01. More Than You Know
02. Dream Dancing
03. Close Your Eyes
04. There's A Lull In My Life
05. Its Delovely
06. There's No You
07. I'm Old Fashioned
08. You Go To My Head
09. Little White Lies
10. Sleep Warm
11. Day In (with Day Out)

Personnel: 
Stacey Kent (vocals); 
Jim Tomlinson (tenor saxophone); 
David Newton (piano); 
Colin Oxley (guitar); 
Andrew De Jong Cleynert (bass); 
Steve Brown (drums).

Stacey Kent has a very appealing voice, and her delivery is full of joy, enthusiasm, and subtle creativity. Sticking mostly to veteran standards on this CD (only "Sleep Warm" was written after the 1950s), Kent sounds delightful while joined by a fine mainstream quintet. Jim Tomlinson contributes some tenor solos reminiscent in tone of Stan Getz, and pianist David Newton and guitarist Colin Oxley also get some solo space. Such songs as "More Than You Know," "There's a Lull in My Life," "There's No You," and "Little White Lies" are all uplifted, making this a very easy CD to enjoy and Stacey Kent a voice to look for in the future. --- Scott Yanow, Rovi

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CD1 - Close Your Eyes 1997 (00:53:48)

01. More Than You Know [05:33]
02. Dream Dancing [04:20]
03. Close Your Eyes [05:21]
04. There's A Lull In My Life [04:25]
05. Its Delovely [03:23]
06. There's No You [06:12]
07. I'm Old Fashioned [02:54]
08. You Go To My Head [06:58]
09. Little White Lies [04:13]
10. Sleep Warm [04:33]
11. Day In - Day Out [05:49]

CD2 - The Tender Trap 1998 (00:56:33)

01. The Tender Trap [04:42]
02. I Didn't Know About You [04:41]
03. Comes Love [04:01]
04. In The Still Of The Night [05:06]
05. Fools Rush In [04:42]
06. East Of The Sun [06:36]
07. Zing! Went The Strings Of My Heart [04:09]
08. They Say It's Wonderful [04:54]
09. Don't Be That Way [04:19]
10. They All Laughed [03:58]
11. In The Wee Small Hours Of The Morning [04:57]
12. It's A Wonderful World [04:21]

CD3 - Let Yourself Go 2000 (00:54:38)

01. Let Yourself Go [03:47]
02. They Can't Take That Away From Me [05:02]
03. I Won't Dance [04:40]
04. Isn't This A Lovely Day? [03:59]
05. They All Laughed [04:30]
06. He Loves And She Loves [04:24]
07. Shall We Dance? [03:03]
08. One For My Baby (And One More For the Road) [05:56]
09. S'Wonderful [06:00]
10. A Fine Romance [03:02]
11. I Guess I'll Have To Change My Plan [02:37]
12. I'm Putting All My Eggs In One Basket [03:44]
13. By Myself [03:48]

Personnel:
Stacey Kent (voc)
Jim Tomlinson (ts)
Colin Oxley (g)
David Newton (p)
Dave Green, Simon Thorpe (b)
Steve Brown, Jeff Hamilton (dr)

The ability to tell a story, capture an emotion, a mood, hone it and share it like a secret with her audience; these are the qualities that make Stacey Kent so special. Happy at home in a variety of genres, she casts wide her net in search of inspiration. A native of New Jersey, now living in Colorado, Stacey Kent developed a childhood fascination for musical comedies and the great jazz masters, as well as folk singers such as Neil Young and Cat Stevens.

It was years later, as a graduate in comparative literature from New York's Sarah Lawrence College, that she met her future husband and producer, the saxophonist, Jim Tomlinson where they were both auditioning at the prestigious Guildhall School of Music and Drama in London. With the release of her first solo album, “Close Your Eyes”, in 1997, the critics saluted the birth of a new jazz star with impeccable phrasing, a clear, bewitching voice, and a singular style blending sensitivity and sophistication. Her covers of standards from the Great American Songbook and Brazilian repertories, including classics by Duke Ellington, Cole Porter and Antonio Carlos Jobim, are always imbued with her inimitable contemporary sensibility.

Stacey Kent has established herself as one of the new century’s brightest jazz revelations: voted best jazz vocalist at the 2001 British Jazz Awards, and the 2002 BBC Jazz Awards, she was also a 2009 Grammy nominee. Her greatest success came with the release of her 2007 Blue Note debut album “Breakfast On the Morning Tram” which clocked up worldwide sales of over 300,000. France became her special stomping ground, with 150,000 album sales, a sell-out nationwide tour (including a memorable gig at the Paris Olympia) and the National Order of Arts and Letters decoration, bestowed by the French Minister of Culture in spring 2009.

Kent’s personal connection to France runs deep. Her grandfather was a long-term resident and she spent time studying there as an undergraduate. The first signs of Francophilia, which was passed on to her by her grandfather, were already visible on "Breakfast On the Morning Tram”, which featured several tracks from the French repertory: Samba Saravah (from Lelouche’s film A Man and a Woman) and two Serge Gainsbourg covers, Ces petits riens and La saison des pluies.

With her release, she goes the extra mile with an all-French album entitled Raconte-moi... (Tell Me) Here, Kent revisits great classics of the French musical heritage with songs by Barbara, Paul Misraki, Georges Moustaki, Henri Salvador, Michel Jonasz, Keren Ann and Benjamin Biolay, and also showcases original work by talented young songwriters like Claire Denamur, Camille D'Avril (who collaborated with Jim Tomlinson on one title) Pierre-Dominique Burgaud and Emilie Satt, whose “La Vénus du mélo" is the debut single.

So is this jazz or French chanson? Yet again, Stacey Kent bridges the divide between genres, elegantly and daintily stamping her own personal hallmark on this shining album. ---amazon.com

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1. Only Trust Your Heart (3:38)
2. Tangerine (2:10)
3. The Very Thought of You (4:32)
4. Embraceable You (3:40)
5. There Will Never Be Another You (4:00)
6. Tenderly (3:44)
7. No Moon at All (2:54)
8. If I'm Lucky (3:26)
9. Agarradinhos (4:22)
10. In the Wee Small Hours of the Morning (3:26)
11. That's All (3:57)
12. If I Had You (2:53)

TENDERLY, an intimate collection of standards, sees Grammy-nominated American Jazz singer STACEY KENT revisit the Great American Songbook, the repertoire for which she first became known. The album sees Stacey performing alongside legendary composer/guitarist, Roberto Menescal - one of Brazil’s most important 20th Century musical figures, founding father of Bossa Nova, record producer, and winner of a Lifetime Achievement Award at the 2014 Latin Grammy Awards.

TENDERLY is Stacey’s first standards album since her Gold-selling 2003 album, THE BOY NEXT DOOR. The intervening years have seen Kent broaden her repertoire to include originals written specially for her by famed novelist, Kazuo Ishiguro and Jim Tomlinson. Her platinum-selling, Grammy-nominated BREAKFAST ON THE MORNING TRAM (Blue Note/EMI 2007), was described in Jazz Times as a "marvelously inventive launching pad for this bold, brave new Kent.”

With Stacey’s husband on saxophone and flute and Jeremy Brown on bass, this intimate collection of songs is something of a homecoming for both Stacey and Roberto. For Stacey, it is a return to the Great American Songbook and for Roberto, it is a return to the jazz roots that inspired that young guitarist in the heyday of the Bossa Nova years.---Editorial Reviews, amazon.com

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1. The Best Is Yet To Come 
2. The Boy Next Door 
3. The Trolley Song 
4. Say It Isn't So 
5. Too Darn Hot 
6. Makin' Whoopee 
7. What The World Needs Now Is Love 
8. You've Got A Friend 
9. I Got It Bad 
10. Ooh-Shoo-Be-Doo-Bee 
11. People Will Say We're In Love 
12. 'Tis Autumn 
13. All I Do Is Dream Of You 
14. I Get Along Without You Very Well 
15. You're The Top 
16. Bookends

Personnel: 
Stacey Kent (vocals); 
Colin Oxley (guitar); 
Jim Tomlinson (saxophone, background vocals); 
David Newton (piano, keyboards, background vocals); 
Dave Chamberlain (double bass); 
Matt Home (drums); 
Curtis Schwartz (background vocals).

Stacey Kent is in love with words. She's pretty fond of melody, too. But her heart belongs to a good lyric, and when the words are right, her swinging jazz quartet is there to reimagine the tune, if necessary. On The Boy Next Door, Kent pays tribute to her heroes, most of whom made their mark singing the Great American Songbook, popular standards written by the likes of Rodgers and Hammerstein, Cole Porter, Irving Berlin, and the Gershwins, along with a few contemporary additions.

If Kent's voice is girlish, her persona is that of a woman who may sound young, but has been around for a few years. She holds the microphone closely and caresses each word, wringing poignancy and knowingness from each syllable, landing crisply on consonants. On the recording of Berlin's "Say It Isn't So," she implores her lover to come clean, directly and painfully.

In live performance at the Oak Room of the Algonquin Hotel in September (the first Friday of a month-long run), she carefully delivered each plea for the truth with conversational matter-of-factness. Jim Tomlinson's sax offered reassurance in warm, breathy, Ben Webster-esque lines. She may not have believed him, but she looked as if she wanted to.

Part two of this story might be found in "What the World Needs Now," a late addition to the songbook by Burt Bacharach and Hal David, which Kent rescues from American Idol-schlock with good taste and understated piano accompaniment. Live, Kent's vulnerability in this song was as clear as her enunciation.

All is not melancholy, however. Kent is arguably more comfortable with songs that give wisdom the advantage over the wants of her heart. "Makin' Whoopee," inspired by the Ray Charles/Betty Carter duet, is a clever, cautionary tale for couples whose love nests might tatter as the years go by. "Too Darn Hot," spurred by Colin Oxley's percolating guitar, is sung from the point of view of someone who has experienced first-hand how the level of heat outdoors can influence the heat generated indoors. And Dizzy Gillespie's jive "Ooh-Shoo-Be-Doo-Bee" is an infectious course on how to say "I love you" at least two different ways. In the Oak Room, it was playfully sexy.

The record concludes with "Bookends," by Paul Simon, who recommends we "preserve our memories." Stacey Kent remembers the days when nuance, wit, and humor were in style, and with like-minded musicians, careful song choice, impeccable time, and unaffected phrasing, she'll help bring them back. ---Jeff Stockton, allaboutjazz.com

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01. This Happy Madness
02. The Summer We Crossed Europe In The Rain
03. One Note Samba [Samba De Uma Nota So]
04. Mais Uma Vez
05. Waiter, Oh Waiter
06. O Barquinho
07. The Changing Lights
08. How Insensitive
09. O Bêbado E A Equilibrista / Smile
10. Like A Lover
11. The Face I Love
12. A Tarde
13. Chanson Légère

Stacey Kent sings from the soul. She tells us her stories with faultless phrasing and a lucid, enchanting voice. On the stage of La Cigale, May 2010 in Paris, Stacey shared intimate and intensely emotional moments with a knowing and captivated audience, who had flown in from all around the world to take part in the recording of her first live album. Today, it is our great pleasure to be able to present this radiant, generous and sincere artist on the resulting album, `Dreamer In Concert'.

After 8 studio albums, `Dreamer In Concert' is the first album that captures Stacey's magical onstage persona. From the stage of La Cigale, she delivers fresh interpretations of some of the most emblematic songs in her repertoire, including the standards of the Great American Songbook, The Best Is Yet To Come, They Can't Take That Away From Me, It Might As Well Be Spring and others. She also revisits the classic French songs, Ces Petits Riens, Samba Saravah and Jardin d'Hiver.

The repertoire also includes four previously unrecorded selections; two from Antônio Carlos Jobim, Waters of March and Dreamer, and two new compositions by her husband, saxophonist and the album's producer, Jim Tomlinson; Postcard Lovers, with lyrics by the novelist, Kazuo Ishiguro (author of Remains of the Day and Never Let Me Go) and O Comboio, penned by the Portuguese poet, Antonio Ladeira, which Stacey sings, beautifully, in Portuguese. --- staceykent.com

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1. Ice Hotel
2. Landslide
3. Ces Petits Riens
4. I Wish I Could Go Travelling Again
5. So Many Stars
6. Samba Saravah
7. Breakfast on the Morning Tram
8. Never Let Me Go
9. So Romantic
10. Hard-Hearted Hannah
11. Saison des Pluies
12. What a Wonderful Word 

Personnel: 
Stacey Kent (vocals); John Parricelli (guitars); Jim Tomlinson (alto saxophone); 
Graham Harvey (Fender Rhodes piano); Dave Chamberlain (double bass); Matt Skelton (drums).

Having previously demonstrated a knowing way with sets from the Great American Songbook and a special bent for Brazilian-flavored melodies, vocalist Stacey Kent takes on a different sort of mix here. And succeeds brilliantly, which shouldn't surprise anyone who has been listening to her, for this porcelain princess has gradually moved into the front rank of current young singers. Her voice—is it mercury or is it clear water running over stones in a brook?—falls ever so easily on the ear, managing the neat feat of being as light as a butterfly yet emotionally substantial.

The opening tune, "The Ice Hotel, Kazuo Ishiguro and Jim Tomlinson's newly-minted enigmatic gem, charms with her deliciously clear delivery. The title track is another newbie by Ishiguro-Tomlinson that has Kent painting a savvy word portrait of an Amsterdam morning. The more familiar "Never Let Me Go is typical of how skillfully she can wend her way through deeper moments while never losing her particular lightness.

Whether it's the playfully French "Ces petits riens or the samba mood of Bergman-Mendes' "So Many Stars, Kent's a Loreley to whom one surrenders unreservedly. ---Andrew Velez, allaboutjazz.com

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01. I've Got a Crush On You    [0:04:43.52]
02. When Your Lover Has Gone    [0:04:35.28]
03. Isn't It a Pity    [0:05:34.35]
04. You Are There    [0:02:27.27]	`	play
05. Under a Blanket of Blue    [0:04:03.38]
06. Dreamsville    [0:05:35.45]
07. Polka Dots & Moonbeams    [0:04:34.42]
08. Hushabye Mountain    [0:02:38.35]	play
09. Little Girl Blue    [0:05:38.48]
10. You're Looking At Me    [0:04:31.65]
11. Violets For Your Furs    [0:05:44.50]
12. Thanks For The Memory    [0:04:12.52]

Personnel: 
Stacey Kent (vocals); 
Jim Tomlinson (tenor saxophone, flute, clarinet); 
David Newton (piano); 
Colin Oxley (guitar); 
Simon Thorpe (bass); 
Jasper Kviberg (drums).

Vocalist Stacey Kent may or may not be "the greatest ballad singer in half a century," as her PR claims, but her straightforward renditions of these by-request ballads are not at all generic. What makes them consistently delightful is her unique sound and delivery. There's a certain brassiness, a trumpet-like pointedness, in her voice, as well as a host of endearing idiosyncrasies. Listen to her pronounce the word "idea" in George and Ira Gershwin's "Isn't It a Pity?" Or deliver these remarkable lyrics from the same song: "What joys untasted!/You, reading Heine/Me, somewhere in China." And later, "My nights were sour, spent with Schopenhauer." Kent knows how to make every tune fit her own musical persona. Dreamsville includes a number of seldom-heard gems, particularly "You Are There" by Johnny Mandel and Dave Frishberg, "You're Looking at Me" by Bobby Troup, and the ever-stunning title track by Henry Mancini. She also presents perennial favorites like "Polka Dots and Moonbeams" and "Thanks for the Memory" (the latter not exactly a ballad). And although this is Kent's hour all the way, her band provides expert backing and more than a few surprises. The singer's husband, Jim Tomlinson, takes a break from tenor sax to play a sumptuous clarinet solo on "Polka Dots." And in the midst of Rodgers & Hart's "Little Girl Blue," pianist David Newton, bassist Simon Thorpe, and drummer Jasper Kviberg fall away, entering again only after Tomlinson and Colin Oxley perform a hushed tenor/guitar duet chorus. --- David R. Adler, allmusic.com

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1 	Double Rainbow 	4:32
2 	Photograph 	6:07
3 	Les amours perdues 	4:19
4 	Bullet Train 	7:31
5 	To Say Goodbye 	5:17
6 	Make It Up 	4:57
7 	Avec le temps 	4:19
8 	I Know I Dream 	5:36
9 	La Rua Madureira 	4:51
10 	Mais Uma Ves 	6:24
11 	That's All 	5:38
12 	The Changing Lights 	6:19

Contrabass Clarinet – Steve Morris
Double Bass – Jeremy Brown
Drums – Joshua Morrison
Electric Bass – Curtis Schwartz (tracks: 4)
Flute – Eliza Marshall, Holly Cook, Patricia Moynihan, Sarah Newbold, Siobhan Grealy
French Horn – Andy Sutton, Corinne Bailey, Joanna Hensel, John Thurgood
Guitar – John Parricelli
Harp – Sue Blair
Piano, Keyboards [Fender Rhodes], Keyboards – Graham Harvey
Saxophone, Alto Flute, Percussion, Conductor – Jim Tomlinson
Vibraphone, Percussion – Adrian Bending
Viola – Chian Lim, Fiona Bonds, Ian Rathbone, James Boyd, Nick Barr, Reiad Chibah
Violin [First] – Amanda Smith, Andrew Storey, George Salter, John Mills, Katie Stillman,
 Lorraine McAslan, Paul Willey, Richard Milone, Rob Bishop
Violin [First], Leader – Martin Burgess
Violin [Second, Principal] – Jenny Godson
Violin [Second] – Alison Dods, Catherine Morgan, Clare Hayes, Jeremy Morris, Matthew Ward,
 Richard Blayden, Richard George, Susan Briscoe, Takane Funatsu
Vocals – Stacey Kent
Vocals [Station Announcement] – Erika Matsuo (tracks: 4)

As cool and sophisticated as crushed ice in a cocktail, as wispy and untroubled as a passing cloud, singer Stacey Kent has carved out a distinctive persona for herself, and stuck with it. Here, she presents the 14th album she has made under her own name - 15th if you count The Lyric, released under the name of husband Jim Tomlinson. I Know I Dream was recorded with an orchestra arranged by Tommy Laurence and conducted by Tomlinson, who also produced. And who wouldn’t love to be able to write sleeve notes as follows: “Thanks to my lyricist Kazuo Ishiguro…” (she mentions a couple of other people as well, but still…)

Throughout all 12 tracks the mood never varies. The dreamy strings are perfect for a voice so light and honeyed that it sounds as if it’s been strained through muslin and perfumed with roses tended by nuns. Kent is almost hallucinogenically calm. You feel that the roof could cave in, and she would merely offer up a seraphic smile and carry on sipping her sencha green tea.

And I have to say, I love it. There is a place for music like this, and it isn’t just when you want music to soothe your hangover, or to take the place of Valium. True, it works as better as background than foreground. But you don’t always want the vibe to be angsty or shouty. Example: Make It Up – "I love you and you love me… with you it’s all so easy... so let’s just keep on flying with our heads up in the clouds." Hear hear! Let’s forget Trump and Kim Jong-Un, let’s forget Brexit and Boris Johnson. As Ishiguro puts it in The Changing Lights: "We laughed about the hopelessness of so many people’s lives…" More champagne, please, waiter.

Some of the song lyrics are in French or Portuguese, and my linguistic skills aren’t quite up to translating them. But they sound just as serene as the ones in English. Particular favourites include the openers Jobim’s Double Rainbow and Photograph. The title track is great too.

If I had one tiny reservation, it would be about the sheer prolixity of some of the lyrics. True, we want to hear Stacey sing, but it’s hard to understand why there are just so many words. Bullet Train is perhaps the most egregious example: they’re on this train, you see, and typically, Stacey has no idea where they are or where they’re going, but on they go, and on, and on, like a dream you can’t wake up from. --- Peter Jones, londonjazznews.com

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01 Les eaux de Mars
02 Jardin d’hiver
03 Raconte-moi
04 L’étang
05 La vénus du mélo
06 Au coin du monde
07 C’est le printemps
08 Sait-on jamais
09 Les vacances au bord de la mer
10 Mi Amor
11 Le mal de vivre
12 Désuets
13 Que reste-t-il de nos amours

Over a dozen albums and several compilations, American-born British resident Stacey Kent has sung standards with polish and class, but perhaps her fans might not have expected the result on this CD. A program of tunes interpreted entirely in French, Kent here fancies herself as a modern-day Edith Piaf, with a very low-key, late-night, romantic approach. Her thin, wispy voice rides very much under the radar of these selections, with a small instrumental complement including pianist Graham Harvey, guitarist John Parricelli, and in select spots her husband, saxophonist Jim Tomlinson. Most of the tracks are French pop songs, but occasionally Kent sneaks in a ringer like Antonio Carlos Jobim's always delightful "Les Eaux de Mars" (Waters of March), and adds a Brazilian flavor to the title selection or calypso on the most upbeat number, "Mi Amor." Harvey's pristine piano is the telling factor on how this music inspires Kent to dig deep into her soul without pulling in demons or being extroverted. Though there are moments when the band swings, goes into a circular motion, or actually does a jazz standard ("It Might As Well Be Spring"), Kent and her mates stick to ballads and torch songs in the main. This is her second CD for the Blue Note label, more likely to appeal on a international European than stateside U.S. level, but it is heartfelt and purely soulful no matter the lyrics or language. ---Michael G. Nastos, Rovi

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