Customer Reviews

Breakfast on the Morning Tram

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4 star:		(4)
3 star:		(1)
2 star:		(1)
1 star:		(2)

 

 

She may be not as popular as in U.K (where they consider her a British possession ), but the American-born singer always delivers with style.
A recent addition to the Blue Note roster of recording artists, now Stacey Kent boasts in U.K. six best-selling albums, a string of awards, including the 2001 British Jazz Award and 2002 BBC Jazz Award "Best Vocalist", the 2004 Backstage Bistro Award and the 2006 Album of the Year for The Lyric featuring Stacey Kent as well as a fan base that enables her to sell out concert halls around the world.
Her latest album "Breakfast On a Morning Tram" includes a mixture of classic standards as well as new songs written and produced by her husband and saxophonist, Jim Tomlinson, and has on her team a surprise star writer (award-winning novelist) Kazuo Ishiguro, who supplies four angular lyrics on her Blue Note debut.
"She conveys the sense of a person talking to herself". Ishiguro wrote, "the faltering hesitancies, the exuberant rushes of inner thought".
It probably would have been easy for the expat American to continue ploughing a comfortable swing-revivalist furrow.
For the past 10 years, she has been mainly singing numbers form the great American Songbooks. However, on this CD, she sings lesser known beautiful songs (a folksily soulful "Landslide" - from Fleetwood Mac's Stevie Nicks), a couple of Serge Gainsbourg romances delivered in French ( "Ces petits riens" and "La saison des Pluies"') , another pearl of a song, the elegant bossa nova "Samba Savarah", also delicately sung in French and three numbers from the Songbook, a bluesily swinging "Hard Hearted Hannah", "Never let me go" and and an account of "What a Wonderful World" as a wondering whisper.
She did sing Bacharach, Paul Simon and Carole Kind in her previous exquisite album The Boy Next Door , but this CD has a fresher approach.
Full marks to her, then, for having the courage to take this new departure, a collection of songs that occasionally tilts in the direction of Norah Jones, another artist who has made the most of a narrow vocal range.
Kent's light, girlish voice and avoidance of dynamic or emotional extremes is applied here to a wider range of material than the Broadway standards that made her name.
Kent can get a hard time from the cognoscenti for her dinner-jazzy Latin shuffles and faintly coy delivery, and there are certainly times on her albums where you wish John Zorn might crash in.
But the shift from dark, low sounds to edgier ascending pleas is genuinely affecting on "Never Let Me Go". John Parricelli's guitar is a delight, and Jim Tomlinson's soft sax is as supportive as ever; and Kent's timing and care with lyrics shows how much she cares about this fragile world of almost-jazz.
Stacey sounds understandably self-conscious on some of the modern material, but the lissom guitar-based arrangements leave you eager to hear where the next step will take her.
"Her voice is sometimes a whisper, sometimes a confiding murmur, sometimes an exhilarated exclamation; but whatever the idiom or the mood, individual listeners frequently feel that Stacey's music was intended for their ears only". - John Fordham

British-American singer Stacey Kent's new album, "Breakfast On The Morning Tram," shows the youthful jazz chanteuse with the sweet, yet strong voice, to be enjoying unprecedented growth in her career. She's put together a bigger band, with a number of talented musicians, and she's allowed them lots of room to stretch on this disk. She has also, for the first time, recorded original compositions: this album has only three songs from the Great American Songbook, on which she had so successfully relied until now. She has also moved on from her first recording label, the small independent Candid, to the prestigious jazzy Blue Note.

Kent, who was born in South Orange, New Jersey, met her talented husband, saxophonist, now producer/arranger/composer, Jim Tomlinson, with whom she works, while both were students at London's 125 year old Guildhall School of Music and Drama. The singer, whose clear voice and delivery lie somewhere between the flirtatious sound of Norah Jones, and the ever-popular smoky barroom sound now delivered by Diana Krall and Claire Martin, among others, was initially championed by British critic and jazz trumpeter Humphrey Lyttelton. She credits Joni Mitchell, Nick Drake, Nancy Wilson, and Cannonball Adderley as the biggest influences on her work. She has won the 2001 British Jazz Award, and the 2002 British Broadcasting Corporation Jazz Award for Best Vocalist. She has a large, devoted following that should be pleased by her newest release.

"Breakfast" gives more than a nod to France, where Kent did post-graduate work, and is exceedingly popular: she was, in fact, signed by the Paris office of Blue Note. The French gave the 2006 "Boy Next Door" Gold Album status within six months of its release. They've greeted "Breakfast" by giving it, within six weeks of its release, Top #20 status on the general charts, and Top #10 status on the jazz charts; they've also given it an enthusiastic sell-out audience at Paris's legendary Olympia Music Hall. The new album includes two songs Kent identifies as her personal favorites from the works of the French singer-songwriter Serge Gainsbourg, "Ces Petits Riens," and "La Saison des Pluies." It also includes a cover of that rhythmic tune from "Un Homme et Une Femme," (that'll be "A Man and A Woman," to us), "Samba Saravah," by Pierre Barouh.

"So Many Stars" is another lilting samba on this Latin-tinged record, music by the Brazilian Sergio Mendes, words by the American powerhouse duo Marilyn and Alan Bergman. In addition, Kent covers "Landslide," by Stevie Nicks of Fleetwood Mac, in tribute to the Colorado Rockies, where she and Tomlinson enjoy spending their down time. "Never Let Me Go," "Hard Hearted Hannah," and "Wonderful World" are from the Great American Songbook that's served the singer so well.

Finally, "Breakfast" boasts four unusual, outstanding new compositions, all with lyrics by British Booker Prize winning novelist Kazuo Ishiguro, who wrote the liner notes for the 2003 release "In Love Again," and music by Tomlinson, with whose saxophone Kent sings in delicious close harmony. These songs, the Latin-grooving "Ice Hotel," the title song, "I Wish I Could Go Travelling Again," and "So Romantic," allow Kent's whispering voice to suggest, as Ishiguro has noted, almost a private, inner conversation, with its hesitations and asides, that remains close to the rhythms, inflections, and informalities of everyday speech. But then, so many of her listeners feel that Kent is singing for them alone, telling a wistful story, as she likes to do. Famous jazz lover Clint Eastwood asked her to perform at his 70th birthday party. Most of us can't quite afford that, unfortunately, but I've been lucky enough to catch her a few times in her month-long stands at New York's esteemed Algonquin Hotel: and, yes, she's also played Carnegie Hall. You want to catch her if you can.

After waiting with wild anticipation for this release, I have to say that I was not disappointed. I really enjoy the wide range of songs on this release; it is refreshing to hear some original songs as well as a few standards. Ms. Kent's amazing voice has never been better. After listening to it, I fall in love with these songs more and more. Mr. Ishiguro's contributions make "Ice Hotel" such a great song. (the more I listen to it, the more I understand the deeper meaning of it). I agree that Ms. Kent seems so at ease on this release. Her arrangement of "Landslide" sounds better than the original. I just love the variety of French and English. My only regret is that there were not more solos of Mr. Tomlinson's, as I really enjoy his sax playing. Just a sweet, sweet release that will surprise many with the originals. I just hope we don't have to wait long for her next release. I can never get enough. BRAVO to Ms. Kent and Mr. Tomlinson.

Stacey Kent is a huge hit in the U.K., and with her angelic voice, it's no wonder.

She has made her mark her in the States as well, though not with quite the success enjoyed across the pond. Perhaps this c.d. will change things. IMO, it is her best.

Ms. Kent has been known previously as a standards singer, but on this--her debut on Blue Note--she branches out. Ironically, with the inclusion of some "originals" (well, music by her husband and saxophone bandmate, Jim Tomlinson, and novelist Kazuo Ishiguro), she reveals herself as one of the finest interpreters of modern song around.

In particular, the highlight for me is her treatment of the Bergmans' "So Many Stars." IMO, this is the finest cover ever of that great song. Ms. Kent hits just the right note of regret--not overdramatic, but definitely there.

But there are other delights to savor on this disc. I love: the sly nudge and wink on "The Ice Hotel"; the finger-snappin' cool on "Ces petits Riens"; the jazzy, cosmopolitan feel on the title track; the light, dancing quality of "Samba Saravah"; and the state of bliss on "What a Wonderful World" (with John Parricelli's guitar a major contributor to that state). And this disc is probably the only time--outside of a barbershop quartet convention--that you'll hear the novelty song from the '20's, "Hard-Hearted Hannah." Like everything else here, it works.

Of the Stacey Kent c.d.'s with which I'm familiar, I think this is her best. Definitely recommended. RC

The title of the review may be a little bit misleading. I am really big Stacey Kent fan, and I had full confidence that her vocals would be amazing on this album. I also knew that her husband, Jim Tomlinson, and the band would put on a good show as well. What I was surprised about were the wonderful original songs written by Jim Tomlinson and Kazuo Ishiguro.

Many songs in the great American Songbook run a very fine line of being (too) corny or too shallow or just plain awkward. I think many people know what I am talking about. It is a fine art to write songs in that genre which can be seen by their lasting appeal.

Anyway, the original songs on this album are really wonderful. My favorites are probably "So Romantic" and the opener, "Ice Hotel." They have a wonderful composition and storytelling quality about them, and you couldn't find a better storyteller than Stacey Kent. I wasn't really sure about Breakfast On the Morning Tram, but the more I listen to it, the more I like it. I think "Ice Hotel", "I Wish I Could Go Traveling Again" and "So Romantic" would all make great additions to the Great American Songbook.

This is probably the best that Stacey Kent's band has ever sounded (at least recorded). Very nice interplay, and they have a little more space to do their own thing.

Everything is great on this album, but other songs that really stand out are "Landslide," (it sounds even better after a song like Ice Hotel) "Ces Petits Riens (oh yeah, Stacey Kent's French is superb; maybe she should consider an entire French album), "Hard-Hearted Hannah" (I would really love to hear this song live. It sounds like she is having a blast on the album) and finally "What a Wonderful World." (a truly breathtaking performance)

Ok, I went on long enough. Do yourself a favor and purchase this album!

I heard the song "I Wish I Could Go Traveling Again" while driving on the Freeway in San Jose, CA and suddenly I was taken to a different place. I was just grateful there was a decent jazz station in the area. While that song convinced me to buy the album (which I did on Amazon that evening), I heard another song ("Landslide") from the same album back in NY on WBGO. When the DJ said it was Stacey Kent from her new album "Breakfast on the Morning Tram", I KNEW I had picked a winner. A few days later when I received the CD, the song mix confirmed my expectations - a GREAT mix of songs by a vocalist who doesn't blast the notes, but still gives me the shivers. Stacey - way to go !

Another wonderful recording by the team of Stacey Kent and Jim Tomlinson. While this CD departs a bit from the material she is so well known for -- reintroducing the standards to today's audience, with a touch of melodic jazz underlying the music -- the character of her originals and covers of more modern tunes remains true to form. Don't miss this one.

Lovely, subtle and quiet CD. Stacy does not have a huge voice, but she does have quality, not quantity. Many of the tracks on this CD are sambas/bossa nova which play into Stacy's strengths as a singer.

A huge surprise on this CD is the new songs by her better half with lyricist Ishiguro. Lovely catchy songs with lyrics that resemble Lorenz Hart at his best.

Relatively little tenor sax from Tomlinson, though he plays flute and alto as well.

Stacey Kent's "Breakfast on the Morning Tram" sounds like an audio journal from a global traveler: slightly world-weary but still enthusiastic, still hoping for ... ? Her trademark lyrical clarity combined with confident, understated yet adventuresome musical phrasing makes her singing a delight. For this CD she has moved beyond the American songbook and standards that make up many of her prior recordings. The songs and sound are fresh. Several songs, with lyrics by Japanese novelist Kazuo Ishiguro, ignore "songbook-style" rhymes for a more modern storytelling mode -- still catchy -- beautifully delivered by Stacey Kent's incomparable voice. This a a GREAT CD -- perhaps her best so far. My wish? Combine Ishiguro lyrics with more Brazilian-influenced melodies (Jobim? Gilberto? Tomlinson?) for a whole "Stacey Goes South" CD of updated samba and bossanova tunes. My other wish? Just where is that morning tram that serves breakfast?

This album contains some appealing new compositions, some great French OBGs, and refreshing takes on a few standards. As always, the numbers are rendered with the quality and balance we have come to expect from Ms. Kent