{"title":"Vocal Jazz","description":"\u003cp\u003eDig into Vocal Jazz within Jazz at Apocalypse Vinyl. 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Day Breaks, released four years after the atmospheric adult alternative pop of the Danger Mouse-produced Little Broken Hearts, finds Jones returning home to an extent: it, like her 2002 debut Come Away with Me, is a singer\/songwriter album with roots in pop and jazz, divided between originals and sharply selected covers. Such similarities are immediately apparent, but Day Breaks is much slyer than a mere revival. That term suggests a slight air of desperation, but Jones comes from a place of confidence on Day Breaks, happy to demonstrate everything she's learned over the years. Often, these tricks are deliberately sly: she'll pair her torchy original \"And Then There Was You\" with a woozy, bluesy cover of Neil Young's \"Don't Be Denied\" that winds up evoking Come Away with Me, then follow that up with the dense, nocturnal rhythms of \"Day Breaks.\" She threads in versions of Horace Silver's \"Peace\" and Duke Ellington's \"African Flower\" while inviting saxophonist Wayne Shorter and organist Lonnie Smith in to play -- moves that signal that there's a strong, elastic jazz undercurrent to Day Breaks that means this record breathes more than her debut. Such a sense of quiet adventure gives the record depth, but what gives it resonance are the exquisitely sculpted songs. Jones' originals feel as elegant as time-honored standards, and all her covers feel fresh. The former speak to her craft, the latter to her gifts as a stylist, and the two combine to turn Day Breaks into a satisfying testament to her ever-evolving musicianship. ~ Stephen Thomas Erlewine\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003eReleased: 10\/07\/2016\u003c\/li\u003e\n\u003cli\u003eFormat: Vinyl\u003c\/li\u003e\n\u003cli\u003eGenre: Jazz\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Norah Jones","offers":[{"title":"Default Title","offer_id":41887061901393,"sku":"Y6PJYZ-CNE8-00","price":29.99,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0620\/5023\/8545\/files\/Norah-Jones-DAY-BREAKS-LP_tnx3E.jpg?v=1759469129"},{"product_id":"nina-simone-nina-simone-dj-maestro-presents-little-girl-blue-remixed-180-gram-vinyl-2-lps-import-vinyl","title":"Nina Simone DJ Maestro Presents: Little Girl Blue Remixed (180 Gram Vinyl) (2 Lp's) [Import] [Vinyl]","description":"Nina Simone - Nina Simone DJ Maestro Presents: Little Girl Blue Remixed (180 Gram Vinyl) (2 Lp's) [Import] [Records \u0026amp; LPs] \u003cbr\u003eBarcode: 8719262022324 \u003cbr\u003e\u003cp\u003e\u003cbr\u003eSIDE A\u003cbr\u003e1. PLAIN GOLD RING (MOP MOP REWORK)\u003cbr\u003e2. MY BABY JUST CARES FOR ME (THE REFLEX EDIT)\u003cbr\u003e3. MOOD INDIGO (RENEGADES OF JAZZ REMIX)\t\u003cbr\u003eSIDE B\u003cbr\u003e1. LITTLE GIRL BLUE (MAESTRO REMIX)\u003cbr\u003e2. LOVE ME OR LEAVE ME (SUONHO RELOVE)\u003cbr\u003e3. AFRICAN MAILMAN (THE REBEL REMIX)\u003cbr\u003e4. I LOVES YOU PORGY (MEES DIERDORP REMIX)\u003cbr\u003eSIDE C\u003cbr\u003e1. MY BABY JUST CARES FOR ME (GABRIEL \u0026amp; CASTELLON AND MAESTRO REMIX)\u003cbr\u003e2. AFRICAN MAILMAN (OPOLOPO REMIX)\u003cbr\u003e3. PLAIN GOLD RING (FAB SAMPERI REMIX)\t\u003cbr\u003eSIDE D\u003cbr\u003e1. HE NEEDS ME (GRAMOPHONEDZIE REMIX)\u003cbr\u003e2. LOVE ME OR LEAVE ME (GABRIEL \u0026amp; CASTELLON AND MAESTRO REMIX)\u003cbr\u003e3. AFRICAN MAILMAN (SMOOVE REMIX)\u003cbr\u003e4. CENTRAL PARK BLUES (MONTE'S MIDNIGHT MIX)\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003eReleased: 03\/18\/2022\u003c\/li\u003e\n\u003cli\u003eFormat: Vinyl\u003c\/li\u003e\n\u003cli\u003eGenre: Jazz\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Nina Simone","offers":[{"title":"Default Title","offer_id":41891736223825,"sku":"QM1RMW-6OKG-00","price":35.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0620\/5023\/8545\/files\/Nina-Simone-DJ-Maestro-Presents-Little-Girl-Blue-Remixed-180-Gram-Vinyl-2-Lps-Import_X8F1u.jpg?v=1762467138"},{"product_id":"diana-krall-diana-krall-when-i-look-in-y2lp-vinyl","title":"Diana Krall WHEN I LOOK IN Y(2LP [Vinyl]","description":"Diana Krall - Diana Krall WHEN I LOOK IN Y(2LP [Records \u0026amp; LPs] \u003cbr\u003eBarcode: 602547377043 \u003cbr\u003e\u003cp\u003ePersonnel includes: Diana Krall (vocals, piano); Johnny Mandel (arranger, conductor); Eddie Karam (conductor); Larry Bunker (vibraphone); Russell Malone (guitar); John Clayton, Ben Wolfe (bass); Jeff Hamilton, Lewis Nash (drums).\u003cbr\u003eProducers: Tommy LiPuma, Johnny Mandel, David Foster.\u003cbr\u003eRecorded at Avatar Studios, New York, New York.\u003cbr\u003eWHEN I LOOK IN YOUR EYES won the 2000 Grammy Award for Best Jazz Vocal Performance and for Best Engineered Album, Non Classical. WHEN I LOOK IN YOUR EYES was nominated for the 2000 Grammy Award for Album Of The Year.\u003cbr\u003eWHEN I LOOK IN YOUR EYES, a 1999 Verve release, heralds the return of the cool and groovy Latin-tinged jazz of the '60s. Upon hearing the opening track, a bossa-nova-fied version of Irving Berlin's \"Let's Face The Music And Dance,\" one might think he had accidentally put on a Getz\/Gilberto record. In fact, it's hard to avoid comparing Krall's breathy alto to that of Astrud Gilberto-particularly on the more samba-flavored numbers.\u003cbr\u003eBut Krall ultimately resists comparisons. Her simultaneously textured and smooth tone, warm timbre, and conversational phrasing mark her as unique. The set of standards here, including \"Let's Fall In Love,\" \"I've Got You Under My Skin,\" and \"Pick Yourself Up\" among others, is enhanced by fine session musicians and Johnny Mandel's tasteful arrangements. While Krall is more than comfortable with a sly swing (Michael Franks' \"Popsicle Toes\"), it is the stirring ballads-like the title track-that show her skill to best advantage. 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Although having received a largely positive critical response for her creative departure into original singer\/songwriter jazz material on 2004's The Girl in the Other Room, here listeners find Krall diving headlong into the Great American Songbook that has long been her bread and butter. While she's always been a pleasant presence on album, Krall has developed from a talented pianist who can sing nicely into an engaging, classy, and sultry vocalist with tastefully deft improvisational chops. But it's not just that her phrasing and tone are well-schooled. Having long drawn comparisons to such iconic and icy jazz singers as Julie London and Peggy Lee, Krall truly earns such high praise here. In fact, tracks like \"Willow Weep for Me\" and \"Little Girl Blue\" are drawn with such virtuosic melancholy by Krall as to be far and away some of the best ballads she's put to record. Similarly impressive big swing numbers like \"Come Dance with Me\" showcase her muscular rhythmic chops both vocally and on the keys. Backing her here is the always wonderful Clayton-Hamilton Jazz Orchestra, featuring some punchy and solid solo spots by trumpeter Terell Stafford, as well as the rhythm section talents of guitarist Anthony Wilson, bassist Robert Hurst, and drummer Jeff Hamilton. 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Producers: Phil Ramone, David Foster, Albert Hammond, Andre Fischer. Includes liner notes by David Wild. DUETS was nominated for a 1995 Grammy Award for Best Traditional Pop Vocal Performance, and \"I've Got A Crush On You\" (Patrick Williams\/Nelson Riddle, arrangers) was nominated for Best Instrumental Arrangement Accompanying Vocals. Personnel includes: Frank Sinatra (vocals), Ron Anthony, Paul Viapiano (guitars), Gerry Vinci, Ralph Morrison (violins), Ken Burward-Hoy, Carole Mukogawa (violas), Gloria Strassner, Anne Karam (cellos), Dorothy Remsen (harp), Lanny Morgan (saxophones, winds), Conte Candoli, Frank Szabo (trumpets), Dick Nash, George Bohanon (trombones), Bill Miller, Michael Melvoin (piano), Chuck Berghofer, Dave Stone (bass), Gregg Field, Jeff Hamilton (drums), Emil Richards, Joe Porcaro (percussion). Additional guest artists: Luther Vandross, Julio Iglesias, Carly Simon, Charles Aznavour (vocals), Tom Scott (saxophones, winds). Producers: Phil Ramone (tracks 1-2, 5-6, 8-13); Phil Ramone, David Foster (track 3); Phil Ramone, Albert Hammond (track 4); Phil Ramone, Andre Fischer (track 7). Includes liner notes by David Wild. DUETS was nominated for a 1995 Grammy Award for Best Traditional Pop Vocal Performance, and \"I've Got A Crush On You\" (Patrick Williams\/Nelson Riddle, arrangers) was nominated for Best Instrumental Arrangement Accompanying Vocals. When you blaze as deep and wide a path in this world as Frank Sinatra, you're bound to gain admirers from all avenues on the musical map. Consequently, when Sinatra decided to put out the call for potential duet partners, everyone from Aretha to Julio to U2's Bono leaped at the chance to lend their voice. Considering the eclectic group of guest artists involved, the arrangements are remarkably consistent, and the potential egofest is eschewed in deference to Sinatra's artistry. Though the tunes tackled here are associated immediately with the Sinatra canon, many of them receive an unexpected twist. Among the most unusual is the surreal, David Lynch feel of the Sinatra\/Bono \"I've Got You Under My Skin,\" with Bono's haunting wail contrasting Sinatra's gruff pragmatism. Surprisingly, one of the most effective collaborations here is with an instrumentalist, perhaps just because it gives Sinatra's voice that much more room to roam; \"One For My Baby,\" adorned by Kenny G's sax filigrees, has never rung truer. In the winter of his years, Sinatra invests the standard with an unprecedented pathos, regret and emotional devastation. 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With a mischievous and lighthearted approach that has become his calling card, it endeared him to jazzophiles and pop fans alike.  And with its infectious blend of jazz standards, American songbook classics, original compositions, and hip contemporary covers, Pointless Nostalgic went straight to the top of the charts and demanded attention.  Barely in his twenties at the time of this recording, Cullums move to mix genres and use contemporary arrangements and a rock and roll attitude coalesced at just the perfect time.  This was the same year that Norah Jones appeared on the scene with her debut album Come Away With Me.  And while approaching material in this manner could have alienated purists, Cullum found a unifying thread in all of the styles, tying them together in a manner that seemed like the natural culmination of a diverse record collection.  Cullum hops from Gershwin to Radiohead to Thelonious Monk with equal verve and accomplishment. 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The Boy Next Door became Kents breakthrough and her biggest hit to date when it was released in 2003, establishing her as a household name in France and the UK.\u003c\/p\u003e\u003cp\u003eThe recording pays tribute to Kents heroes, most who made their mark with the Great American Songbook and popular standards.  Each track is name checked - Tony Bennet, Frank Sinatra, Chet Baker and Sammy Davis Jr. to name a few.  But the album also includes contemporary artists like Paul Simon and James Taylor and thanks to the tight arrangements effortlessly executed by Kents skilled section, they blend seamlessly with the older numbers.  The idea for the album came about when an interviewer expressed surprise at the number of men on Kents list of favorite singers and interpreters of song.  Kents unique voice and her masterful interpretations of these classic songs became the impetus for this project.  \u003c\/p\u003e\u003cp\u003eProduced by Kents long time companion and collaborator Jim Tomlinson and recorded at Curtis Schwartz Studios, England, this record has been remastered by legendary mastering engineer Bernie Grundman.\u003c\/p\u003e\u003cp\u003eA1. The Best Is Yet To Come 3:27\r A2. The Boy Next Door 3:40\r A3. The Trolley Song 4:07\r A4. Say It Isn't So 4:41\r B1.Too Darn Hot 3:27\r B2.Makin' Whoopee 3:09\r B3. What The World Needs Now Is Love 4:13\r B4. You've Got A Friend 4:22\r C1. I Got It Bad 4:56\r C2. Ooh-Shoo-Be-Doo-Bee 3:04\r C3. People Will Say We're In Love 3:46\r C4. 'Tis Autumn 4:31\r D1. All I Do Is Dream Of You 3:27\r D2. I Get Along Without You Very Well You're The Top 3:25\r D3. You're The Top 2:30\r D4. 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The album features songs from The Great American Songbook made famous by Astaire on film.  \u003c\/p\u003e\u003cp\u003eLike Astaire, Kent seamlessly and easily takes the audience along with her, creating an elegant intimacy in her performances. Thanks to the tight arrangements, effortlessly executed by Kent's skilled section, the recording exudes a remarkable sense of musical cohesion and sophistication. Kent's interpretation of the songs is marked by her understanding of the lyrics, conveying their emotional depth and subtle nuances.\u003c\/p\u003e\u003cp\u003eProduced by Kents long time companion and collaborator Jim Tomlinson and recorded at Curtis Schwartz Studios, England, the album has been remastered and is available on vinyl for the first time in over a decade as a 2xLP set.\u003c\/p\u003e\u003cp\u003eRemastered by Alex McCollough at True East Mastering.  Vinyl cut by Jeff Powell at Take Out Vinyl\u003c\/p\u003e\u003cp\u003eA1. Let Yourself Go\r A2. 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This time the chanteuse delivers an entire album of breezy west coast jazz sounds in the form of a tribute to Chet Baker.\u003c\/p\u003e\u003cp\u003eIt was around 1996 when Katharine Whalen first made her grand entrance onto culture’s collective radar as the sultry, yet effervescent voice of the Squirrel Nut Zippers, where she remained until their initial disbandment around the turn of the century. In addition to the Zippers putting dixieland jazz on the pop charts in the 1990s, they sneakily introduced an unsuspecting \"alternative\" crowd to jazz music. Her cultural impact was also felt when she voiced the song \"You You You You You\" a standout track from Stephin Merritt's (The Magnetic Fields) project titled The 6ths. That song would also find its way into commercials and the film Pieces of April. \u003c\/p\u003e\u003cp\u003eAfter recording one solo album for Mammoth Records shortly after leaving the Zippers, Whalen stepped out of the public eye. 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Friends for many years, they began working together on The Song Project in 2012, and eight years later this LP presents the full fruits of their collaboration: thirteen Zorn compositions with original lyrics by Jesse Harris. Including selections from a wide variety of Zorn projects (and one original that has never appeared before), the melodies are catchy, the lyrics heartfelt, the grooves deep and the solos profound and exhilarating. 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The album \"Chansons\" was released in 2013 and has since become Jill's most globally successful record to date, having been streamed over 120 million times - with more than 35 million listens in the past year alone.\u003c\/p\u003e\u003cp\u003eA full decade later, Jill has reunited with Grammy Award-nominated producer Drew Jurecka and the musicians that accompanied her on \"Chansons\" to produce \"ENCORE!\", its long-awaited sequel.\u003c\/p\u003e\u003cp\u003e\"ENCORE!\" is a delightfully arranged and lushly orchestrated album, featuring all new interpretations of classic songs by Edith Piaf, Charles Trenet, Blossom Dearie, Django Reinhardt, Robert Charlebois, Josephine Baker, and Barbara. \u003c\/p\u003e\u003cp\u003e‚ÄúFor me, singing in French is an embodied, sensual experience‚Ķ it‚Äôs a new language in which to explore and express myself artistically- and be vulnerable.‚Äù\u003c\/p\u003e\u003cp\u003eThe French have a saying for a particularly pleasurable sensation that is so unique, it‚Äôs difficult to put into words- when Jill Barber sings in French, there is a pleasing quality, a ‚ÄúJe ne sais quoi‚Äù that is hard to describe, but easy to enjoy. And now she‚Äôs done it again - ENCORE!\u003c\/p\u003e\u003cp\u003eA1. Plus je t‚Äôembrasse  A2. M√©nilmontant  A3. Nuages  A4. De temps en temps  A5. Padam padam  A6. La mer  B1. Ordinaire  B2. Mal de vivre  B3. Les eaux de Mars  B4. Que reste-t-il de nos amours?  B5. 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Drawing on her Dominican heritage with its cargo of African dance rhythms and Spanish folksongs, embracing the directness and simplicity of contemporary pop forms, singing tales straight from her own life, this is Cyrille as you have never heard her before. The album's genesis originates far from New York or her adopted New Orleans home, deep within the forests of Costa Rica and an astonishing tale of a creative rebirth.\u003c\/p\u003e\u003cp\u003eAt the heart of each recording is a live performance by Cyrille, accompanying herself with voice and guitar or baritone ukulele: then together they would add layers of arrangement, using Cyrille's trademark vocal improvisations to suggest horn lines, percussion parts and counter melodies which Sherman would re-create on his array of vintage instruments. The results are uniformly appealing in their direct honesty but diverse in their sound.\u003c\/p\u003e\u003cp\u003eCyrille says \"I want to inspire women to create: with their hands, their wombs, their voices, whatever inspires them.\" She's created an album that is deeply intimate and personal yet completely open and accessible to all and marked a new chapter in her journey as an artist.\u003c\/p\u003e\u003cp\u003e1. Beautiful Way  2. Again Again  3. For the Love of You  4. Inside and Out  5. Yo Soy Diosa  6. Back to You  7. Feel What I Feel  8. Here  9. Ma Preference  10. 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Like Edith Piaf, or Patsy Cline. Not that Jill Barber sounds like them, but she has the kind of voice they had. Unmistakable. Somehow so connected to the heart, that the song comes clear and true to the listener, unaffected, unsullied by fashion, untouched by commercial necessity. It is a voice that stops time. And the songs. Great songs need an underlying truth, even wisdom. Jill‚Äôs songs don‚Äôt sound ‚Äúwritten‚Äù. They sound like standards, like they were always there, waiting for her voice to take full flight. \u003c\/p\u003e\u003cp\u003eFor those that believe they don‚Äôt write songs like they used to, there is new hope for old romantics: On Chances, Jill Barber takes a giant step forward from the typical confines of the singer-songwriter and delivers an album of original, fully orchestrated songs that are often mistaken for classics. The moment the music starts you are taken back to a time where music was romantic, where it dwelled in beauty, and was full of life. With Chances, Jill has aligned herself with a talented array of performers in capturing the classic sound of a bygone era. \u003c\/p\u003e\u003cp\u003eOutside Music is proud to reissue Chances for its 15th Anniversary, pressed on limited edition Orchid coloured vinyl.\u003c\/p\u003e\u003cp\u003e1. Chances \r 2. Be My Man \r 3. Old Flame \r 4. Oh My My \r 5. Take It Off Your Mind \r 6. Wishing Well \r 7. Never Quit Loving You \r 8. All My Dreams \r 9. Leaving You \r 10. 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Jill meticulously curated the repertoire herself, selecting material both from her own collection and from recommendations from friends within the Francophone community. ‚ÄúI spent time with the songs. I strolled the streets with Aznavour, I sat in a sidewalk cafe with Piaf, poured a stiff drink with Gainsbourg, and I became absolutely enamoured and inspired by French music in the process.‚Äù\u003c\/p\u003e\u003cp\u003eJill Barber is a 3-time JUNO Award nominee, a Polaris Music Prize nominee, and winner of the Sirius\/XM Jazz Album of the Year. She has headlined the Montreal Jazz Festival, Toronto's Massey Hall, and the Blue Note in Tokyo, and played clubs and festivals around the world. Songs from Jill's catalogue have been streamed more than 160,000,000 times on digital services.\u003c\/p\u003e\u003cp\u003eOutside Music is proud to reissue \"Chanson\"s for its 10th Anniversary on limited edition Blush coloured vinyl.\u003c\/p\u003e\u003cp\u003e1. Petite fleur \r 2. J‚Äôattendrai \r 3. M√©lancolie \r 4. La javanaise \r 5. Sous le ciel de Paris \r 6. En septembre sous la pluie \r 7. Je cherche un homme \r 8. N‚Äôoublie jamais \r 9. Quand les hommes vivront d'amour \r 10. Les feuilles mortes \r 11. Plus bleu que tes yeux \r 12. 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And with its infectious blend of jazz standards, American songbook classics, original compositions, and hip contemporary covers, Pointless Nostalgic went straight to the top of the charts and demanded attention. Cullum hops from Gershwin to Radiohead to Thelonious Monk with equal verve and accomplishment. The closing number, Cullums own composition, I Want to Be a Popstar is a playful rumination on the advantages of being a pop star rather than a jazz key pounder.  This album has been remastered by legendary mastering engineer Bernie Grundman.\u003c\/p\u003e\u003cp\u003e1. You And The Night And The Music 4:10\r 2. I Can't Get Started 5:16\r 3. Devil May Care 3:24\r 4. You're Nobody Till Somebody Loves You 3:44\r 5. Pointless Nostalgic 4:04\r 6. In The Wee Small Hours Of The Morning 6:29\r 7. Well You Needn't 3:21\r 8. It Ain't Necessarily So 4:32\r 9. High And Dry 4:54\r 10. Too Close For Comfort 3:25\r 11. A Time For Love 5:07\r 12. Lookin' Good 3:10\r 13. 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This time the chanteuse delivers an entire album of breezy west coast jazz sounds in the form of a tribute to Chet Baker.\u003c\/p\u003e\u003cp\u003eIt was around 1996 when Katharine Whalen first made her grand entrance onto culture’s collective radar as the sultry, yet effervescent voice of the Squirrel Nut Zippers, where she remained until their initial disbandment around the turn of the century. In addition to the Zippers putting dixieland jazz on the pop charts in the 1990s, they sneakily introduced an unsuspecting \"alternative\" crowd to jazz music. Her cultural impact was also felt when she voiced the song \"You You You You You\" a standout track from Stephin Merritt's (The Magnetic Fields) project titled The 6ths. That song would also find its way into commercials and the film Pieces of April. \u003c\/p\u003e\u003cp\u003eAfter recording one solo album for Mammoth Records shortly after leaving the Zippers, Whalen stepped out of the public eye. However, she’s remained very much in the spotlight of one unique small town; Hillsborough, NC, which has been referred to as Twin Peaks meets Northern Exposure. It’s a surreal literary, liberal Mayberry. If you find yourself in this Southern portal, you can find Katharine Whalen's Jazz Squad playing monthly in a cocktail bar appropriately named Yonder.\u003c\/p\u003e\u003cp\u003eThe album was recorded in an old chapel in Hillsborough by North Carolinian royalty, Jerry Kee (Polvo, Superchunk, The Kingsbury Manx). Each song was recorded with the band all playing together in the same room, the way the old jazz records used to be put to tape.\u003c\/p\u003e\u003cp\u003e1. Let’s Get Lost  2. My Heart Stood Still  3. Lover Come Back To Me  4. Lullaby Of The Leaves  5. Sweet Sue  6. Look For The Silver Lining  7. Embraceable You  8. How Long Has This Been Going On  9. Alone Together  10. Just Friends  11. Just One Of Those Things  12. East Of The Sun  13. 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Jill Barber‚Äôs French repertoire is played around the world and has earned her a following that transcends language barriers. Her music has become the soundtrack to an experience. \u003c\/p\u003e\u003cp\u003eIt is a surprising achievement for an anglophone artist who only began her affair with the French language in her late twenties, following a moment during the Montreal Jazz Festival, where she sang a few notes of French to an enraptured crowd.  Inspired by their reaction, Jill enrolled herself in an immersive French school in the South of France, eventually emerging with her own recordings of the songs and poets that inspired her most: Piaf, Gainsbourg, Aznavour. 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And now she‚Äôs done it again - ENCORE!\u003c\/p\u003e\u003cp\u003e1. Plus je t‚Äôembrasse  2. M√©nilmontant  3. Nuages  4. De temps en temps  5. Padam padam  6. La mer  7. Ordinaire  8. Mal de vivre  9. Les eaux de Mars  10. Que reste-t-il de nos amours?  11. 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Somehow so\u003cbr\u003econnected to the heart, that the song comes clear and true to the listener, unaffected, unsullied\u003cbr\u003eby fashion, untouched by commercial necessity. It is a voice that stops time.\u003cbr\u003eAnd the songs. Great songs need an underlying truth, even wisdom. Jill‚Äôs songs don‚Äôt sound\u003cbr\u003e‚Äúwritten‚Äù. They sound like standards, like they were always there, waiting for her voice to take\u003cbr\u003efull flight. Here is a rare talent, a fully realized artist. Her work is sultry, heartfelt, humane and\u003cbr\u003ebeautiful. I hear her, I think ‚Äúclassic‚Äù.\u003cbr\u003eHere is a bouquet of love songs, wrapped in ravishing arrangements, and sung with tenderness\u003cbr\u003eand grace. Taken with two fingers of strong spirits, they will soothe the tangled madness of the\u003cbr\u003eday, fill the heart, ease the mind, and remind us that life can be very beautiful. - Tom Gallant,\u003cbr\u003e2008¬†\u003c\/p\u003e\u003cp\u003e1. Chances\r 2. 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The album features songs from The Great American Songbook made famous by Astaire on film.  \u003c\/p\u003e\u003cp\u003eLike Astaire, Kent seamlessly and easily takes the audience along with her, creating an elegant intimacy in her performances. Thanks to the tight arrangements, effortlessly executed by Kent's skilled section, the recording exudes a remarkable sense of musical cohesion and sophistication. Kent's interpretation of the songs is marked by her understanding of the lyrics, conveying their emotional depth and subtle nuances.\u003c\/p\u003e\u003cp\u003eProduced by Kents long time companion and collaborator Jim Tomlinson and recorded at Curtis Schwartz Studios, England, the album has been remastered and is available on vinyl for the first time in over a decade as a 2xLP set.\u003c\/p\u003e\u003cp\u003eRemastered by Alex McCollough at True East Mastering.  Vinyl cut by Jeff Powell at Take Out Vinyl\u003c\/p\u003e\u003cp\u003e1. Let Yourself Go\r 2. 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