Gwyneth Herbert个人资料：

Gwyneth Herbert来自英国，是一位新晋的女爵士歌手，处女作《Bittersweet And Blue》在英国颇被受落，更被冠予?珧Britains Norah Jones??之名，谓二人的voice有相同的质感云云。 这张《Bittersweet And Blue》去看，Gwyneth Herbert并不像Norah Jones，二人的音乐风格完全是两码子之事，Norah Jones是Jazz Blues及乡谣多一点，Gwyneth Herbert则是英式的Vocal Jazz/Standards和Torch Songs类型，只是voice的声调有点神似而已，反而她懂弹琴的形象及其创作倒有点Diana Krall影子。 这张处女作并不完全是她的作品，部分歌曲是他人的旧作如Tom Waits的《Looking For》、Portishead的《Glory Box》等。她的vocal很暖，音色带强烈慵懒的smoky气息，唱起一些Torch Songs类型的歌曲很具质感，真的十分动人?

Gwyneth Herbert releases her new album, All The Ghosts, through Naim Edge on July 6th.
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Actresses have always grumbled that Hollywood doesn’t serve up enough female roles worth getting stuck into. They should try being a singer they would find their options even more limited.

In a sense, there has probably never been a better time to be a girl singer the charts are full of ’em but these are within strictly defined market niches: the mid-’00s were all about the ‘retro chanteuses’; this year’s thing is ‘chicks with synthesizers’. Simply being yourself, it seems, isn’t good enough. In this fiercely strategized atmosphere, the sound of an honest, uncontaminated voice is worth more than gold.

Gwyneth Herbert is just such a priceless talent. At 27, she has already plunged into the world of record deals and promotional schemes a couple of times, and yet she resurfaces again only more pure, more committed in her belief in music’s power to communicate emotion and experience to a listener.

Gwyneth first broke onto the scene five years ago, when she was signed up by the Universal conglomerate as a jazz crossover artist. Finding that role too stifling, she soon struck out on her own, as a singer-songwriter, inspired as much by Janis Ian and Joni Mitchell, as by Billie Holiday or Nina Simone. In 2007 her Seb Rochford (Acoustic Ladyland/Polar Bear) produced album was picked up by Blue Note.

Her latest collection, ‘All The Ghosts’, continues further along her own idiosyncratic path. It carries ten terrific songs, which speak to you directly, without forethought for genre or category. In their melodic immediacy and observational characterization, you might hear the Lennon-McCartney of ‘Sgt Pepper’, or the Ray Davies of ‘Lola’, rather than any jazz stereotype.

The songs are populated by a living, breathing cast of beaten-down dreamers, jaded city-dwellers, and women in a quandary. There is a beautiful prostitute with a split lip, pining to be free to return to mother Russia. There is also a wicked, myth-enshrouded temptress, luring in young men with drink and drugs. And there is a Mini, the same age as the singer, as human and ‘real’ in its wheezing everyday tasks as any of the other folk. These, simply, are songs about people, about life, as the singer has precociously learnt to understand them at her tender age.

In the run-up to the release of ‘All The Ghosts’, Gwyneth has been performing across the UK, as well as incubating some intriguing side projects. She recently worked with the London Sinfonietta on a project called ‘The Art Of News’, alongside Simon Munnery, John Hegley and Nathan Penlington. She has also been commissioned to write a musical about Phyllis Pearson, the eccentric British artist who walked every street of London and invented the A-Z map.

Recorded at Real World Studios and mixed and mastered by Robert Harder. All The Ghosts features: pianist Steve Holness double bassist Sam Burgess, percussionist Dave Price and guitarist Al Cherry.

Live: Thursday 25th June, Café Oto, Dalston, LONDON

For more information contact Jim at Ampersand PR
020 7738 6402 jim@ampersandpr.com