Jeannette Lambert

jazz vocals, poetry etc.

Press

1-profile-filteredSAND UNDERFOOT
with Paul Bley, Michel Lambert, and Barre Phillips

“a top-notch session”, All-Music Guide
“a fascinating disc” WNUR
“a jewel” JazzWise

UNCLOUDED DAY
with Michel Lambert, Raoul Bjorkenheim and Mat Maneri

“fantastic and jaw dropping” JAZZNETT
“a winning live document ” THE WIRE
“like a cubist painting” MODISTI

“La voix est affirmée, fluide jusque dans ses expressions les plus atonales. Elle en devient elle-même le poème.. D’une rigueur belle et rare!” LE SOLEIL

“Unadorned elegance is the keynote of Jeannette Lambert’s singing.” TORONTO STAR

“Her vocal approach is horn-like – cool, crisp and precise in the manner of a trumpet player like Art Farmer.” Paul Blair, JAKARTA POST

“Jeannette Lambert, a very distinctive singer: Her repertoire is superb. ” DOBBIN’S DEN

Pick of the Week: “Amidst a crowded room of experimental female jazz vocalists, Jeannette Lambert comes across as a refreshing alternative to the usual sound manipulators. Her style is more reminiscent of avant-psych-folk from the 1960s than any jazz vocalist; think of her as a cross between ESP-Disk folk, Fairport Convention, and Patty Waters. Her voice has a sing-song quality that buoys up even the compellingly dark musical atmospheres created here by Phillips, Bley, and Michel Lambert … This fascinating disc is also further proof of the vitality of Quebec’s jazz scene.”
Justin Glick, WNUR

“Jeannette Lambert’s singing rarely recalls conventional jazz vocalists or for that matter free-improv singers: it’s more like conversation gently shaped into a sort of freeform folksong. There seems to be little compositional scaffolding on Sand Underfoot, but Lambert sings her lyrics as if teasing music out of the words themselves, phrase by phrase, discovering melodies that circle back on themselves the same way her poems often cyclically repeat a key phrase. … when she’s playing off other bandmembers the results are alert and refreshingly free of singer’s-improv cliché. It’s unusual to hear Paul Bley’s harmonically treacherous lyricism on a vocalist’s album, and he’s in fine form here, his abrupt sea-changes alternately complementing and challenging Lambert. Reunited here with bassist Barre Phillips for the first time since Sankt Gerold, he also strikes up a strong relationship with drummer Michel Lambert … the furious “Théo’s Pace,” Bley’s freest, most aggressive performance in some years… if the above description intrigues then do give it a try. Bley’s admirers will certainly find it an intriguing one-off.”
Nate Dorward, CADENCE