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THE AGE 2/7/07Remarkable grace in amazing voiceJessica Nicholas, Reviewer Bennetts Lane Jazz Lab 30th June, 2007 Lisa Young Quartet What is the definition of "grace"? One answer, perhaps, is the serenity that comes with self-acceptance. It's a strongly appealing quality, and one that Lisa Young clearly embodies when she sings. It's also the title of her most recent CD, which won this year's Bell Award for Best Jazz Vocal Album. In many ways, Grace reflects the sum of Young's journey in life thus far - both musically and personally. Several songs reflect the satisfaction of finally knowing and accepting oneself, as in Love After Love (which opens with the lyric: The time will come when, with elation, you will greet yourself arriving at your own door). On Saturday night, Young greeted a large crowd at Bennetts Lane and welcomed them warmly, offering two memorable sets with her quartet. Regular guitarist Steve Magnusson had injured his hand, so Geoff Hughes was called in at short notice to fill the guitar role. He did an admirable job in a difficult situation, negotiating Young's all-original repertoire and intricate arrangements with dexterity and poise. Only about half Young's songs come with lyrics attached. Of these, Saturday's highlights included the aforementioned Love After Love and the exquisite Unity (performed as a heartfelt duet with acoustic bassist Ben Robertson). But many of the compositions we heard on Saturday contained no words at all. Here, Young's voice leapt, darted and soared wordlessly, interacting with her fellow musicians as an agile and extremely flexible instrument. There were frequent passages inspired by Young's fascination with Indian vocal percussion (or konnakol), where the voice imitates the rhythms of the double-headed mridangam drum. On The Moon Has Made Other Plans, she and drummer Dave Beck locked into a sequence of razor-sharp percussive syllables with incredible precision. And on Deep in Madras, the night's closing tune, the singer accompanied herself on aslatuas, swinging the small seed-filled balls around her wrists to mirror the joyful syncopation in her own, truly remarkable voice. __________________________ THE AGE Green Guide It’s quite a few years since Lisa Young released her last recording as leader. In that time, she has worked in settings including the exciting a capella group Coco’s Lunch. Here, with bassist Ben Robertson, guitarist Stephen Magnusson and drummer Dave Beck, she introduces the listener to new vistas. Check out the konnakkol, the Indian vocal percussion technique here flavoured by jazz. The strength of this album lies partly in her use of voice as instrument, partly in the sensitivity of the instrumentalists complementing and working in with her, answering her lines or bouncing off them. Imagine the voice stretched into various sounds that feel as if they are coming from a drum kit and you will get the idea. On the title track, at the start of the album, her voice works in with Beck as he keeps time to the staccato machine-gun-like rhythms of her wordless vocals before the rest move in. Or the way she beats out a rhythm against Magnusson’s liquid lines on Sa Ri Ga. To be listened to and savoured.
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Review THE MAG Dec - Jan 2007 BILLY PINNELL Lisa Young Quartet Grace |||||||||| Words seem inadequate to describe the uniqueness of this extraordinary singer. Lisa Young is a student of the aural traditions of India, Africa and Bulgaria, specializing in Konnakkol (South Indian vocal percussion). Her latest album recorded with Ben Robertson (double bass), Dave Beck (drums), Stephen Magnusson (guitar), combines jazz improvisations on original songs with wordless pieces that sound inspired by Al Jarreau, and Latin flavored Mani's Samba. Young avoids the excesses of scat singing using her voice to collaborate with her fellow musicians, rather than sing over them. A stunning vocal talent. SOUND VAULT ___________________ The Age 48 Hours 27/10/06
Ben Robertson (Young's close collaborator and life partner for the past 18 years) uses his bass to echo and magnify the singer's vocals. Dave Beck, another long-time associate, is the quartet's dynamic and supremely flexible drummer. The newest member of the group is guitarist Steve Magnusson, whose sensitivity allows him to add his own interpretative colours without obstructing the flow of Young's captivating musical tales.
Lisa Young Quartet, Bennetts Lane, June 3THE AGE TUESDAY JUNE 4, 2001 Review Jessica Nicholas The most recent recording by the Lisa Young Quartet is called Speak. It's an appropriate title for a group whose primary focus is communication. Of course, as Young is a vocalist, lyrics play a part in this communication, but she and her colleagues have plenty of other tools at their disposal.Their concert featured an all-original repertoire, including several pieces inspired by Young's interest in Indian music. For some years now she has been studying and perfecting "konnakol" - Indian vocal percussion - and her performances always include examples of the highly rhythmic singing style. On Affirmations , she began by scatting in tandem with Ben Robertson's lithe bass, keeping her improvisation within the loping rhythmic framework before starting to push at its edges. The Night Cycle , inspired by an all-night concert in Mumbai, was underpinned by a hypnotic drone from the tampura, which Young cradled as she sang. On Deep in Madras , Young accompanied herself on aslatuas - small Ghanaian balls that she spun around her wrists to add sharp percussive accents. The evening's most uplifting number was Secrets , which hinged on a wonderfully upbeat melody and a vibrant, rhythmic shuffle reminiscent of South African township jive. Pianist Colin Hopkins coaxed the shuffle into a swagger, pulling Robertson and Beck with him to lift the energy of the ensemble behind Young's effervescent lyrics. Then the instrumentalists dropped away leaving the singer centrestage for an extended vocal and hand percussion solo. Young held the space effortlessly, scatting to the syncopated rhythms of the aslatuas and using the microphone to subtly modulate her tone. I looked around; the audience was transfixed. Like the rapturous all-night concerts Young attended in Mumbai, there was a sense this solo could have continued for hours. Instead, Young slowly moved away from the microphone, opened her eyes and smiled, looking as though she - like us - had just emerged from a very pleasant reverie.
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