OLD FLAMES NEVER DIE

The best album of the year (so far) crept up and caught me on the cusp of the virus, but thankfully in time to keep me company through this and future madnesses.

Peter Campbell’s own website doesn’t tell much of a story… frankly, a bit of intrigue works for the man. He seems to have mysteriously materialized at the microphone, not a frightening ghost but an airy, melancholy spirit getting intimate with that mic and a gossamer-small audience in a hypothetical cabaret. Noisier, brassier acts might take his place later on; but that means nothing. He knows the fleetingness of the moment and the uncertainty of the future, so he accedes to the now and occasionally, understandably, hides in the past.

Campbell sings ahead, behind, and squarely on the beat, never muffing a move, sounding old and young, male and female; and yes, sad, but grasping the happiness in communicating sad. The soft pride, worn lightly, of a job well done, a vocation fulfilled.

ANDREW HAMLIN, JAZZTIMES
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A jazz/cabaret vocalist that knows a vast survey of songs to pick from and can mix them all into a seamless whole no matter what era they are from. Classy, up market entertainment, he's a solid vocalist that knows how to take you away for a while and bring you back to a much better place. With smart jazzbos in tow, this cat delivers the whole package in fine form.

CHRIS SPECTOR, MIDWEST RECORD

…achingly beautiful.

DAVIS JOACHIM, “MY KIND OF JAZZ,” CIDI 99.1 FM, QUEBEC

Luminous tenor Peter Campbell gives dreamy and Broadway-toned readings to a collection of reflective standards, supported by the sensitive team of Adrean Farrugia, Reg Schwager, Ross MacIntyre, Kevin Turcotte and Michael Occhipinti. Turcotte’s horn adds a bluesy dimension to the slinky “My, How the Time Goes By” and is classy with Farrugia on a gentle “If You Leave Paris,” while a Latin pulse is caressed by Campbell and company for “I Got Lost in His Arms.” Occhipinti’s guitar effects add extra texture and drapery as it contrasts with the acoustic strings on “Old Flames Never Die” and create a mystic haze with Farrugia during “Above the Clouds” before Campbell gives a glistening recital on “Both Sides Now.” Serious and sincere.

GEORGE W. HARRIS, JAZZ WEEKLY

Campbell's high, soft voice and cantilena-like manner of singing are literally enveloping. In the years when jazz was "pop" music, such a voice could be described as seductive. The songs are the perfect background for a small jazz café or an evening with your beloved. Assisting Campbell is a team of strong Canadian sidemen.

LEONID AUSKERN, JAZZ QUAD, RUSSIA
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[Peter Campbell’s] silky vocals have matured to power… Emotional and sound vocals should be more than enough anytime, but Campbell does more: he has insisted in surrounding himself with a group of exceptional musicians who have also clearly become his “accomplices” throughout the years. Knowing what there is to know about his tone and range, he arranges the classics to better serve him – and, thus, to better shine through his vocals.

Campbell has also produced the album. His hands are “all on deck,” which gives listeners an added bonus: he is telling us a very personal story of love, loss and hope for the future, through a pristine choice of songs, as they fuse to his voice and delivery. Not in a ready-to-hear easy way, though: the album’s line-up is made of standards, but the ones here are not songs that have been taken on over… and over… and over by everyone in the business. The exception is most definitely Joni Mitchell’s eternal jewel, “Both Sides Now." In this particular case, if you’re already thinking "oh no, not again,” let yourself be amazed when you listen to it – you’re in for a special treat.

On a final note, it is crystal clear that Peter Campbell was not aiming for another "job well done." "Old Flames Never Die" finds the singer/arranger/producer expressing himself with a peak of confidence, while at the same time exposing his soul to the bone. There's joy, love and pride in this album – feelings in which we should all be finding ways to bask in, over all the hardship of the dangerous months to come.

RICARDO BELO DE MORAIS, "AS VOZES DO JAZZ," RADIO MOVIMENTO, PORTUGAL

I can't believe it's possible, but Canada is hatching an incredible number of talented jazz vocalists… And Peter Campbell? He's one of them. Three years ago, he released the critically acclaimed album "Loving You" as a tribute to legendary jazz pianist and singer Shirley Horn. Now he's following up with a new, beautiful, melodic and lyrical vocal jazz album, "Old Flames Never Die," which leaves no doubt about his level as a crooner. The album opens with a stunningly beautiful version of Fred Hersch and Norma Winstone’s “Stars.” Again, Peter Campbell… manages to create a delicate concoction. His tone, expression and style remain exciting and rigorous, pure and believable. The album as a whole is a technical and artistic surplus, a cornucopia of contiguous facets.

IVAN ROD, GAFFA MAGAZINE, DENMARK
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With the release of this new recording, [Peter] Campbell has gifted us with an inspired smorgasbord of musical delights. The opening track, "Stars," is a gem of a tune, written by genius pianist [Fred] Hersch and the incomparable jazz singer Norma Winstone. Campbell’s pitch-pure instrument soars, bobs and weaves through this contemporary, bossa-infused track and [Kevin] Turcotte’s muted solo is a thing of rare beauty. Also intriguing is Coleman and Carolyn Leigh’s "My How the Time Goes By," which reveals a whole different dimension to Campbell, as he dips deep into the blues. The title track opens with creative, otherworldly sonic effects which then segue into a film noir-ish, 3 am ballad of love, loss and longing, expertly rendered. An absolute stand-out is [Adrean] Farrugia’s breathtaking arrangement of "Both Sides Now." His stunningly inventive chord substitutions and Campbell’s skilled vocals have not only created their own musical perspective, but also honoured Mitchell’s immortal classic.

LESLEY MITCHELL-CLARKE, THE WHOLENOTE
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LOVING YOU: CELEBRATING SHIRLEY HORN

In 2017 some of the best jazz found its path by looking forward, doubling back, and/or branching out. In short, this music and the dedicated artists who make it continued to uphold a legacy paradoxically built on tradition, change, absorption, and refraction.

DAN BILAWSKY, "BEST RELEASES OF 2017," ALL ABOUT JAZZ
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