Front

(2:43)  1. Petite fleur
(3:49)  2. J'attendrai
(4:04)  3. Melancolie
(3:16)  4. La javanaise
(3:20)  5. Sous le ciel de Paris
(3:01)  6. En septembre sous la pluie
(2:47)  7. Je cherche un homme
(3:03)  8. N'oublie jamais
(3:02)  9. Quand les hommes vivront d'amour
(4:11) 10. Les feuilles mortes
(3:23) 11. Plus bleu que tes yeux
(2:13) 12. Adieu foulards

Jill Barber has earned a strong rep as a warm, intimate, even sultry low-fi chanteuse with a songbook cued to amorous intentions. Chansons is the latest chapter, a delightful collection of French pop ballads made familiar by romantics such as Gainsbourg, Piaf, Aznavour and Bechet. Drew Jurecka does a brilliant job pairing her voice to a set of arrangements that sound seductively authentic. Chansons can count on a long life in bistros, boutiques, on Jazz and Oldies formats, CBC Radio-and, of course, on  the stage. She performs in Zurich, Hamburg, Berlin and Paris this month, along with a couple of theatre concerts in ON and AB. Tres tres bon!~ David Farrell   http://www.newcanadianmusic.ca/releases/c/chansons/jill-barber/2013-01-29

Chansons

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Peter Appleyard - Sophisticated Ladies

Styles: Vocal Jazz
Year: 2012
File: MP3@320K/s
Time: 46:12
Size: 106,6 MB
Art: Front

(3:35)  1. Peter Appleyard Feat. Emilie-Claire Barlow - After You've Gone
(3:33)  2. Peter Appleyard Feat. Elizabeth Shepherd - It's Only A Paper Moon
(4:09)  3. Peter Appleyard Feat. Jill Barber - Love For Sale
(6:32)  4. Peter Appleyard Feat. Jackie Richardson - Georgia On My Mind
(5:23)  5. Peter Appleyard Feat. Sophie Milman - If You Could See Me Now
(5:02)  6. Peter Appleyard Feat. Molly Johnson - Sophisticated Lady
(4:03)  7. Peter Appleyard Feat. Carol Welsman - Night And Day
(4:12)  8. Peter Appleyard Feat. Barbra Lica - Satin Doll
(5:30)  9. Peter Appleyard Feat. Carol McCartney - Mood Indigo
(4:10) 10. Peter Appleyard Feat. Diana Panton - Smile

Peter Appleyard seems to have a way with the ladies. The octogenarian vibraphonist brings his virile mallet work to bear while escorting a dozen lovely songbirds through some smartly arranged standards on this, his second release the span of a few months. Appleyard started off the year by looking toward the past, issuing a previously unreleased all-star jam session from 1974, but his gaze is firmly on the present throughout Sophisticated Ladies. He hobnobs with some of the finest vocalists operating north of the 49th parallel today and a sense of mutual respect for the music and one another comes through in the music. 

While astute jazz vocal fans are probably aware that bassist Charlie Haden beat Appleyard to the conceptual punch, releasing his own Sophisticated Ladies (Emarcy, 2011) a year ahead of Appleyard, the basic format and album title are the only thing that these two releases share. Haden's album mixed instrumental pieces and vocal numbers, favoring slow material containing string sweetening and came off as a mostly-manicured set of music with mellow appeal. Appleyard, on the other hand, shares the stage with a singer on every song, covering a wider range of emotions. The playlist has no surprises, but Rick Wilkins' arrangements have their fair share. Tempo changes, funk-to-swing shifts ("Love For Sale"), double-time adjustments, Brazilian-tinged turns and intimate introductions ("Smile") keep things interesting. Each singer brings something different to the table and Appleyard responds in kind by shaping his solos around the specific songs and singers. 

Emilie-Claire Barlow shows great range on the slow-to-fast "After You've Gone," Elizabeth Shepherd engages Appleyard in a scat-vibraphone solo trading session, Jackie Richardson's deeply resonant voice takes center stage on a soulful "Georgia On My Mind," Diana Panton turns the lights down low for "Smile" and Sophie Milman takes her time fleshing out the emotional ideals of "If You Could See Me Now." Molly Johnson, who interprets the title track with her smoky and dusky pipes, proves to be the only singer who seems ill-suited to her number. The female musicians on this album will probably get the lion's share of attention, but Appleyard has top billing for a reason. His vibraphone soloing enlivens and enhances the music. Guitarist Reg Schwager's comping is a key ingredient in the mix, as pianist John Sherwood takes the right tack on every tune, drummer Terry Clarke expertly navigates the through each number and bassist Neil Swainson keeps everything in check.  Appleyard may be 84 now, but his playing doesn't betray that fact. He's clearly young at heart and Sophisticated Ladies is the evidence that proves this case. ~ Dan Bilawsky   

http://www.allaboutjazz.com/php/article.php?id=42527#.UwelFoVZhls

Personnel: Peter Appleyard: vibraphone; John Sherwood: piano; Reg Schwager: guitar; Neil Swainson: bass; Terry Clarke: drums; Emilie-Claire Barlow: vocals (1); Elizabeth Shepherd: vocals (2); Jill Barber: vocals (3); Jackie Richardson: vocals (4); Sophie Milman: vocals (5); Molly Johnson: vocals (6); Carol Welsman: vocals (7), piano (7); Barbara Lica: vocals (8); Carol McCartney: vocals (9); Diana Panton: vocals (10).

Sophisticated Ladies

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