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Too Much In Love To Care [Hybrid SACD, SACD]

Claire Martin Audio CD
4.9 out of 5 stars  See all reviews (12 customer reviews)
Price: 15.06 & FREE Delivery in the UK. Details
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Product Description

Product Description

Too Much in Love to Care is the new studio recording from Britain's First Lady of Jazz,Claire Martin.This,her first US studio recording for fifteen years,sees Claire joined by an all-American,all-star quartet,featuring renowned jazz pianist Kenny Barron. A long-time hero of Claire's,Kenny's effortlessly cool and sensitive playing is the perfect complement to the smoky elegance of Claire's vocals.The rhythm section is comprised of Claire's dream team of Peter and Kenny Washington and the hugely talented Steve Wilson on saxophone and flute. Together they have delivered a beautiful and tender collection of ballads from The Great American Songbook full of first-takes. This is an outstanding album from one of the finest jazz singers in the world today.(five stars)Jazz Journal. From the stylistic, cool jazz of the quartet to the assured, versatile singing, all of the pieces fit intuitively. (five stars) Audiophile Audition.One of her best albums ever. Jazz FM The Yamaha Sunday Jazz Jam[Claire]'s malleable voice,jazz instinctiveness and interpretative powers.Jazz Rag.Gorgeous tone,faultless pitch,exquisite phrasing(four stars)Jazzwise.'Martin's voice has a warmly seductive edge...'(four stars)The Daily Telegraph.[Claire]has never sounded better.(four stars)The Observer.Claire Martin returns with what is unequivocally one of the year's outstanding jazz vocal sets.'(four stars)Record Collector.

Review

Like all really good jazz singers, Claire Martin blossoms in the presence of really good jazz musicians. In this case her accompaniment is in the hands of Kenny Barron, a pianist of brilliance and intuitive delicacy, and she has never sounded better. The two of them, reshaping Gershwin's Embraceable You epitomise the artistry that has kept such classic songs alive. From Barron's ingenious introduction to Martin's final phrase, beautifully controlled at almost a whisper, it's perfect. All 13 tracks contain similar delights. The bass-and-drums dream team of Kenny and Peter Washington completes the picture. --The Observer - Dave Gelly

Noting what she terms 'a faint audible sigh of relief whenever I start singing something familiar at gigs', Claire Martin has finally succumbed to this politest form of pressure and recorded (for the first time) an album entirely devoted to the Great American Songbook. The result will undoubtedly delight said sighers, for not only does Martin herself turn in a flawless performance, but she has also enlisted the services of arguably the greatest living interpreter of such material, pianist Kenny Barron, impeccably supported by bassist Peter Washington, drummer Kenny Washington and flautist/saxophonist Steve Wilson. Beginning with a relatively obscure standard, the Kriegsmann/Coates title-track ('virtually untouched since Carmen McRae recorded it in 1954' according to liner-note writer Will Friedwald), Martin subsequently ventures into more familiar territory, including an affecting duo with Barron on the evergreen 'Embraceable You', a touching visit to 'How Long Has This been Going On?' and a triumph of revitalisation, considering how frequently it's been recorded a perfect rendition of 'I Only Have Eyes for You'. Martin's great strengths crystal-clear diction, an apparently informal ease of delivery that conceals considerable art, an ability (springing from a keen intelligence) to inject precisely the right amount of emotion into a lyric are all on display throughout a thirteen-song set, and with the Washingtons, Wilson and the peerless Barron (characteristically combining luminously delicate lyricism with sparkling vigour as required) in top form, this is an unalloyed treat from start to finish. --Chris Parker - Jazzwise

Claire Martin is one of the few British chanteuses who can impress American aficionados, and this CD shows why. It's devoted to the great American songbook, and includes some little-known gems. Martin's voice has a warmly seductive edge when she sings Don't be a naughty baby in Embraceble You, it's like an invitation to do just the opposite. --Daily Telegraph - Ivan Hewett

Claire Martin returns with what is unequivocally one of the year's outstanding jazz vocal sets.(four stars) --Record Collector

Claire Martin is one of the few British chanteuses who can impress American aficionados, and this CD shows why. It's devoted to the great American songbook, and includes some little-known gems. Martin's voice has a warmly seductive edge when she sings Don't be a naughty baby in Embraceble You, it's like an invitation to do just the opposite. --Daily Telegraph - Ivan Hewett

Claire Martin returns with what is unequivocally one of the year's outstanding jazz vocal sets.(four stars) --Record Collector

Claire Martin is one of the few British chanteuses who can impress American aficionados, and this CD shows why. It's devoted to the great American songbook, and includes some little-known gems. Martin's voice has a warmly seductive edge when she sings Don't be a naughty baby in Embraceble You, it's like an invitation to do just the opposite. --Daily Telegraph - Ivan Hewett

About the Artist

In 2011 Claire Martin was appointed an O.B.E. in the Queen's Birthday Honours List for her services to music and was again named winner of the 2010 British Jazz Award for best female vocalist. Claire Martin has been a driving force behind the UK jazz scene for the past 25 years and has won many accolades, including a British Jazz Award no less than six times. In 2011 Claire made her Royal Albert Hall debut at the BBC Proms in London and returned to The Lincoln Center with pianist Bill Charlap and The Algonquin Hotel in New York City with Sir Richard Rodney Bennett. Claire's busy schedule not only includes recording and touring but continually raising the awareness and profile of jazz as a broadcaster on the BBC Radio 3 programme, Jazz Line-Up, which she has co-presented since 2000. Kenny Barron's unmatched ability to mesmerize audiences with his elegant playing, sensitive melodies and infectious rhythms is what inspired Jazz Weekly to call him the most lyrical piano player of our time.
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