Sara Oschlag: Yeah!

Sara Oschlag cannot be accused of being overly prolific. The Danish-born, UK-based artist last released an album in 2013. Since then she has been focusing her time on building a reputation as one of the UK's leading jazz vocalists and amassing over 12 million followers on YouTube. In addition, she has performed as a featured vocalist with Ronnie Scott's Jazz Orchestra, appeared at the Love Supreme Festival and sung at numerous events across Europe. Having honed her craft and built her following, she has finally released her long-awaited second album, Yeah!

She is backed by a terrific core trio featuring bassist Arnie Somogyi, drummer Darren Beckett and pianist Mark Edwards, who also enriches the soundscape with Wurlitzer, Hammond organ, and glockenspiel. Collectively, they boast an impressive pedigree, having performed or recorded with artists such as Bobby Wellins, Katie Melua, Björk, Amy Winehouse and Aaron Parks. Additional contributions come from guitarist Jason Henson and one of British jazz's national treasures, saxophonist Alan Barnes, who enhances the album with clarinet, alto and baritone saxophone.

In this ten-track album, Oschlag predominantly interprets standards while demonstrating her compositional creativity through two unique renditions. Her reimagining of "Mingus Fingers" marries Charles Mingus' musical framework with her whip-smart delivery of her own lyrics. From there, she launches into a soaring, attention-grabbing scat performance, complemented by solos and interplay from her trio in this swinging and entertaining opener. Another notable adaptation features her lyrics alongside Horace Silver's "Summer In Central Park," her vocal phrasing elegantly complementing the composition's subtle chord progressions.

The album further distinguishes itself through collaborative performances with guest musicians Barnes and Henson, who bring additional depth and texture to several tracks. On Curtis Lewis' "The Great City," the ensemble's collective musicianship shines. Barnes' pulsing baritone saxophone drives the swing, along with Edward's Hammond organ and Henson's guitar, while Oschlag's vocals pay subtle homage to Shirley Horn's style. Henson particularly excels on the slow-burning "Some Of My Best Friends Are The Blues" and Barnes guests on a swinging version of "East of the Sun." His sparkling alto sax solo alongside Oschlag's subtle phrasing and vocal twists adds enough variety to elevate this version of the well-known song. Barnes moves to clarinet for "I'm Glad There's You;" again they combine superbly to breathe new life into the song.

One of the album's strengths lies in its thoughtful sequencing and instrumental variety. Oschlag and her collaborators navigate different musical landscapes with inventive arrangements, introducing nuanced touches that elevate familiar standards. While possessing a considerable vocal range, Oschlag's approach is characterized by sophisticated intonation, tonal subtlety, and precise phrasing. Her ability to communicate emotion through these skills, combined with an inherent sense of swing and vitality, results in a compelling and absorbing musical experience.