All About Jazz

Home » Articles » Catching Up With

Dear All About Jazz Readers,

If you're familiar with All About Jazz, you know that we've dedicated over two decades to supporting jazz as an art form, and more importantly, the creative musicians who make it. Our enduring commitment has made All About Jazz one of the most culturally important websites of its kind in the world reaching hundreds of thousands of readers every month. However, to expand our offerings and develop new means to foster jazz discovery we need your help.

You can become a sustaining member for a modest $20 and in return, we'll immediately hide those pesky Google ads PLUS deliver exclusive content and provide access to future articles for a full year! This combination will not only improve your AAJ experience, it will allow us to continue to rigorously build on the great work we first started in 1995. Read on to view our project ideas...

9

Lauren Lee: On Being Uncool

Suzanne Lorge By

Sign in to view read count
[Participating in the Uncool Festival] made me be authentic, in my own voice, as a composer for the first time. —Lauren Lee
Lauren Lee is one of a new breed of singer-songwriter. She has all the bona fides of a traditional jazz singer and pianist, but she needs to do things her own way. As a singer and composer, she gives her imprimatur to cross-cultural experimentation and off-the-beaten-track forms of vocal expression, never straying far from the post-bop mother ship.

All About Jazz: Since you released your first album of jazz originals, The Consciousness Test, in 2016, your profile as a singer-songwriter in both the US and Europe has been rising steadily. How would you describe the arc of your development as an artist?

Lauren Lee: When I first graduated from school [in 2011], I got stuck in the rut of having to do a different job, even though I have a master's degree in jazz performance. I was terrified of doing [music], so I was always trying to find what the fit was. I liked post-bop, like Eric Dolphy, and late John Coltrane and Wayne Shorter, and that was my thing. But I'm a singer and pianist, so how do I translate this to my chosen instrument? I tried doing other stuff—I did big band, free jazz. And living in New York, there are always so many opportunities to do things like that that I never got settled as an artist myself.

AAJ: Tell us about being an artist-in-residence at the Uncool Festival last fall. Such a great gig.

LL: The Uncool Festival started in the early 2000s in the Italian portion of Switzerland in Poschiavo, which was the place in the Alps where the Sun Ra Arkestra would go hang out in the summer. At the festival they would have new music, free jazz, improvised music—it was a very forward-thinking festival all funded by the Swiss government. After a few years they didn't have the funding to sustain the festival anymore, but they would invite individual artists come. They usually have different people, mostly in creative jazz, but they also do contemporary and classical music. The deal is that you sit and you create new work and do some concerts. It's a really cool thing.

AAJ: How did the residency influence you creatively?

LL: Having the opportunity to be out of the country for six weeks alone gave me a chance to say, "OK, I'm here with no expectations. They're paying me to stay here and write music. What do I want to write? What kind of music do I want to hear?" This trip made me be authentic, in my own voice, as a composer for the first time.

AAJ: How did your compositional voice change?

LL: I listened to a lot of music there that I don't normally listen to—Scandinavian folk music and different singer-songwriters like Leonard Cohen. So while the [new compositions are] definitely in the jazz realm, you can hear some of these other things. On my first album, some of the compositions lean very experimental and others lean more straight ahead. The new material is very different from anything on that album.

AAJ: How so?

LL: Many of the [new] compositions are written so that the piano and the voice have the melody, but in different capacities. I also write things where the voice is a harmony instrument, not necessarily playing the melody. Sometimes the sax has the melody and the voice is doing guide tones or something in the background. More like what you would traditionally hear, with a saxophone playing behind a singer.

AAJ: Did you also write lyrics or are the compositions wordless?

LL: Some of both. I have a lot of text. Many of the songs that I wrote in Switzerland do have words, but not all of them. Some of them are more textural—I've been experimenting with different types of sounds. For example, having things that sound like words but that aren't, by manipulating the vowels in a way where you go "is she saying a word?" The band Sigur Ros does that, and it's really fascinating because you can't tell if they're singing in a language you've never heard or if it's nonsense and they're just making stuff up. It becomes a language just for that piece of music.

AAJ: How does improvisation factor into your new material?

LL: Improv is the key of everything I do, and in these pieces I encourage the band to solo as much as possible. I like doing collective improvs for intros, so the piece will be very sparse, with the saxophonist doing this and the bassist doing that. What you're hearing will probably be improvised, and it'll have nothing to do with the changes or the groove of the piece once we start.

AAJ: So your improvised music is more structured than free improv, veering toward the experimental?

LL: Definitely. But it has elements of both. I don't know if classifying it as experimental is the right thing. It's not traditional necessarily, but a lot of the sounds are familiar to people. If you were to insert every vocal jazz thing you've ever listened to from the most straight-ahead to the most totally out there, I think this would probably be right in the middle.

AAJ: What are the lyrics like?

Tags

Related Video

comments powered by Disqus

Related Articles

Read Frank van Berkel: New Programmer at Amsterdam's Bimhuis is Committed to Serve and to Curate Catching Up With
Frank van Berkel: New Programmer at Amsterdam's...
by Joan Gannij
Published: August 7, 2018
Read Erik Friedlander: Reversing Abstraction Catching Up With
Erik Friedlander: Reversing Abstraction
by Ludovico Granvassu
Published: July 31, 2018
Read Elio Villafranca: Five Islands & A Revolt Catching Up With
Elio Villafranca: Five Islands & A Revolt
by John Ephland
Published: July 21, 2018
Read Gideon King: Street Jazz Catching Up With
Gideon King: Street Jazz
by Paul Naser
Published: July 11, 2018
Read Tiffany Austin: Unbroken Catching Up With
Tiffany Austin: Unbroken
by Walter Atkins
Published: June 8, 2018
Read Lauren Lee: On Being Uncool Catching Up With
Lauren Lee: On Being Uncool
by Suzanne Lorge
Published: May 10, 2018
Read "The Dazzling Alexis Cole" Catching Up With The Dazzling Alexis Cole
by Suzanne Lorge
Published: October 19, 2017
Read "Ellen Doty: Goosebumps All Over" Catching Up With Ellen Doty: Goosebumps All Over
by Kevin Press
Published: March 4, 2018
Read "Alex Han: Embracing The Spirit" Catching Up With Alex Han: Embracing The Spirit
by Liz Goodwin
Published: October 4, 2017
Read "Lauren Lee: On Being Uncool" Catching Up With Lauren Lee: On Being Uncool
by Suzanne Lorge
Published: May 10, 2018
Read "Elio Villafranca: Five Islands & A Revolt" Catching Up With Elio Villafranca: Five Islands & A Revolt
by John Ephland
Published: July 21, 2018
Read "Ramon Valle: The Amsterdam transplant remains rooted in Cuba" Catching Up With Ramon Valle: The Amsterdam transplant remains rooted in Cuba
by Joan Gannij
Published: October 3, 2017