heard Melody Gardot?

I really want to see her now. It's sad, I skip all the rock concerts now, even if I like the group because of the hassle involved, but I will go a long way to see Diana Krall, Nora Jones, Jane Monheit,..... Dudes, I'm old.

I have been waitin years for Tierney Sutton to play Houston, I guess she doesn't like hot weather.

Got her two albums this afternoon, and can't say enough about them. Who knows what makes a certain quality in a voice appealing, but to me she's got it--the same thing that Eva Cassiday has. What I especially like is the fact that she makes it sound easy: no vocal gymnastics, and no apparent striving after "effects," if you know what I mean.

I realize that musical tastes in voice are extremely personal--all subjective--almost--but anyone who's heard "Our Love Is Easy" and isn't convinced that this woman is SPECIAL, is not listening closely. The lyrics, the phrasing, everything--her perfect pitch, perfectly executed vibrato. She belies her age of 24 years--sounds as if she has the 'seasoning' of someone at least a decade older. She writes, as I recall, all of her songs. What an AMAZING TALENT!!!!
Larry

Thanks Larry; I tend to jump to conclusions about music that is new to me, and if I'm not immediately smitten, I'll tend not to listen closely enough thereafter. So I went back to "Our Love is Easy." I didn't change my mind: I still feel like it's excellent execution of pretty familiar stuff (the lyrics struck me as especially unsurprising). As you say, musical taste is personal, but threads like these are my favorite on the site, despite (or because of) that. John

I know what you mean, John. For example, I can't stand Sinatra. That's right--can't bear listening to him, and it's hard to say why. Tony Bennett, on the other hand, I could listen to all day. Ella? No. Sarah Vaughn? Yes. Who knows why.

But now for the Gardot fans: Larry's point about the control she has over her vibrato is exactly right; I'd also say something about the speed of it--it's very fast, which to my ear makes it especially attractive. As for the writing: I think it's impressive throughout, but the one I'm most struck by is the title song, "My One and Only Thrill." The combination of the chord changes and the melody line in the refrain is just astonishing. Starting from "When I'm with you . . . etc., you just can't predict the changes that follow, and it modulates from major to minor and back in ways that, to me at least, are as moving as anything I've heard in a long time.