The singer Kira Martini belongs to the jazz artists who can and will do many things. But, unlike most others, she manages to move around in her multi-faceted universe, without being a zig-zag course. In short - she is herself all the way, and with her fine voice and dedication she is a woman to deliver a music experience, where the variations also contribute to a beautiful and solid result.
On her current album, she looks good with an old jazz tracker in the form of Bessie Smith's "Give Me A Pigfoot", and she makes it cool and engaging. Also because she also presents us with the team of lovely hand-picked musicians who are just in the mood as well as ideas....
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The singer Kira Martini belongs to the jazz artists who can and will do many things. But, unlike most others, she manages to move around in her multi-faceted universe, without being a zig-zag course. In short - she is herself all the way, and with her fine voice and dedication she is a woman to deliver a music experience, where the variations also contribute to a beautiful and solid result.
On her current album, she looks good with an old jazz tracker in the form of Bessie Smith's "Give Me A Pigfoot", and she makes it cool and engaging. Also because she also presents us with the team of lovely hand-picked musicians who are just in the mood as well as ideas.
The latter has written the romantic and charming "Little Yellow House" for which Kira has made a text. It is followed by a bubbly up-tempo version of "Gypsy In My Soul". And so it goes on in this adventurous musical journey that also includes a poignant beautiful version of the folk song "The Water Is Wide", as well as Bob Dylan's "Tomorrow Is Such A Long Time" - in the singer's personal direction.
That Kira Martini - without breaking any style or mood - can jump into the Brazilian universe, she proves with a few songs by Caetano Veloso and - not least - with a super melancholy choro song from the 1950s, called "O Que Passou, passou ".
The Melancholy retains and unfolds the singer in a fervent version of Billy Strayhorn's lyrical roller "Lotus Blossom", which, with Mads Søndergaard's refined and subdued accompaniment, becomes a small, but perfect, masterpiece.
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Sangerinde Kira Martini hører til de jazzkunstnere, der kan og vil mange ting. Men i modsætning til de fleste andre, så formår hun at bevæge sig omkring i sit mangesidige univers, uden at der bliver tale om en zig-zag-kurs. Kort sagt - hun er sig selv hele vejen, og med sin fine stemme og engagement er hun kvinde for at levere en musikoplevelse, hvor også variationerne bidrager til et smukt og helstøbt resultat.
På sit aktuelle album lægger hun godt ud med en gammel jazztraver i form af Bessie Smiths “Give Me A Pigfoot”, og det gør hun sejt og medrivende. Også fordi at hun samtidig præsenterer os for det hold af herligt håndplukkede musikere, der bare er med på stemning såvel som idéer.
Sidstnævte har skrevet den romantiske og charmerende “Little Yellow House”, som Kira har lavet en tekst til. Den følges op af en sprudlende up-tempo version af “Gypsy In My Soul”. Og sådan går det i denne oplevelsesrige musikalske rejse, der også omfatter en gribende smuk udgave af folkesangen “The Water Is Wide”, samt Bob Dylans “Tomorrow Is Such A Long Time” - i sangerindens personlige regi.
At Kira Martini - uden brud på hverken stil eller stemning - kan hoppe over i det Brasilianske univers, beviser hun med et par sange af Caetano Veloso og - ikke mindst - med en super melankolsk choro-sang fra 1950erne, kaldet “O Que Passou, Passou”.
Melankolien bibeholder og udfolder sangerinden i en inderlig version af Billy Strayhorns lyriske vals “Lotus Blossom”, som med Mads Søndergaards raffinerede og neddæmpede akkompagnement, bliver et lille, men fuldkomment, mesterværk.
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