Where do you listen?
Choose your streaming service
inside the sleeve
Loading…
inside the sleeveITS
⌕
Read About

♫

Facts
Connections
Read more

Discography

Collaborations

Live on Youtube

Explore Further

Selected connections
1958 · Album

It’s Magic

↑ Abbey Lincoln

Recorded 1958 · Riverside · Album position: Third album
It’s Magic

A Singer Uncompromising in Her Choices

Lincoln's discography contains no duds — she never recorded anything she didn't believe in.

It's Magic arrived in 1958 as Abbey Lincoln's third album, a continuation of her work for Riverside Records. By this point in her career, Lincoln had already established herself as a vocalist unafraid to choose material with substance. This wasn't an album designed to showcase technical fireworks or to catch a trend. Instead, Lincoln selected songs that mattered to her personally — work with real stakes and real meaning.

AllMusic reviewer Scott Yanow captured what made the album worth hearing: because Lincoln has always been careful to sing songs that have deep meaning for her, all of her recordings through the years are memorable in their own way. He awarded the album 4½ stars and called it Recommended. That kind of consistency — choosing substance over marketability — became her signature approach. The Guardian's John Fordham noted that Lincoln was already taking on the agenda and urgency of the civil rights movement and the edginess of a freer kind of jazz still to come. Tracks like 'Ain't Nobody's Business' and 'Little Niles' stood out to him as lyrically irresistible.

This album didn't arrive as a commercial breakthrough or a turning point that changed everything overnight. What matters is that it represents Lincoln doing exactly what she would do throughout her career: refusing to compromise on meaning. The album found its audience among listeners who understood that a jazz vocalist could be an artist with convictions, not just a voice that could hit the notes. It's Magic matters because it shows that Lincoln never treated her work as entertainment first — the weight of what she was saying always came before the polish of how she said it.

Who's playing
Sam Jonesdouble bass
Paul Chambersdouble bass
Wynton Kellypiano
Benny Golsontenor saxophone
Art Farmertrumpet
Kenny Dorhamtrumpet
Curtis Fullertrombone
Sahib Shihabflute
Jerome Richardsonflute
Jo Jonesdrums
Listen next
By Abbey Lincoln
Abbey Is Blue 1959
Wynton Kelly's own record
Kelly Blue 1959
Wynton Kelly plays piano here
More Hard Bop
Cornbread 1965
Lee Morgan
Recording Info
Track listing
1I Am in Love2:49
2It’s Magic4:04
3Just for Me3:36
4An Occasional Man3:24
5Ain’t Nobody’s Business4:30
6Out of the Past4:47
7Music, Maestro, Please3:19
8Love2:42
9Exactly Like You2:56
10Little Niles5:03
Musicians
Further Reading
Read more

Where next?

More by Abbey Lincoln
Abbey Is Blue 1959
That’s Him! 1957
Straight Ahead 1961
Painted Lady
All 26 albums →
The musicians on this record
Kelly Blue 1959
Wynton Kelly
plays piano here
Quiet Kenny 1960
Kenny Dorham
plays trumpet here
Early Art 1961
Art Farmer
plays trumpet here
Percussion and Bass 1960
Jo Jones
plays drums (drum set) here
Their own records, close in time
More Hard Bop
Cornbread 1965
Lee Morgan
Open Sesame (The Rudy Van Gelder Edition) 1960
Freddie Hubbard
Byrd in Flight 1960
Donald Byrd
Speak No Evil 1965
Wayne Shorter
All 151 Hard Bop artists →

More by this artist

Albums with the same musicians

From the same era

Similar artists

inside the sleeve
Growing
Jazz, explained without pretension.
Read · Follow the connections · Press play
Right now: 7,100+ albums · 440+ artists
Start here
New to jazz? These artists are good places to start.
Loading…
Explore
Nine records worth getting lost in.
Born today
Album of the day
A landmark record, every day.
Read
  • Loading…
Article archive →
Recently added
Purpose
Inside the Sleeve is your companion on a journey through jazz — not a textbook, but something closer to a knowledgeable friend sitting next to you while you listen. Read about an artist, press play, follow a connection, discover an album you didn't know you needed.
Suggestions
Read

Articles

Essays, guides, and lists about jazz and the records that matter.

Loading…

Genre

Key Artists
Further Reading

Essential Albums

Related Genres

In This Genre

About

Inside the Sleeve

Work in progress

Inside the Sleeve grows continuously — new artists and albums are added, essays refined, as visitors explore and our editors follow up on what they find. Content, features, and design are still evolving; use the Report error button on any page to flag something that seems off.

Content

Every artist, album, and release date on Inside the Sleeve is real — verified against trusted sources including MusicBrainz and Wikipedia. We don't invent discographies or fabricate records. AI compiles that verified information into readable prose — essays on artists, albums, and the music itself. We can't manually review every essay before publishing, but every reported error is checked by a human editor.

Inside the Sleeve is not a review site. We're not here to rate or rank — we're here to guide you in. Where an album stands out, we'll say so. Where an artist changed everything, you'll know why. But we won't tear anything down. Jazz history is complex and sources sometimes disagree — if you spot something that seems off, please report it.

Streaming

Inside the Sleeve links to Spotify and Apple Music so you can listen while you read. These are not affiliate links. For Spotify, links open a search on open.spotify.com — we do not have direct links to specific recordings. For Apple Music, direct links are used where available, otherwise a search is opened.

Your choice of streaming service is stored locally in your browser only. It is never sent to our servers.

We're working on deeper Spotify integration, including direct links to specific recordings.

Privacy

Inside the Sleeve does not collect personal data and does not use cookies. We count page visits anonymously using a self-hosted analytics tool — no personal identifiers are stored, and the data never leaves our own server. The only preference stored on your device is your streaming service choice, saved locally in your browser and never transmitted.

When you submit a suggestion or error report, the text you write is stored in our database. No name or email is required or collected unless you choose to provide one.

Third-party services

Spotify and Apple Music are independent services with their own terms of use and privacy policies. Inside the Sleeve is not affiliated with or endorsed by either company.

Support

Inside the Sleeve is free and ad-free. If you enjoy it, a coffee helps cover server costs and keeps the project going.

Amazon

Some book recommendations on Inside the Sleeve link to Amazon. Buying through these links costs you nothing extra — but Amazon pays us a small commission, which goes directly towards keeping the site running. It's a simple way to support the project if you were going to buy the book anyway.

As an Amazon Associate, Inside the Sleeve earns from qualifying purchases.

Questions or feedback? Use the suggestion box on the front page.

Inside the Sleeve — A guide for those who want to go beyond the obvious About & Privacy