There is something quietly refreshing about Dreaming in Blue. At a time when many vocalists feel compelled to reinvent the Great American Songbook, Carrie Hamilton instead places her trust in the songs themselves, approaching them with warmth, honesty and a clear respect for the tradition. The result is an EP that feels intimate, elegantly produced and rooted in genuine musicianship.
Released as part of the first wave of recordings from Sarah Gillespie’s artist-led Pastiche Records, Dreaming in Blue finds the classically trained vocalist, flautist and songwriter drawing together a collection of timeless standards alongside one original composition. Having been lucky enough to perform alongside artists including Claire Martin, Clare Teal and the BBC Big Band, this doesn’t feel like the work of an artist finding her feet, but rather one who has quietly been refining her craft.
Opening with the self-penned Lady Love, Hamilton immediately establishes that she is more than simply an interpreter of standards. The song sits comfortably alongside the classics that follow, demonstrating a confident understanding of melody, harmony and lyrical storytelling. It is an assured introduction and provides a strong indication that songwriting may become an increasingly significant part of her artistic identity.
From there, the programme unfolds with a carefully chosen selection of jazz favourites. Jimmy Van Heusen’s Darn That Dream, Artie Butler’s reflective Here’s to Life, Frank Loesser’s I’ve Never Been in Love Before, Antonio Carlos Jobim’s Agua de Beber and the ever-swinging Ain’t Misbehavin’ are all delivered with tasteful arrangements that never seek to overwhelm the material. Instead, Hamilton allows each song the space to breathe, trusting the enduring quality of the repertoire.
Recorded at Gorilla Studios and beautifully produced by Jamie McCredie, the album benefits from an outstanding group of musicians. McCredie’s guitar work is consistently sympathetic and understated, Mike Gorman’s piano adds colour and elegance throughout, while Phil Donnelly and Luke Tomlinson provide a rhythm section that swings effortlessly without ever becoming intrusive. Collectively, they display the confidence that comes from musicians listening as carefully as they play.
Hamilton herself possesses a voice that favours storytelling over vocal display. Her phrasing is relaxed and unforced, allowing the lyrics to communicate naturally, while her classical training is evident in the care she takes with every melodic line. There is no sense of over-singing here; instead, she draws the listener in with subtlety and sincerity.
One of the album’s highlights comes with Agua de Beber. Jobim’s timeless bossa nova feels perfectly suited to Hamilton’s warm, unhurried vocal delivery, allowing her phrasing to flow effortlessly across the melody. For me, it is one of the finest performances on the record. Hamilton exchanges the microphone for the flute, and rather than feeling like a novelty, the instrument becomes a natural extension of her musical voice. Her lyrical flute playing blends seamlessly with the rhythm section, adding another authentic layer to an arrangement that captures the easy elegance at the heart of Jobim’s music. It also serves as a reminder that Hamilton is every bit as accomplished a musician as she is a singer.
The inclusion of the duo Here’s to Life as a bonus reprise provides a fitting close to the EP. It is a song that encapsulates much of what Dreaming in Blue represents: maturity, reflection and an appreciation for beautifully written music delivered without unnecessary embellishment.
Hamilton’s musical influences extend beyond jazz, embracing soul, gospel and classical music yet jazz remains the unmistakable heartbeat of this recording. That breadth of experience gives the performances both depth and authenticity, while her evident affection for the material ensures they never feel like museum pieces.
Dreaming in Blue is not an album that demands attention through bravado. Instead, it wins the listener over with quiet confidence, tasteful arrangements and performances that place musical integrity above everything else. It is an accomplished introduction from an artist equally comfortable as a vocalist, flautist and songwriter, and one that suggests there is considerably more to come.
For anyone who appreciates beautifully performed standards, thoughtful musicianship and the occasional glimpse of an emerging songwriter finding her own voice, Dreaming in Blue is well worth discovering. It is an impressive debut that leaves a lasting impression not because it shouts the loudest, but because it understands that, in jazz, sincerity and sensitivity will always stand the test of time. Glenn Wright
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