Champian Fulton: House Party

There are evenings when jazz truly finds its footing: social, spontaneous, and unguarded. House Party was recorded live in March 2025 at a producer's home for Turtle Bay Records, capturing one such moment. Pianist-vocalist Champian Fulton, joined by bassist Hide Tanaka and drummer Fukushi Tainaka, along with guest saxophonists Klas Lindquist and Cory Weeds, dispense with polish-for-polish's-sake and instead offer something more meaningful: the sound of musicians trusting each other without prior rehearsal.

The opening trio performance of "The One I Love (Belongs To Somebody Else)" is brief yet impactful. Fulton, always tasteful, begins the vocal with conversational phrasing rather than a theatrical style, which suits the song. Throughout her piano solo, Tanaka and Tainaka establish a groove that keeps the performance flowing, even in this understated curtain-raiser.

"I Cried For You" opens with a plaintive introductory chorus that quiets the room, but only briefly. The trio then dives into the tune at a pace that demands nerve and precision. Fulton's playing is sharp-edged, with crisp articulation and rhythmic control. Tainaka pushes the tune with a veteran's instinct for lift, and Tanaka delivers an arco solo that is beautifully judged and lyrical.

In Hoagy Carmichael and Mitchell Parish's "Stardust," Lindquist's contribution elevates the atmosphere. His alto work draws on the language of swing and bop, and his extended solo adds melodic depth and a lovely sense of contour to an old classic, making it sound newly cherished. Fulton's vocal interpretation of the ballad is subtle and graceful, filled with heartfelt sincerity.

Wayne Shorter's "One by One" marks the set's pivot away from the expected. Here, the trio swings as Fulton dives into the tune's angularity without overplaying its mystery. Tanaka's lines are sturdy and probing, and his solo is rich in tone and resonant. In turn, Tainaka builds tension measure by measure with subtle authority.

As the album unfolds, one is reminded that it is 2025 and that Fulton stands at the threshold of two milestones. Her 40th birthday and her 20th album as a leader are achievements that merit more admiration than they sometimes receive. It is easy to overlook an artist who has quietly and steadfastly built one of the most consistently rewarding catalogues in contemporary mainstream jazz.

Cole Porter's "Get Out of Town" introduces Weeds, whose big-toned tenor provides an ideal contrast to Fulton's poise. While Fulton delivers her vocal with cool intelligence, Weeds, once he enters with his solo, is commanding without bluster, and the rhythm section digs in harder.

Bebop legend Charlie Parker wrote "Billie's Bounce," an F major blues. With both Weeds and Lindquist in the room, his line serves as the launching pad for saxophone fireworks. Weeds starts the proceedings with breadth, weight, and a robust sense of declaration, and Lindquist's alto responds with finesse, darting and singing. Underneath, Fulton comps with sly authority, then takes a forceful, swinging turn. As the number closes, the saxophones trade choruses and fours, and the rhythm team never lets the temperature dip. The evening ends with Mabel Mercer's "Carry Me Back to Old Manhattan," a buoyant closer. Fulton's vocal approach to the number is warm and witty, reflecting the quiet confidence that has long marked her best work. Weeds and Lindquist are given full choruses, which they devour with soulfulness. Tanaka and Tainaka maintain their unflagging sense of time throughout.

With this release, Fulton confirms that she never needs gimmickry, but that poise, patience and a sense of artistic self-possession are the touchstones of her work.