elaine lucia

Elaine Lucia picks songs which are sometimes surprising within a live jazz set but which show what she can do. And she can do plenty. The other night at the Club Jazz Nouveau in San Francisco’s Cannery, she offered up “When You Wish Upon a Star” and made herself glow like a star in the making, well worth wishing on...Her vocal tone has a rare and pleasant purr, and her phrasing, which includes bravely sustained notes, is alluring without being contrived…The sparkling purity of her voice was well applied to “Alfie,” where another virtue rare among jazz singer shown though: she tempers her vibrato rather than over-exercizing it…As for Lucia, you can catch her at what she describes as “the perfect, intimate little jazz club for snuggling and listening to songs of love.” The date, in case you hadn’t guessed, is Valentine’s Day. There’ll be a lot to fall in love with.” –Jeff Kaliss, S.F. music writer/reviewer


In the annals of all of the heretofore unknown opening acts I've ever had to sit through at concerts over the years, Elaine Lucia certainly stands as one of the most pleasant surprises. She and her musicians are very tight, loose enough to be a lot of fun but with the discipline to avoid meandering and keep it sharp. Elaine herself has a fluid, enjoyable voice and a natural jazz vocal style ranging from the playful to the strong, incorporating a bit of scat singing, and just enough vocal pyrotechnics to show that she has the chops but wisely avoiding the oversinging that so plagues female vocalists of today (the Mariah/Whitney syndrome). In additions to a number of standards, she did a fine version of Sting's "Consider Me Gone" and brought the house down with the Joni Mitchell song "All I Want." I was impressed enough to buy her CD. –Mark J. Moerman, Amazon.com review


I agree wholeheartedly with Mark's review. I just discovered this album, thanks to reference by Herb Wong, who wrote the liner notes. Lucia has a high beautiful voice. She sings it straight or with swing, great clarity & diction (a bit like Singer's Unlimited's Bonnie Herman). There are also hints of smoldering sultriness & passion which recall another great high-voiced young singer, Tiernay Sutton. Highlights for me are "It Might as Well Be Spring," with some surprising twists, & Mitcell's "All I Want"-- a thoughtful, heartfelt reading. But it's all great. –E.C. Goodstein, Amazon.com review
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“You're going to like this combination: a high innocent voice, a batch of rarely-played tunes, and a large group of fine players. Elaine Lucia digs into Leonard Feather's "Love Is a Word for the Blues", having fun with the 5/4 time. Bell-like piano chords (Jonathan Alford) are met by brushes on a hard scamper (Curt Moore). On the bridge we hear an overdubbed choir of Elaines...you'll love it. She's a siren on "Key Largo" - enticing, and beautifully slow. (Then hear Bud Shank, his alto sweet like Paul Desmond.) And she plays the innocent on "Don't Go Away Mad", telling her unlikely tale in the sweetest way. When you hear a voice like hers, how could you be mad? Her sass is welcome on "I'm Gonna Go Fishin'", wed to a vamp that sounds like "Take Five". (This is Alford's best moment and possibly Elaine's.) She ends the disc by weeping, on the rainy "Small Day Tomorrow". The songs and the band are good - but you will remember this voice.” -- John Barrett, Staff Editor, JazzUSA.com


“…Lucia is in her element on Antonio Carlos Jobim's "Agua de Beber." The weight and sensual quality of her voice are very well suited to the bossa nova. The same can be said for her performance on the Duke Ellington/Peggy Lee tune "I'm Gonna Go Fishin'," and Frank Loesser's classic "Never Will I Marry."
The album begins and concludes with winning tunes that share a bluesy feel. The languid melodies "Detour Ahead" and "Small Day Tomorrow" are Lucia's most alluring performances. Her phrasing is richly colored and very feminine, and she sounds totally at ease on both, stretching out elegantly as she takes us through their lyrical passages. This album is a good career move for a young artist who has some cool, and shows a good bit of jazz savvy. -- By Philip Van Vleck , CDNOW


The play list and its performance on Elaine Lucia's debut album reflects the title, "jazz and other things".
…Lucia handles all of these "other things" as well as the jazz with ease and elegance. Just as important, she stays under control throughout, never losing contact with her fellow musicians and keeping on target with the point she is making with each of her interpretations. That her phrasing and intonation are impeccable helps considerably. Much of the technical strength comes from her early training in classical voice before moving on to country, rock and settling in jazz - - In sum, armed with all the requisite technical and interpretative tools, Lucia brings a bright, fresh approach to this material…On "Key Largo", Lucia holds the last note longer than usual, letting her voice drift away. A nice touch. Drifting seems to be a major theme on this album as the same feeling pervades Bob Dorough's "Small Day Tomorrow" where the intricate bass strumming of Pierre Archain complements Lucia's interpretation of this song…This maiden album features challenging arrangements of worthwhile material performed by top drawer musicians. This album is recommended. -- Dave Nathan, All Music Guide


Elaine Lucia is in the vein of song stylists like Sade and Diana Krall: taking the material they are given,
reworking the feel, and giving what might have been a familiar number a completely different emotion.
Featuring guest Bud Shank on saxophone, "Sings Jazz And Other Things" gives Elaine Lucia a chance to take on
her favorite songs, give them an upbeat twist, and make an album that is sure to bring a smile to your face. – Here’s Music in Review (E-zine)

- On-line/Print Media

August 23, 2006

Elaine Lucia

Every now and then along comes a singing voice that does justice to the grace and natural beauty of the one doing the singing. Such a voice is that of jazz vocalist Elaine Lucia. A lady who has been endowed with such exquisite charm and physical elegance that most reasonable people would consider any more gifts of nature to be grossly unfair to the rest of us mere mortals, Ms. Lucia has cornered the market on God-given talent. She has been blessed with a singing voice to match her gorgeous good looks.

I endured the 60 mile drive to Petaluma this past Sunday to catch her act at SoHo (formerly Zebulon's Lounge) since, just the day before I had heard her do a two-song guest shot at the Petaluma Jazz Festival with Gary Vongensen's jazz trio, at which time I became an instant captive.

She did not disappoint. Alluring at times; boistrous, bouncy and engaging at others. Funny, witty, delicate and eloquent, but always - always - classy and thoroughly professional. And she can sing! Oh my, can she sing!

Appearing with a quartet of unbelievably talented side-men, Jonathan Alford, piano; Pierre Archain, bass; Alan Hall, drums; and special guest, guitarist Gary Vogensen, Elaine brought the packed house to its collective feet, opening with Duke Ellington's I Like the Sunrise, her lead song on her newest CD, A Sonny Day, and she didn't stop until she'd gone through the entire album. Interspersed among a few standards such as Sunny and I Only Have Eyes for You were other, more obscure works which included Bacharach's In the Land of Make Believe and the haunting Bossa Nova-ish Lugar Bonito. She sang Sea Journey, a Chick Corea/Neville Potter composition, and a technically demanding piece with extremely intricate time signatures and harmonic structures. The band handled it flawlessly and Elaine sang it beautifully. Pierre Alchain, who may be the most animated bass player these old eyes have ever had the pleasure of watching, seemed to thrive in the complex rhythms, as did drummer Alan Hall, who not only swings with the best of them, but handles the tricky Latin beats with all the deftness one would expect of a seasoned pro. Piano player Jonathan Alford is nothing short of sensational. Incredibly, he played most of this challenging program without the benefit of sheet music, or so it seemed from my vantage point. But either with or without charts, the man was brilliant.

Probably the number one jazz guitarist in this entire musician-rich San Francico Bay Area, at least as far as any I've heard, is Gary Vogensen, performing on this night as a special guest artist, but who, on other occasions, records and leads a trio of his own. Gary was a perfect fit with this outstanding group of musicians. Few guitarists could have adapted with such apparent ease. My guess is that, in order for these guys to have been able to play these almost orchestral arrangements with such exacting precision, they would had to have spent many, many long hours at rehearsal. But without question - such diligence and hard work has paid off big-time. Their performances were superb.

But back to Elaine. At the risk of being accused of indulging in blatant hyperbole, I feel compelled to make some comments on Elaine Lucia's work as a jazz singer: I'll start by saying this gal's got chops. Major chops. There are unmistakable hints of Susannah McCorkle in her work. I'm convinced that Susannah herself, would sing Elaine's songbook in the same way, but probably not any better.

The pre-requisites for good jazz vocalizing can be summed up in just a few words: Range; timbre; breath control; timing; clarity, voicing and phrasing. A lot easier said than done. She possesses all of these qualities in spades. Add to that, a splash of pixie-ish playfulness and a sassy demeanor, with undertones of passion, pathos and pain, mix well, combine with three or four accomplished back-up musicians and it all adds up to a wonderful couple of hours of evening's entertainment.

Elaine's bio and other data can be found by clicking here: - Loren Abbey, GregHesterJazz.com

I can’t tell you how skeptical I get when I run across these countless
discs of female vocalists that I’ve never heard before. Do I really
want to know the background of what got the recording contract? What
kind of talent actually got the gig? Anyway, to my delight, this lady
has put out a few releases before, and if they are as good as this
current release, I’ve got to figure out how I’ve missed out on her.
Lucia has a sweet as honey voice, with a way of delivery that is both
disarming and comforting. Her selection of material is first class,
mostly based on the various aspects and dimensions of love. Her backup
band of Jonathan Alford (p), Pierre Archain (b), Alan Hall (dr), Gerry
Grosz (vibes) and Randy Vincent (g) give off a George Shearing kind of
feel; light and swinging. The disc has the Julie London come hither
type of feel, particularly on “I’d Love To Make Love To You” which I
will definitely NOT be listening to unless my wife is within listening
distance, it’s that dangerous! “Azure Te”, “Let’s Live Again” and
“Daddy” all fit into the late night mood, while the latter features
some great guitar solo work by Vincent. Also enjoyable are the
lighthearted tunes like “The Wildest Gal In Town” which is delivered in
a delightfully winsome way. This lady is on my A list. Get her a gig in
So Cal! - By George W. Harris, JazzWeekly.com

This CD is so thoroughly drenched in trad jazz vocal values that you have to look around while listening to it, assuring yourself you’re not sitting amid Victrola player, fleur de lise wallpaper, and Futuro-Vision Zenith television (with revolutionary 13″ screen!!!) running Ed Sullivan, Milton Berle, and live coverage of some fat Russian guy banging his shoe at the U.N. plenary meeting. Right from the start, Elaine Lucia demonstrates perfect tone atop a quintet laid back to allow her plenty of room while gussying up the atmosphere. In fact, in the slightly more muscular songs, such as Blue Prelude and In the Night, it’s rather astonishing just how firmly she has those vocal chords under control, well nigh unto an opera singer’s discipline. Hey, Kiri Te Kanawa once crossed over from the other side to quite nice results, so the two are very comparable indeed, no?

Smoky torch songs often infused with greater or lesser degrees of mannered bop tend to define the lion’s share of cuts here, the latter never trending to a hard edge, instead providing the sort of arresting exercises distinguishing the true pros from flat recitalists. Guitarist Randy Vincent jumps in every so often for oft surprising whiskeyed leads, as in I’d Love to Make Love to You, a song doubly surprising for Lucia’s matter-of-factly naughty girl-next-door reading etched in innocence and young knowledge. It’s follower, the classic Daddy, is more sex kitteny, slinkily gold-digger while promising rewards for walking into the velvet trap, a bit of Eartha Kitt slipping in.

Elaine Lucia’s following a long tradition, one populated by June Christie, Peggy Lee, and Kimiko Itoh, but, to be honest, not very many others. Many start to belt it out (Bette Midler), demonstrate pyrotechnics (Linda Rondstadt), or bop their brains out (take your pick of several), but few remain this solidly in such a sweetly seductive bandwidth. Lucia’s respected for her talents and even sang Don’t Go to Nat King Cole while she was recording it, a song not easy to master. As said, there are standards here, a bunch of well-chosen others, and even a song written by the singer herself, Sayulita, a breezy samba set with stars from Gerry Grosz’s vibes and as solid as the rest of the dozen tracks. If you’re a connoissieur of the human voice, mellow jazz, well considered torch-romantic songs, or all three, this is your disc. Have a glass of wine ready. - A review written for the Folk & Acoustic Music Exchange (F.A.M.E.) by Mark S. Tucker