Abbey Lincoln Albums (22)
What The Critics Say
Vocalist Abbey Lincoln's voice is the sound of the earth yearning for your soul. She is lust turned to wisdom. She is diva turned to soothsayer. In her mid-seventies at the time of this recording, Lincoln is the embodiment of a life lived as a performer and lover and now a storyteller through song. Abbey Sings Abbey finds the songstress revisiting a number of her own compositions from past albums. And while she remains a pre-eminent jazz singer, here she has surrounded herself with an eclectic and organic small group that imbues these tracks with a soft country-blues meets klezmer sound that rubs elegantly against Lincoln's burnished vocals. This is a beautifully raw and intimate album full of lament and the faint perfume of romance. As she sings on "Should've Been," "It's the sound of sorry/Looking yonder with regret. Sorry 'cause of what you got/And what you didn't get." These are enigmatic torch songs and playful blues, dark elegies and poignant ballads all featuring Lincoln's own devastatingly precise lyrics and melodies that hint at not just death and regret, but also a lingering passion for life. ~ Matt Collar, All Music Guide
What The Critics Say
In a return to the orchestrated settings that she had explored nearly a decade earlier on A Turtle's Dream, Lincoln performs a set rich in variety, with plenty of original tunes that more than hold their own amidst a scattering of classic standards. Whether working with or without strings, she maintains a sophisticated and intimate tunefulness; her adherence to melody, and to subtle phrasing as an alternative to showy improvisation, has always earned comparisons to the work of Billie Holiday, though in this case Lincoln more than matches and arguably surpasses much of the legendary singer's work. Her husky timbre, extraordinary sense of swing at any tempo, and sometimes surprising range make each of these tracks a masterwork of interpretation. Though she has always sought the best accompanists, Lincoln strikes gold here with Kenny Barron, who negotiates the complex melodic structure and chord changes of Cedar Walton's "The Maestro" as if he'd been playing it for years, while on the title track, a duet, he follows and leads her with a dignified medium-tempo gospel feel. Aside from the gimmicky flute chirps on "Yellow Bird," every moment of It's Me, down to the title itself, supports a clear answer to the question "Who is the outstanding jazz chanteuse of our time?" ~ Robert L. Doerschuk, All Music Guide
What The Critics Say
Recorded mostly in New York, Over the Years is aimed at summing up Abbey Lincoln's long career. Joining her are excellent, but not so well-known performers, plus the giant sax player Joe Lovano. But it is Lincoln's special interpretative powers that carry the day, as one would expect. The play list is rather unusual even for an iconoclast like Lincoln. There are tunes from the 1940s, traditional material, some romantic standards, and her own compositions. "Lucky to Be Me," from the musical On the Town, features some ear-catching work by the rhythm section of Brandon McCune, John Ormond, and Jaz Sawyer. Another fine track is the traditional "Blackberry Blossoms" to which Lincoln has added her own lyrics. She is ably supported on this cut by guest tenor player Joe Lovano and guest guitarist Kendra Shank, who is also a singer of note. The album's coda is appropriate as Lincoln sings "Tender As a Rose" a cappella, letting her vocal chords stand on their own without benefit of instrumental accompaniment as she ends it with "as that's the way the story goes." ~ Dave Nathan, All Music Guide
What The Critics Say
Lincoln's place among the pantheon of great jazz singers is undisputed, but this recording finds her voice past its best years. The ravages of time have taken their toll, and the result is pleasant but not her best work. The drop in strength is especially evident in the opening duet with a much younger Maggie Brown. Still, the album has many fine moments, such as an easy swinging "If I Only Had a Brain" and the sweet original "And It's Supposed to Be Love." Her band is particularly fine, especially pianist Marc Cary and Bobby Hutcherson on vibes. ~ Tim Sheridan, All Music Guide
What The Critics Say
Abbey Lincoln, 65 at the time of this recording, still had a reasonably strong voice at this point in her career, and although she showed signs of mellowing now and then, she was still capable of performing fiery musical statements. This Verve release mostly emphasizes slow tempos and melancholy moods. The nostalgic "Who Used to Dance" (featuring Savion Glover's tapdancing) is a highlight, and "Street of Dreams" works well, although "Mr. Tambourine Man" is not too essential. Six different saxophonists (five of them altoists) appear on the date (usually one on a song), and despite the diversity in styles (from Steve Coleman to Frank Morgan), their subsidiary roles and respectful playing find them all sounding fairly similar. An interesting but not overly essential outing. ~ Scott Yanow, All Music Guide
What The Critics Say
This CD is a change of pace for Abbey Lincoln. She interprets ten standards (plus four of her originals), all love songs performed as duets with pianist Hank Jones. Although there is some social comentary, the emphasis is on male-female relationships and Lincoln sounds more optimistic than usual. Among the more memorable selections are Duke Ellington's "Black Butterfly," "The Nearness of You," "You Came a Long Way from St. Louis," Fats Waller's "Jitterbug Waltz" and "You Won't Forget Me." ~ Scott Yanow, All Music Guide
