1.All Or Nothing At All
2.It's Easy To Remember
3.Dedicated To You
4.What's New
5.Lush Life
6.Autumn Serenade
6.Say It Over and Over Again
7.They Say It's Wonderful
8.My One And Only Love
9.Nancy With The Laughing Face
10.Acknowledgements
11.You Are Too Beautiful

Artists:
Kurt Elling – voice
Laurence Hobgood – piano
Clark Sommers – bass
Ulysses Owens – drums
Ernie Watts - tenor saxophone (1, 4-7, 10, 12)
Corenlius Dufalo – violin
Ralph Farris – viola
Dorothy Lawson –cello
Mary Rowell – violin

This is a live collection recorded as a part of Lincoln Center's American Songbook Series, a creative homage to the now classic 1963 John Coltrane and Johnny Hartman recording. For this occasion a jazz trio led by Laurence Hobgood, vocalist Kurt Elling's long-time musical partner, pianist and arranger is nestled into the tender brilliance of the string quartet ETHEL. One of the last great exponents of vocalese, Elling is no less a great singing storyteller.

Early on in the set, in the context of "It's Easy to Remember," Elling relates "a poetic jazz memory" of Coltrane and Hartman en route to their recording session. If talk between songs often gets old very quickly, in this instance Elling's recitation is a tour de force. It's as emotionally riveting as any of his singing performances as it concludes with, "We remember them both... ...We're jazz people."

The album opens with an extended, mood-setting intro from ETHEL before Hobgood enters with obsessive chords, a perfect launch for Elling's high dive into the romantic torment of "All Or Nothing At All." After a chorus from Elling in which he breathes many fresh possibilities into the word "all," in comes saxophonist Ernie Watts for some warm, warmer and then hot blowing. Watts shines throughout, most notably on the version of "What's New," which closes with the briefest of cut-glass chords from Hobgood. It's a breathtaking moment that sets an icy martini opening for Elling's deeply felt "Lush Life."

In its creativity this recording affirms just how eloquently "jazz people" honor their own. ---Andrew Velez, allaboutjazz.com

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01. Downtown [3:51]
02. My Foolish Heart [12:17]
03. Smoke Gets In Your Eyes [8:29]
04. Oh My God [3:51]
05. Night Dream [8:59]
06. (I Love You) For Sentimental Reasons [5:21]
07. Intro: (Esperanto) [1:44]
08. Esperanto [5:17]
09. Don't Get Scared [3:38]
10. Intro: (Goin' To Chicago) [0:45]
11. Goin' To Chicago [5:40]
12. Intro: (The Rent Party) [0:44]
13. The Rent Party [8:18]
14. Blues Cleaner [1:30]

Kurt Elling - vocals
Jon Hendricks - vocals
Kahil El'Zabar - hand drums
Michael Raynor - percussion, drums
Laurence Hobgood - piano
Von Freeman - tenor saxophone
Eddie Johnson - tenor saxophone
Ed Petersen - tenor saxophone
Rob Amster - strings, acoustic bass

Fans of Kurt Elling have long known that his recordings, as clever and well-orchestrated as they might be, don't quite match up to the power and charm of his live performances. Years of holding court at the Green Mill and other Chicago clubs are what really have brought Elling his most devoted followers, so it is exciting to see that Blue Note's new Elling album is a document of three special nights spent recording at the legendary Uptown jazz club. And indeed, with a few small exceptions, the album shows off Elling at his best -- loose, uninhibited, creative, and solid. His standard backing trio has never been tighter and more balanced, and the performance of pianist (and Elling collaborator) Lawrence Hobgood really shines. Three saxophonists -- Von Freeman, Ed Petersen and Eddie Johnson -- manage to blend together in perfectly balanced harmonies, as well as command attention in solos of their own. Chicago's own Khalil El'Zabar makes a fine appearance, and a rare contribution by legendary jazz vocalist Jon Hendricks shows that he can still steal a show. The enthusiasm of the highly appreciative audience is captured, as well as more than a little evidence of the noise in the surrounding bar. The three nights of recording produced some fine versions of new and classic songs, including "Esperanto," Elling's pairing of the poetry of Pablo Neruda with the music of Vince Mendoza's jazz classic, "Esperança"; and "The Rent Party," which recalls Elling's jazz-poet days at the beginning of his career. --- Stacia Proefrock, Rovi

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1 	Sing A Christmas Carol 	
2 	Wenceslaus (Image I) 	
3 	Star Of Wonder 	
4 	We Three Kings 	
5 	Christmas Children 	
6 	Wenceslaus (Image II) 	
7 	Some Children See Him 	
8 	Little Drummer Boy 	
9 	Wenceslaus (Image III) 	
10 	The Michigan Farm (Cradle Song, Op. 41/1) 	
11 	The Snow Is Deep On The Ground / Snowfall 	
12 	Same Old Lang Syne 	
13 	This Christmas 	
14 	The Beautiful Day

Kurt Elling - vocals, percussion
John McLean - acoustic guitars, electric guitars
Stuart Mindeman - piano, electric keyboards, Hammond B-3
Clark Sommers - bass
Jill Kaeding - cello
Jim Gailloreto - soprano saxophone
Tito Carrillo - trumpet
Kendrick Scott - drums
Kalyan Pathak - percussion
Luiza Elling - vocals

A poetic and lyrical holiday-themed album, vocalist Kurt Elling's The Beautiful Day is much more than a seasonal production. The album follows up his eclectic 2015 album, Passion World, and arrives on the heels of his collaboration with saxophonist Branford Marsalis, 2016's Upward Spiral. Here, Elling applies his urbane sensibilities and warm baritone to a set of thoughtfully curated traditional songs reworked in his own sophisticated, harmonically rich fashion. However, as his first ever holiday-themed effort, Elling chose to sidestep the usual cull of Christmas songs and instead picked pieces that are lesser known, or more subtle in tone. The result is a production that is as literate and full of new discoveries as his previous studio albums. Helping Elling achieve this is an adept ensemble of longtime and more recent associates including guitarist John McLean, pianist Stuart Mindeman, bassist Clark Sommers, and drummer Kendrick Scott, as well as saxophonist Jim Gailloreto, trumpeter Tito Carrillo, cellist Jill Kaeding, and percussionist Kalyan Pathak. Working as statement of purpose, Elling kicks things off with a soaring version of Leslie Bricusse's "Sing a Christmas Carol," from the 1970 musical film Scrooge. Elling transforms the classical-leaning choral number into a flowing, contemporary jazz anthem, coyly amending the intro with a quick medley of well-known holiday themes. He then shifts gears, offering the first of three recurring interludes based on the classic "Good King Wenceslas" carol. Atmospheric and centered on Elling's wordless vocalizations, the "Wenceslaus" interludes ground the album in a palette of winter-toned calm. Elsewhere, Elling offers a haunting, crystalline reading of the traditional "We Three Kings," smiles his way through a New Orleans second-line take of "Little Drummer Boy," and applies his longstanding knack for setting spoken word to music with "The Michigan Farm," which features his evocative lyrics framed by composer Edvard Grieg's "Cradle Song, Op. 41/1." While artful complexity is one of Elling's distinctive traits, he is also an adroit crooner, as evidenced here by his soulfully buoyant take on Donny Hathaway's "This Christmas" and his heartfelt performance of Dan Fogelberg's "Same Old Lang Syne." Also adding to the tender emotion of the album is Elling's daughter, Luiza Elling, who duets with her father on the title track. Ultimately, with The Beautiful Day, Elling has crafted an album that evokes the holiday spirit in all of its wondrous complexity. ---Matt Collar, AllMusic Review

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1. The Verse [1:38]
2. After The Door [3:55]
3. Loch Tay Boat Song [7:02]
4. Si Te Contara [5:35]
5. La Vie En Rose [8:12]
6. Bonita Cuba [6:37]
7. Where The Streets Have No Name [4:51]
8. The Tangled Road [7:18]
9. Você Já Foi À Bahia? [2:18]
10. Nicht Wandle, Mein Licht (Liebeslieder Walzer Op. 52, No. 17) [7:00]
11. Who Is It (Carry My Joy On The Left, Carry My Pain On The Right) [4:49]
12. Where Love Is [5:13]

Kurt Elling - Vocal Arrangement, Vocals
Michael Abene - Arranger, Conductor
John Belzaguy - Bass
Till Brönner - Trumpet
Frank Chastenier  - Piano
Alyn Cosker - Drums
Bill Fleming - Clarinet (Bass)
Johnny Friday - Drums
Richard Galliano - Accordion
Sara Gazarek - Vocals
Calum Gourlay - Bass
Steve Hamilton - Piano
Martin Kershaw - Clarinet
John McLean - Guitar (Acoustic), Guitar (Electric)
Alan Pasqua - Celeste
Ruaridh Pattison - Clarinet
Arturo Sandoval - Trumpet
Kendrick Scott - Drums, Vocals
Scottish National Jazz Orchestra 	
James Shipp - Congas, Percussion, Vocals
Dave Siegel - Keyboards
Tommy Smith - 	Sax (Tenor), Saxophone
Clark Sommers 	- Bass
Karolina Strassmeyer - Sax (Alto), Saxophone
Francisco Torres - Percussion, Vocals
Gary Versace - Accordion, Fender Rhodes, Hammond B3, Piano

Both a virtuoso and a journeyman, a traditionalist and a chance taker, singer Kurt Elling has built a career upon defying expectations while also celebrating the standards of the vocal jazz tradition. An adept vocalist with an eloquent set of skills that find him moving easily between literate, kinetic vocalese, swinging standards, and lyrical balladry, Elling draws you deep into each song. With his 11th studio album and fifth for Concord, 2015's Passion World, Elling maximizes this eclectic dynamism with a well-curated series of songs that find him exploring compositions and styles from around the globe. The album finds him working with producers Chris Dunn and Bryan Farina as well as longtime collaborators keyboardist Gary Versace, guitarist John McLean, bassist Clark Sommers, and drummer Kendrick Scott. This touring ensemble has backed Elling worldwide, and clearly shares his enthusiasm for interpreting such stylistically disparate material. Also adding to the album's cornucopia of sounds is a handful of like-minded guests including trumpeter Arturo Sandoval on the elegiac Cuban ballad "Bonita Cuba" and tenor saxophonist Tommy Smith and the Scottish National Jazz Orchestra on the lyrical traditional Celtic number "Loch Tay Boat Song." Similarly, German trumpeter Till Brönner adds his soft, melodic trumpet to Richard Galliano's "Billie," reworked here as "The Tangled Road," and featuring lyrics by Elling. Also engaging is Elling's duet with vocalist Sara Gazarek on Brazilian singer/songwriter Dorival Caymmi's buoyant 1944 bossa nova classic "Você Já Foi à Bahia?" And it's not just his jazz chops on display here. Elling delivers an impeccable orchestral-backed rendition of Johannes Brahms' elegiac "Nicht Wandle, Mein Licht (Liebeslieder Walzer Op. 52, No. 17)," and even reworks U2's anthemic "Where the Streets Have No Name" with an uplifting folk and soul-jazz vibe. Ultimately, that all of Passion World works so beautifully, with each song flowing into the next, is yet another reason why Elling remains one of the premier jazz vocalists in the world. ---Matt Collar, Rovi

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