Ghost song

"On her first album for Nonesuch Records, vocalist Cecile McLorin Salvant continues to push her sound beyond the straight-ahead jazz that has earned her accolades. Though known for her Ella Fitzgerald-esque skill at interpreting songbook standards and French chanson, Salvant has proven herself a literate and nuanced songwriter in her own right. She brings all of these aspects together yet again on Ghost Song, this time adding in more contemporary cover tunes and other folk traditions she hadn't yet explored".

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"On her first album for Nonesuch Records, vocalist Cecile McLorin Salvant continues to push her sound beyond the straight-ahead jazz that has earned her accolades. Though known for her Ella Fitzgerald-esque skill at interpreting songbook standards and French chanson, Salvant has proven herself a literate and nuanced songwriter in her own right. She brings all of these aspects together yet again on Ghost Song, this time adding in more contemporary cover tunes and other folk traditions she hadn't yet explored".

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"Der er fuldstændig fri leg på Salvants plade, hun springer elegant og overlegent rundt mellem genrer og udtryk, så traditionel vokaljazz, fri improvisation, sjælfuld pop, musicalmelodrama, avantgardistisk kirkeorgelmusik, americanafolk og spoken word blendes til en pærevælling ... Det kan lyde som noget værre miskmask, der udelukkende handler om at fremvise teknisk overskud eller musikalsk spændvidde, men heldigvis viser det sig ikke at være tilfældet ... Salvant [anerkender] det historiske fundament, hendes sange bygger på - uden at det bliver tilbageskuende. I stedet videreudvikler hun på livet løs, bygger nye etager og føjer nye grene til den amerikanske jazztradition".

Læs anmeldelse

"Der er fuldstændig fri leg på Salvants plade, hun springer elegant og overlegent rundt mellem genrer og udtryk, så traditionel vokaljazz, fri improvisation, sjælfuld pop, musicalmelodrama, avantgardistisk kirkeorgelmusik, americanafolk og spoken word blendes til en pærevælling ... Det kan lyde som noget værre miskmask, der udelukkende handler om at fremvise teknisk overskud eller musikalsk spændvidde, men heldigvis viser det sig ikke at være tilfældet ... Salvant [anerkender] det historiske fundament, hendes sange bygger på - uden at det bliver tilbageskuende. I stedet videreudvikler hun på livet løs, bygger nye etager og føjer nye grene til den amerikanske jazztradition".

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"Her most ambitious record yet; an epic smorgasbord of sonic delights that comes across like the soundtrack to a futuristic science fiction film. It opens with an echoey, windswept take of Kate Bush's Wuthering Heights that segues into an offbeat medley, but the most mind-blowing track, though, is I Lost My Mind which, with its layered voices and eerie sepulchral organ, comes across like the aural equivalent of an LSD trip. Far out, as they say".

"Abandoning the live, spare sound of 2018's 'The Window', [Salvant] dresses up these new originals and covers with complex, kaleidoscopic arrangements that borrow from jazz of all eras (the epic "Until"), theatrical psychedelia ("I Lost My Mind"), and '70's art-pop (her understated cover of Kate Bush's "Wuthering Heights"). But it's her voice, always expressive and active, that anchors even the wildest experiments, whether it's the children's choir at the end of the title track or the ratatat rhythms of "Obligations"".

"Her most ambitious record yet; an epic smorgasbord of sonic delights that comes across like the soundtrack to a futuristic science fiction film. It opens with an echoey, windswept take of Kate Bush's Wuthering Heights that segues into an offbeat medley, but the most mind-blowing track, though, is I Lost My Mind which, with its layered voices and eerie sepulchral organ, comes across like the aural equivalent of an LSD trip. Far out, as they say".

"Abandoning the live, spare sound of 2018's 'The Window', [Salvant] dresses up these new originals and covers with complex, kaleidoscopic arrangements that borrow from jazz of all eras (the epic "Until"), theatrical psychedelia ("I Lost My Mind"), and '70's art-pop (her understated cover of Kate Bush's "Wuthering Heights"). But it's her voice, always expressive and active, that anchors even the wildest experiments, whether it's the children's choir at the end of the title track or the ratatat rhythms of "Obligations"".