This thread is for anyone interested in singers who are from the worlds of jazz, cabaret & standards and who first recorded (or came into their own) at any time between 1970 and the present day. As long as they fit into both of these parameters, all singers (male, female, transgender) qualify for mention or discussion. English-sung bossa nova and tunes of more recent popularity, such as Dave Frishberg's "My Attorney Bernie" or Cyndi Lauper's "Time After Time," should also be considered part of the modern-day mix of standards, jazz and cabaret. The thread should serve as a complement to an older one: Obscure & Neglected Female Singers Of Jazz & Standards (1930s to 1960s) » . Unlike that other thread, this one is meant to be looser and more embracing. So: if you are unsure as to whether the singer you want to mention belongs here or in the other thread (or doesn't even belong in either one), post away anyway. It should not be a big deal. The current big names in the field (Diana Krall, Michael Bubblé, Dianne Reeves, Cassandra Wilson, Nora Jones) probably have their own separate threads going. But, if you'd rather talk about them here too, that should not be a big deal, either. Mentioned in the other thread, Patricia Barber, Meredith D'Ambrosio, Melody Gardot, and Flora Purim are singers about whom there could be some talk (pro or con; doesn't matter). I (the OP) might not heavily participate, as I'll probably keep spending most of my time in the other thread. That said, I'd like to get this thread properly started by introducing at least one singer.
Susannah McCorkle cut over 15 albums in 15 years (1975-2000). A translator by trade, many of her albums include lyrics in languages other than English (most frequently, Portuguese). Some of them also bear telling titles, such as Sabia and From Bessie to Brazil.
In the year 2001, Susannah jumped from the balcony of her 16th-floor Manhattan apartment on West 86th Street, thereby ending her life. Hearts and Minds (2000) was the last album that she recorded.
Passionate about music history and the art of song, Susannah recorded a fair share of songwriter songbooks, and did not limit herself to the usual big names (Berlin, Gershwin, Porter) but also paid tribute to slightly less well-known figures, such as Yip Harburg ("Over the Rainbow"), Leo Robin ("Diamonds Are a Girl's Best Friend"), and Harry Warren ("Lullaby of Broadway"). Furthermore, she cut some of the gems that have been written in more recent times, and even wrote some great numbers on her own, such as this very on-the-nose one (with music by Brazilian drummer Thelmo Martins Porto, aka Portinho):
I was listening to a Maria Muldaur compilation a few days ago. She is very versatile - blues, folk, gospel, standards, pop. Somewhere I think I still have an LP I have never heard of in spite of searching for some indication of its value. It has a very atmospheric wordless track called Transbluesency (sp?). Wish I could hear it again.
To me, Betty Carter was the greatest from this era. I saw her live more than ten times and she consistently blew me away.
Patricia Kaas. (A guy I was dating at the time, way back in the day, got me into her by giving me a CD of her "Piano Bar" album, which was actually the soundtrack to "And Now... Ladies and Gentlemen", with her co-actor Jeremy Irons. I'm not sure how well the movie did, the the album didn't really do anything in the US, and didn't fair much better in France, were she's usually well received! The reasons were that this is her only English speaking album, and the French simply weren't having any of that! I think it's a completely beautiful album, and hope one day it'll find it's way onto vinyl.)
Melody Gardot. (I just think she's a masterpiece. It took me a while to get into her, but I own all of her albums now and every one of them is perfection. What I especially love about her is, each and every album has it's own style and sound - from bossa nova, to standard jazz, to blues & soul, etc.!) Just try to not love this song:
From Melody Gardot's latest album, Currency of Man (which is what first got me into her.) This is what I'd call her "Blues & Soul" album. This is the official video for the song:
(And finally) "Se Voca Me Ama" from Melody Gardot's "The Absence", which is pretty much her bossa nova album. (She's singing with Heitor Pereira, a Brazilian musician.)
Jacintha. (She's a Singaporean singer, and she's got quite a few albums. I feel many of them are uneven, but there are a few I've really fell for. "Autumn Leaves", "Lush Life", and "Jacintha is Her Name" (her take on Julie London's first album) I would personally consider her best.
Vanessa Daou. (Her biggest claim to fame was her album "Zipless", which contained songs featuring poetry from her husband's aunt, Erica Jong (the writer.) She fits the nu jazz/jazztronica field a bit better, IMHO.
Though she started in the late 50s, Shirley Horn had a major career resurgence in the late 80s so should be here. A favorite is the album with Johnny Mandel arrangements-Here's to Life. For a live show, check out the Monterey Jazz Festival set from 1994.
Mainly wanted to say that all entries have been great so far. I also wanted to point out that I, for one, am listening to all the videos being posted. That point is worth making because, sometimes, we posters might think that no one is reading, or checking out the videos (due to lack of replies or commentary). I myself was wondering if anyone had bothered to check the Susannah McCorkle stuff that I posted. So, thanks .crystalised, for the "like" indicating that you had! I am generally acquainted with Melody Gardot's singing, though not so much with these particular tracks. All four of them are worthwhile. The "bayou video" for "Preacherman" is arresting; her singing on that song manages to remind me of a somewhat streamlined Janis Joplin. Anyway, a talented interpreter for sure. The two Jacintha CDs from which you picked those two clips happen to be the only Jacintha CDs that I have. She's cool. Soothing singing. I generally enjoy both albums while I play them. The London one is a satisfactory tribute; I use that album's cover for decoration! But, when all is said and done, I am not compelled to try any more of her stuff. Had not listened to Patricia Kaas and Vanessa Daou before; was glad to be given a reason to. Neither wowed me, but I could see myself getting into the Kaas album. The music has a catchily repetitive groove (sometimes suggesting world music or an easy listening vibe). And I liked it when Patricia was doing wordless sounds at the beginning,. The jazztronica stuff from Vanessa is not my bag at all, and I don't really hear anything of note in her singing. But the music does have a hypnotic, trance quality that one could fall for. Interesting points & info. Thanks! Maria Muldaur's Transblucency certainly has an interesting track listing. I went to YouTube in search of album tracks and was surprised to be unable to find even a single one. (Three thousand four hundred seventy-five clips of "Midnight at the Oasis," though!) I am well acquainted with Stacey Kent's singing, but had not previously listened to that "Waiter, Oh Waiter" number. I definitely enjoyed it. I am including it in a thematic compilation made up in my mind, which will also feature Anita O'Day's "Waiter, Make Mine Blues," Herb Jeffries' "Dinner for One, James," Sinatra's "Angel Eyes," anyone's version of "Music, Maestro, Please," and a few others! For many of the years covered by this thread, she certainly was touted by the jazz press as the top singer in the field. Your comment about being blown away by her concerts is one that I have heard from quite a few other folks, too. In total agreement with jhw59 about Shirley Horn's qualifications for discussion. Great points. And we must have, at the very least, one clip here. Of course, priority should be given to her most celebrated interpretation. I'll post the album version. (Talking about 1994 live versions, I'd also recommend this one, at the North Sea Jazz Festival: SHIRLEY HORN – Here's To Life (1994, HD) » ).
I have often felt that most singers born after a certain period miss some intangible quality when interpreting songs of the so-called Great American Songbook. I wonder if it has something to do with living through the Depression, Jim Crow, and World War II. It is like the older singers communicate the fragility of even the simplest pleasures. I would love to be proven wrong.
Right on the money with Ms McCorkle, a wonderful singer.I have all the pictured records [ and more] in my collection.
Karin Krog is a name that comes to mind when discussing the kind of vocalist who collaborates closely with other musicians and soloists.
Another great choice, perfect for this thread. She did make several records in the 1960s, but the bulk of her very large album discography is from the later years, all the way to the present time. I guess that we can call her Norway's First Lady of Jazz? I have just two or three of her many albums. Great music, from very good musicians, in them. As for her singing, it often reminds me of Sheila Jordan's. I have the same reaction to both of them: respect for their craftsmanship combined with a desire that I could enjoy their interpretations more than I actually do. I mean, I like tracks here and there -- "Who Cares," "I'm Shadowing You," etc. -- but not enough of them. In 1994, Verve Polygram released a 2CD career retrospective. Here is the pretty good opening track, too:
