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| Pacifica Tribune There’s a peacefulness about singer, musician Jennifer Lee; a calmness as equally rooted in the comfort of friends as in the ribbon of a melody. With a disarming sense of humor and the know-how to arrange a song to fit her groove, she started her Saturday night concert at the Sanchez Concert Hall in a crowd full of strangers and ended her encore in a room full of smiles. The house vocalist at San Francisco’s Ritz Carlton, Lee also plays piano, composes and knows how to drop a jaw with her rhythm ease on guitar. Having worked many years as an instrumentalist and arranger, Lee was once known only by her closet as a singer with the right stuff. Her recently released CD J-Walkin’ pretty much burns that door off the hinges with its great vocal layer of straight-ahead jazz, tinctured and infused by musical callings from the gardens of Brazil, lullaby land and down in the basement funk. A fair amount of melodies from that new CD were performed at Saturday night’s concert as Lee was joined on stage by Jeff Buenz on guitar, John Hettel on standup bass and Rich Kuhns on accordion. Lee often singled out her co-musicians with compliments, introductions and nods, with reason… Still, Lady Lee needs to put her own name out to the audience from time to time, just so there can be a little release of stored up ovation. Irving Berlin’s “Blue Skies” introduced the audience to Lee’s finger snap way with casual cool. But the second song up, George and Ira Gershwin’s “S’Wonderful!” with its silky mood and Brazilian beat, showcasing Lee on both vocal and rhythm guitar, established a sort of Jobim aphrodisiac which wove in and out of Lee’s Saturday night serenade. Lee’s version of the Carmichael/Webster tune “Baltimore Oriole” blew steam in all the right places and made for one smart duet jive between accordion and bass. Lee’s flirty cheek-to-cheek rendition of Cole Porter’s “Night and Day” made it clear why this was the song that “snagged her a husband” a few years back. A voice and bass duet grabbed a tom-tom tempo and shook it out sweet on the Lee and Hettle rendition of “Day By Day” (Cahn/Stordahl/Weston). “I Don’t Want To Fall” (Brancato/Bryson) was a smooth jazz waltz. Jobim’s “Ligia” was explained by Lee as being a song of longing tinged with bitterness and sarcasm; her delivery a gentle caress of the hauntings of almost love. Had Lee delivered this song simply with her vocal and guitar it would have been incredibly fantastic. With her onstage musicians there to lend an extra hand, particularly guitarist Buenz, this song went on into the realm of beyond all that...Then there was Lee’s every which way good rendition of “I’ll Remember April” (Raye/DePaul/Johnson); her great tell-a-Zen-tale and make-like-a-thundering mystic rhythm on Frank Loesser’s “The Inchworm”, and her sweet potato pie breakdown on Jon Hendricks’ “O Pato” (with outrageous bubble pop guitar by Buenz) that kept her audience clear on the fact, this was a seatbelts-on performance. Lee and band mates made the stuff of dreams on a vision medley arrangement of “On a Clear Day/Never Never Land” (Lerner/Lane) (Comdem/Green/Styne). “I Love Being Here With You” (Lee/Schluger) closed out the night with lyrics, melody and song satisfaction that just made one want to turn back the hands of time. The Henderson/Dixon classic “Bye Bye Blackbird” satisfied the heat on the audience’s call back ovation. Jennifer Lee told her audience that, “Music helps to keep my thoughts in a positive place.” Thanks Ms. Lee for keeping the Zen light on while cranking up your audience with a capture of the sweet. —Jean Bartlett, Arts Correspondent AllAboutJazz.com Listen. What grabs you about Jennifer Lee's artistic approach is her self-assured genuineness. The vocalist's debut CD, J-Walkin' leaves a strong impression of lack of pretense -- what you're hearing is the real Jennifer Lee. And in a female jazz vocalist in a field packed with talent, Ms. Lee is the real thing. Her complete vocal control is part of her appeal; a control that doesn't lend a constrained or stiff feeling to her music, but rather gives it the firm clarity of someone who knows exactly what they're doing. Lee's take on the under-recorded classic "I'm Old Fashioned" is a perfect example, and is perhaps the set's loveliest offering. Lee gives it a spare arrangement and slows the melody down, turns the tune towards deep introspection, with a sound that is remarkable for the crystalline clarity of her vocals juxtaposed with the sweet wheezing sighs of Rich Kuhn's accordion. The rhythm section remains the same throughout — Peter Sprague on guitar, Bob Magnussen, bass, Tommy Aros, percussion. Sprague is a San Diego area jazz mainstay who has played with Chick Corea, Billy Mays and Al Jarreau; and Magnusson, with his big, resonant, rubbery sound, has done bass chores for the likes of Sarah Vaughn, Bud Shank, Hank Jones, and Art Pepper. The arrangements on J-Walkin' are credited to Lee and guitarist Sprague, but considering this is the vocalist's debut, one has to suspect the veteran Sprague's contribution is considerable — he also recorded and mixed the CD. Hoagy Carmichael's "Baltimore Oriole" is reportedly Jennifer Lee's show stopper in live performances. Her rendition here has a smoky room, wee hours feel -- a bluesy brooder in the mode of Peggy Lee's (no relation, we can safely assume) "Fever," fingerpops deleted, with Tripp Sprague blowing a slow smolder on tenor sax. The title tune, written by Peter Sprague, has a measured, jaunty spring in its step; and on Jobim's "Chega de Saudade" Jennifer Lee shows us she can handle a Portuguese lyric with aplomb. Throw in the classics "Blue Skies" (sounding very danceable with the bounce Magnusson and Aros give it) and "Night and Day", a poignant Lee-penned tribute, "Note to My Niece", and even a spoken word "Inchworm Rap" tacked on to the classic "The Inchworm." In addition you have superb sound quality (like they're in the room with you), top notch accompanists, and ultimately, the finest vocal debut of the year thus far, big label or small. —Dan McClenaghan AllAboutJazz From the first note of this debut album, one can't help but be smitten with the charm and delivery of this San Francisco-based singer. I would expect that such an effort would be worthy of a jazz chanteuse on the order of Susannah McCorkle or another San Fran singer, Weslia Whitfield. The album was produced by guitarist Peter Sprague, a personal favorite during the late '70s and '80s. I wasn't surprised to find seven Sprague albums in my collection on Xanadu, Concord and Nova. Jennifer Lee is a late-in-life jazz singer who has studied with Kitty Margolis. She is also the house vocalist at the Ritz-Carlton Hotel in San Francisco. As a pianist-vocalist, Lee has put together a good mix of standards, some originals and two Brazilian tunes. What is striking is the warmth and clarity of her voice, reminiscent of the June Christy-Chris Connor school of jazz vocals. On three of the tunes - the title tune penned by Sprague, "Baltimore Oriole," and "November in the Snow" from Bill Mays/Mark Murphy - she scats in perfect unison with the accordion of Rich Kuhns and the tenor sax of Tripp Sprague. The result is a delightful musical experience. "Note to my Niece," a Lee original, is a latter day "Waltz For Debby." The Brazilian entries, "Chega de Saudade" and the lesser known "Rosa," coupled with Debussy's "Claire de Lune," are both sung effectively in Portugeuse. Frank Loesser's "Inchworm," not heard too frequently these days, is given an interesting reading replete with a spoken word "rap." The session closes with an original instrumental, "Cathy's Song," written for an ailing friend. The remainder of the album, "Blue Skies," "Night and Day," "I'm Old Fashioned" and "Please Don't Talk About Me When I'm Gone," could have been given a tired presentation inasmuch as they've been heard so often, but Jennifer Lee gives these songs a respectively bright or reflective treatment.All of the musicians chosen for this date play an important part ranging from Sprague and Magnusson's support to the fine tenor sax work of brother Tripp Sprague, subtle percussion from Lewis and Aros, and atmospheric accordion work from Kuhns. I don't know when Ms. Lee will be appearing in the NYC area next, but I do hope that I can be there too. —Michael P. Gladstone JazzNow
Jennifer Lee, vocals, piano; Peter Sprague, guitar; Bob Magnusson, bass; Tommy Aros, percussion; Tripp Sprague, saxophone; Rich Kuhns, accordion; Jason Lewis, drums. Jennifer Lee sings the Jerome Kern/Johnny Mercer number "I'm Old Fashioned" on this CD, and that is all to the good. Jennifer sings with a personal interpretation in a voice that is both sweet and clear. She covers a lot of standards here and does so delicately and delightfully. Cole Porter's "Night and Day" is a gentle pleasure, her collaborator for the arrangement, guitarist Peter Sprague, lays down the accompaniment with charm. "Note To My Niece," written by Jennifer, is a touching ballad supported by Peter Sprague on guitar and the accordion of Rich Kuhns. "Please Don't Talk About Me When I'm Gone," is given her own special style with a gentle swing, again the guitar of Peter Sprague supports admirably. Her interesting approach shows in "Rosa/Claire de Lune," unusual to hear an accordion and a guitar playing this Debussy classic, but it works beautifully; her choice of instrumentation for this CD goes a long way in its success. —Ferdinand Maylin SAN
FRANCISCO BAY GUARDIAN Irving Berlin may have written "Blue Skies" in Manhattan, but Bing Crosby gave it a sunny California ambience when he performed it in the 1946 movie musical of the same title. Oakland vocalist Jennifer Lee brings similar light to the tune on her debut CD, J-Walkin', recorded in San Diego with guitarist-producer Peter Sprague, bassist Bob Magnusson, and other world-class players from that area. Lee has an inviting alto tone, with little trace of vibrato, and she phrases with consummate subtlety, a welcome throwback to a school of singers such as June Christy and Chris Connor who were once associated with Stan Kenton's brassy southern California big band. The arrangements here, however, are the opposite of Kenton's. The instrumentation is imaginatively minimal, with the rock-solid Magnusson supplying the primary harmonic underpinning much of the time and accordionist Rich Kuhn adding fibrous warmth when the occasion calls. Lee's enunciation is diamond-clear, whether rendering Cole Porter's English or Antonio Carlos Jobim's Portuguese, and on a couple tunes she also plays some fine piano accompaniment, which is showcased on the lovely original instrumental, "Cathy's Song," that closes this sublime dozen-song set. Diana Krall, move over! —Lee Hildebrand JazzReview.com
Bay Area jazz singer Jennifer Lee recently came down to Los Angeles to give a performance celebrating the release of her debut CD J-Walkin' at Catalina's Bar & Grill. Leading a drummer-less trio, Ms. Lee's nearly two-hour set naturally highlighted numbers from that collection and was most interestingly included several bossa novas and folk songs sung convincingly in the original Portuguese. Rounding out the group quite capably were saxophonist Tripp Sprague, guitarist Steve Cotter and bassist John Leftwich. Singing lyrics by Hoagy Carmichael, Frank Loesser and other great songwriters, Jennifer Lee proved an able interpreter. Ms. Lee has drawn comparisons to singers like Jo Stafford and Julie Christy who sing in a 'cool' style. While she does render her vocals somewhat conversationally, Lee lets you know she's singing. She demonstrated her control of vibrato and pitch early on with a fresh sounding version of "Blue Skies." Another highlight was Carmichael's "Baltimore Oriole," her wintry vocal matched by Sprague's frosty sax and chilly guitar from Cotter. Lee is not just a good singer, but an engaging performer as well. Between songs, she projected a humorous, self-effacing and pleasantly neurotic persona that amused the intimate crowd. Her version of Loesser's "Inchworm" illustrated both facets of her musical personality nicely. Prefacing the tune with a long and funny anecdote about encountering a sect of hashish smoking Hindus on a trip to India, Lee proceeded to deliver the tune in an appropriately slinky manner, punctuating the number mid-song with an existential spoken-word aside that I would've thought was a stream of consciousness ad-lib if I wasn't already familiar with the version on the CD. Jennifer Lee's performance at Catalina's was warm and musically rewarding, and her backing band meshed well with her. On stage, Lee delivered on the promise shown on J-Walkin', her new CD on SBE Records. Ms. Lee explained that SBE stands for "Striving to Break Even"--she and her album deserve to reach that goal and then some. —Concert Review by Ted Kane JazzReview.com In her debut solo album, J-Walkin’, Jennifer Lee creates a mellow melting pot of newly arranged standards with a few surprises of her own. Almost daring not to impress, Lee takes on a unique style that we haven’t heard since the days of Sarah Vaughan and Billie Holiday. Rather than belting out the songs, Lee approaches them with sensitivity and emotion. The result is a luxurious CD in a classic tradition that is sure to impress even the most finicky jazz enthusiast. The most profound quality about Lee is her ability to hone the musical depth of her vocals. Using her voice like an instrument in her rendition of "Blue Skies," Lee avoids a strong chord foundation in the song. Instead, she chooses to blend her voice with the musicians to create an intimate orchestra of complimentary vibrations. This swinging version is sure to set your toes to tapping. Expressiveness is one of Lee’s hallmarks. The title song, "Jaywalkin’," is an empowering story of inner strength. Lee felt an immediate energy when Peter Sprague, co-arranger/guitarist, introduced the song to her. It "really spoke to me," stated Lee. "For me, the message was getting past our own self-imposed limitations. That particular message could probably speak to a lot of women in our culture." Encouraged by the positive examples in her own life, Lee looked to the San Francisco Bay area veteran, Kitty Margolis, as a mentor. Studying privately with Margolis built up her self-confidence. "She [Margolis] believed in me as a singer . . . encouraged me to do my first demo," said Lee. Margolis taught her "you really gotta press forward and put yourself out there, if you want to do this." Lee gets a lot of her inspiration from those who have walked before her. One of her favorite singers is Mark Murphy. "When I started listening [to Murphy], it totally changed how I listen to music," stated Lee. Other inspirations include: Sarah Vaughan, Anita O’Day and Diane Reeves. Lee learned a lot by listening to these singers and believes that connecting with the audience is first and foremost. "Playing music and singing brings me the closest to connecting to everything." That connectivity shows most strongly in "The Inchworm/Inchworm Rap." This special song features a gentle rap in a luxurious exchange of inner-reflection. Oddly enough, the "Inchworm Rap" didn’t develop itself overnight. Singing the song for a number of years, Lee tried arranging it in a variety of ways. However, it never fully blossomed until she started recording the CD. After plugging away for a few days in the studio, the message of the little inchworm became clear. She thought, "Hey, when are you going to get your head out of the details and look at the big picture." Thus, the "Inchworm Rap" was born. Bringing the album to life is a couple of songs written by Lee. Delving into the human experience, Lee shines in a delicate "Note to My Niece." Tugging at your heartstrings, Lee shares the isolation felt when you love someone out of reach. "Cathy’s Song" was written for a dear friend and features Lee on piano without vocals. This adds a nice touch that shows the wide range of the artist’s capabilities. Lee is definitely not your average entertainer. She sings, plays piano, writes music and is an accomplished arranger. Current plans are for concerts throughout California and Washington. If her live performances are anything like her CD, seeing Lee in person will be well worth the trip. —Artist Interview by Cheryl Hughey L.A.
Jazz Scene Jennifer Lee is unquestionably a progressive-minded vocalist, who arranges, composes, and plays piano and guitar. However, when singing, she takes listeners back to the era of classic pop and jazz vocalists. When singing at Catalina’s backed by a trio consisting of bassist John Leftwich, saxophonist Tripp Sprague, and guitarist Steve Cotter, she was reminiscent of Peggy Lee, Mary Ford, June Christy and a hip version of Dinah Shore. Lee though, puts an undated spin on the style with extended versions of classic songs. "Night and Day" was a perfect example, featuring her appealing breathy vocals and a refreshing solo by Sprague.As a treat to the audience, she dusted off forgotten classic "Charmaine" to give it an astonishing beautiful rendition, with only bass and guitar accompaniment. Her cool tone remained in pleasant mid-range throughout most of her set, but became brighter for a much-needed change during Ellington’s staple "Do Nothin’ Till You Hear From Me". Additionally, her trio exhibited verve with Cotter’s lyrical solo and Sprague’s peppy playing accenting. Leftwich who throughout the set provided a fluid foundation for the others to flow, shined with sultry playing on "The Inchworm". Lee displayed her scatting and spoken word skill, while also soaring in higher registers. Reinforcing her essence, the singer featured "Jaywalkin’" the title track of her CD that showcased her affinity for vintage material and the trio’s talent. L.A.
Jazz Scene A warm yet cool-toned and subtle singer based in San Francisco, Jennifer Lee makes her debut as a leader with J-Walkin’. Her versions of standards are often unusual and full of surprises; Lee and guitarist Peter Sprague are responsible for the arrangements. On "Blue Skies" she sings way behind the beat. "Night and Day" is given a light Latin rhythm, "I’m Old Fashioned" is taken quite slowly and on "Inchworm", she adds an oddly charming talking section in which she philosophizes a bit. The other standards include a very effective "Baltimore Oriole" (which features tenor-saxophonist Tripp Sprague), "Chega De Saudade" and a lighthearted and swinging "Please Don’t Talk About Me When I’m Gone". There are also a few originals ("Note to My Niece" is touching), a wordless vocal on Debussy’s "Claire de Lune" and a closing unaccompanied piano solo by Lee that is a tribute to a friend. In addition to the brothers Sprague, Lee is supported by bassist Bob Magnusson, drummer Jason Lewis, percussionist Tommy Aros and occasionally Rich Kuhns on accordion. Throughout the set, it is obvious that a lot of care went into the music and that each song means something to Jennifer Lee. Listeners who enjoy jazz-inspired vocalists who are superior interpreters of lyrics will find that J-Walkin’ means something to them too. This set is recommended and available from www.jennifer-lee.net. —Scott Yanow San Jose
Mercury News Jennifer Lee celebrates the release of her debut solo album, J-Walkin’, at The Edge nightclub in Palo Alto on Sunday afternoon, with guitarist Jeff Buenz, bassist John Hettel, percussionist Tim Gutierez and accordionist Rich Kuhns, a gifted musician who has also worked widely with Brazilian jazz singer Claudia Villela. The album was co-produced by Peter Sprague and mostly recorded in his Encinitas studio. A brilliant San Diego guitarist, Sprague has worked extensively with Chick Corea, Charles McPherson and Hubert Laws. He first heard Lee perform at a Southland jazz spot and was struck by her musicianship and ability to use her relatively small vocal range to maximum advantage. "There were so many elements that impressed me," Sprague says. "A lot of musicians don’t like working with singers because oftentimes there’s this diva approach without much musical knowledge. Jennifer doesn’t have any of that going on. She’s really gutsy. She’s very happy to sing with one instrument barely playing. She loves space and the drama that it creates." Lee and Sprague’s pianoless arrangements do leave her supple, clear voice plenty of room. From the album’s opening tune, a hard-swinging, harmonically spare version of "Blue Skys", she is in complete control, a smart vocalist unafraid of emotion. While her renditions of Jerome Kern and Johnny Mercer’s "I’m Old Fashioned" and Hoagy Carmichael’s soaring "Baltimore Oriole" are particularly memorable, she is not wedded to standards. The album’s most breathtaking track, inspired by Brazilian star Marisa Monte’s recording, is Lee’s gorgeous Portuguese version of the great samba composer Pixinguinha’s "Rosa", which segues into Debussy’s "Claire de Lune". —Andrew Gilbert
All photographs copyright Glenn Matsumura, all rights reserved. Photos may not be copied or reproduced without prior written permission. |
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