Born: October 7, 1957
When you looked at an album cover in the old days, Veronica explains, it told a story. The album cover and the title kind of prepped you for what you were about to experience, and I always felt that a jazz album isn't just the music that is played - it's the whole package. When you pull out that CD, it should be like a storybook. The cover and the album title kind of whet your appetite, and when you hear the songs, it takes you through an experience. It should all be an experience.
Like her previous release, American Lullaby (which focused on jazz interpretations of lullaby-like melodies), Standard Delivery is very thematic (its dominant theme being a jazz vocalist's relationship with time-honored standards). On Standard Delivery, Nunn puts her personal stamp on an abundance of classics from the Great American Songbook, including George Gershwin's A Foggy Day, Richard Rodgers & Lorenz Hart's Where or When, Dorothy Fields' I Can't Give You Anything But Love and Jerome Kern's I'm Old Fashioned. Not every melody on Standard Delivery originated in Manhattan's legendary Tin Pan Alley; the album moves into Brazilian territory on Antonio Carlos Jobim's One Note Samba, and Honeysuckle Rose was composed by the great stride pianist/singer Fats Waller. But everything on Standard Delivery is a well known standard, and everything on the album receives Nunn's personal touch. I don't want an album to be just a bunch of tunes that I randomly threw together, Nunn notes. That's why I put a lot of energy into having a theme and a continuity when I record an album....
Veronica Nunn is one of the brightest new jazz singers to come along in quite a while. She's original, discerning, independent, and purely swinging. (Clive Davis, New York Daily News)
Veronica Nunn has an unmistakable sound, a rich timbre at once intimate and reserved. Perfect time and remarkable vocal control make her ballads and fast tempos equally intriguing. And can she swing! (Stuart Troup, New York Newsday)
When I give my love to you,' the sensual, steamy duet performed by Michael Franks with featured singer Veronica Nunn was the highlight of the evening. Her voice complimented his as it laced around the melody, ending with a moving vocalese solo, that had the audience on their feet in applause. (Los Angeles Times Excerpt from Michael Franks review at the Strand in Los Angeles)
It's been a long time since I've heard a real jazz singer! (Renowned jazz critic Stuart Troupe, upon hearing a Veronica Nunn demo tape being played on the house system at Sweet Basil, New York City, 1996)
REVIEWS FOR STANDARD DELIVERY
Her enunciation and intonation are a reproach to better-known singers. (Michael Steinman, Cadence Magazine)
Kudos to Veronica Nunn for the fresh ideas that she’s introduced into her standards album. (Jim Santella, Jazz Improv's New York Jazz Guide)
. . . she is disarmingly comforting, letting her assuring voice caress you like a late night neck rub. (George Harris, All About Jazz)
This young lady is Broadway, where a singer reaches for the same address as a Carmen McRae and Sarah Vaughn . . . (Dick Crockett, Still Another Jazz Show, 88.7FM)
REVIEWS FOR AMERICAN LULLABY
Nunn is very much, her own stylist and sounds like no one else . . . I look forward to more by this talented singer and her group. (Richard Bourcier, JazzReview.com)
She sings with skill and confidence and swings mightily on a mix of jazz chestnuts, popular show tunes and originals. (Ken Franckling, Jazz Improv Magazine)
Unmistakably, this is an exceptional debut . . . (Alan Bargebuhr, Cadence Magazine)
Veronica Nunn is unforgettable. (Jim Santella, LA Jazz Scene)
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