Related Reviews
Bournemouth Echo
'She transforms songs you have known for years but always leaves the author's spirit intact...For Barb singing Bob is a revelation.'
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The Arts Desk
'...her clean enunciation allowing the songs' poetry to shine...'
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London Jazz News
'What a voice Barb Jungr has! It is gospel rich, with a vast vocal range, and her technique is flawless.'
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Bebop Spoken Here
'Dylan's songs are vocally invigorated by Jungr's combination of impeccable singing and the range of her emotional delivery...'
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London Jazz News
'I am impressed by the quality of the album, Jungr's singing is terrific, the band are great, the production is excellent...'
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BBC Radio Scotland 'The Jazz House'
'What a voice! Barb Jungr bringing new life into a song by Bob Dylan. Every Grain of Sand…It’s great to hear these songs sung from a totally different perspective, and with a very powerful female voice.'
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UK Vibe
4 Stars
'Above all else, the singer's love of Dylan's repertoire comes shining through...'
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This Is Cabaret
'Clearly, there is nothing this woman cannot sing. Perfectly'
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The Independent
'Jungr's extraordinary interpretations of songs such as "Every Grain of Sand" and "Sara" have seen her elected to an elite company of memorable cover artists.'
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nuvo.net
Live Review: 'She is simply, yet radiantly, a singer'
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Nightlife Exchange
'There are many highlights and surprises in this profoundly original approach to Dylan.'
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Broadway World
'Jungr doesn't just interpret Dylan songs, she re-imagines them'
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I heart the road
'Her voice is pure and holds that languid quality that have jettisoned stars like Colbie Caillat to Lana Del Rey to the top in recent years.'
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New York Theater Examiner
'The arrangements and interpretations are unique and lovely, heart wrenching, funny and satirical'
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NY Culture
"...the most significant vocal album of the 21st century thus far"
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The Independent
4 Stars
"Except for Dylan himself on a good night, this is the best way to hear his songs."
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Record Collector
'So persuasively did Jungr inhabit the songs that...one entertained the thought that she might have understood them better than their author.'
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The Telegraph
4 Stars
"Communicating real, heart-felt emotion is what this cabaret singer is all about."
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Bebop Spoken Here
...I can only describe the experience as WOW! See her for yourself.
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Newbury Today
...as good a set as we have heard
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Variety
'Wider Stateside recognition is in order.'
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Bath Chronicle
'The 15 songs on Every Grain Of Sand certainly do work, particularly a wonderful interpretation of the Oscar-winning Things Have Changed done a a hybrid Eastern European tango.'
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In Tune International
'The songs when performed by Barb, take on new depth, and I defy anyone not to feel some degree of involvement with their emotional resonance...Barb's talent deserves a wider prominence...'
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Village Voice
'[Barb] gives the Bob Dylan and Jacques Brel canons readings as deep as or deeper than the original manufacturers'.'
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The Telegraph (Live Review)
'The English chanteuse Barb Jungr has created a sanctuary for tender passion, wit and soul-searching reflection. The warm radiance of her voice makes the material softer, stiller...heartfelt tracks [such] as If Not For You (1970) and What Good Am I? (1989) [are] given such heartfelt utterance.'
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The Sunday Times
Records of the Year: #7 'Some Dylan purists had their doubts, but the chansonnier Barb Jungr's bold reworking of his songs makes a fascinating journey. If you always admired Uncle Bob, but chafed at the voice, Jungr supplies the antidote.'
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The Telegraph
Year In Music Roundup: #10 'A jazz recording of Bob Dylan songs; it shouldn't work, but in a strange way, it does.'
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Jazz Review
'She projects the lyric, has great diction and a polished tone.'
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Q Magazine
'Her imperious take on the title track almost eclipses Giant Sand's definitive version.'
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Record Buyer & Music Collector
'"Not Dark Yet" [is] creeping up on me as the most significant track on a collection that, if there's any justice in the world, ought to elevate Barb Jungr beyond mere cult celebrity.'
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HMV Choice
'This recording should both satisfy Jungr fans and surprise Dylan diehards.'
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Mojo
'The kind of voice that many more should get around to hearing.'
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Glasgow Evening Times
'Barb Jungr has an excellent voice, and there's no quibbling with her taste in Dylan.'
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Amazon.co.uk
'An intriguing outing into Dylan territory.'
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Jazz Views website
'Jungr is one of the most talented current British female singers.'
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The Sunday Times
'[A] haunting collection of 15 Dylan numbers.'
more >>
Bristol Evening Post
'Barb unfolds each with devistating technique, while the band creates a chamber jazz sound that is elegant but edgy, passionate and respectful.'
more >>

Barb Jungr – Every Grain of Sand – The Times


18 March 2002
The Times
Clive Davis

Was there ever a more fastidious school of amateur pop critics than the Bob Dylan fan club? As obsessive as professors of hieroglyphics, his admirers will have plenty to say about Barb Jungr's new album of Dylan songs. Responses will no doubt soon be winging around the many websites dedicated to the grand old man of the singer-songwriter set.

For those of us who have never signed up to the appreciation society, Jungr's collection, Every Grain of Sand, comes as a quiet revelation. If, like me, you have always found Dylan's reedy voice an insurmountable obstacle, Jungr's sensual performance casts the songs in a fresh light. Acclaimed as an ambassador for the neglected art of chanson, the Rochdale-born singer views the material through the prism of Leo Ferre and Jacques Brel - two of the artists who inspired her last album, Chanson: The Space in Between.

The British never quite know what to make of performers who interpret cabaret and theatre songs as well as jazz. So Jungr has for the most part operated below radar level in this country, quietly building a following through appearances at events such as Pirate Jenny's, the monthly cabaret showcase organised by singer-songwriter Des De Moor. (The pair recently collaborated on De Moor's absorbing show, Darkness and Disgrace, devoted to the music of David Bowie.)

Jungr has spent so much time championing the virtues of European song that she seems almost embarassed that her latest venture draws its inspiration from the other side of the Atlantic. But she also happens to be an authority on American popular song - she is a contributor to the forthcoming Cambridge Companion to Blues and Gospel. And given her interest in approaching songs as "texts", she made a logical candidate.

When the time came to assemble the Dylan songlist, she initially rifled through the celebrated LPs such as Blonde on Blonde and Blood on the Tracks (which respectively yielded up I Want You and Tangled up in Blue). But she was also draw to the less fashionable, later work. One of her favourites, Sugar Baby, comes from last year's release Love and Theft. It is, Jungr insists, one of the finest songs she has heard in the past 25 years.

Even so, it took her a while to come to terms with Dylan's idiosyncratic singing voice: "I used to dislike his voice for all the reasons people usually mention," she explains. "It seemed very nasal and whiny, and it was impossible to hear a word. And then there's the harmonica playing, of course.

"But I've actually come to believe that he's a really good singer. There's a lot of subtlety in his singing that I wasn't aware of before. I will say the arrangements on the albums were not the best in the world - you get a lot of bog-standard rock. But the more I heard, the more I realised I was wrong about his voice.

"I think you have to listen to him in the context of the blues, and then you understand what's going on. If you listen to a song like Isis, for instance, you find he's doing this extraordinary thing which you hear in a lot of blues performers. he's going through these tiny glissandi all the time. If you scored it all out, you'd be amazed."

It is somehow typical of Jungr's passion for music that she can wax lyrical over a song which is not actually on her album. Other singers would be focused on self-promotion; Jungr simply follows wherever her enthusiasm carries her. It is just as well she is so bouyant, because much of the time she is swimming against the tide. She tours constantly abroad; here she is working at the margins.

"The rest of Europe is much more receptive to singers," she says. "I don't know why it is, but this country is overly focused on youth culture. We have an age problem which makes it difficult to find room for anything else. I went to see Barbara Cook in the West End last summer. She was wonderful - I was so moved I cried. But the theatre wasn't even half full on the night I saw her. That's absurd."


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