Amy Cervini: Digging Me, Digging You

Amy Cervini (vocals)

Digging Me, Digging You (Anzic Records; 2012)

The first great record of 2012! As you may have noticed I don't write that much about vocalists. I really haven't been able to find great current vocalists (or even good) that compare to Stacey Kent and Claire Martin and Karrin Alysson. So this month my hyperbolic pretentiousness was slapped upside the head when I put Amy Cervini's latest, Digging Me, Digging You in the CD player.

I've really only heard Amy Cervini's music a couple of times but didn't pay close enough attention until now. And I have to say I've been missing out on an extremely inventive and dynamic performer. Her voice is soft but packs the punch. Her choice in repertoire is what really threw me for a loop. And will probably do the same for you. We're not talkin' bout the Great American or sultry Latin Songbooks anymore. This is an artist who is out to change the way we think about what can be done with song. She has covered Depeche Mode and The Cardigans of late. Both with startling success as far how the material turned out. But on her Digging Me, Digging You, Cervini dives into one of the more under appreciated jazz vocalists, the late Blossom Dearie.

Blossom Dearie was the hipsters choice and while she is worshiped within jazz circles I just don't think she gets enough credit outside like many of the other female legends do. Hopefully Cervini will change that. "Everything I Got Belongs To You" sets the stage for this session. It's got a jump swing feel but is masterfully soulful under Cervini's direction. It's an easy relaxing opening that pulls you in with some great wind-work by Anat and Avishai Cohen and then upbeat guitar from Jesse Lewis. The emotional and crisp touch of Cervini's vocals on Blossom Dearie, Herb Alpert penned, "I Like You, You're Nice" feels more full-bodied than the original but you can sense the comparisons and why this album can be become an important step in Cervini's wider recognition.

"My Attorney Bernie" is a full-throttle swing, drivin' by Bruce Barth (piano) and Matt Wilson (drums). Cervini's really belts it out which is a little different than the original which keeps things a little light but the two definite stand on there own. Many will be familiar with the playfulness of the "Doodlin' Song" and this might be were both Dearie and Cervini do become one. The punch I talked about earlier is on display here. This is one of those great jazz club songs that becomes infectious by the second verse. "Figure Eight" is where Cervini displays a panache for creativity. This piece is slowed down even more than the slower original. It allows the orchestra and vocalist to both find their space and both deliver with elegance and beauty.

Digging Me, Digging You is a brilliant work of vocal beauty and composition choices. I am very happy to have stumbled onto a new and exciting vocalist such as Amy Cervini. I think you will be too. Digging Me, Digging You will be on my list of top albums in twelve months. Guaranteed. Highly Recommended.

Stacey Kent: Dreamer In Concert

Stacey Kent (vocals)

Dreamer In Concert (Blue Note France; 2011)

Matt Skelton (drums)

Jim Tomlinson (sax)

Jeremy Brown (bass)

Graham Harvey  (piano)        

There are some artists where integrity and tradition are integral to their delivery and success. Stacey Kent has delivered integrity and a sweet panache for tradition for almost two decades now. She has maintained a huge following with a sweet mastery of the American Songbook but with her last record, Reconte Moi (Blue Note; 2010), she advanced and widened her net a bit among jazz fans. The addition of a number of interesting French standards may have been a big part of it too.

The album was obviously a big hit in France which is probably what prompted the concept of her first ever live album, Dreamer In Concert (Blue Note). I've always had a tough time describing Kent to friends. But the best description would be soft, calm and undeniably impressive. Like a young cool Astrid Gilberto and soft lion-like courage of Tony Bennett or think on the pop side, Carole King. And now in addition to dragging my friends to her shows every year I can now bombard them with a truly stunning document of what its like to sit in the audience and get lost in her voice and her band's unique strengths and unity.

"Postcards Lovers" a love song awash with memories and passion that is built on the poetry of Kazuo Ishiguro, but delivered by like a wise sage, Kent will have your heart melting. The upbeat tempo of "If I Were A Bell" would put any music fan on their knees in awe. Kent captivates here in way that Anita O'Day or Rosemary Clooney would. Hitting the forceful notes but always keeping a gentle handle on the proceeding so the listener remains focused on the lyrics and creates their own life-story.

The Latin rhythms of Jobim's "Dreamer" are accentuated by the her marvelous band, especially Harvey's enveloping fender rhodes. Tomlinson's romantic notes feel like something out the best periods of Stan Getz. Skelton and Brown adds lovely touches on percussion and bass the are integral to the movements. This is a group that has been together for awhile and you can hear it in every note. "Jardin D'Hiver" sees Kent absorbing herself fully into recent French popular music (the piece originally written by French musician, Benjamin Biolay). The chanteuse delivers a sultry and impassioned version adds a gentleness to the husky original. The two versions do stand apart and Kent has made this piece her own.

The best part about Dreamer In Concert is that fans who may not have seen (or may never get to see) the illustrious Stacey Kent, now have an opportunity to experience what I've been telling them for years. She is one of the few true female jazz vocalists on scene today. A warm, inviting tone that is captivating as well as invigorating. This is one of those few and perfect live albums that is a must own. Highly Recommended.

Stacey Kent: Reconte-Moi

Stacey Kent (vocals)
Reconte-Moi (Blue Note)

Stacey Kent is one of my favourite jazz vocalists alive today. I put her right up there with Claire Martin and Karrin Alyson. They all have roughly about the same amount of material available. But each has stake a different path. Martin tends to experiment with various composers--treating them with her own brand of arrangements. Alyson tends to explore genres all with a very unique and delicate touch of jazz. Kent has always stayed with the Great American Songbook as well as developing her material.

On her previous effort and debut for Blue Note Records, Breakfast on the Morning Tram (Blue Note; 2007), she broke up from her "standards" moniker and place some heavy attention on her own material as well bows to Latin and french composers (specifically Serge Gainsbourg). Breakfast on the Morning Tram was a nice departure and a new beginning for a vocalists I think deserves a lot more recognition.

The addition of Gainsbourg tracks on "Breakfast..." was definitely adventurous. I have heard Stacey perform French live and I was always taken a back but then realized, "hey this actually isn't all that bad" and "great for her for trying something a little different". So flash forward a few years and what do we have in a stereo today--Stacey Kent Reconte Moi (Blue Note), an album of all French material. And guess what. It is absolutely delightful!

Reconte-Moi isn't Stacey Kent turned Astrud Gilberto but she has carved a nice mark in the pavement to state her case. As always the music is beautiful and tightly orchestrated by her husband and saxophonist, Jim Tomlinson. But the work by Graham Harvey (piano) and John Parricelli (guitar) carry Reconte-Moi to a different level than on previous Kent albums. Stacey Kent and her band have stepped up tot the challenge and created a rich, lush, emotional record that brims with love on a summer day. Kent has chosen not to do the standard French covers here either--making Reconte--Moi even more exciting. She has included a couple of Benjamin Biolay numbers in addition to a lovely version of "Les Vacances au bord de la mer" by Michel Jonsaz and Pierre Grosz. Other standout for me are the title track where Parricelli is truly sublime, "Au Coin du monde." "Jardin d'hiver" and "Mi Amor".

Reconte-Moi for me is a near perfect record. It's definitely one of the best Stacey Kent records in years. You don't have to understand French to enjoy this album. Kent's interpretations are all you really need. The knowledge will help but music is about emotion and the moment. So enjoy this moment and the emotion will endure for a long time. Reconte-Moi is brilliant.

Anita O'Day: The Incredible

Anita O'Day (vocals; b. 1919 - 2006)

Unfortunately always overshadowed by Sarah, Billie, Ella, Dinah and even Carmen, Anita O'Day was probably the most versatile of all this great legion of jazz vocalists. Anita moved comfortably between the swing era and bebop with a tough exterior that she carried her entire career. Take about feminism, Anita embodied it and then some. Her ability to scat could rival Louis Armstrong any day. Her gritty demeanour also reflected the rough and tumble lifestyle and demons she fought throughout a large majority of her career. O'Day could go from soft and sultry to fierce and punchy in the blink of an eye.

For jazz lovers there is no more an iconic image (and possibly performance) of Anita than her appearance at The Newport Jazz Festival of 1958, now immortalized in the film Jazz On A Summer's Day. The film itself is highly recommended especially if you are new to jazz. It's not necessarily the jazz version of Woodstock but it does include some incredible and unforgettable performances from jazz icons--especially Anita.

There are very few vocalists who have a catalouge that is as spotless as Anita O'Day's. There's not a dud in the batch. It's probably going to be extremely hard to find individual albums at the this point so you may be left with a host of compilations. While most of them are all quite good the two that are the easiest to find are Finest Hour and The Diva Series. Both cover her most prolific years with Verve (The Diva Series has an absolutely awful cover but its the music that counts) and the most well known material. I prefer the Finest Hour release just because of the sequencing, but that's me. It includes a killer version of Benny Goodman's "Sing, Sing, Sing", "Tea For Two" and "God Bless The Child". In addition, there is a great compilation call Let Me Off Uptown (Columbia) which covers her swing era material with the great drummer/band leader Gene Krupa which is a must.

The jazz completist should seek out The Complete Verve Recordings (Mosaic Records) which is the entire vault and good weekend's worth of listening pleasure. Anita continued to record right up to her passing in 2006. Not too many female vocalist today can hold a candle to O'Day but you can hear the spirit in artists like Stacey Kent, Claire Teal and Claire Martin. A real troubadour for the Great American Songbook, Anita O'Day was a stunning vocalist whose legend needs to be spread and heard by as many people as possible.