Let's listen to some folks raise their voices in song. Their first names all start with the letter J, as in "jazz," "junctural," "judicious," and "joyful," one or more of which applies to each vocalist.

JANIS SIEGEL
THE ART OF VOCALESE
Origin Records
CD | Digital

If jazz singing were an event in the Olympics, Janis Siegel, a veritable vocal gymnast, would win many a medal for the equivalent of breezing through the high-speed run, high jump, leaping over hurdles, deftly side-stepping anything that would trip up others in obstacle courses, and sailing through the ebb and flow of musical waters. Celebrating The Art of Vocalese, her performances on her new release are a master class in the title-referenced style of singing dense (and, often, fast-moving) lyrics set to jazz compositions created originally as instrumentals or a particular musician's distinctive extended solo within a piece. The late jazz stylist Jon Hendricks was a major innovator writing (and performing) such added verbiage and four of the album's nine selections feature his contributions. The program is a busy, bustling feat of fleet singing, and the supple-voiced Miss Siegel never lets us "see" her sweat.

In splendid voice, the vibrant veteran delights and impresses with variations on standards and other fare, acing each entry. And mastery loves company as only some selections present her going solo. The 100-year-old standard "Bye Bye Blackbird" is a duet with Raul Midón, who takes on the notes of a solo once performed by legendary trumpeter Miles Davis. The ever-energetic Lea DeLaria shares the mic for a spiffy and splashy "Down for Double." And two terrific tracks, "It's Sand, Man" and "Unsquare Dance" (Larry Kerchner's lyric for a Dave Brubeck composition), present the vocal trio JaLaLa, named for the first two letters of each woman's first name: Janis Siegel, Laurel Massé (her longtime colleague from their membership in The Manhattan Transfer), and Lauren Kinhan (of the long-running, like-minded New York Voices and the occasionally reconfigured group called Moss). And, left to her own devices for company, our star simply clones herself electronically to be her own harmonizing collective for the big band fave "Stompin' at the Savoy," the durable 1933 item which has also been interpolated in three Broadway productions (Black and Blue, Bubbling Brown Sugar and Swing!).

Musical accompaniment is headed by the up-for-the-challenge pianist/arranger John Di Martino, joined by nimble bassist Lonnie Plaxico, drummer Vince Cherico, and various guest instrumentalists. A booklet that comes with the CD gives some history of the creation of the songs as they stand with latter-day words. Note that the accomplished Janis Siegel contributed her own lyrics in two cases. The Art of Vocalese is an artfully entertaining enterprise.

JANET PLANET
STORYLINES
Stellar Sound
CD | Digital

Expressions of vulnerability and resilience share the stage on Storylines, the compelling singer Janet Planet's latest project in a long line of recordings. Following up on 2023's Hope Springs, the jazz-leaning artist again delves into the songs of Dr. Susan Weinschenk, a woman whose "day job" has been as a behavioral psychologist and author. If there somehow existed a Doctorate in Unabashed Musical Sincerity, both women would earn that degree. Author and muse are an ideal match.

Knowing that the writer's personal perspectives notably include the fear and fortitude involved with her battle with breast cancer lets a listener appreciate confessions and catharsis through that lens. However, the lyrics don't deal in health-specific references, so they stand on their own and are relatable to almost any kind of life struggles and dealing with apprehension or appreciation. More generally, some numbers are focused on aspects of interpersonal relationships. Emotions are unhesitatingly direct and palpable but, whether tender or raw, some restraint and trusting the material prevents overstatement. Gilding the lily is not needed.

While a few gutsier numbers, such as "I've Cut My Cryin' in Half," arrive clothed in feisty tones and funky instrumentation, it's Janet Planet's pensive and plaintive singing elsewhere that is truly spellbinding. Her empathetic and disarming deliveries of wistful ruminations–including the simple pleasures named in "The Things I Remember" and elusive comfort and hope sought in "I Pray for Help" and "There's Gotta Be a Rainbow Somewhere"–demonstrate her loving, steady laser-beam approach. In other hands, open wounds and open-hearted statements could risk wallowing in woe or pat platitudes, but such fates are not a worry with this savvy interpreter and the simpatico arrangements.

There are 14 musicians participating on the involving Storylines, including guitarist Kelvin Kaspar, keyboardist Matt Buchman, bassist Mark Urness, and reed player Tom Washatka (producer, sound engineer, and also longtime musical and marital partner of the singer who collaborated on the arrangements with the singer and the writer/producer). The physical CD with a full set of 15 songs can be purchased directly from the singer, while the digital release exists with a dozen of the tracks, and the others are available separately as a set of three digital bonus tracks.

As always, Janet Planet gets to the heart of a song, whether it's about being hearty, heartrending, heartwarming, or all of the above.

JAANA NARSIPUR
THE RE-COLLECTION
In the Pocket Jazz
CD | Digital | 2-LP Vinyl

The Re-Collection might be your cup of strong tea if you happen to be an avid fan of both driving jazz and 1980s pop hits, such as the ones singer Jaana Narsipur chooses for her new release ("British New Wave and Post-Punk ...with attitude" she specifies in her liner notes). This mixed marriage of genres offers mixed results and, although the vocalist seems comfortable and committed, I was far less engaged, especially due to the fact that the ten tracks are mostly on the long side. (Only three are shorter than five minutes in playing time, and five go beyond the six-minute mark.)

For too many of the selections, it's the almost relentless repetitions of simple choruses that test my patience, an irksome situation when the main chorus itself consists of back-to-back intoning of the same phrase and the words come along once more. Or twice more. Or more (of the same). Little change in tone, tempo, mood, or attitude comes along as things proceed. Exhibit A: the titular message of Joe Jackson's "You Can't Get What You Want (Till You Know What You Want)." And in the Eurythmics' "Here Comes the Rain Again," get ready because here comes that weather report again. But I guess it comes with the territory of many songs in the pop/rock universe. Some of the lyrics contain pithy thoughts and melodies that flow more than drone. Most engaging and artful is Sting's atmospheric "Sister Moon."

Bringing musical variety and welcome relief from the irritating reiterating and earworm situations are the mid-song muscular jazz instrumental sections, with much artistic license to veer from the established melody line structures. The band takes on a bigger burden as far as dynamics and dazzle. Perhaps if the vocal lines took the same kind of daring derring-do as her M.O.–bending notes, switching up the pace, some scat-singing, looser phrasing that breaks away from the strict structure, plus cutting one of the same old/same old choruses, the vocalist could be victorious. But there seems to be an agenda for the sung sections to make loyal connections to the old hits as they were famously done, for sake of fond nostalgia, leaving the reinventions to the band. (Pianist Nicki Adams, bassist Marco Panascio and percussionist Joe Abba are the core instrumentalists, with six other players who are each on board for either two or three tracks.)

This is Jaana Narsipur's only album since her debut way back in 2002, Better Than Anything, featuring songs of jazzmen Bob Dorough and Horace Silver. The kind of cross-pollination situation that The Re-Collection dives into is often something I enjoy. In this case, the problem (for me) lies not in the basic idea or the performer being ready, willing and able–it's just the limits of basic material. Your mileage, as they say, may vary.

JUDY WHITMORE
THIS IS HOME
Arden House Music
CD (EP) | Digital

Taking her American patriotism and salutes to the country's armed forces seriously, singer Judy Whitmore is convincing and spirited in honoring the USA in the year of its 250th anniversary of independence. This Is Home is an EP with six tracks (including three that are medleys). Earnest without laying on the corn or evoking strenuous rah-rah flag-waving to the extreme, she treats the old iconic anthems and dedications with decided warmth instead of stridency. And that's a welcome roadmap. It's a fond and supportive kind of cheery cheerleading, without sounding political.

It's quite a sumptuous production, with a grand total of 38 musicians in the orchestra, plus an eight-member choir on some tracks. Chris Walden is the arranger, conductor, and producer. Dedicating the set to her relatives who served in the armed forces (mother, father, and four other family members), Ms. Whitmore's enthused enterprise includes a mash-up of the uber-lively theme songs of the different branches. It's invigorating and kind of fun to hear them all together–each briefly, in this track that contains them all in under three minutes.

America's musical theatre forefathers, George M. Cohan and Irving Berlin, are each represented twice. Cohan's "Over There" is tied to wartime agenda, while his "You're a Grand Old Flag" hopes that "forever in peace may you wave." Berlin's "God Bless America" gets a rendition that is solid and reverent (the included introductory verse setting it up as "a solemn prayer" reminds us of the serious intent). The other is his noble setting of the poem gracing the Statue of Liberty, a timely reminder, in today's volatile climate and headlines, of an era's welcoming attitude about immigrants.

Putting the spotlight on acceptance, diversity and the ideals of the American Dream, "The House I Live In" is a gracious and grand highlight, as Judy Whitmore brings gravitas to this number most associated with Frank Sinatra, who sang it in a 1945 film short of the same name and throughout his career, although it was introduced three years earlier in a short-lived Broadway revue title Let Freedom Sing. Judy Whitmore sounds quite at home in this "House" song and throughout This Is Home.

JAMES JUDSON
SONGS OF MY DREAMS...
CD | Digital | Vinyl

The album title Songs of My Dreams... refers to the origin of most of the numbers on James Judson's collection. First, he reports, the melodies and the essence of the lyrics come to him in dreams, then he fleshes out the words, then he sings and records them. There are also two standards joining his 11 originals on the set with a retro feel. This song-dreamer's career dream path was one he pursued from his teens until his 30s: to be a full-time professional musician. But he put it aside to devote himself to being the father of six children and running his own construction business for about three decades. Now, after that extended "intermission," he's back to his dream job, having made this full-length album, accompanied by a large orchestra including a string section. It was preceded by the release of a few Christmas songs last year, which might be considered a "warm-up" for this ambitious endeavor, with friend Tim Sonnefeld multi-tasking as a key figure (playing keyboards and guitar, co-producing with Mr. J., contributing to the arrangements, and credited with the mix).

Melodies of the original songs are, by and large, more impactful than the words. The ambience features a mix of sentiment and swing, with invitations to romance and bursts of joy, usually with plain vocabulary and simpler rhymes, some of which aren't especially original. Underwhelming examples are "Hold my hand/ And you'll always understand" and "My Love for you/ Will always be true" (both appearing in the ardent "Eternal Love") and "It was such a wonderful thing/ It makes me want to sing" (in "The Wonderful Night Before"). Sometimes there's a noticeable lack of true rhymes.

Noticeably, a form of the word "kiss" pops up frequently–in seven of the 11 lyrics, including, most prominently, "Kiss Me"–as well as the only two non-Judson items: the standards "The Shadow of Your Smile" and its appearance in the rarely heard introductory verse to "All of Me." The latter is fashioned as a breezy duet with Laura Cole. In his take-charge enthused mode, he shouts out, "Let's blast off, baby!" and "Hit it, boys!" At other points, he's melancholy and reflective. There's something agreeable about the affectionate old-school feel in the better moments on Songs of My Dreams... for this later-in-life return to Career Plan A.