CD Reviews

“A high point of German jazz singing! Made in Germany, hard though that may be to believe!” (Viktor Rotthaler, br-online, Radio Bayern 1)

“The voice that can be heard on this CD is a voice in a million, a voice that causes every famous name – and I mean this internationally – to pale into insignificance in comparison. This voice has everything – a waiflike innocence and notoriety, blackness and brilliance, longing and a very real experience of life” (Frank Bongers, Jazzdimensions, 7 November 2011)

“It is the concert promoter Fritz Rau who best describes the impact of her voice: She moved my soul” (Christian Schröder, Der Tagesspiegel, 25 October 2011)

“A wonderfully intense and emotionally charged voice, certain aspects of which recall Ella Fitzgerald, and yet it remains entirely her own. One senses just how much Inge Brandenburg lives and feels these songs. She was an exceptional artist who even today gives rise to feelings of astonishment” (Petra Schwertfechter, Radio Bremen, 19 October 2011)

“A long-overdue tribute to a lost artist. She had an infectiously powerful ability to create swing rhythms, and yet there was always this bitter-sweetness to her expression that makes for great jazz singers and renders them immortal” (Guido Fischer, Sono, November 2011)

“One way of ensuring that a great voice is not lost to us for ever may be this new CD, Sing! Inge, Sing!” (Jörg Heyd, WDR 3, 3 November 2011)

“With the numbers that make up this CD it is possible to trace, step by step, the musical stages in a story that was intermittently brilliant but essentially sad. Here are classics such as Secret Love, Moonglow, Cheek to Cheek and All of Me, all of which are meltingly sung by Inge Brandenburg with her finely modulated voice. Here, too, is the German version of the musical hit Over the Rainbow, which in spite of the awkward words she sings with astonishing elegance. Inge Brandenburg’s voice never sounds exactly the same. Her early recordings are remarkable for their warm timbre and beautiful fullness of tone, revealing an interpretative aesthetic that might remind the listener of a German Sarah Vaughan. By the mid-sixties, the voice was a little flatter and almost dainty, evincing a certain scratchiness that might be modelled on Eartha Kitt’s Cat Woman. By 1971 – the date of her ambitious attempt at a hit with Morgen kann es vielleicht schon zu spät sein, to words of her own creation – there is a rough fragility to her singing. But it is very much this last-named number that invites us to listen again and again to her singing and to think about it more deeply: this recording makes it clear why Inge Brandenburg’s voice was not suited to singing hit numbers or to a career in show business. It did not sparkle or twinkle and offered no beautiful speciousness in a world of warbling glitziness. It was a voice that was marked by life from an early date. And when we look back on her career today, it is a voice that tells us more about life than many others that are merely sleek and slick” (Roland Spiegel, BR-Klassik, 28 October 2011)

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