Lauren White is an extremely talented 20-year old from Texas who has been studying under the same vocal coach as Norah Jones. Lauren blends the sensuality and vulnerability of Norah Jones with the vocal range of Linda Ronstadt combined with a voice that exhibits both emotional depth and nuance and delicacy!
Lauren’s first album features a wide array of songs, the album opens with a Billie Holiday styled tune “My One & Only”, then drops to the darker overtones of the Anthony Wilson arranged “Love For Sale”, and transitions into a swinging “Mack The Knife”. This album also includes memorable covers of popular songs like “Blue Bayou” (Roy Orbison), “Superstar” (Carpenters), and to the country influenced, “Why They Call It Falling” (Lee Ann Womack). Lauren White also displays an impressive talent for song writing with three original songs here including a retro-ish “Do You Remember”, a heartbreaking ballad “All I Do Is Cry” and an up-tempo “Brand New Love”.
“Thanks to Bill, Anthony, Joe, Mark, Chuck, Ricky and Brian. You are all the phenomenal musicians! I never ever dreamed I would work with such a great and talented group of guys. Uncle Ying and Uncle Joe: thank you for giving me this opportunity and treating me oh so well. Ya’ll are such great guys! Uncle Mike thanks for being the coolest cotton sock wearing engineer ever! Thank you to everyone who helped me along the way… Mark Carrol, Rosana Eckert, Brian Piper, Jack Waldenmier, and Crystal Clear studios. Each of you helped form the woman I am today.”
– Lauren White
* NativeDSD made this recording available for the first time as a DSD Download to a wider audience, outside the US and Canada.
* NativeDSD exclusively offers this recording as DSD 128 and DSD 256 Downloads (see Tech Specs for more info).
TracklistPlease note that the below previews are loaded as 44.1 kHz / 16 bit.
Total time: 00:49:20
Dave Glasser, Airshow Mastering
DSD 128 and DSD 256 Download Files Created by Tom Caulfield at the NativeDSD Mastering Lab, Marshfield, MA
Neumann U-67, M-49, U-47, U-47FET, Telefunken 251, Royer 121, 122 Llomo 19a19
We are pleased to announce the availability of Groove Note releases in DSD 128 and DSD 256, in addition to the original DSD 64 releases. These higher bit rate DSD 128 and DSD 256 releases are all pure DSD created.
They are not up samplings, for there are no PCM or DXD conversions involved in their production. They are re-modulations of the original DSD 64 encoding modulation that produced the DSD 64 releases. The sonic advantage to these new Stereo and Multichannel DSD 128 and DSD 256 releases, as with all higher DSD bit rate releases, is the wider frequency passband prior to the onset of modulation noise.This results in the listener’s DAC using gentler and more phase linear filters for playback of the music.
|Original Recording Format|
Executive Producers: Ying Tan and Sebastian Koh – Producer: Joe Harley
Michael C. Ross – Assistant Egineers: Bill Mims, Pete Magdeleno
Sunset Sound, Hollywood, CA on May 17 and 18, 2006
|Recording Type & Bit Rate|
|Release Date||March 29, 2018|
HighEnd Germany News
“Superb, the voice, the band, the recording!”
Lauren White is a new name to me, but if this album is any indication we’ll all be hearing a lot more from her. She bears more than a passing physical resemblance to Norah Jones, but her music isn’t anything like that of Jones, and she doesn’t sing like her either.
She takes songs from such diverse sources as the Great American Songbook, her own original songs — she has three such here — and an eclectic mixture of popular material such as Roy Orbison’s “Blue Bayou,” Leon Russell’s “Superstar,” and Lee Ann Womack’s “Why They Call It Falling” in putting together the program for this album.
The caliber of musicians used to back her is as stellar as the material. Pianists Bill Cunliffe and Brian Piper, guitarist Anthony Wilson, tenor saxophonist Ricky Woodward, bassist Chuck Berghofer, Hammond B-3 organist Joe Bagg, and drummer Mark Forber make sure that the playing is as strong as the vocals.
This is a release put together by Groove Note’s house unit of producer Joe Harley and engineer Michael Ross, so you just know it’s going to sound good. Hartley and Ross have some of the best instincts and ears in the music industry, and they don’t fail them here. White’s voice is as realistic-sounding as I’ve ever heard. It’s full, rich, well delineated and three-dimensional. You can hear every inflection, and you get a superb sense of the interplay between the singer and band. As with Ms. White’s voice, the instruments are all clearly rendered with excellent timbre and tonality. At Last is a winner from the team of Harley, Ross and Groove Note.
All About Jazz
Musical suspicions are immediately raised when jazz singer Lauren White is described as a cross between Linda Ronstadt and Norah Jones. White is a twenty year-old native of Grapevine, Texas; a child prodigy singer from age four. She did, indeed, study with the same vocal coach as Jones, but the latter has little of White’s smoky and seductive vocal assets as a jazz chanteuse. White performs Roy Orbison’s “Blue Bayou”—which was one of Ronstadt’s biggest hits—on At Last, and even sings it in a similar manner, Still, her demeanor is significantly more low-key, avoiding the range of “Blue Bayou on the rest of the album.
Now for the good news. This is one impressive debut session. The set list research factor alone shows that roughly half of this album will be unfamiliar material to most listeners. Beginning as a slinky seductress in an after-hours boite on Ira Gershwin’s “My One and Only,” White follows it up with her original “All I Do Is Cry” in a very similar mode. A jolt of familiarity follows with “Blue Bayou,” but then she provides a poignant original, Do You Remember.” In order to please the masses, Kurt Weill’s world-famous “Mack The Knife” follows. Although delivered in the standard swing format, drummer Mark Ferber makes it interesting with an Ahmad Jamal “Poinciana -type pattern.
White takes a chance on the Cole Porter classic “Love For Sale,” beginning with the spooky verse, and when the familiar melody sets in, it is played for the storytelling of a “woman of the streets.” Over the past few decades, it seems that too few vocalists have presented the song in the style or tempo that Ella Fitzgerald did on her Cole Porter Songbook (Verve, 1956). Guitarist Anthony Wilson, who also did the arrangement, gets in some fine blues licks on his solo, as does the appropriate use of Joe Bagg’s Hammond B-3 organ.
White sings Rodgers & Hart’s “My Funny Valentine”—a tune which should be given a temporary rest. Her version is ameliorated, however, by Ricky Woodward’s gutsy tenor sax solo. Country singer Lee Ann Womack’s Why They Call It Falling” is an unexpected treat; a lighthearted look at love on which Norah Jones could also have done a fine job.
With the appetite-whetting At Last, the only question is: what’s next?
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