Laura Fygi - The Best Is Yet To Come -flac- -2011- !new! 〈2024〉
2011
Released in , The Best Is Yet to Come marks a pivotal milestone in the career of Dutch jazz vocalist Laura Fygi
In the FLAC format, the 2011 release offers a dynamic range that breathes. The stand-up bass doesn't just sound like a note; it sounds like wood and vibrating strings. The brushwork on the snare drum has texture. When Fygi sings the title track, a classic associated with Frank Sinatra, the lossless audio captures the air in the room and the subtle resonance of her vocal cords. For audiophiles, this album is often used as a "reference track" to test speaker quality—specifically the separation of mid-range frequencies where the human voice lives. Laura Fygi - The Best Is Yet To Come -FLAC- -2011-
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The album's tracklist consists primarily of jazz and pop standards made famous by legends like Frank Sinatra and Tony Bennett. 2011 Released in , The Best Is Yet
Born on June 20, 1961, in Amsterdam, Netherlands, Laura Fygi began her musical journey at a young age. Her early exposure to jazz and American music led her to develop a distinctive style that seamlessly blends traditional jazz with contemporary influences. Fygi's vocal prowess, characterized by her warm, velvety tone and impressive range, has drawn comparisons to jazz legends such as Ella Fitzgerald and Billie Holiday. Serve FLAC via secure CDN with range requests;
Laura Fygi: The Best Is Yet to Come (2011) Released in February 2011, The Best Is Yet to Come serves as a career milestone for Dutch jazz vocalist Laura Fygi. It commemorates her 20th anniversary as a solo artist and represents her first full-length recording with a traditional big band setup. 🎼 Artistic Direction and Production
Produced and arranged by long-time collaborators Jan Menu and Johan Plomp, the album features a lush, expansive sound that pays homage to the mid-century swing era. Fygi’s approach on this record has been compared to the understated elegance of Julie London and the sophisticated swing of Peggy Lee.
On slower tracks like “I’ve Got You Under My Skin,” she stretches phrases almost to the breaking point, trusting the silence between notes. This can be mesmerizing for listeners who value restraint, though fans of more aggressive jazz singing might find her approach too polished or “easy listening.” Still, within the context of this compilation, her consistency is a strength.
