CYRILLE AIMÉE  *4.24* 

Step into the electrifying world of Cyrille Aimée with her breathtaking new live album, *4.24*, recorded during an unforgettable run at the legendary Birdland in April 2024. Set for release on June 13, 2025, this album is more than just a collection of songs—it’s a vibrant time capsule of Aimée’s genre-defying brilliance, where jazz, soul, and global rhythms ignite in real time. With *4.24*, Cyrille takes her live show to another level entirely, bottling the raw energy, spontaneity, and sheer joy of her performances. Her trademark scat improvisations dance effortlessly over intricate arrangements, while the intimate yet explosive atmosphere of Birdland pulses through every note. If you’ve ever wanted to feel the magic of a Cyrille Aimée show, this is your front-row seat.

After her Grammy-nominated À Fleur de Peau (2024) leaned into pop and soul, *4.24* answers the burning question: How would these songs breathe in a live jazz setting? Backed by a dream band—Mathis Picard (piano), Michael Valeanu (guitar), Wayne Tucker (trumpet), Julian Lee (sax), Pedro Segundo (drums/percussion), and Tamir Schmerling (bass)—Aimée strips her recent work to its emotional core, proving her music thrives onstage.

Setting the Vibe: Rumba, Groove & Intimacy

The album opens with “Mi Piel, Tu Piel”, “, a song written by Spanish singer Marina Tuset, where Aimée’s voice dances with Picard’s rumba-tinged piano before the band swells in, horns weaving around Segundo’s percussive pulse. Schmerling’s double bass locks the groove, and you can feel the room’s energy.

“For the Love” (from À Fleur de Peau) gets a percussive overhaul—Segundo’s congas and kit work are so layered, it’s hard to believe it’s one drummer. Valeanu’s guitar solo crackles, pushing Aimée into a soaring, wordless finale.

Then, “Back to You” pares down to voice and bass, slowly adding guitar and piano hues. Julian Lee’s sax solo smolders, proving even Aimée’s gentlest tunes ignite improvisational sparks.

The Heart of the Album: Joy & Scat Mastery

“Beautiful Way” (the lead single) is a album highlight. Aimée sings in English and Spanish with effortless charm, while Schmerling’s basslines groove hard. But the climax? A scat solo so electrifying, it’s worth replaying the entire track just to relive it.

“Casita” is a masterclass in simmering tension and release. The track opens in intimate conversation—just Valeanu’s guitar and Aimée’s own delicate nylon-string plucking, weaving a warm, Spanish-language invitation. Then, like friends crowding into a cozy room, the band slips in, transforming the vibe into a slinky, R&B-tinged groove. But the showstopper? Wayne Tucker’s trumpet solo—a masterful slow burn that starts with smoky restraint before erupting into a dazzling, rhythmic climax, pushing the track toward its final, anthemic chorus, where bandmates join her on backing voals too.

Raw Moments: Kazzoo, Breakups & Nature

“Here” embodies the album’s live-in-the-moment ethos. The lyric “There’s nowhere else to be than just here” mirrors Aimée’s palpable joy—even her kazoo solo (trading with sax and trumpet) feels delightfully unscripted. The only quibble? The track fades out, teasing what else the Birdland audience witnessed that night.

“Inside and Out” lets Valeanu shine on a wah-drenched guitar solo, building from whispers to a near-rock climax. Schmerling’s bassline hooks deep, while group vocals on the chorus make it feel like a celebration.

“Historia de Amor” is Aimée’s ode to nature—just voice and guitar at first, then the band blooms like sunlight through trees. Her phrasing is intimate, as if singing to each listener alone.

The Triumphant Finale: Scat, Swing & No Fade-Outs

“Be With Me” transforms heartbreak into resilience. After a soul-baring verse, Aimée unleashes a scat tour de force—first with backed by Valeanu’s guitar only and clapping from the band. It’s the kind of performance that leaves you breathless, scrambling to hit repeat.

The closer, “But Not For Me” (Gershwin’s jazz standard), is a playful nod to Aimée’s roots. Her sly vocal twists and the band’s swinging solos (no fade-out here!) wrap the album on a high, leaving no doubt: This band could’ve played all night.

Verdict: A Live Album That Demands to Be Seen (Even Unseen)

*4.24* isn’t just a document—it’s an invitation. Aimée’s voice is a beacon of warmth, her band a whirlwind of spontaneity. Whether it’s the percussive fire of “For the Love”, the scat genius of “Beautiful Way”, or the raw kazoo-and-all fun of “Here”, this album makes you wish you’d been there.

Follow Cyrille Aimée for more news on her website.

Want to see more of the muic we recommend? Dive deeper here!