Released on the 19th November 2014, Faber Music is delighted to introduce the artist approved, matching songbook to Jamie Cullum’s latest album Interlude featuring all songs from the album transcribed for piano and voice.

Jamie Cullum is the UK’s best-selling jazz artist, ever. The radio show he has presented for the past four years on BBC Radio 2 is the most listened to jazz broadcast in all of Europe. Jamie returns to doing what he does best – jazz – with his seventh studio album, Interlude

Released last month, this spectacular album features jazz classics rearranged by Cullum, with the help of producer Ben Lamdin, and duets with Gregory Porter and Laura Mvula. His new album is a collection of twelve tracks, cribbed (mostly) from the earliest days of jazz, recorded simply in one room over three days, with incredible musicians, like it used to be.


This songbook is the most recent publication by Faber Music of Jamie Cullum’s albums and the lead up to its release has been much anticipated. Prior to launch, customers were offered a 10% pre-order offer with the chance to win one of five copies of the book signed by Jamie himself. Jamie Cullum got behind the promotion with a video to his fans urging them to take advantage of this great opportunity. 



Jamie Cullum on Interlude 

“Ben (Lamdin) and I really tried to avoid the more obvious jazz standard choices. It wasn’t so hard - Ben and I are both crate diggers so we approached the repertoire choice and arrangement references from that point of view. Interlude is the opening track and gives the album its name. It’s based on Sarah Vaughan’s vocal version of the Dizzy Gillespie tune Night in Tunisia. It’s not often sung these days and is a forgotten classic. It’s these particular corners of vocal jazz that aren’t so well known that Ben and I share a love of. Names like Duke Ellington, Alice and John Coltrane, Ray Charles, Nina Simone and Sarah Vaughan – they’re all the touchstones for Interlude. The arrangements take their cues from the thirties and forties, rather than wham-bam Sinatra from the fifties. Those arrangements were much more talkative – they didn’t just serve the singer, they served the band and the song as a whole. Our version of Make Someone Happy is a reference to the greatest piano and vocal record of all time: Bill Evans and Tony Bennet’s 1975 collaboration. All the tunes on this album can be traced back to an influence or record that has inspired it.”


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