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Reviews of Veronneau


03/08/2012 Dan Bilawsky - All About Jazz - Jazz Samba Project Review

Musical revisionists often view the outstanding Getz/Gilberto (Verve, 1963) as the point of ignition for the stateside bossa nova explosion of the early '60s, but those in the know are fully aware that Jazz Samba (Verve, 1962) is the album that actually lit the fuse. While saxophonist Stan Getz's classic recordings with Antonio Carlos Jobim, Joao Gilberto and Astrud Gilberto have taken their rightful place at the top of the heap, his earlier, trailblazing collaboration with guitarist Charlie Byrd is of greater importance in the big picture of jazz history.

Byrd became enamored with Brazilian music during a State Department-sponsored tour of South America and couldn't hide his enthusiasm when he returned to America. He exposed Getz to the magical strains of sound that he encountered during this jazz junket and they joined forces to create one of the finest examples of stylistic fusion in the history of music. They put their signature sound prints atop bossa nova structures and struck a chord of interest that still resonates throughout the world today. Now, a full fifty years after Byrd and Getz joined Brazilian music and jazz in holy matrimony, Veronneau pays tribute to that triumphant teaming with its own Jazz Samba Project.

Subtle bossa nova beats, lightly strummed guitars, seductive horn work and attractive vocals are served up in sensitive fashion during this highly enjoyable program. Vocalist Lynn Veronneau and her able-bodied band mates deliver a ten-song program that honors the historic pairing of Charlie Byrd and Stan Getz but stands on its own as a separate work. Veronneau visits the past with performances of Ary Barroso's "E Luxo So," Baden Powell's "Samba Triste" and Jobim's "One Note Samba," but the group doesn't live in the past; the inclusion of a bossa-tinged take on a Bob Marley classic ("Waiting In Vain") and a gently swaying original ("September Moon") prove this point.

Lynn Veronneau's easy-going vocals, whether in Portuguese, English or French, set the tone here and everybody falls in line with her measured mannerisms. While Brazilian jazz has become more buoyant and boastful over the years, Veronneau's version hearkens back to a time when less-is-more delivery and dynamic sensitivity were key elements in the architectural design of the music. This band clearly understands the nature of Jazz Samba and honors that classic recording through its own fine work.


05/07/2011 Jordon Richardson - Canadian Audiophile - Joie De Vivre Review

"Sweetly simple and sensual, Véronneau’s Joie de Vivre is a smooth record ideal for summer listening outside with a glass of wine or four, and some candlelight.

Véronneau is the band of the marvellous French-Canadian singer Lynn Véronneau. With Ken Avis (guitar, vocals, percussion), David Rosenblatt (guitar, percussion) and Pete Walby (drums), Lynn’s outfit is sharp and dedicated to exploring the passion of music and life. The recording also features the violin of Dave Kline and the blistering, bluesy saxophone of Canadian Jeff Antoniuk.
Joie de Vivre is a compilation of sorts, but it’s also a freshly original work.

Véronneau presents their favourite music, delivering a selection of songs ranging from the Beatles to Rodgers and Hart. Brazilian samba, gypsy jazz and French music also reveal the band’s deep sensibilities to sampling from the jubilant palette of creativity.
More than simply singing covers and slinking away elsewhere, Lynn takes ownership of each individual piece and delivers an emotional, passionate performance every time. Her work on Lennon and McCartney’s haunting and gorgeous “For No One” takes on spectacular new meaning as Lynn emotes and phrases things elegantly. Backed by simple guitar, it’s one of my favourite tracks on the record.

The music of Antonio Carlos Jobim is given two opportunities to shine. “Corcovado” and “One Note Samba” embody the spirit of the Brazilian songwriter and composer. Lynn sails through the Gene Lees English lyrics on the former, guided all the while by Avis and Rosenblatt’s lovely playing.

Whether she’s tackling the nuances of classic tunes (“La Mer”) or drawing on the pageantry of My Fair Lady (“The Street Where You Live”), Lynn is a consummate performer. Her voice packs a wallop, sure, but most importantly she sings with heart. As she pulls back on the big notes and enters into subtle patterns of expert phrasing, it feels as though she’s singing to one person at a time.
Even with this intimate vibe, it’s clear that the music of Joie de Vivre is designed for big crowds and bright lights. The musical experience rendered by Lynn and co. is satisfying and bewitching, engaging in the tales it tells and the stories it leaves to mystery".


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