CELEBRATION (33JAZZ201)

JAZZ CD REVIEWS   May 2010  

By Pierre Giroux

Not since the mid-fifties, when jazz singers such as June Christie, Chris Connor, Peggy Lee, Sarah Vaughan, and Ella Fitzgerald dominated the music scene, has there been such a plethora of highly-regarded jazz-influenced vocalists. Names such as Diana Krall, Carol Welsman, Madeleine Peyroux, Natalie Cole and Norah Jones come to mind, and so is it any wonder that such a talented singer as Zoe Schwarz has difficulty gaining broader recognition outside the UK?

With her most recent album, Celebration, Zoe Schwarz along with guitarist Rob Koral offers a sweeping review of contemporary standards, jazz and otherwise, from the who’s who of American composers. Leading off with Cry Me a River, Schwarz offers a smoky rendition of this tune but it lacks the breathy sexiness of the original Julie London interpretation .Other ballads such as My Funny Valentine, The Man I Love, Don`t Explain and Boulevard of Broken Dreams provide Schwarz with the opportunity to showcase her throaty voice and unconventional delivery. Up-tempo numbers are not neglected, with Let`s Fall in Love and Is You Is or Is You Ain`t My Baby among the most compelling. There are two original numbers on the disc - namely Let`s Explain and Empty Rooms - with the former offering deference to the Billie Holiday classic Don`t Explain. Finally Schwarz offers particularly tasty versions of You Don’t Learn That in School and the closing track Sitting on Top of the World.

It is quite apparent that there is a wonderful harmonious relationship between Schwarz and Koral and it is fully reflected in the interplay between them. While this disc does not break any new musical ground, it does offer an intimacy that smoulders rather than sizzles.

amazon.co.uk Celebration Audio CD (£11.99)

JAZZ JOURNAL INTERNATIONAL by Bruce Crowther – April 2010

ZOË SCHWARZ & ROB KORAL CELEBRATION (33 Records 201). Schwarz (v); Koral (g). Singer and guitarist have chosen to present a selection of attractive songs that come mainly from the Great American Song Book. Although familiar, the music sounds fresh and spontaneous. Schwarz sings in an uncluttered manner, rendering the lyrics with understanding and grace. Koral's accompaniment and solos display his skill and empathy and while it is clear he has technical ability to spare his restraint adds to the overall impact. There are two original songs, both composed by Koral, one each with lyrics by Schwarz and Sue Hawker. This CD should appeal to jazz fans and lovers of good songs alike.

Featured Artist Feb 2010 – Sebastian Scotney

Londonjazz/blogspot & jazzcds.co.uk

………… “Celebration” is also a thank you and a homage to Billie Holiday. The CD celebrates spontaneity, and beautiful sound. It has that organic feel of an album derived from the experience, the joy and the spontaneity of live performance.
Celebration was released on January 11th and is available from www.jazzcds.co.uk

THE JAZZ RAG by John Watson – Issue 110 Spring 2010

Singer Zoe Schwarz and guitarist Rob Koral have become well known as leading lights on the blues scene in The Baddest Blues Band (Ever!), but both have a background in sophisticated jazz.

On this new CD, entirely consisting of voice and guitar duets, they return to the Great American Songbook standards repertoire for most of the tracks, and it really is a gem of an album.

Opening with ‘Cry Me A River’, Zoe’s voice shows warmth and great depth of feeling, but what makes it compelling is the sense of power which is also so characteristic of her work with the blues band.

Other fine ballads on the disc include ‘Don’t Explain’, ‘My Funny Valentine’, and ‘The Man I Love’.

Of the up-tempo tracks, ‘Let’s fall In Love’ begins with an astonishing scat section, Zoe’s voice and Koral’s guitar creating a whirl of bopping phrases, sung and played in perfect unison, It’s a splendid technical feat, and it leads effortlessly into a strongly-swinging version of the song.

Koral provides a sensitive foil for his musical partner, and he’s one of the few guitarists who can deliver a convincing, swinging bassline with the thumb.

As well as the Songbook standards, the duo presents two original tracks – ‘Let’s Explain’ and ‘Empty Rooms’.  A thoroughly raunchy version of ‘Sitting On Top Of The World’ concludes the disc.

A guest soloist – on, say, flute – would have provided more variety on some tracks, but overall it’s an album which works extremely well.

JAZZWISE by Peter Quinn– February 2010

This duet album from Zoe Schwarz and Rob Koral is built on a song list which no amount of repetition seems to tarnish.  At their best, as on ‘Don’t Explain’ and ‘Sitting On Top Of The World’, they possess the ability to channel the narrative arc of a song in a totally unaffected and direct way.

   On up-tempo numbers (‘Lets Fall In Love’, ‘Is you Is, Or Is You Ain’t My Baby’) Koral proves adept at simultaneously providing walking bass and chordal accompaniment.  The solo space includes wonderfully fluid instrumental introductions to ‘When I Grow Too Old To Dream’ and ‘Boulevard Of Broken Dreams’, plus an extended workout in ‘You Don’t Learn That In School’ to which Schwarz appends a couple of additional verses.  Amidst the standards, the duo’s self-penned ‘Let’s Explain’ – paying homage to the legacy of Billie Holiday – is genuinely touching.

JAZZ UK by Roger Thomas – Dec 09 / Jan 2010

Photo and “…on December 22^nd, Zoe Schwarz and Rob Koral (pictured), quite possible showcasing their pleasing new voice and guitar album, Celebration”.

VORTEX JAZZ by Chris Parker - December 2009.

STEPUP (33JAZZ121)

THE JAZZ RAG. 100^th ISSUE.  WINTER 2008.

reviewed by Les Tomkins

“ Two hours of very pleasant jazz listening are provided by the enterprising 33 Records – one of the British labels giving particular exposure to good local vocal and instrumental people.  GRACE NOTES is a showcase for the guitar sound and skill of Rob Koral.  Six of the 17 tracks are….(see Rob Koral reviews) .

STEP UP has much more of Ms Schwarz – on her own four times, plus six duetting with Sue Hawker, and two with the added voice of Hilary Cameron, who also plays Fender Rhodes on 12 of the 13 tracks.  In fact, the talent gathered here is led by the Rob Koral guitar, and incorporates Ian Ellis, Malcolm Creese and Quinny Lawrence from his own album.

The overriding message here is that everybody is having a lot of fun.  And with eight original songs being performed, it’s very creative fun.  The opening all-out attack on Billie’s blues classic Fine And Mellow sets the tome.  All three girls take joyful stanzas, the tempo doubles en route, somebody scats, the tenor wails, and there’s three-part harmony to wrap it up.  Then Zoe’s out from to identify fully with Nina Simone’s I Want A Little Sugar In My Bowl. Track 3 is the first of the originals, a different story about long-established characters, called Blues To Frankie And Johnnie, and has Zoe and Sue in unison or alternating lines. And a powerful guitar solo.  A nice change of pace follows, when a creditable song by Sue, I Can Dream, is sung meaningfully by Zoe, aided by eloquent tenor.  I can make positive comments on every subsequent track, but I will suffice to name two others that appeal to me.  I’m Alright Jack, by Zoe and Rob , is a fascinating mix of Latin and English lyrics and wordless phrasings from the well-matched voices, blending expertly with the instruments. Just Another Day is another ear-catching song, written and sung by Sue Hawker.  I’ve heard sessions of Zoe and Sue before; I’ll look four for more from these lively ladies.”

www.allgigs.co.uk

Step Up - Zoe Schwarz Album Review ****

Unlike many of her contemporaries who seem to be tilting towards coffee table Jazz crossover fodder, Zoe Schwarz goes for a more challenging repertoire. Schwarz has an edge the others lack, tending to mix’n’match her self-penned songs with standards and other co-writers, bringing a fresh approach to the genre.

The covers aren’t obvious ones either. Here she goes for Billie Holiday’s 1957 classic Fine and Mellow, regarded as one of America’s most important musical works of the 20th century. Her version is not a laid back as Holiday’s original, nevertheless she dazzles on this more upbeat cover. Sue Hawker and Hilary Cameron also contribute to this track adding real gusto to the lyrics. Nina Simone’s often overlooked gem I Want A Little Sugar In My Bowl is delivered with as much sensuality as the original and Ian Ellis’ tenor sax adding some steamy textures. On 1936 Blues and Jazz standard Why Don’t You Do Right (Kansas Joe McCoy) Zoe and Sue Hawker double up magnificently on the 12 bar blues, considered the classic ‘woman’s blues’. A cover of Woodrow Wilson Johnson aka Buddy Johnson’s Since I Fell For You is executed in a totally stripped back format, just Schwarz, and Malcolm Creese’s double bass adding to this magnificent torch song. Schwarz pulls -off a truly scintillating and disciplined vocal, possibly the best on Step Up. Published in 1936, Until The Real Thing Comes Along is once again kept to the basics. Schwarz once again delivers some nifty vocal gymnastics, reminiscent of Holiday at her peak. Originals like Dear Annie sparkle with equal class, with Sue Hawker duetting superbly on this laid back gem boosted by some sublime sax by Ian Ellis and Rob Koral’s bluesy breaks. Hawker and Schwarz have a ball duetting the jaunty swing-groove of Step Up, Play The Blues. Smouldering I Can Dream is a stylish song. Ellis’ tenor sax oozes sensuality followed by Koral’s deft guitar licks with Quinny Lawrence’s shuffling brushes completing the intimate ambience, while Blues To Frankie And Johnny packs a real punch.

File under : Essential listening.

Elly Roberts

DEVIL OR DOVE (33JAZZ171)

MUSICIAN MAGAZINE

The Journal Of The Musicians’ Union

“sultry vocal jazz from Dorset-based Zoë, with an excellent backing from an energetic line-up led by experienced and classy guitarist Rob.”

JAZZ JOURNAL INTERNATIONAL Volume 58 September 2005 

 by Bruce Crowther

ZOË SCHWARZ & ROB KORAL DEVIL OR DOVE
(2) Blues To Frankie And Johnny; Devil Or Dove; Let’s Explain; Devil May Care; Heroes; People Like To Talk; Throw It Away; More Than You Know; Give Him Up Girl; Some Of My Best Friends Are The Blues; A Dove; (1) You’re Not Alone; (2) Will You; (1) Meet You In My Dreams (62.16) collectively: Schwarz (v); Koral (g, elg); Matt Wates (saxes); Hilary Cameron (p, f, strings); Nick Kacal (b); Mark Fletcher (d, pc) (1) Weymouth, Dorset, UK October 2003 (2) Luton, Beds, UK October 11 & 12, 2004 (33 Jazz 121)

 “This is the second CD by the team of Schwarz and Koral to come my way recently, the other was Dancing for Miles (33jazz092) and is a similarly enjoyable experience.  Schwarz has a mature vocal sound and slightly throaty but pleasing delivery, and she digs deeply into the lyrics of the songs she sings, and in some cases writes.  Koral’s playing in support of the singer and as soloist is very good, as indeed is that of the other members of this band who are all in fine form with Wates hitting the mark particularly well on Give Him Up Girl.  In her notes, Schwarz explains that this particular song’s inspiration came from the harsh treatment handed out to Billie Holiday by men and the lyrics have a contemporary commitment that might well bring it into general use among female singers.  I imagine that Schwarz and Koral are building a following with their live gigs in the UK and this CD should help spread the word.  In passing, their liner notes, which are mainly about the origins of the original songs, is reproduced in ‘handwriting’ that is, I suppose, easier to read than my own.  Good sound for a nice set; this team looks as though it might very well have found a sustainable format.”

JAZZ RAG spring/summer 2005

by Les Tomkins  

 “..vocal versatility, ….. performing with five first-rate British musicians …. ability to swing, strength of sound, and degree of feeling on the slow ones …. full clarity …. wholly unaffected, fully-rounded vocalizing, the folksy purity (on the last 4 tracks) of which recalls Eve Cassidy.  The soaring of A Dove is aided by Hilary’s flute solo. Another Schwarz composition, You’re Not Alone, maintains the haunting, appealing ambience. 

JAZZ VIEWS April 2005   www.jazzviews.co.uk                                       

 by Nick Lea

“This eagerly awaited follow up to what was one of my favourite vocal CDs of 2004, Dancing For Miles …….. one of the most outstanding voices on the current circuit.”

by Jack Kenny

“ Zoë Schwarz has a great and very interesting voice: kind of Julie London crossed with June Christy in the lower register but then there is the startling upper register that is completely her own.”

JAZZ REVIEW April 2005                                          

by Hugh Gregory

“…. jazzy vocalists still keep on sticking their heads above the parapet. Zoë Schwarz is the latest to come to my attention ..…. excellence of phrasing and timing….. the covers reflect her strengths so much so that even hoary old chestnuts like ‘More Than You Know’ and ‘Some Of My Best Friends Are The Blues’ are performed with such style and panache that one could almost imagine that she wrote them herself.

……. Rob Koral unfurls some elegant solos but Schwarz would definitely benefit from more assertive accompaniment…. (odd comment to my mind, how can Mark Fletcher be described as non-assertive!)      

JAZZWISE April 2005                                          

 by Peter Quinn

“Zoë Schwarz’s follow up to her debut album ‘Dancing for Miles’ sees her teaming up again with guitarist Rob Koral.  Of the new collection’s 14 tracks, the five covers including ‘Devil May Car’, ‘More Than You Know’ and Abbey Lincoln’s ‘Throw It Away’ pass by pleasantly enough, yet the real meat of this recording is to be found in the nine originals.

The title track tellingly counterpoints the opposing poles of lust and unconditional love, clothed by a perfectly weighted accompaniment.  The two Billie Holiday-inspired tunes ‘Let’s Explain’ and ‘Give Him Up Girl’ both pack powerful emotional punches (who says no one’s writing good lyrics these days).  Koral solos purposefully throughout, nowhere more so than on the meltingly lovely nylon guitar intro to the brief album closer ‘Meet You In My Dreams’.  Schwarz’s ethereal vocalese on the tune adds a suitably dramatic twist to finish the collection.  Never over-egging the predominantly delicate instrumental support, the rhythm section also work together supremely well.”

MARSHWOOD VALE April 2005                                          

by Fergus Byrne

“….. Zoë’s second album Devil or Dove …… Taking her collaboration with guitarist Rob Koral to another level ……… A highlight, the haunting title song Devil or Dove, has a richness and poise that showcases not just each individual talent but also underlines a rare creative cohesion….”

DORSET MAGAZINE April 2005                                          

 by Bridget Swann

“….. a collaboration that creates an electrifying creative synthesis of two outstanding musicians. Devil or Dove possesses a sublime emotional range and intensity ….”

DORSET ECHO 15^th March 2005                                           

Full page article by Ruth Meech

         “ Not many people have the nerve to bin a top-dollar corporate career in order to be a mum and follow their dreams of being a jazz singer.  But Zoë Schwarz did just that – and now is looking forward to the release of her second CD and a week at Ronnie Scott’s!………………………”

DAILY MAIL 3^rd March 2005                                                                                      

center spread Femail Magazine by Rachel Helliwell

“It’s the dream of countless women – to give up their stressful, demanding fobs for a quieter way of life.  Meet three high flyers who did just that … with surprising results! …………………………..”

JAZZ CD REVIEWS   March 2005 www.musicweb.uk.net/jazz

by Don Mather

“First a message to 33 records.

Most people who browse the jazz area on the record shelves, spend about 5 seconds on each record they pick up. If they can’t immediately identify what the record is about they put it down again. This record sleeve can in no way be described as user friendly, I even had to use a magnifying glass to find the record number!

The above is a shame, because this is a very good record, the songs are good, Zoe Schwarz is a fine singer with a great jazz feel and all the musicians involved are top class. Mark Fletcher and Matt Wates are already well known to me and all of the other players are of the same high standard. Hilary Cameron on Piano and Rob Koral on Guitar particularly impressed me. Collectively the band provides a perfect accompaniment to the singing of Zoe and is capable of sustaining interest with well constructed solos when she is not singing.

Zoe has obviously absorbed much from the great jazz singers that have gone before, but the end product is a singer with an individual style and a polished performance.

Many of the songs are written by Zoe & Rob and very good they are to, I particularly liked ‘People like to Talk’ which cracks on with a nice Latin feel, everyone contributes well to this track and Mark Fletcher demonstrates why he is in such great demand as a drummer. Personally, I would have included a few more standard songs, Zoe does a wonderful job on ‘More Than you Know’ and so do the band, I would like to hear more of her in that mode.

To conclude, choose the music despite the ‘arty’ sleeve, this is a fine record which anyone who enjoys quality jazz singing and expert jazz musicianship will enjoy.   Highly Recommended.”  

DANCING FOR MILES (33JAZZ092)

JAZZ JOURNAL INTERNATIONAL. VOLUME 58.  AUGUST 2005.

reviewed by Bruce Crowther

“ New to me, although this is not her first CD, Schwarz has a gritty and interesting approach to her music.  Eschewing the currently popular and over-populated field of smooth jazz that is becoming increasingly non-jazz, she has a no-nonsense singing style that works well in boppish setting.  The Miles in the title is Davis and the music does not so much derive from him but suggests, as it were, that he is a stylistic mentor.  Ably backed by a driving quartet, from which Cameron and Nevill are also new to me, with Fletcher in his customary good form.  This is a good group session rather than singer with backing and all the instrumentalists are given solo space and take good advantage of the opportunity to show their abilities.  Cameron’s vocal appearances are in duets with Schwarz on A Little Tear and Blue Skies.  As is increasingly common these days Schwarz presents several of her own songs (six in all, mostly in collaboration with Koral) and offers a different take on the songs from other sources.  The new songs are good without being outstanding and I especially liked Dick Teague’s lyric on the opening track.  Good sound, and brief notes include the lyrics to the originals.  The jazzier you are the more you will warm to this and Schwarz is certainly a singer to look out for as she tours the country.”

PLAYING OUT LOUD  July 2004   (www.playingoutloud.co.uk)

Reviewed by Peter Ashton 

Thirteen songs, mainly original, from upcoming jazz singer Zoë Schwarz whose mellifluous tones are complemented by some superb playing by guitarist Rob Koral, pianist Hilary Cameron, bassist Brett Nevill and drummer Mark Fletcher.

The album starts well with the plaintive “Nothing Seems to Matter Anymore,” followed by the bossa nova style “I’m Alright Jack” with clever phrasing by Zoë. Although labeled “jazz” this is the accessible style of the genre, with Zoë’s original wistful ballads sitting comfortably alongside covers of Diana Krall’s “A Charmed Life” and the perennial “Blue Skies.” Zoë has a flowing, unforced vocal style which is highly listenable, and if one or two of the songs are a bit light and cocktail-bar-ish, songs like her own composition “You’re Not Alone” more than make up for it. Perfect late-night listening, or any other time of the day, come to think of it. This style of laid-back jazz is very much in at the moment, and Zoë has the vocal range and projection to go a long way. I haven’t seen her playing live yet, but this album certainly make me want to do so.

BBC MUSIC MAGAZINE  MAY 2004

‘Fantasy festival fare.’

Roger Thomas rounds up the best of the latest jazz releases:-

“Zoë Schwarz’ second album mainly comprises of her own material and is quirky and personal. “

JAZZWISE  April 2004

reviewed by Kenny Mathieson

“…Schwarz has a pleasant voice with a shade of huskiness, and a deft and knowing delivery………..and she mixes her own songs with a tasteful selection of both standards and more contemporary fare from the likes of Krall and Winstone.  It will sell well on gigs…….. “

BIRMINGHAM POST  March 2004

reviewed by Peter Bacon

“Heavens, the country is awash with talented and attractive young singers who not only sing standards like old pros but can write their own songs too.

   Zoë Schwarz has the kind of voice that suggests a wide taste in music including rock and other things as well as jazz……………..”

JAZZ REVIEW  March 2004

reviewed by Chris Parker

“At times, the languid, winsome voice of Zoë Schwarz, particularly in the opening track, “Nothing Seems To Matter Anymore”, recalls the laidback coffee-shop-friendly melancholy of Norah Jones.  At others, especially on the more up-tempo numbers, it recalls the jazzier pep of Diana Krall (one of whose songs, “A Charmed Life”, is included).  The lyrics and overall tone of the numerous originals, reveal an identifiably British sensibility – there is even a reference to contributing to ‘Red Nose Day’ – which, in its self-deprecating disappointment at the way the world is apparently organized to thwart the desires of a single young woman, recalls Bridget Jones.

The most memorable tracks are the slow-burning, brooding meditations on the reverses of relationships, in which Rob Koral’s  neat guitar provides a sensitive backdrop for Schwarz’s  casually intimate confidences, but there are also lilting sambas (Jobim’s “If You Never Come To Me”) mid-tempo swingers (the skilful Mann/Evans song, “No Moon At All”) and the odd up-tempo number showcasing Schwarz’s scatting (the Irving Berlin classic “Blue Skies”) ……… “

THE JAZZ RAG  Issue 80 Spring 2004.

Beginning to CD light, Ron Simpson’s round-up of recent CD issues.

“…..several of the original songs, notably ‘You’re Not Alone, are strikingly good. Her choice of standards is also wise, ‘No Moon At All’ getting a subtle and intelligent performance………. Zoë Schwarz’ singing is powerful and accurate……”

THE MARSHWOOD VALE March 2004 – Issue 60

Double page spread with pictures from the ‘Dancing for Miles’ photo shoot. 

Written by Fergus Byrne, photos by Sandy Greenway.

“Zoë Schwarz is passionate about Jazz.  This may be obvious to many who have seen her perform or heard her CD’s, but listening to her talk about the music that has swept her into a new career, it’s hard not to be caught up in her bubbling enthusiasm for what is often one of the most misunderstood and complex forms of musical expression. The recent release of her second CD, ‘Dancing For Miles’ has already attracted a new touring manager along with much local and national media attention, and it may well be the stepping stone, that takes this incredibly talented singer and songwriter to the level of success that all performers aspire to.

   A relatively new face on the jazz scene, Zoë is not by any means new to the music industry.  She took the stage as a classical singer for most of her early musical career. But her introduction to the jazz scene, fortuitous for the rest of us, was more of an accident of nature than design.  After a traditional musical education, her high hopes of becoming a successful opera singer were diverted by the standard disillusionment with being broke, she dropped out of music to pursue a sensible career in banking.  However her natural talent and need to perform kept dragging her back to the microphone.  She jacked in the day job, moved to Dorset and when a jam session with Keith Tippett highlighted a change in her voice as well as a talent for jazz, she set about finding musicians to work with.  Like many an extraordinary story, this was when Rob Koral came on the scene.  Rob had played with ‘all the greats’ as Zoë puts it, and there was an obvious synergy between her sultry voice and the warmth of his guitar playing.

   The CD, a joint project with Rob, was recorded at her home near Dorchester, with the help of Hilary Cameron on keyboards, Brett Nevill on double bass and Mark Fletcher on drums.  Engineered by Mike Hallett, the CD has a superb live feel, which may have happened more by luck than judgment.  The initial motivation for the recording session was to produce material to attract more gigs.  It was only when they were half way through the day that they realised they had something worth a wider release. Rob remembers how the session came about.  “It took on a new dimension, suddenly you know. Hilary came from London, Mark came from London – well established young musicians with years of experience of great gigs”.  Zoë says, “The day was so easy for me – these musicians – I was just carried along, I mean it just was fantastic.”

   The CD offers an eclectic selection of covers including a superb version of Elvis Costello’s wife, Canadian chanteuse Diane Krall’s ‘Charmed Life’. If anything can give a clear picture of both Zoë’s tight feel for music and Rob’s inventive playing, this does.  Hilary Cameron’s sublime piano deserves a mention too.  Like the subject itself, the definition of jazz is open to interpretation and Zoë’s feel for the medium comes through whether live, in the studio or in her own words.. “To me jazz is about a conversation between you and the musicians and it can’t ever be the same twice” she says.

   Some might say, bravely, she has penned many of the songs on the CD too and we wondered how they came about.  “In a lot of the cases I had a very distinct mood and tune or works, then I’d go to Rob and he would say, lets extend that note, or do this, and we would bounce ideas and harmonies around… (the writing) is absolutely about what I feel or what I think or experience.  How lucky I am to have that – I can be as personal as I like because that’s my prerogative as a songwriter.”

   Most of Zoë’s gigs are with Rob and the new CD is an exceptional showcase of versatility and talent.  It is released by 33 Jazz Records, ask for it at you record store or visit www.33jazz.info.

For more information on Zoë visit www.zoeschwarz.info and keep your eye on the MV magazine gig listings each month.  We discussed the recent recruitment of her new touring manager and asked Zoë one more question,  “How far do you want to take this?” Her answer was clear,  “ As far as it goes”, and like the American football refrain – she ‘could go all the way’.  This sort of talent deserves a bigger stage.”

JAZZ VIEWS       www.jazzviews.co.uk

Dancing For Miles 33jazz092:

February 2004 page

CD REVIEW and INTERVIEW by NICK LEA

Zoë Schwarz (v); Rob Koral (g) Hilary Cameron (p, keys, v); Brett Neville (b); Mark Fletcher (d)

Recorded 07/03 & 08/03

A stunning album from vocalist Zoë Schwarz and one which I’m sure will receive plenty of repeat listenings long after this review is finished. An accomplished and classically trained singer, Zoë seems to have been searching for the natural idiom for her to perform in, and has undoubtedly found it in jazz, and for my money has hit the jackpot with this collection.

Her first album, ‘Where Did We Begin’, a series of duets with accompanied by either guitar or piano, is heavily reliant on the standard repertoire and whilst impressive on its own merits, in light of this latest release serves as little more than a calling card. With ‘Dancing For Miles’ I would suggest that the singer has found how and what she can deliver, and in a style that is very much her own.

Wanting to capture the music in very much a ‘live’ setting the album was recorded at Zoë’s house, and in a single six hour session that resulted in twelve of the thirteen selections presented here, the only exception being ‘You’re Not Alone’ recorded as a duet with guitarist, Rob Koral the month before. That live and energetic feel has indeed been well captured by engineer Mike Hallett, and there is an intimacy about proceedings that is at once engaging and compelling, with the balance of the instrumentation creating the perfect backdrop for the singer.

Unlike the first offering the material is an eclectic mixture of some familiar standards, what is becoming an almost obligatory Jobim (in this instance ‘If You Never Come To Me’), and some great originals. Zoë tackles all of these with aplomb and no little imagination. She has a powerful voice, even when singing at low volume, as on the lovely duet with Koral, ‘You’re Not Alone’, and the tentative and fragile opening title, ‘Since You’ve Gone’ (both original compositions), and with attitude on the Diana Krall penned ‘A Charmed Life’, where she out sings the song’s composer on just about every level; imbuing the song with a level of optimism and exuberance that is truly exhilarating. If that is not sufficient, there are also great solos from Rob Koral and Hilary Cameron.

‘A Midnight Mood’ is a beautifully pensive and almost desolate ballad (again with strong contributions from Koral and Cameron, both in their solos and as accompanists, and a firmly tongue in cheek ‘Why Are The Best Looking Guys All Gay’ (although the ladies may well agree with the sentiment…but a debate I feel I should stay well away from!).

Norma Winstone’s lovely (yet seldom played) ‘Sea Lady’ gets a wonderful treatment here with an arrangement that is absolutely spot on, enhanced by the arco playing of bassist, Brett Neville; and Zoë takes the disc out with an ebullient ‘Blue Skies’ with her wordless vocalising and thrilling vocal duet with Hilary Cameron, underpinned superbly by Mark Fletcher’s propulsive drumming and driving bass line from Neville (who also gets in a good solo to boot).

But when all is said and done, it is Schwarz who really makes her mark on this album. A singer in the throes of self-discovery, and ready to unleash her message to the world? Well maybe, but for now I’m content to sit back and enjoy this disc, soaking up the atmosphere of the moment.

DORSET MAGAZINE  October 2003

In his continuing series of interviews, Stephen Swann meets a talented jazz singer - and gets to sit in while she records her latest CD!

I AM WALKING UP the drive of an isolated house a couple of miles south of Dorchester. From open windows the sound of cool jazz drifts out on the warm air. A woman's voice, darkly sensuous, coaxes a fugitive beauty from lyrics that are like little poems. A guitar embellishes the melody - tactful, creamy-toned, assured. Keyboards, subsumed at first, take over and lead the melody into more remote regions before returning home. A double-bass finds itself alone and embarks on a deep, insistent, inventive series of agile runs before handing over to drums that launch into a solo that builds to a controlled climax before that voice is there again soaring above the ensemble, a delicate thread of sound that falls and fades to a quiet ending - cathartic, liberating,enjoyable.

I have come to interview Zoë Schwarz whose disembodied voice it is that beguiles this summer afternoon. Not just to interview Zoë either, but to eavesdrop as she records her second CD. Looking through the conservatory windows what I see is all the paraphernalia of just such an exercise - cables, wires, microphones, recording-engineer's console. Zoë stands in a corner, tall, slim, a set of cans held with a hand to each ear, gazing at a sheet of paper pinned at her line of sight to the corner of a bookcase - this is, after all, her sitting-room not Abbey Road. On seeing me she directs me to a chair with a look that says 'sit down and keep quiet'. And before I can even blurt out a 'hello' they are into another number. It's a strange feeling, almost embarrassing, as if I have stumbled upon a private get-together of old friends. They stop, suddenly, in mid-phrase and someone makes some comment about 'losing it'. A discussion follows. Zoë says what sort of feel she is after; Rob Koral, the guitarist, suggests a possible approach; Zoë gives a one, two, one, two, three, four, and they're off again and it's smiles all round from Zoë, Rob, Brett Nevill, the bassist, Hilary Cameron on keyboards, Mark Fletcher on drums - even from Mike Hallett the recording engineer. There is a palpable sense of creation in this ordinary room; a sense of musicians engaged in a process that will end in a piece of work that aims at the communication of intense human emotion. And, above everything, there is an all-pervading sense of enjoyment.

DARK NIGHT OF THE SOUL

Its a week later now and I'm in that same room talking with Zoë. Young children wander in and out and faintly from another room comes the unmistakable sound of Billy Holiday. On the table nearby is a scattering of CDs: Sarah Vaughan, Ella, Miles Davis. Zoë tells me that she was classically trained and has a degree in the Performing Arts from Trent Park University. Somehow, though, she found herself working in the city after uni heading-up a team of 30 people for UBS Warburg's man-management outfit. She was earning big bucks, but on Millennium Night when the whole world was partying she was at her desk working. It was a kind of dark night of the soul for Zoë. With young kids to bring up Zoë and her husband made the decision to come to Dorset - Zoë had attended school in Sherborne and had connections with the county.  Jazz was late arriving in Zoë's life and she talks about it with the enthusiasm of a recent convert. For someone who had planned a career as an opera singer, who had worked on modern improvisational stuff with the likes of Harrison Birtwistle, this shift demanded a considerable amount of explanation. Zoë's voice had changed, she believes as a result of having kids, from the youthful one she had gone to college with, and what she ended up with was not an opera singer s voice. Just as significant, Zoë believes, is her personality - hers is the sort that is better suited to the improvisational nature of jazz. Certainly you don't have to be in her company long to know that Zoë is the sort of lady for whom opera would be something of a straightjacket. And then she met a musician who told her straight that her future as a creative artist was with jazz. That man was Keith Tippett with whom she worked at Dartington in 2001. Soon after she met top jazzer Rob Koral and a steep learning curve was embarked upon. The two of them have worked together now for two years doing gigs all over the south west - pubs, clubs, bistros - sometimes a couple a week, sometimes just the two of them, sometimes with Julie Lewis on piano.

RICHNESS OF VOCAL COLOUR

Rob is a jazz guitarist with, to quote Jazz Journal International, 'a talent of world-class proportions' and it's difficult not to see him as a kind of benign Svengali with Zoë as a very feisty Trilby. Rob has described his playing as 'melodic and accessible' and that's really a phrase that could apply equally to Zoë's singing. Hers is a voice of rich, smoky tones in the lower register that can soar high with an ease that speaks of years of classical voice training. Variety and richness of vocal colour, phrasing, rhythm - they are all there together with the ability to improvise, in her own words, 'to make your own statement on life'. It's about a live musical conversation, a kind of continuous creation that is miles away from singing a ballad in a relaxed way.

All this is being honed to produce a sound which for the moment only exists in Zoë's head as a kind of apotheosis of her art. She is, it seems, two years into a journey of both self and artistic discovery. Accompanying her along the way will be a pleasure.  The second CD entitled Dancing for Miles will be released shortly on 33 Records, an internationally-distributed jazz label. Most of the tracks on this CD are original songs by Zoë. If you would like a copy, telephone Zoë on 01305 812663.