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.