A notable Mandarin bonus track highlighting her popularity in Asian markets. Why the FLAC Version is Essential
Here is an in-depth exploration of the album, its musical significance, and why the 2011 FLAC edition remains a prized possession for high-fidelity audio enthusiasts. The Artist and the Album Context
A tribute to her major inspiration, Julie London, done with a fresh, brassy approach.
The keyword string specifies -FLAC- . FLAC stands for . It's an audio format that has become the gold standard for digital music among audiophiles and music lovers who demand the highest possible sound quality. But why is it so important, especially for an album like this?
For audiophiles and jazz enthusiasts seeking the highest fidelity, the album is frequently sought after in format to preserve the intricate textures of the brass arrangements and Fygi's characteristically smoky, intimate vocals. A Sophisticated Big Band Reimagining Laura Fygi - The Best Is Yet To Come -FLAC- -2011-
Before conquering the jazz world, Fygi was a member of the popular 1980s Dutch girl group Centerfold. However, her transition to solo jazz vocals in the early 1990s revealed her true calling. Working with legendary producers like Ruud Jacobs and musicians like Toots Thielemans, she established herself as a storyteller who treats every lyric with utmost intimacy. Inside The Best Is Yet To Come (2011)
Laura Fygi - The Best Is Yet To Come (2011) - A Masterclass in Big Band Vocal Jazz
According to JazzTimes, the album solidified Fygi's reputation as a more versatile and technically gifted vocalist than often credited, drawing strong comparisons to Peggy Lee. It was widely praised for its high production quality and the seamless blending of modern recording techniques with traditional, big band arrangements. Album Details (2011) Laura Fygi Album: The Best Is Yet To Come Label: T2 Entertainment via Apple Music Format: Audio CD / FLAC / Digital Tracks: 12 (including standard release) Genre: Jazz, Vocal Pop
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For the best possible listening experience, the FLAC (lossless) format is highly recommended. It preserves the full audio quality of the original recording, allowing you to hear all the subtle details, depth, and warmth of Laura Fygi's voice and the big band accompaniment, which lossy formats like MP3 would discard.
She tackles "Come Fly With Me" with a lightness that contrasts Sinatra’s swinging bravado, offering a sense of invitation rather than command. On "Smile," the Charlie Chaplin classic, she strips away the orchestration to let the melody's inherent melancholy shine through.
In a high-quality lossless file, you can mentally map the studio layout. The drums sit firmly in the back, the double bass anchors the center-left, the horns occupy a wide stereo arc, and Fygi stands dead center, intimate and immediate.
A sophisticated take on the Tony Bennett standard. The keyword string specifies -FLAC-
The album is not about sonic fireworks or deep bass drops. It is about subtlety, nuance, and emotional truth. And those qualities are fragile—easily lost in lossy compression. Hearing Laura Fygi’s voice in FLAC is like removing a light fabric from a painting. The colors become richer, the brushstrokes clearer, the artist’s intent intact.
Big band jazz relies heavily on sudden shifts in volume. FLAC preserves the true highs and lows without compression.
For audiophiles and jazz-pop enthusiasts, this 2011 release marks a confident, mature chapter in Fygi’s career—proof that even when revisiting classics, the best can indeed be yet to come.