“晴朗的一天”是加拿大爵士歌手埃米莉 - 克莱尔巴洛 第11张专辑。专辑是由儒勒·巴克利 指挥的荷兰爵士乐和流行乐团京华海牙爱乐乐团。
这张专辑的每首歌以叙事的方式告知她的个人故事 - “每首歌代表了我脑海里，一个转折点，一个十字路口的状态，......最重要的是，这首歌需要传达特定时刻“。该记录还采用了70片京华海牙爱乐乐团，从平时的52件阵容扩大。
"Clear Day" is the 11th album by Canadian Jazz Vocalist Emilie-Claire Barlow. It features the Dutch jazz and pop orchestra Metropole Orkest conducted by Jules Buckley.
"Clear Day" is a "mélange of folk and rock staples" with songs by "artists spanning all genres and time periods, from Brad Mehldau to Coldplay."
The album is a narrative with each song telling part of her personal story -- "Each song represents my state of mind, a turning point, a crossroad, ...The important thing was that the song needed to convey that particular moment in time." The record also features a 70-piece Metropole Orkest, expanded from the usual 52 piece line up.
The album was produced and arranged by Barlow and Steve Webster with orchestration by the duo as well 2 orchestrations by John Metcalfe, arranger for the Peter Gabriel's New Blood Orchestra.
艺人 Emilie-Claire Barlow
Stream to Oct. 23
Ten albums in, jazz artist Emilie-Claire Barlow has proven herself to be a dazzling singer and an exceptional interpreter of jazz standards, French chansons, Brazilian favourites and many more musical styles. With every song or project Barlow takes on, she aims to dismantle a piece and rearrange it back together into an unrecognizable but exciting new work that confidently bares her signature. That continues to be the force that drives her latest collection of songs on Clear Day, which you can stream in the player above one week before its release.
With this new album, Barlow presents a coherent narrative that is spoken through the words of artists spanning all genres and time periods, from Brad Mehldau to Coldplay. These venture far outside of the classics she is used to performing, but it’s a gamble that pays off when she cleverly pulls a mélange of folk and rock staples into the realm of orchestration.
Instead of relying on the dramatic flair of electric guitars and stomping drums in songs like Queen’s "Under Pressure" or Coldplay’s "Fix You," Barlow infuses real tension in an intricate composition of strings, horns and clear-ringing piano parts. Barlow’s takes never strive to compete with the original; instead, each song presents itself independently as a new standard of its own.
This album took four years to shape and helps illustrate Barlow’s emotional process of leaving a marriage and finding new love. It all began on an experience sailing through Nunavut on the CCGS Amundsen where the trip forced her to "take stock of her life and make significant changes," as the press release said.
From there, she went about a rigorous process of finding songs that would really speak to her personal journey. "Each song represents my state of mind, a turning point, a crossroad," Barlow said in her press kit. "The important thing was that the song needed to convey that particular moment in time."
Clear Day also extends its ambitions globally. Teaming up with collaborator Steve Webster, the duo wrote arrangements in Mexico, enlisted an orchestra to record in Amsterdam and Barlow herself added parts in Toronto and complete vocals in Montreal. On top of that, the record also features the 70-piece Metropole Orkest. Again, the results are some of Barlow’s most daring, thrilling pieces yet and, with an expansive new look on life and music, it’ll be interesting to see what she tackles next.
By Christopher Loudon
Though Diana Krall remains Canada’s most celebrated jazz vocalist, Emilie-Claire Barlow, now 11 albums into a career of steadily escalating prowess, nips ever closer at her heels. Barlow’s voice is lighter and brighter than Krall’s, her range wider and her interpretive expressiveness fully as acute. Like Krall, Barlow started out focusing almost exclusively on standards from the American and Brazilian songbooks but has started of late to include more contemporary covers. While her last studio album in English (she also records extensively in French), 2010’s The Beat Goes On, concentrated solely on ’60s pop hits, Clear Day explores a wider palette. With backing from the 70-piece Metropole Orkest, plus Barlow’s five regular bandmates augmented by nine other players and backup singers, it’s also her grandest outing to date.
Occasionally, that vast sea of sound can become a bit overwhelming. Most noticeably on “On a Clear Day You Can See Forever” and “Midnight Sun,” Barlow struggles against towering, crashing waves. But those are exceptions. The dozen remaining tracks (five of which are absent the Orkest) are more temperately arranged. She adds newfound depth to such varied selections as Lennon and McCartney’s “Because,” Coldplay’s “Fix You,” Van Morrison’s “Sweet Thing,” Joni Mitchell’s “I Don’t Know Where I Stand,” Queen and David Bowie’s “Under Pressure” and a dramatically slowed “Feelin’ Groovy.” Most impactful are the album’s quietest track, Brad Mehldau’s dark-cornered “Unrequited,” and its knottiest, Pat Metheny’s multi-shaded “It’s Only Talk.”
02. "On a Clear Day"
03. "Midnight Sun"
05. "Fix You"
07. "Under Pressure"
08. "Si j'étais un Homme"
09. "It's Just Talk"
10. "Feelin' Groovy"
11. "La Llorona"
12. "I Don't Know Where I Stand"
13. "Sweet Thing"
14. "Mineiro de Coração"