Rachelle Ferrell Albums (5)
What The Critics Say
Although vocalist Rachelle Ferrell is a bizarre singer whose idiosyncratic style is often at odds with her mainstream material, fans of the singer will certainly find much to enjoy on Live at Montreux. The CD collects various performances Ferrell gave at the Swiss music festival from 1991 to 1997. Primarily a jazz singer, Ferrell has also made forays into R&B and often melds the two styles. Prone to showcasing her six-octave range, she often accents songs in odd places, displays myriad vocal stylings in one phrase, and basically over-sings much of the time. Think of her as a combination of Betty Carter and Patti Labelle and you might enjoy yourself. Much of the first set on Live at Montreux features songs off her 1989 debut, First Instrument. Ending that set is "Prayer Dance," which spotlights Ferrell seemingly mimicking the high, laser tones of a theremin. Special guest pianist George Duke also makes an appearance. ~ Matt Collar, All Music Guide
'Individuality (Can I Be Me?)'
Release Date 1/1/2000
Tracks 11
Label Capitol
See Album Tracklist and Review
What The Critics Say
Ferrell's rich, textured voice strokes these often-formulaic songs along. Dipping into modern pop, R&B, gospel, and jazz, Ferrell paints some splendid portraits here (even if she does tend to over-sing her lines occasionally). Best is the funky "Satisfied," an amalgam of everything Individuality (Can I Be Me?) sets out to be. A breakthrough album from a behind-the-scenes artist deserving more. ~ Michael Gallucci, All Music Guide
What The Critics Say
Rachelle Ferrell made her name performing R&B, but this strictly acoustic jazz CD is her earliest recording. Her voice is quite soulful, making her later shift to R&B less of a surprise in hindsight. A standards-oriented set with trumpeter Terence Blanchard and Wayne Shorter on tenor, who make worthwhile cameo appearances. ~ Scott Yanow, All Music Guide
What The Critics Say
Rachelle Ferrell wore two hats in the 1990s: straight-ahead jazz singer and commercial R&B/pop singer along the lines of Anita Baker, Miki Howard, and Angela Bofill. Produced mostly by George Duke, this self-titled album is an example of her R&B/pop side. With this smooth, classy effort, Manhattan/Capitol was obviously intent on appealing to the more adult-oriented tastes in the urban contemporary market. While artists like Mary J. Blige, Bell Biv DeVoe, Babyface, and Janet Jackson were making R&B relevant to hip-hoppers, Ferrell opted for maximum quiet storm appeal with this album. If you were buying a lot of Baker, Luther Vandross, and Freddie Jackson albums in the early '90s (along with some Grover Washington, Jr. and Joe Sample, perhaps), you were exactly the type of listener Manhattan/Capitol had in mind with sophisticated numbers like "It Only Took a Minute," "'Til You Come Back to Me," and "Sentimental." Most of the songs are appropriate vehicles for the Philadelphian's big, rich voice, but while this collection of mood music isn't bad, it isn't the gem that Ferrell had the ability to deliver. As pleasant and likable as much of the material is, one got the impression that she was capable of a lot more. ~ Alex Henderson, All Music Guide
