6 Mellow Albums for Cold Nights

Getz/Gilberto ’76, by Stan Getz and João Gilberto
Jazz and bossa nova fans shouldn’t miss this one, a collaboration between legendary tenor saxophonist Stan Getz and Brazilian guitarist João Gilberto. Over the course of their careers, both men established bossa nova as a defined musical genre, which they elevated to new heights whenever they recorded together. Getz/Gilberto ’76 is a great album for unwinding after a long day, or for entertaining a low-key gathering of friends, because it’s mellow without being listless. The rhythms and melodies here are expertly played, and Gilberto’s soft voice is treated as another instrument instead of the album’s focal point. Standout tracks include “Aguas de Março,” “Rosa Morena,” and “Doralice.”

Furnace Room Lullaby, by Neko Case and Her Boyfriends
Neko Case’s second solo album is an alt-country masterpiece that hasn’t aged a day since its original release back in 2000. It’s really just an excellent country album, with lots of twangy guitars and homespun harmonies alongside Neko’s powerful and engaging voice. The title track was her attempt at a Louvin Brothers–style murder ballad, and it delivers on multiple levels; it’s one of Neko’s best vocal performances, with great lyrics that draw from classic country and Edgar Allan Poe. Other standout tracks include the brassy “Mood to Burn Bridges,” the slow and heartbroken “Bought and Sold,” and the faster-paced, bluegrass-tinged “Guided By Wire.”

A Love Supreme, by John Coltrane
Originally released in 1965, A Love Supreme is considered not only John Coltrane’s best work, but one of the greatest jazz albums of all time. Blending the bluesy melodic concepts and rhythms of hard bop with the chaotic expression of free jazz, Coltrane created something remarkable, and its impact on jazz cannot be understated. The album is a suite of four pieces that communicates a spiritual message, said to be influenced by Coltrane’s exposure to Ahmadiyya Islam, and features Coltrane “reciting” the words to a poem on his tenor saxophone while his band absolutely rages in the background. Listening to A Love Supreme as one continuous piece is as transcendent an experience as you’re likely to find in modern music, which only sweetens the appeal of this vinyl release.

Tapestry, by Carole King
Even if you’re not familiar with the name Carole King, you probably know her songs; King was one of the best pop songwriters of the 1970s, and her 1971 album Tapestry establishes her talents very quickly. Not to mention, she worked with a bunch of great musicians on this album, including future stars Joni Mitchell and James Taylor. King’s voice was part folk singer and part Motown, lending a lot of spark to songs like “I Feel the Earth Move” and “You’ve Got a Friend,” as well as her version of “Will You Love Me Tomorrow,” which she originally wrote for the Shirelles. And, of course, her recording of “(You Make Me Feel Like) A Natural Woman” is still the best one.

Full Circle, by Loretta Lynn
Like Neko Case, Loretta Lynn is unashamed of her country music roots, but there’s nothing “alt” about Loretta; she’s pure country, through and through. Her upcoming album, Full Circle, is her first studio album in over a decade, and it’s aptly named. Lynn is playing the same brand of old-school country music—slide guitars, sad lyrics, humble presentation—that made her famous so many years ago. But if Lynn’s music is somewhat downbeat, it can also be clever. “Everything It Takes” is full of great lines, including “she’s got everything it takes/to take everything you’ve got” and “she’s had a million old flames/so to her, you’re nothing new.”

You and I, by Jeff Buckley
Jeff Buckley’s tragic death in 1997 has overshadowed other aspects of his life and short career, but this upcoming album of unreleased covers will shine the spotlight where it belongs: on his voice. Buckley was blessed with a four-octave tenor range that he used to maximize the emotional impact of his songs. Where other singers would have been content to show off, Buckley realized the true power of his voice. His vocal performances on Bob Dylan’s “Just Like a Woman” and Led Zeppelin’s “Night Flight” are undeniable proof of that. He also recorded dynamite versions of two Smiths songs, “The Boy With The Thorn In His Side” and “I Know It’s Over,” and Sly and the Family Stone’s “Everyday People.”