●获Just Plain Folks『年度最佳爵士人声唱片』大奖
●收录16首顶级爵士发烧名曲 推荐曲"Free To Be Loved By Me"、"Danger in Loving You"
这位来自美国阿拉斯加的爵士女歌手，从早期《Full Circle》、《They Oughta Write A Song》、《After Dark》、《many times, many ways》直到《Heart First》5张专辑，虽然不算是多产，但稳定持续的发片量是很难得的，足以证明专辑销售及音乐演艺实力正逐步向巨星之路推进。
深受Etta James、Nat King Cole、Ella Fitzgerald等传奇爵士巨星影响，青少年时期开始接触Sarah McLachlan、Jewel、The Cranberries等流行乐，因此她在经典爵士与流行音乐之间取得平衡，开始刻划属於自己的独特风格。
新专辑《Stages》是二年前分别在2场现场演唱会上录制，荷莉再次展现詮释古典和爵士功力，像是改编盖希文"Summer Time"；"Love Me Like A River Does"声线质地细腻入微，舒展性绝佳；"Sunny Afternoon"营造俏皮有点娇蛮感；"Free To Be Loved By Me"由她谱写一段心碎恋情；"They Oughta Write a Song"的洗鍊感性；此刻快来聆听现场演出，体验知性与感性兼备的荷莉罗琳。
荷莉 罗琳 / 忘情喝采～现场实况录音
Halie Loren / Stages
台压专辑 / CD / 1 片装
Personnel: Halie Loren (vocals); Tim McLaughlin (trumpet); Matt Treder (keyboards); Brian West (drums).
Audio Mixers: Halie Loren; Matt Treder; Larry Smith.
Recording information: Eden Hall, Gleneden Beach, Oregon (2009); Kiawanda Center, Pacific City, Oregon (2009); Nagoya, Japan (2009); Yong Theater, Seoul, Korea (2009); Eden Hall, Gleneden Beach, Oregon (2011); Kiawanda Center, Pacific City, Oregon (2011); Nagoya, Japan (2011); Yong Theater, Seoul, Korea (2011).
Photographers: Keith Altomare; Adrian James.
Halie Loren: Stages (2012)
By DAN BILAWSKY,
Published: September 12, 2012 | 3,967 views
Halie Loren: Stages
The studio is a safe place for musicians looking to birth an album in a controlled environment, but the stage is the real proving ground for performers. These people make their mark when lights are low, nerves are tested and safety nets are removed. This is where the real deal musicians get separated from the great pretenders and vocalist Halie Loren is as real as they come.
Loren, who may be the best-kept vocal secret in the Pacific Northwest, put out this low-key live album in 2010, but her reach was limited and it went largely unnoticed. Now, with the release of her head-turning Heart First (Justin Time, 2012), Loren's new label is fanning the flames of interest by reissuing this album with a few bonus tracks tacked on for good measure.
Her three-pronged approach to programming, which includes standards, pop pieces co-opted for jazzier purposes and originals, serves her well here. She jumps from U2 ("I Still Haven't Found What I'm Looking For") to Antonio Carlos Jobim ("The Girl From Ipanema") to Hoagy Carmichael ("The Nearness Of You") with apparent ease. She delivers classic material like "Cry Me A River" with polish, unlocks the potential that exists within The Kinks' "Sunny Afternoon" and taps into her inner-Sarah McLachlan on "Free To Be Loved By Me," which proves to be the most memorable original on display. Risky material choices occasionally meet with mixed results, as "High Heel Blues" proves to be a triumph while a tropically-infused take on Pete Seeger's "My Rainbow Race" is a bit too sugary, but Loren's willingness to move beyond the overdone is ever admirable.
Loren occupies the space that exists between pop and jazz, but that dual allegiance hasn't done her any favors in the past. Neither camp seemed willing to stake claim on her, but she deserves to be embraced by both. Now, with this live reissue following on the heels of her strongest studio album to date, this matter will hopefully be rectified.
Track Listing: Danger In Loving You; Sunny Afternoon; I Still Haven't Found What I'm Looking For; More; Cry Me A River; The Girl From Ipanema; Free To Be Loved By Me; Is You Is Or Is You Ain't My Baby; Love Me Like A River Does; They Oughta Write A Song; High Heel Blues; Summertime; My Rainbow Race; I'd Rather Go Blind; Nearness Of You.
Personnel: Halie Loren: vocals; Matt Treder: keyboards; Mark Schneider: bass; Tim McLaughlin: trumpet; Brian West: drums.
Record Label: Justin Time Records
Stages (White Moon Productions)
By Brian Arsenault
It’s 2 a.m. when I put on Halie Loren’s reissue Stages, so I keep the volume low as to not bother Kath. Doesn’t matter. Loren’s voice comes through soft but contralto clear as always; impeccable phrasing, melodious poetry emerging from the little player on the cabinet.
The cat Sage comes in after the piano introduction to the first song, “Danger In Loving You,” and sits on the carpet to listen as soon as Halie’s voice comes up. She doesn’t often do that. As soon as the song ends, Sage heads for her food dish but she comes back for “Sunny Afternoon,” the second song.
Halie Loren has that effect on audiences, it seems of all creatures, on this album recorded at two separate concerts a couple years ago. “Danger In Loving You” is sung regretful while “Sunny Afternoon” is downright sassy. One thinks that Ray Davies would be pleased with her sense of the vagaries of life and the honky tonk piano.
But I’m trying to be very careful about the use of words like sassy and sultry and sexy which are of course true about her singing but tend to obscure artistry with connotations of femme fatale. There’s a kind of sexism about dropping those words on a female singer, a “nice ass” quality that diminishes while delighting in a woman.
Halie Loren’s singing stands in its own right with a range of human emotion, the aforementioned remarkable phrasing, intelligent story telling, laughter and tears intermingling with accomplished technique.
She can go back to classics like the Gershwins’ “Summertime” and Hoagy Carmichael’s “Nearness of You” as if they were written for her and not decades before she was born. She shows that “Summertime” doesn’t need to be sung with a “do I shriek here” component. Not that she doesn’t hit it hard, she just knows where it’s soft.
Her version of “Cry Me A River” brings to mind Julie London’s biggest hit but with more edge. Anger and angst. The audience hoots its approval at the end. She explores the musicality of Latin language, Portuguese specifically, in “The Girl from Ipanema” and makes it fresh again. Bossa Nova steps may be resurrected.
In the middle of the album there’s a three song stretch that encompasses “Free to be Loved by Me” that she penned, about the heartbreak of love. Some of the notes will do that if the lyrics don’t. It touches at a deep level. It’s followed quickly by Billy Arnold’s teasing “Is You Is or Is You Ain’t My Baby” to quickly lift the mood. And then follows the moody “Love Me Like a River Does.” They call that range.
A favorite moment comes when she sings without accompaniment on “High Heel Blues,” laughing through it with the audience about high heel shoes that “go with everything in your closet.” It brings down the house.
Her aptly titled “They Oughta Write a Song” (from the album of the same name) introduced a lot of us to Halie. It’s an ironic take on love and life and belonged on this “live” album. Actually, I prefer “concert album.” What singers and musicians do in studios is live too, isn’t it, even when overproduced.
But let’s close with a consideration of recorded in the club albums. Ever hear one where you wince once in a while over a false note, mistimed solo, or too quick pacing? Not here. Her sidemen led by pianist Matt Treder are perfect support and I guess you know by now what I think of Loren‘s singing.
To see a terrific singer “live,” as they say, is a great but ethereal experience; quickly gone, vanished from your eyes and ears, just a memory. Fortunately for your ears and soul, this one is here whenever you want to listen.
01. Dangerbin Loving You [03:17]
02. Sunny Afternoon [03:27]
03. I Still Haven't Found What I'm Lokking For[05:42]
04. More [04:05]
05. Cry Me a River [04:50]
06. The Girl from Ipanrma [04:32]
07. Free to be Loved by Me [03:55]
08. Is You Is You Ain't My Baby [04:23]
09. Love Me Like a River Does [03:36]
10. They Oughta Write a Song [03:37]
11. High Heel Blues [03:44]
12. Summertime [06:03]
13. My Rainbow Race [03:21]
14. I'd Rather Go Blind [05:04]
15. Nearness Of you [04:59]
16. Bonus Tracks [04:13]