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Jazzman
"... son chaleureux et atmosphère lounge."
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A relaxed duo offering up a delightful selection of songs
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Jazz Review
In short: a gem of an album, pulling off the difficult feat of simultaneously showcasing Martin's unrivalled vocal gifts and celebrating the extraordinarily moving quality of Horn's music. Strongly recommended.
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The result is wholly listenable - a happy hour of music.
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Record Collector
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(Her) voice is one of the most satisfying instruments in jazz.
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As befitting someone whose musical intelligence, jazz spirit and individuality make her the complete singer, England's finest jazz diva stamps her own personality on each track.
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Claire Martin ticks that final box and moves closer to becoming the complete jazz singer she's always threatened to be.
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The Sunday Times
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The Scotsman
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Our fave female jazz singer, Martin is absolutely peerless.
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The Vortex Website / Magazine
In short: a gem of an album. Strongly recommended.
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Rainbow Network Website
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The Herald
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Without imitating her heroine, (Claire Martin) captures her essence beautifully.
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Record Collector
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The Guardian
4 Stars
If anyone can get away with a Shirley Horn tribute, it's Claire Martin, whose subtle musical intelligence and jazz sensibilities have been deepening for a long time.
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BBC Website
Shirley's passed the flame to Claire, who's using it to light fireworks. Go girl!
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Observer Music Monthly
4 Stars
The complete jazz singer she's always threatened to be.
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The First Post (website)
Claire Martin shows yet again why she is the classiest and most convincing UK female singer around.
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Claire Martin Sings Shirley Horn - The Times (Live Review)


18 January 2017
The Times
Clive Davis
4 Stars

Not many artists could draw more than a grunt or two of praise from Miles Davis. The singer-pianist Shirley Horn, another exponent of less-is-more, was certainly one of them, even though the Prince of Darkness's seal of approval never translated into big commercial success. In the Sixties, soon after the trumpeter discovered her, Horn put caring for her family ahead of chasing New York dates and it wasn't until the 1980s that she began to attractmore attention.

Our own Claire Martin, easily the best British singer of her generation, has never made a secret of her love of Horn's music. Martin's Soho set, celebrating Horn, which brought together a quintet led bythe house pianist James Pearson and a poised string section, was often more affecting than some of the overly lush recordings that Horn made in her final years. On Here's to Life, the schmaltzy, My Way-ish ballad that became Horn's signature tune towards the end of her career, the uncluttered lines of the Tippett Quartet were an antidote to the unabashed sentimentality of the lyrics.

Horn preferred to take ballads at an impossibly slow tempo, like a pilot daring her plane to stall. The silences could become almost as expressive as the words. Her albums sometimes relied too heavily on that Zen-like effect, in fact, but to hear Martin transform Wild is the Wind into a chain of haunting, yearning sighs was to realise you were in the hands of a master technician.

The harpist Hugh Webb added subtle colour to pensive arrangementsby Tommy Laurence and Callum Au. There was never any danger of the rhythm section overwhelming the other half. As the drummer Matt Skelton explained, "the band was originally assembled for a tribute to the Hollywood String Quartet's famous collaborations with Frank Sinatra. This was, in short, no crossover stunt, but a genuine meeting of minds.


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