Matti P This is the fourth album of the Danish vocalist Caecilie Norby (b. 1964). Before her jazz-oriented solo career that started in 1995, she was a member in two recording bands, Frontline (jazz-rock) and One-Two (rock). Upon this first listening of a complete album of hers, I have a happy feeling I've found a new vocal jazz favourite to listen to further. First, she is such an elegant singer with a natural and effortless expression filled with warmth and emotion. Slightly reminiscent of MARILYN SCOTT whose album I've reviewed here. And second, this finely produced album is a great set of songs from various pop and jazz sources, showcasing also Norby's own competence at songwriting.

The general mood is smooth, relaxed and sophisticated. Perhaps the phrase "more on the bright side" might give somewhat false connotations, but yes, even at the most melancholic moments this album stays easy-going and romantic in a timeless way. Imagine a classy cocktail bar to spend a lovely evening with your sweetheart, forgetting all your troubles. The arrangements are very lush and smooth, at times hearkening back to the likes of Frank Sinatra and Julie London backed by a string orchestra and top-class leaders/arrangers such as Nelson Riddle, but with a good variety and a modern touch incorporating synths, although this music does sound pretty organic.

There are some jazz standards in the set but none of them too worn-out. The first four highly pleasant tracks were not familiar to me as compositions. 'Hallelujah' is the much interpreted Leonard Cohen song, and Norby's version is easily among the strongest I've heard. 'Here's to Life' is a gorgeous ballad I've grown to love as Marilyn Scott's version -- which I still prefer, but there's an emotional grandness in this one, too.

'Gentle on My Mind' is best known as a GLEN CAMPBELL number. This version sounds delightfully bright. Like a few other pieces too, 'Kyrie' is by Norby and the album's producer Lars Danielsson, and a welcome deviation from the English language. An excellent example of handling a standard is 'Midnight Sun' (Mercer/Hampton/Burke), where the smooth and nuanced orchestral arrangement is marvelous. When I first saw the album's track list, my curiosity was at its strongest towards 'Tea in Sahara', Sting's composition originating from the last POLICE album Synchronicity (1983). I love the echoey original, but this smooth jazz version surely has its own merits such as the trumpet solo.

Indeed Caecilie Norby with her producer and fellow musicians seemingly can take any song and make it sound like it was made for her/them. This album may be a bit too sweet on the long run, but it's very, very easy to enjoy right from the start.