Jazz Voice - Vocal and Vocalese
larynx is located in the throat and contains the vocal chords
and glottis. With the exhalation of breath, the diaphragm forces
air up through cartilage "horn" of the larynx by contracting.
The air moves through the vocal chords, which are situated in
the muscular vibrating folds of the larynx, and the glottis, the
space formed between them. By stretching the vocal chords,
adjusting the tension and varying the air pressure through the
glottis, the pitch of our voice is adjusting, tuning higher or
lower. A lower sound requires a longer column of air and is felt
in the chest, a higher sound uses a shorter column of air and is
felt in the nose and head.”
The human voice is usually
considered to have at least three
voice registers; ranging from lowest to highest, they are
head register, and
whistle register, comprising the highest notes that a human
voice can reach, is also often considered a "full" register,
though the ability to use it well is fairly rare.) Some singers
remain in a single range (usually the chest register) throughout
their songs, but many will switch between these different ranges
in order to produce a wide range of pitches, or even simply for
Vibrato is a technique used by singers (and many
instrumentalists, for instance, string instruments that are
played with a bow can produce vibrato tones) in which a
sustained note actually wavers very quickly and consistently
between a very slightly higher and a lower tone, giving the note
a slight quaver.
Melisma occurs when a singer switches pitch while singing the
same syllable. It is used heavily in baroque vocal music, as
well as to a somewhat lesser extent in
What is Vocalese?
Vocalese is the setting of lyrics to
established jazz orchestral instrumentals. The word was coined by jazz critic
Leonard Feather to describe the first Lambert, Hendricks, & Ross album,
Sing a Song of Basie. On that album, overdubbing was used so that the
three singers using Jon's lyrics could replace the entire horn section of the
Count Basie Orchestra. Jon feels that the word most properly applies to such
elaborate multi-voice orchestral works, and it is in this context that Jon is
mistakenly known as the "Father of Vocalese".
The term is muddied, however,
because most commentators leave the word "orchestral" out of the definition.
They do not distinguish between the multi-part works pioneered by Hendricks &
Lambert, and the earlier style pioneered by Eddie Jefferson and King Pleasure,
where one solo instrument's part is replaced by a single singer. The styles are
obviously closely related, and it can be hard to tell where one shades into the
other. It was this definition of vocalese that Kurt Elling was thinking of when
he called Jon "the godfather of vocalese and perfector of the art"
Vocalese is a
term given to a small niche style of jazz and blues music. It is created by
giving a vocal chorus to the instrumental improvisation played by a jazz or
blues master. The vocal chorus is in tempo and syntax, and fits greatly with the
ideas of the originator of the solo. It is a very difficult and exacting task
and very few can master this art. The first was probably Eddie Jefferson, but
the most famous of its practitioners was a guy known by the flowery and
imaginative name of King Pleasure. The King came to be at the legendary amateur
night at the Apollo Theater in New York City one night in late 1951. Up to that
time he was known as Clarence Beeks,
but that night on stage he presented his own unique take on the standard tune
"I'm In The Mood For Love". Using lyrics originally written by Jefferson to the
solo on the tune by James Moody, Beeks did his number and was declared the
winner of the talent fest. King Pleasure was born that night in Harlem.
passed away in March of 1982 just shy of sixty years old.
Whatever definition you use,
vocalese is not scat, though one is commonly mistaken for the
other. Scat is singing nonsense syllables, generally to a tune which is
improvised on the spot. Vocalese is singing words to a pre-arranged tune.
Two predominant threads in
vocalese lyrics are storytelling and tributes. The latter is perhaps more
obvious -- frequently lyrics are a tribute to the musician who originally
recorded the tune in question. For instance, Eddie Jefferson's lyrics for
Coleman Hawkins' famous recording of "Body and Soul" sing the his praises --
"Don't you know, he was the king of saxophones." Likewise Jon's "I Remember
Tell a story through the solo is
another common trend. Kurt Elling's "Those Clouds Are Heavy, You Dig?" is an
adaptation of Rainer Maria Rilke's story "How the Thimble Came to be God" set to
a Paul Desmond solo. Jon's "Cottontail" retells the familiar children's tale
"Peter Cottontail" to Duke Ellington's tune .
CARL (JON) HENDRICKS
lyricist, and drummer, born in 1921 in Newark, OH. Jon Hendricks has been called
the "James Joyce of Jive" by Times Magazine and "The Poet Laureate of Jazz" by
Jazz critic and historian Leonard Feather. He has distinguished himself as a
vocalist capable of turning instrumental choruses into lyrically interesting
voices. Before Hendricks reached his teens, his family moved to Toledo, where he
began appearing on radio and where he encountered the pianist extraordinaire Art
Tatum, who took a keen interest in Hendrick’s musical development. A brief
encounter with the phenomenal saxophonist Charlie Parker caused Hendricks to
pursue music professionally. He was the key lyricist and principal member of the
trio Lambert, Hendricks and Ross formed in 1958. The group remained together for
6 years, during which time the trio toured widely and recorded extensively,
featuring a repertory of jazz vocaleses. The trio mastered the technique of
adding words to Jazz instrumental classics, including those of Basie and
Ellington. After that, Hendricks performed with the new group, Jon Hendricks and
Company. He moved to London in 1968 and performed in Europe and Africa for five
years. He frequently performed on British television and appeared in the British
film "Jazz is our religion" and the french film "Hommage a Cole Porter". He then
moved to California where he was a jazz critic for the San Francisco Chronicle
and taught classes at California State University at Sonoma and the University
of California at Beckerley. His 1985 album Vocalese won five Grammy Awards. His
television documentary, Somewhere To Lay My Weary Head, received an Emmy, Iris
and Peabody Award. His stage work, Evolution of the Blues, ran an unprecedented
five years at the Broadway theatre in San Francisco. Count Basie, Dizzy
Gillespie, Art Blakey, Buck Clayton, Miles Davis, Thelonious Monk, Wynton
Marsalis, and Bobby McFerrin are among those with whom he has worked. As written
in the New Grove Dictionary of Jazz, "He is a fine scat singer, and is also
adept at imitating instrumental sounds that his improvisations often surpass the
solos played by his accompanists." Jon appeared in the Film 'White Men
Can't Jump' as a street singer.
"THE ONLY ONE I WANT TO LYRICISE MY MUSIC"
Hendricks & Ross
They say as a child
I appeared a little bit wild
With all my crazy ideas
But I knew what was happening
I knew I was a genius
What's so strange when you're a wizard at three
I knew that this was meant to be
Annie Ross, "Twisted"
The seminal vocal group: Dave
Lambert, Jon Hendricks, and Annie Ross. Their first project was setting words to
Count Basie band numbers; they sang everything but the rhythm section parts,
which were played by the actual Basie rhythm section. Their next recording was
with the full Basie band. After that, they wandered on to a variety of things
before Annie Ross left in '62. (At which point they became
Lambert, Hendricks & Bavan.)
Wide three-part harmonies and excellent Jon Hendricks lyrics (mostly), this was
the best thing going for decades.
Come in twos, pay your dues,
What can you lose?
Just your blues!
So lose them!
Jon Hendricks, "Birdland"
Formed in 1975, this four person
group is modelled on a saxophone quartet.
Most of their albums feature at least
vocalese, and the aptly named Vocalese featured Hendricks lyrics
exclusively. In addition, they've done at least two Eddie Jefferson songs as
well, and several by various other people. Basically, there's nothing they've
done in this field that isn't top-notch.
are the Grammy Award winning vocal ensemble renowned for their
excellence in jazz and the art of group singing. Like the great
groups that have come before, such as Lambert, Hendricks and
Ross, Singers Unlimited, Manhattan Transfer and Take 6, they
have learned from the best and taken the art form to new levels.
Their interests are rooted in jazz, but often Brazilian, R and
B, classical, and pop influences are included with equal
creativity and authenticity. The group was formed in 1987 and
evolved into its present members Darmon Meader, Peter Eldridge,
Lauren Kinan, Kim Nazarian. By way of explanation, Darmon, and
attended Ithaca College in NY and were part of an invitational
alumni group formed to tour the European Jazz Festivals
They have had the pleasure of performing with a number of
influential jazz artists including Ray Brown, Bobby McFerrin,
Nancy Wilson, George Benson, Jon Hendricks, Annie Ross, the
Boston Pops, Diana Krall, Paquito D'Rivera, and many more.
Scat singing is
vocalizing either wordlessly or with nonsense words and
syllables as employed by singers ho create the equivalent of an
instrumental solo using only the voice. Thus it is a type of
voice instrumental While the use of nonsense syllables in
singing long predates scat, scat singing is distinguished by the
fact that rather than using the sounds to exactly reproduce the
melodic line, improvisations are made with the melody and
rhythm, much as in other jazz improvisation.
a preacher's son in Milwaukee, Wisconsin, Al Jarreau
started his musical career singing at the local church choir,
harmonizing with his brothers and performing at a variety of
local events in his hometown. His very first gig was at the
tender age of four at a Garden Fair. He continued his
experiences with hardbop scat vocals and bossa nova rhythms
during his time at the respected Ripon College in Wisconsin. "My
interest in improvised music began when I was a kid, my older
brothers were singers and brought a lot of jazz music into the
house," Jarreau recalls. He continued singing for fun,
performing locally with a band called THE INDIGOS during
weekends and holidays. After moving on to the University of Iowa
to earn his Master's Degree and becoming an all-conference
basketball and baseball player, Al Jarreau subsequently
relocated to San Francisco, beginning a career in rehabilitation
counselling. Starting to work in San Francisco in 1964, he
soon entered the Bay Area's club scene, fronting a trio headed
by George Duke at the Half Moon Club. By the time he had hooked
up with guitar player Julio Martinez in 1968, he realized that
he would make singing his life! "So one day I stopped getting up
at 7 am and just worked as a singer at night."
is not only a stellar performer he is also a band leader and
record producer. Having four CD's under his belt and his most
recent work, Smile Again on Griffith Records, a
record label Griffith created. Author, historian and jazz critic
Ira Gitler states about Smile Again, "Miles Griffith is a
very talented, multi-faceted singer who can croon short and
sweet as in "Hello Friend" or, using his voice instrumentally
can unleash passionate, informed swing as in his version of
Thelonious Monk's "We See." I like Tony's solo on "Autumn in New
York" and Miles scatting here combined the melodic, harmonic and
rhythmic beautifully. We see and hear. Oo-pa-pa-da!"
In 1994, he played the lead role of "Jesse" in Wynton Marsalis',
celebrated Blood On The Fields, the specially commissioned jazz
oratorio, which premiered at Lincoln Centers' Alice Tully Hall.
Griffith also participated on the recording, which was released
on Sony Music in mid 1997 to end Marsalis' Pulitzer Award and
Grammy winning world tour. Will Friedwald states, "Miles
Griffith shows off the scat technique that made him Wynton
Marsalis' choice for the leading role in Blood On The Fields."
been a jazz vocal educator for 18 years, having a Masters of
Jazz Vocal Performance Degree from Queens College, Bachelor of
Fine Arts degree from Long Island University and a private
instructor. In 2005, Griffith received the new Vocal Jazz
Instructor position at Columbia University Jazz Department in
New York City. Griffith taught twelve years at the New School
Jazz and Contemporary Music, four years at Jazzinty in Novo
Mesto, Slovenia, one year in Izola, Slovenia with the Plesni
Dance School and one year at the Groningen Conservatore in the
Netherlands. He brings his performance energy to the education
realm to excite, encourage and empower his students.
Thompson jazz vocalist, was
born in Detroit, Michigan, U.S.A. After years of appearances in talent
shows and local jazz joints and performances at Japanese concert halls
and swank Turkish night spots, the Japan-based and world-traveling
Thompson can rightfully be called a versatile master of jazz vocals. His
first CD, entitled "Jazz Is (Anything You Want It to Be)," is a fine
example of his polished vocal skill. With help from some of Detroit's
top jazz musicians, such as trumpeter Marcus Belgrave and Straight
Ahead's lead singer Cynthia Dewberry, Harvey shines on this CD, which
continues to receive regular radio airplay.
With his silky smooth voice, comfortable stage presence, and wide
repertoire, reflecting influences ranging from Johnny Hartman to Nat
King Cole, Harvey Thompson can be considered "the keeper of the flame"
of male jazz vocals. "My many years of paying dues (which I am still
paying!), learning my craft and improving my jazz technique, and
literally singing for my supper, have paid off. Today, I'm confident in
my ability to dignify the jazz idiom with my voice," Harvey says. "I've
been blessed to have been influenced by, met and even worked with, a
wide sample of the world's best jazz talent. These experiences have
helped to focus and strengthen my ongoing salute to some of the world's
great composers and to the vocal tradition that makes jazz such a
powerful international musical force!"
The critics agree that Harvey Thompson is a special talent: USA Today
says "Thompson is probably the jazziest of the new crooners." The
Detroit Free Press writes, "Harvey Thompson's eloquent baritone voice is
dark, smooth and luxurious, comparable to Joe Williams' and deeper than
Billy Eckstine's. His career is poised to skyrocket." And a Chicago
Tribune review of Harvey's CD states, "The ingenuity of the
arrangements, the stylistic breadth of the repertoire and the ebullience
of the performance establish Harvey Thompson as a band leader of unusual
sensitivity and musical accomplishment... He sings with as much poetry
as virtuosity and stands as a potentially major talent."
Among Harvey's musical achievements are: receiving rave reviews in the
Ron Milner musical "Crack Steppin"; numerous appearances at the Detroit
Montreux Jazz Festival; winner of WEMU Radio's Best Jazz Vocalist
competition; being named the Detroit NBC affiliate's first annual "Super
Singer"; opening for legendary jazz saxophonist Joe Henderson; singing
with the Benny Green Trio in Madrid, Spain; appearing at New York's
famed Tavern on the Green with piano great Dorothy Donegan and at a
follow-up engagement at the Tavern with acclaimed jazz cabaret pianist
and singer, the fabulous Ms. Jo Thompson.
The recipient of the 1995 Detroit Music Award for Jazz Artist Meriting
Wider Recognition, destined for great stardom, Harvey Thompson is a name
Check out this Vocalese Style Video as a variation on Visual Vocalese
- keep watching and wait until your brain penny drops.
Portrays a heated debate between Charlie Parker
and Dizzy Gillespie.
The recording is "Leap Frog", from Bird And Diz.
Gone but the Spirit prevails.
Carmen McRae - Body & Soul Video
Billie Holiday - Strange Fruit Video
who died from the lingering effects of the debilitating stroke which abruptly
ended his 65-year singing career in August 1996.
Of the same immigrant Russian-Jewish stock which contributed so many exemplary
figures to twentieth century American music (George and Ira Gershwin, Irving
Berlin, Benny Goodman, Stan Getz, etc.), Torme was born in Chicago on September
13, 1925. A child prodigy, he began singing publicly at the age of four, acting
by age nine, and playing drums by time he was a teenager. His first published
song, “Lament to Love,” was recorded by Harry James when Torme was only 15. He
would go on to publish another 250 songs, mostly in collaboration with Bob
Wells. Their best known effort is, of course, “The Christmas Song,” recorded by
Nat King Cole in 1945, and a holiday classic ever since. Torme frequently
commented that the song took less than an hour to write and was not one of his
Clive Dunstall has been working on his Voxtet
project for the past three years. Voxtet is Clive¹s wish list of a Take 6-type
singing group plus A-Team rhythm section a SuperSax & L.A.Voices for the 21st
century. The vocal group is: Donna Canale, Yona Dunsford, Jacqui Hicks, Alison
Jiear, Emer McParland, and Sam Shaw, with Andrew Playfoot and Colin Skinner. The
rhythm section is: Pete Callard (guitar), Nick Moss (sax), Dave Jones (bass) and
the king of groove, Frosty Beedle, on drums. Clive Dunstall's Voxtet expands the
traditions of Manhattan Transfer, New York Voices and Take Six with skills that
would have their inspirations shouting for joy, They are simply the best vocal
group in Britain. Concert promoters, jazz entrepreneurs or just those who love
the job done properly - miss them at your own risk!"
UK Jazz Vocalists
Emmanuelle The talents of Nicola Emmanuelle have
been obvious for some time to the many artists, producers and musical
directors who have been using her crystalline voice for studio albums, film
and television work, and now the public can enjoy one of the finest voices
at some of the foremost Jazz venues across London. Working hard in the
studio, and performing live around London with her band, Nicola has a
sensational set of songs evoking the work and sound of the original jazz
pioneers of the thirties, forties and fifties, along with stunning and
beautiful renditions of some of the all time great jazz standards.
Coming from a South African jazz dynasty, (her Father Nathan ‘Dambuza’
Mdledle was the founder and lead singer of the Manhattan Brothers) London
born Nicola attended the Cleo Laine school of music followed by the Bourne
school of music and Goldsmiths foundation, and enjoyed a Classical training
by Elizabeth Anderson Kramer.
Despite her enormous versatility and numerous genre changes for various
projects, Nicola retains a deep desire to follow in the classic jazz styles
she grew up with and has always loved. Her understanding of the feel
and swing of the best of the past, and her own contemporary iconic style
and individuality adds to and supports a voice of mesmerising purity and
Comfortable in all types of live situations, Nicola makes a speciality of
singing accapella and is capable of incredible scat solos when the mood
takes her. She can touch an audience with a torch song, before drawing
them back to laughter with her endearing and graceful humour. Nicola
has a way of sticking you to the spot, and always wanting more; you stay
there until forced to leave. Many acts have recently tried to
encompass the enduring appeal of the great jazz singers and writers - few if
any, have the capacity or talent to do it with such authenticity or
affection as Nicola Emmanuelle.
Hunter is most
well known as a Flautist, Pianist and Vocalist. Eileen has a wealth of musical
talent from theatre and concert performances to intimate jazz gigs.
She is a versatile performer and can be seen in various venues in and around
London. Among her recording credits are: “Falling” for Jive Records on
their compilation album “Sugar Valone” ; Fender Rhodes, flute and backing vocals
for Steve Brookstein’s no.1 selling album “Heart and Soul” ; flute on a track
for up and coming artist, Susy Thomas.
- Orchestra and The
Thilo Wolf Trio.
Festivities; The Eileen Hunter Quintet.
- Guest Soloist with
Her Majesty’s Band of the Royal Marines.
- Royal National
Theatre; Jazz in the Foyer/ Cabaret Attic space.
Chute At the tender age of 15 Daisy
Chute has produced an exciting debut CD Simply Jazz. The decision to do so
was made in the summer of 2004 at The Fionna Duncan Jazz Vocal Workshop in
Edinburgh when jazz legend, Mark Murphy, urged her to make a CD after
hearing her sing in his Masterclass.
Having spent the previous year as the first ever vocalist with the National
Youth Jazz Orchestra of Scotland she was gaining valuable performing experience
and the summer of '04 found her being highlighted in the Ladies of Jazz concert
at the Edinburgh Festival of Jazz and Blues. She was delighted to then be
included in the Sophisticated Ladies Jazz Cabaret hosted by Todd Gordon during
the Edinburgh Fringe Festival. In fact it was with this backing trio (David
Patrick Trio) that Daisy did this recording.
Daisy was no stranger to performing having debuted when nine years old, in Les
Miserables, as the Young Cosette during its Edinburgh run. She went on to charm
millions of television viewers with her rendition of "You made me love you" as
the young Judy Garland in Matthew Kelly's Kids Stars in their Eyes. ..... Now
Daisy sings as herself with a voice that is both immediate and unaffected, warm
"Absolutely wonderful... I'm so excited and it's not even my CD" - Todd Gordon,
Caleb - Elisa began singing at a young age in school choirs and at church.
Having spent many of her early years in Barbados, her style is creatively
rhythmic. When she came to London, her love for music grew. At 14, she began
listening to Jazz continually studying the tracks of her favourite vocalists;
Sarah Vaughan, Ella Fitzgerald and Billie Holiday. Music had still always
been for enjoyment and though she took up the violin as a child, her first love
remained singing. During college, she sang in a gospel group, sang backing
vocals, joined the college choir. It was here that she met her future guitarist
husband Jo Caleb, supporting guitarist Femi Temowo, bassist Michael Olatuja and
pianist Jonathan Idiagbonya - a fellowship that promised to be uniquely special.
She began working with the Jo Caleb trio in 2000, primarily as a manager and agent booking them into
various venues and clubs . Her exposure to the Jazz Scene, however, was about to
take a new turn when prompted to perform jazz rather than merely enjoying it as
Jazz Eddie - Elisa is a fine young vocalist with natural talent and good
microphone technique. She delivers finely honed renditions of the more difficult
material from the Great American Songbook and displays a maturity far beyond her
years. Her voice is destined to develop greater charm as the Timbre
advances and she currently delights the Jazz audiences both aurally and
visually. Appearing regularly at the Jam Sessions at The George IV,
Chiswick and also with her husband Joe Caleb (fine young but mature guitarist
and composer) on Tuesdays at The Good Yarn in Uxbridge. Catch these
refreshing performances by Elisa while you can get close to this
emerging British Talent. She is but a break away from Intergalactic
The Jams all take place on the last Monday of every
George IV, 185 Chiswick
High Road, London, W4 (nearest tube: Turnham Green (District Line). Buses: 237,
267, 391, 440, E3, H91). Doors open at 7.30pm, the music starts at 8pm.
Admission is £7 (£4 musicians, students, seniors) Albums by the artists
will be on sale on the night.
terrific musician, he not only sings but plays the piano, writes arrangements
and produces. If all that wasn’t enough he is an experienced actor with numerous
voice-over credits to his name as well. His energy and commitment are legendary
and his support for myself and the Club has been unflagging. A little like the
fourth musketeer Ian has been “adopted” by the team here and is looked on as an
“honorary” member of staff. He is also generous and supportive of young talent
and has been instrumental in introducing a considerable number of upcoming young
artists to the scene. Probably the most notable “protégé” is Jamie Cullum, whose
first CD Ian produced. He was instrumental in getting Jamie work here at the
Club and then his first deal with Candid records. The rest, as they say, is
history. He can also lay some claim (although knowing Ian he probably wouldn’t!)
to assisting the careers of Clare Teal, Polly Gibbons, Gwyneth Herbert, Symeon
Cosburn and latterly the wonderful young singer pianist Anthony Strong.
Voted Best Vocalist in the 2004 BBC British
Jazz Awards. He has recorded 8 highly acclaimed albums featuring
musicians including Cedar Walton, Kenny Washington, Joe Lovano and Lew
Soloff. He appears regularly on television and radio, including the BBC
Big Band and as a presenter for Radio 2’s “Big Band Special”. He
has performed throughout the world with artists such as Elvis Costello,
Sting, Paul McCartney and Bjork and he collaborates regularly with
Claire Martin and Liane Carroll. Ian studied Composition at King’s
College, London and has arranged and produced albums for Charlotte
Church, Gwyneth Herbert and Jamie Cullum, as well as scoring music for
films. He has lectured on the Middlesex University Jazz Course and
held master classes at the Guild Hall School of Music, amongst many
Born in Germany
and of Hungarian descent, Natalie was raised in a household surrounded by jazz,
nurtured on Miles Davies, Billie Holliday, and Ella Fitzgerald. An enthusiastic
dancer from age five, her vocal talents were not discovered until aged fifteen
and in secondary school. She attended the Guildhall School of Music & Drama in
the UK to read a BA(Hons) Jazz degree.
A talented songwriter and pianist, Natalie had been working in collaboration
with friend and producer Dan Marmolinera on debut tracks. This led to a meeting
with Eastside Records when she was signed to the label.
Natalie has a varied singing career. She performs with the European Jazz
Orchestra as well as on stage in Musicals and currently has a pop single
released which is receiving air play on Radio 1 as well as commercial stations
up and down the country to critical acclaim. Her influences include Lauryn
Hill, Eryka Badu, and her idol Stevie Wonder. Although heavily influenced by
jazz, Natalie's music's is a fusion of RnB, Funk and Soul mixed with a touch of
Gorrie - Jazz Vocalist
Denny Ilett Jr - Guitar 680KB
Hicks Jacqui studied saxophone, flute and clarinet at Leeds
College Of Music where she also started to sing. There followed a one year post
graduate course at the Guildhall School Of Music and Drama after which, in 1989,
she joined the National Youth Jazz Orchestra. Around 1992 Jacqui joined
Shakatak both as vocalist and saxophonist and has since toured most of the world
with them. She has also worked with Matt Bianco, again touring and appearing on
several albums. Jacqui's debut solo album "Spellbound", recorded with her
regular Band on Hi-Hat
Records (HHR 003) An English rose combined with artistry of
Aretha Franklin or Chaka Khan." (Paul Scott - M.U. magazine). "Spellbound" (Hi
- Hat Records) is her first solo album.
"...Her interpretations have the dynamism, the verve and the liveliness of a
true jazz artist..." Times. "...sounds a million." Crescendo. "...responds
thrillingly to the challenge of quite complex arrangements ...confident and
swinging... with assurance and flair" Jazz Express.
"Jacqui Hicks is a singer of warmth, poise and intelligence whose smoky voice is
a pleasure to listen to. This is her debut album, and it proves her to be one of
the best young vocalists around." ****
Andrew Vine - Yorkshire Post
"Jacqui Hicks is one of the most soulful singers working in Britain at the
moment.If her version of Reverend Lee Doesn't make you at least mildly hot under
the collar, then you haven't got blood in your veins..."
Paul Scott - M.U. Magazine
"...a beautifully crafted and controlled performance.A fine debut indeed."
Derek Day - Jazz Review."
Randy Bachman ( Bachman Turner Overdrive / The Guess Who )
“When I heard Lauren Field’s version of
I was totally mesmerized. Somehow she took the original version and made it even
sexier, more haunting, and more moody. The production and vocals on the track
are top notch and I would definitely pick this as the first single to hit radio
if I were a promo guy”.
Mathew Wright – BBC Radio 2 presenter,
said about Diva Lauren's
“The Story of Us”,
got to be the most exquisite tune I’ve ever heard.”
Field's sophisticated and soulful vocals are extremely pleasing, and she has
also assembled some fine accompanists. With one exception, the songs are all
originals by Field, either self penned or co-written with Randy Bachman or
"The Worm Has Turned"
are defiant manifest
There is plenty of variety in Lauren's songs, The album is very strong and
sensitive with smooth Latin inflections, both of which sit really well with her
sensual honeyed voice."
This is a Great! album and I want to review it again in our August edition." Bob
Bonsey – Blues Matters
“A superb piece of work! Lauren is an original singer - songwriter and has a
natural laid back style. This CD ( like the Nora Jones debut album ) will be a
slow burner and become a big seller. So if your bag is Diana Krall or K D
Lang I urge you to buy
.....the glowing reviews continue ad infinitum. Ms Field got the attention and
admiration of the critics. She made her mark and caused her seal of excellence
on the landscape of world music. Today, we are witnessing the reincarnation of a
world-class singer, a super artist of an unsurpassed talent.
Mike Smith on drums, Neil Angilley on Piano,
Steve Waterman on trumpet + flugel, Mark Johns on guitar and Gavin Scott on bass
out as a songwriter and pianist for his funk band, Vogue, gigging in and around
London, including upstairs at Ronnie's. He first tried his hand at singing after
the break up of the band when he found it difficult to find singers for demos of
new songs. But only ventured on a career as a vocalist after three years
studying singing, first at Goldsmiths College, and then at The Guildhall School
of Music and Drama. His first gigs were with Jim Mullen, with a debut at Ronnie
Scott's (this time downstairs!). Since then Anton has worked with numerous
bands. His session work has included appearances on Eastenders, Wogan and Top of
the Pops, backing Paul Young. In 1995 he recorded and toured with Jan Ponsford's
Vocal Chords and recorded an album with Duncan Lament for Solo Records. Since
then he has recorded his own album, You Can't Keep A Good Man Down, enjoying
airplay and favourable press reviews, and has recorded an album with pianist
her postgraduate degree in Jazz and Studio music at the Guildhall School of
Music, Anna has been working professionally as a performer, recording artist and
lecturer. She has been singing and playing piano alongside artists such as the
New London Jazz Voices and soul singer Jaki Graham. She has appeared at many of
the more prominent music venues including the Barbican Hall, Mezzos, The Mean
Fiddler, Borderline, and more recently headlining at the Jazz Cafe, featured in
radio and television programmes, and regularly performs and records with many
well known UK jazz and pop musicians. She is currently the Jazz Voice teacher at
the Leeds College of Music. Between 1997-99 she taught vocals and ensembles at
the London Music School. Her main inspiration derives from Roberta Flack, Nancy
Wilson, Aretha Franklin, and Donny Hathaway without straying too far away from a
'Anna's spine-tingling vocals and harmonies should be made the
benchmark for British soul, rhythm and blues artists.' Carl Eve- Evening Echo.
Georgia Mancio has one of the most unique voices on the London jazz scene today.
A natural, instinctive musician with a pure honeyed tone, her delivery is at
once soft and passionate, rich and bittersweet. Since her professional debut in
1997, she has performed twice at Ronnie Scott's in London prompting. She has
played the 100 Club, Mezzo, The Pizza Express Chain, The Royal Festival Hall
Foyer and recently completed a residency in Dubai. Her music is currently being
played on Jazz FM and next year sees an engagement at Pizza on the Park.
"A refreshingly modest and mesmerising performer, Georgia Mancio possesses a
rare honesty in her music-making that will mark a significant twist in the
story of modern day vocal jazz."
Kelly Hotly tipped by critics in 2003
as "one to watch", Juliet’s debut album, Aphrodite's Child attracted widespread
critical acclaim from jazz professionals both in her native UK and in the US as
well as enthusiastic responses from audiences on her recent UK tours. Her
songwriting has also been widely praised and she took honours in the jazz
category of the 2004 International Songwriting Competition (judged by Brandford
Marsalis). In 2005, Juliet performed with Courtney Pine in a live
broadcast for BBC4’s Jazz Britannia season at the Barbican. This was followed by
two successful sell-out concerts in Russia and her debut US performance that
took place at Sweet Rhythm jazz club (formerly Sweet Basil’s) in New York.
Juliet’s second album, Delicious Chemistry, was released at the end of 2005.
It's a collection of her newest songs that further showcase her talent for
writing laid-back accessible jazz with their subtle grooves, lilting melodies
and simple but quirky harmonies. Juliet's sensual, velvety vocals and jazz
phrasing (reminiscent of the original jazz divas) are sometimes described as a
cross between Sade, Norah Jones and Cassandra Wilson but Juliet has developed
her own distinctive style that needs no classification. Described by Jazzwise
Magazine as “exceptionally beautiful”, Delicious Chemistry includes guest
appearances from Courtney Pine, Byron Wallen, Omar Puente, Kate Williams and
Blake With a vocal background
covering blues, soul, folk, and opera, Emma Blake first emerged on the jazz
scene in 1997, and has steadily built up a solid reputation as an exciting,
sassy and risk-taking singer, earning the respect of other singers and
instrumentalists alike. Since she first sang at the London Jazz
Bistro, Emma has regularly appeared at The National Theatre, Quaglino’s,
Octave, PJ’s, Jazz7 and London’s famous Vortex Jazz Club. She has
also performed at The Savoy, Pizza Express, Mezzo and also Ronnie
Scott’s, where she was a special guest artist for Amnesty International’s
jazz benefit night for the victims of the World Trade Centre attack on 9/11.
Continuing her work for charity, in 2004 Emma performed with the Simon Brown
Trio at the Norwich Playhouse for a Jazz and Cabaret gala in aid of
Cancer Relief. In September 2005, she appeared with Christine Tobin and
Norma Winstone in Jazz on the Terrace’s inaugural September Song Jazz Festival
in Dublin, a new festival to “celebrate some of Jazz's finest contemporary
female vocalists and their wonderful ability to improvise and interpret the
standard”. Emma’s debut CD entitled “goodness knows…” was released
on Voiceprint Records in 2003, and received airplay and much acclaim on
Smooth FM and BBC Radio.
Jazz has always been a part of Zoe's life. The
passion passed on to her from her father, Mike Gilby who worked professionally
as a jazz trumpet player and arranger for over 40 years. His influence has
played a huge part and continues to do so. She has just finished recording a
debut album "Now That I am Real" The title reflects a particular stage in her
life and her music at the moment. They album will be released soon and I can't
wait. Meanwhile you can get your mouths watering by hitting her myspace!!!
Chantuese - female singer of popular songs -
from chanter sing