Carol Welsman’s greatest hits represent some of the most elegant, swinging, and emotionally resonant jazz vocal recordings of the modern era. If you’ve been searching for the best songs of Carol Welsman, you’ve landed in exactly the right place. This Canadian jazz pianist and vocalist has spent decades crafting a sound that sits comfortably at the intersection of classic American songbook tradition and contemporary jazz sensibility — and her catalog is nothing short of stunning. From smoky ballads to brassy swing numbers, every track she touches feels lived-in, intelligent, and utterly captivating.
Whether you’re a longtime fan revisiting favorites or a newcomer just discovering her magic, this guide breaks down 20 essential Carol Welsman songs with the kind of depth and passion they truly deserve. Pair them with a great pair of headphones (check out our headphone comparisons for recommendations that’ll do her voice justice), and settle in.
Dance With Me
“Dance With Me” is one of Carol Welsman’s most irresistible offerings — a breezy, invitation of a song that practically pulls you off your feet. Her piano playing here is light and rhythmically precise, comping behind her own vocals with the kind of instinctive musicianship you only develop after years of serious study and performance. The arrangement swings effortlessly, with brushed drums and walking bass creating a living, breathing groove underneath Carol’s warm, conversational phrasing.
What’s remarkable is how naturally playful the whole thing feels. Welsman doesn’t oversell the lyric; instead, she lets the melody do the heavy lifting, landing each phrase with just the right amount of lilt. It’s the kind of song that sounds just as good floating through a quiet kitchen on a Sunday morning as it does pumping through quality earbuds during a commute. An absolute entry point for anyone new to her music.
Fever
Few songs reveal a vocalist’s command of dynamics quite like “Fever,” and Carol Welsman’s version is a master class in restrained intensity. Where many singers lean into the drama and oversell every syllable, Welsman keeps things cool and perfectly controlled — which, paradoxically, makes the heat of the song even more palpable. Her piano accompaniment here is sparse and deliberate, with strategic silences that create real tension.
The production on this track is clean and intimate, placing her voice front and center without any unnecessary ornamentation. Every breath, every subtle pitch inflection feels intentional. It’s jazz noir at its finest — cinematic in the best possible way — and it absolutely demands to be heard on high-quality audio equipment that captures the full depth of the recording.
I Love Being Here With You
Originally popularized by Peggy Lee, “I Love Being Here With You” is a showcase of genuine joy in performance, and Carol Welsman makes it entirely her own. Her version crackles with energy — the piano line is bright and declarative, the rhythm section locks into a groove that just won’t quit, and Welsman herself sounds like she’s having the time of her life behind the microphone.
This is one of those tracks that perfectly illustrates what separates a musician from a mere singer. Welsman’s phrasing is both precise and free-feeling — she swings every bar without ever sounding mechanical. The call-and-response between her voice and piano is especially charming, and the arrangement’s cheerful brass touches add just the right festive warmth. An essential Carol Welsman track.
And So It Goes
Carol Welsman’s interpretation of Billy Joel’s deeply personal ballad “And So It Goes” is one of her most quietly devastating performances. She strips the song back to its emotional core — voice and piano, intimate and unhurried — allowing the lyric’s gentle sadness to breathe without melodrama. Her touch on the keys here is delicate and impressionistic, almost like she’s watercoloring the harmony rather than playing it.
The jazz sensibility she brings to a pop standard is remarkable. She finds the melancholy inside each chord change with the instinct of a musician who truly understands song architecture. Listening to this on headphones at night is an experience that stops you mid-breath. It’s one of the best arguments for why Carol Welsman belongs in the same conversation as the great jazz vocal interpreters of any era.
Bewitched
“Bewitched (Bothered and Bewildered)” has been recorded by virtually every major jazz vocalist in history, which means any new version has to do something genuinely special to stand out. Carol Welsman’s reading absolutely does. Her tempo choice is languid and dreamlike, creating a sense of suspended time that perfectly serves the lyric’s theme of romantic obsession.
Her piano voicings here are lush and harmonically sophisticated — you can hear her jazz training at work in the way she reharmonizes the familiar chord changes just enough to make them feel freshly discovered. Vocally, she hits the sweet spot between vulnerable and wry, which is exactly what this song demands. Discover more interpretive jazz gems by exploring our broader songs category for recommendations across multiple artists and styles.
Pick Yourself Up
Jerome Kern and Dorothy Fields’ “Pick Yourself Up” is a dance-floor classic, and Carol Welsman brings an irresistible sass to her recording of it. The arrangement is tight and punchy, with the rhythm section pushing the tempo in a way that practically forces your foot to tap. Welsman’s vocal delivery has a lovely theatrical quality here — she’s telling a story, not just singing a lyric.
Her piano playing on this track is particularly impressive, balancing its role in the ensemble while never losing its individual voice. The interplay between her comping and her vocals shows a musician who truly hears the full picture while performing both simultaneously. Uplifting, energetic, and endlessly fun — this is Carol Welsman at her most jubilant.
This Lullaby
“This Lullaby” stands apart in Carol Welsman’s catalog as one of her most tender and intimate recordings. The song settles into a gentle, rocking rhythm that lives up to its name — there’s a real cradling quality to the arrangement, with soft brushwork and pillowy chord voicings from Welsman’s piano. Her voice here is hushed and warm, as though she’s genuinely singing someone to sleep.
The emotional restraint she brings to “This Lullaby” is exactly right. She doesn’t push for effect; she simply inhabits the moment. The result is a song that feels private, almost like you’re overhearing something deeply personal. For jazz lovers who appreciate the quieter side of the genre — the late-night, headphones-on, lights-low listening experience — this track is essential.
Baby, Close Your Eyes
“Baby, Close Your Eyes” is one of those Carol Welsman recordings that establishes mood from the first note and never lets go. The production here leans into a late-night lounge atmosphere — unhurried, atmospheric, and seductively dark in the best way. Welsman’s piano introduction sets the scene immediately: you’re somewhere cozy, the lights are low, and time has slowed.
Her vocal phrasing has a wonderful conversational intimacy on this track, as though she’s speaking directly to one person and only one person. The subtle swing underneath keeps things from becoming too static, giving the song a gentle pulse that makes it feel alive. It’s the kind of performance that rewards close listening — the more attention you give it, the more detail you discover.
Just Imagination
“Just Imagination” showcases the playful, whimsical side of Carol Welsman’s artistry. There’s a lightness to this track that feels almost childlike in the best sense — innocent, wide-eyed, and genuinely delightful. Her piano work here has a storybook quality, with melodic runs that feel like little musical illustrations of the lyric’s imagery.
The arrangement is sprightly and well-constructed, giving the song room to breathe while keeping the energy buoyant throughout. Welsman’s vocal performance is charming without being precious — she walks that line perfectly, finding warmth and humor in the lyric without ever losing her jazz credibility. It’s a track that leaves you smiling every single time.
Lucky to Be Me
Leonard Bernstein’s “Lucky to Be Me” from the musical On the Town is a song that demands genuine vocal charisma to land properly, and Carol Welsman delivers it in spades. Her version swings with purpose and radiates authentic joy — you genuinely believe every word she sings. The piano arrangement is rhythmically alive, with a striding quality that gives the track its forward momentum.
What’s particularly impressive is how Welsman manages to honor the theatrical origins of the song while making it feel completely natural in a jazz context. She never oversells the sentiment, trusting the melody to carry the emotion. It’s a sunny, life-affirming track that earns a permanent spot in any feel-good jazz playlist.
Swing Ladies Swing
“Swing Ladies Swing” is Carol Welsman in full-throttle swing mode, and it’s exhilarating. The track bounces with an infectious big-band spirit even if the ensemble is relatively intimate — such is the power of a great rhythm section and a vocalist who truly understands how to ride a groove. Welsman’s timing on this track is impeccable, landing phrases with rhythmic precision that would make any seasoned jazz musician nod in appreciation.
The celebratory energy here is undeniable. This is music that makes you want to move — feet tapping, shoulders rolling, full body engaged. It’s a reminder that at its best, jazz is fundamentally physical music, and Carol Welsman absolutely understands that dimension of the form.
Hold Me
“Hold Me” is one of Carol Welsman’s most unabashedly romantic recordings — a tender, slow-burning love song that showcases the depth of her interpretive gifts. The arrangement is luxurious and unhurried, with harmonically rich piano chording creating a warm, enveloping sound. Welsman’s vocal line rides above it all with effortless grace, shaping the melody in ways that feel both inevitable and subtly surprising.
The production quality on this track is excellent — her voice sits naturally in the mix, intimate enough to feel personal but never claustrophobically close. It’s the kind of song that reminds you why the Great American Songbook remains such fertile territory for jazz vocalists. Carol Welsman sounds completely at home here, and it shows.
The Language of Love
“The Language of Love” is a title that could easily tip into cheese, but Carol Welsman’s execution is anything but. This is sophisticated, adult jazz that treats its listener as intelligent and emotionally capable. The harmonic language of the track is rich and considered, with Welsman’s piano contributing textures that elevate the whole performance.
Her vocal approach here has a continental elegance — there’s something almost French in the phrasing, with that particular quality of understatement that conveys emotion through suggestion rather than statement. It’s a track that grows richer with repeated listening, revealing new details each time through. Exactly what great jazz should do.
Whatcha Got Cookin
“Whatcha Got Cookin” brings the fun factor up several notches, with Carol Welsman leaning into a sassy, playful vocal delivery that’s absolutely irresistible. The track has a kitchen-sink energy — busy, warm, and smelling of something wonderful. Her piano comping here is rhythmically conversational, punctuating her own vocal phrases with little musical asides that add personality and humor.
This is the track you put on when you want to turn a regular Tuesday into something worth celebrating. The rhythm section grooves with ease, the arrangement has just the right amount of sparkle, and Welsman sounds like she’s genuinely having a blast. Pure, uncomplicated jazz joy.
Memories of You
“Memories of You,” originally written by Eubie Blake with lyrics by Andy Razaf, is one of the most beautiful melodies in all of American popular music — and Carol Welsman treats it with the reverence it deserves. Her version is slow, spacious, and deeply felt, with a piano introduction that sets an atmosphere of bittersweet reflection before a single word is sung.
Her vocal performance here is among her most emotionally complex. She navigates the lyric with intelligence and feeling, finding nuance in every phrase without ever becoming self-indulgent. The song’s gentle melancholy suits her voice perfectly, and the result is a recording that stays with you long after the track ends. One of the genuine highlights of her catalog.
I Like Men
“I Like Men” is Carol Welsman at her most playfully confident — a witty, swinging declaration that lands with exactly the right combination of charm and sass. Her vocal delivery has a theatrical wink to it, but the musicianship underneath is completely serious. The piano work is sharp and propulsive, the rhythm section swings hard, and Welsman herself seems to relish every syllable.
It’s the kind of track that showcases how well-rounded she is as a performer — comfortable with humor, strong enough rhythmically to drive a swinging number, and smart enough to find the humanity inside an apparently lightweight lyric. Wonderfully entertaining from start to finish.
Journey
“Journey” represents a more reflective side of Carol Welsman’s artistry — a track that feels like it’s genuinely going somewhere, both musically and emotionally. The arrangement builds with quiet purpose, with her piano playing taking on a slightly more adventurous harmonic quality than some of her more straightforward swing numbers. There’s an exploratory quality to the song that rewards patient listening.
Vocally, Welsman brings a contemplative depth here that’s genuinely moving. She’s not performing the lyric so much as inhabiting it — a distinction that separates truly great jazz vocalists from merely competent ones. If you want to explore more music with this kind of emotional depth, our songs category has plenty to discover.
Alone Together
The Arthur Schwartz and Howard Dietz standard “Alone Together” is a song that lives or dies on the vocalist’s ability to hold tension — to make loneliness feel like something you’d voluntarily seek out. Carol Welsman’s version does exactly this. Her reading is elegant and aching, with piano voicings that seem to lean into the harmonic ambiguity that makes this song so emotionally complex.
The pacing is deliberate and controlled, with Welsman shaping each phrase with a jazz musician’s understanding of space and rhythm. This isn’t a sad song so much as a beautifully observed one — the kind of track that makes you feel something without quite knowing what it is. Essential listening.
Moonglow
“Moonglow,” the classic Will Hudson, Eddie DeLange, and Irving Mills composition, has one of the most evocative melodies in the jazz repertoire — and Carol Welsman’s version shimmers with appropriately nocturnal beauty. Her piano introduction alone is worth the price of admission: luminous, unhurried, and harmonically gorgeous. For a song about moonlight, it’s remarkably well-lit.
Her vocal performance floats above the arrangement with a quality that’s almost weightless — she has a way of inhabiting the upper part of her range without any sense of strain or effort. The overall effect is dreamy and transportive. This is the kind of recording that makes you want to upgrade your listening setup immediately — check out our earbud comparison guide to find something worthy of the experience.
Goody Goody
“Goody Goody,” the delicious revenge fantasy written by Matty Malneck and Johnny Mercer, is an absolute gem of a closer for this list. Carol Welsman’s version is positively gleeful — she delivers the lyric with a triumphant energy that’s infectious and genuinely funny. The arrangement swings hard and bright, with the rhythm section locked in tight and the whole thing bouncing along with irresistible momentum.
There’s a theatrical joy to Welsman’s performance here that calls back to the golden age of jazz vocalists who understood that entertainment and artistry were never mutually exclusive. She sings this song like she means it, and the result is one of the most purely fun tracks in her entire catalog. A perfect note to end on — or, more likely, a perfect reason to start the whole playlist over again.
Frequently Asked Questions
Who is Carol Welsman?
Carol Welsman is a Canadian jazz pianist, vocalist, and arranger who has built an internationally respected career across multiple decades. She studied classical piano from a young age before transitioning into jazz, and her dual proficiency as both instrumentalist and vocalist gives her a unique musical perspective. She has recorded numerous albums and performed at prestigious jazz festivals and venues worldwide, earning recognition for her sophisticated musicianship and warm vocal style.
What style of music does Carol Welsman perform?
Carol Welsman primarily performs in the jazz tradition, with a strong emphasis on the Great American Songbook — the classic standards written by composers like Cole Porter, Rodgers and Hart, Jerome Kern, and others. Her style blends traditional swing jazz with a contemporary sensibility, and she is equally at home with swinging uptempo numbers, intimate ballads, and playful novelty songs. Her background as a trained pianist informs everything she does as a vocalist.
What are Carol Welsman’s most popular albums?
Carol Welsman has released a number of well-regarded albums throughout her career, including The Language of Love, You Are the Cats, Easier to Love, and Swing Ladies Swing, among others. Each album typically showcases her range as both a vocalist and pianist, featuring a mix of standards and original compositions arranged with jazz authenticity and musical intelligence.
Is Carol Welsman primarily a vocalist or a pianist?
She is genuinely both — and this is what makes her artistry distinctive. Unlike many jazz vocalists who have a pianist as a separate collaborator, Welsman often performs and records as a pianist-vocalist, accompanying herself while singing. This gives her complete creative control over phrasing, dynamics, and arrangement, and the result is a seamlessly integrated musical personality that is quite rare.
Where can I listen to Carol Welsman’s music?
Carol Welsman’s music is available on major streaming platforms including Spotify, Apple Music, and Amazon Music. Her albums are also available for purchase in digital and physical formats through online music retailers. Many jazz radio stations and streaming playlists dedicated to vocal jazz and the Great American Songbook regularly feature her recordings.
How does Carol Welsman compare to other contemporary jazz vocalists?
Welsman occupies a distinctive space in contemporary jazz — she has the classical training of a serious musician, the swinging instincts of a natural jazz player, and a vocal warmth that is entirely her own. Listeners who enjoy Diana Krall, Stacey Kent, or Jane Monheit will likely find Carol Welsman equally if not more rewarding. Her dual role as pianist and vocalist gives her a creative coherence that sets her apart from vocalists who rely on external accompanists.