REVIEW SOUNDBITES ON "I GET A KICK: COLE PORTER REIMAGINED" (Jazzed Media) (See Below for Full-Length Reviews)
“An infectious sense of swing.” - Jazz Weekly
“Bernstein reinterprets the Porter Songbook… to magnify the American Treasure that is these songs… displays her total command of the material.” - C. Michael Bailey, All About Jazz
“A fine jazz singer with a strong voice and a wide range... modernize[s] the classic songs without… losing their essences… rewarding and intriguing.” - Scott Yanow, L.A. Jazz Scene
“An extraordinary album that takes songs from the American songbook and adds bold poetry, an unexpected taste of rap, richly emotional singing, and exotic moods… a new standard for the 21st century.” - Hiroshi Ogawa, Jazz Life Japan
“Jazz vocal fans can throw up their hands and rejoice.” - Chris Spector, Midwest Record
“Her magical voice will hold you spellbound… this is about as hip & 'New York' as it gets when it comes to jazz.” - Dick Metcalf, Contemporary Fusion Reviews
“With the freewheeling control of the raw materials that only the finest jazz practitioners possess, B takes possession of Porter's witty, poignant stories... a true American original.” - Ted Panken, Downbeat critic, from the liner notes
“B brings her poet’s incisive ear to uncover the roiling emotions beneath Porter’s glittering confections.” - Andrew Gilbert, Berkeleyside
“Although all of the songs heard here are familiar, they are made fresh by the always engaging and intriguing treatment... through the arrangements (by Lisa and Jim) and the singer’s emotional commitment.” - Bruce Crowther, Jazz Mostly
One of my favorite interviews ever!: Digging in to my story, why Cole Porter, poetry and jazz, the welcoming jazz tribe, how to cope with nerves on stage, and much more! With Joe Dimino of the Neon Jazz and Kansas City, Missouri's KCXL.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ FULL-LENGTH REVIEWS OF "I GET A KICK: COLE PORTER REIMAGINED" (Jazzed Media)
"Lisa B is a fine jazz singer with a strong voice and a wide range who hits high notes particularly well.
She has also been a poet for as long as she has sung, having a parallel career that includes having a book of her work published and contributing to top literary journals.
On her sixth CD as a leader, Lisa B performs ten Cole Porter songs composed during 1929-54. Porter’s music and lyrics have been performed and recorded a countless number of times through the years, so on some of these selections, Lisa B tries something different than usual. She utilizes new arrangements that sometimes include additional lyrics that she wrote along with spoken word passages.
She...update[s] and modernize[s] the classic songs without making them unrecognizable or losing their essence.
...Lisa B is joined by either James Gardiner, Ben Flint, or Frank Martin on keyboards, Fred Randolph, Troy Lampkins, or Gardiner on bass, Jeff Marrs, Alan Hall, or Paul van Wageningen on drums and, for two songs apiece, percussionist John Santos and Michael Zilber on soprano and tenor.
Among the songs that Lisa B transforms a bit are “I Get A Kick Out Of You” (which has her joined by just bass and drums), a bossa nova version of “Easy To Love,” the obscure “I Happen To Like New York” (on which she adds some storytelling about her grandparents emigrating to NYC...), “What Is This Thing Called Love” (featuring her speaking poetically about what is love), a funky “All Of You” and “a rendition of “Night and Day” with electronic backing. Some of the highpoints are the more straightforward interpretations that feature her voice very well including a duet with the bassist on “Ev’ry Time We Say Goodbye” and a slow version of “In The Still Of The Night,” which has her joined by the wailing soprano by Zilber.
All in all, this is a rewarding and intriguing effort."
"Lisa Bernstein is an intelligent woman who actively plays the part of not only a jazz singer but also a poet and a performer. This new work is a collection of ten Cole Porter (1891-1964) tunes selected from hit musicals.
This is an extraordinary album that takes songs from the American songbook and adds bold poetry ("Sonia and Solomon/I Happen to like New York"), an unexpected taste of rap ("What Is This Thing Called Love?"), richly emotional singing ("All of You"), and exotic moods ("Night and Day").
Her arrangements are out of the ordinary and I sense she is trying to set a new standard for the 21st century."
"Cole Porter has long been a bottomless loam of material for jazz musicians. On her sixth release as a leader Lisa B (Lisa Bernstein) turns her attention to the Porter songbook. Bernstein's five previous releases were [mainly] of originally composed music... A published poet, Bernstein perused the Porter catalog and selected ten songs to reinterpret with the intention of spinning them on their ear. This is often a dicey approach when not well considered, but this is not a problem for Bernstein, who lacks no confidence in taking these sacred songs on.
Bernstein reinterprets the Porter Songbook in such a way to magnify the American Treasure that is these songs. The vocalist shows an acute attention to rhythm, tempo, and time. The result is "I Get a Kick Out of You" that sounds as if arranged by Ornette Coleman at the height of his powers.
In trio performance with bass and drums, Bernstein displays her total command of the material. "In the Still of the night" is cast as a brooding and dark ballad, characterized by low piano notes mixed with a nervous saxophone played by Michael Zilber. "Ev'ry Time We Say Goodbye" is the lengthiest song, and is given a sultry treatment that is both sexy and sad. Again Bernstein takes full advantage of Fred Randolph's solid bass chops. The rocking center of the disc is a percolating "All of You," shimmering in all of its finery."
"Oakland jazz singer Lisa B celebrates the release of her new album I Get a Kick Out of You: Cole Porter Reimagined (Jazzed Media) Saturday at The Back Room with a superb band featuring pianist Frank Martin, bassist Fred Randolph, and drummer Kelly Fasman. Her previous albums have mostly focused on her original songs, though in performance she’s always explored American Songbook standards.
Long fascinated by Porter’s life and music, B brings her poet’s incisive ear to uncovering the roiling emotions beneath Porter’s glittering confections. “Cole Porter was just very alluring,” says B, who performs with the same excellent band March 3 at Saratoga’s Café Pink House. “Part of it is that he’s very unusual as both a lyricist and composer. He was very wealthy, this high society guy who seemed to feel very alone in the crowd. And he was gay in this long-term platonic marriage, which is another layer of isolation. But mostly he was just an amazing creator of songs. The poet in me was drawn to him. There’s this Dorothy Parker/ Emily Dickinson effortless scanning of his lines, and often this sense of longing and heartbreak. I wanted to think through how could we express these tunes to open a new window into Porter.” "
"....a polished, accomplished cabaret take on Cole Porter classics with her own interstitial material added to make it a whole show...these are songs she’s loved her whole life and the affection is poured into every note.
Jazz vocal fans can throw up their hands and rejoice.”
"Lisa B’s love for poetry and other forms of the spoken word is as important to her as her love of singing. For this, her latest release, she has chosen to sing the songs of Cole Porter, whose work consistently demonstrates that he too was at heart a poet.
The ‘re-imagining’ indicated by this album’s subtitle is largely musical, choosing interesting tempi and rhythmic pulses not always associated with this composer. Examples of this come on the funky "Night And Day" and the Brazilian-flavored "You’d Be So Nice To Come Home To."
The spoken word is heard very effectively in her introduction to "I Happen To Like New York," which reflects on her immigrant forebears' life-changing moment of arrival in their new homeland. Among the other songs here are "Ev’ry Time We Say Goodbye," "Wake Up And Dream" and "Easy to Love."
Although all of the songs heard here are familiar, they are made fresh by the always engaging and intriguing treatment they are given, notably through the arrangements (by Lisa and Jim) and the singer’s emotional commitment."
"...her magical voice will hold you spellbound as she performs songs like “In the Still of the Night” … this is about as hip & “New York” as it gets when it comes to jazz, folks… the ultimate in cool jazz vocals!
Lisa is a poet as well as a player, so she is uniquely able to re-interpret Porter songs that are favorites for all true jazz lovers… just listen to her marvelous performance on the dazzling “All of You” & you’ll fall in love with her jazz/music...!
Lisa has a stellar cast of players with her as well… just scan this list – James Gardiner, Ben Flint and Frank Martin (keyboard), Fred Randolph and Troy Lampkins (bass), Jeff Marrs, Alan Hall, and Paul Van Wageningen (drums), Michael Zilber (tenor and soprano sax), and John Santos (percussion) – and they’re totally in synch with her enchanting jazz vocals!
It was easy to pick my personal favorite of the ten tunes offered up: “Ev’rytime We Say Goodbye” will be playing often on your player (as it does on mine). The bass lines take me (way back) to songs from Peggy Lee and other heroines of the ’50’s & ’60’s jazz scene, but with Lisa’s shimmering/shiny vocal making it stand out for all time!
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ted Panken's Liner Notes for "I Get A Kick: Cole Porter Reimagined" (Jazzed Media)
A True American Original
In my booklet notes for Lisa B’s second full-length album, Center of the Rhyme (2003), which comprised her striking original compositions and collaborations, I described the Oakland-based singer-poet as “a rugged individualist of the jazz tribe [who] articulates her accomplished narrative with a tonal personality entirely her own.” Fifteen years later, on her sixth CD, B embodies those same qualities in a distinctive homage to Cole Porter (1891-1964). She places her lovely instrument at the service of ten songs composed for stage and screen between 1929 (“Wake Up and Dream”) and 1954 (“All of You”). With the freewheeling control of the raw materials that only the finest jazz practitioners possess, B (short for Bernstein) takes possession of Porter’s witty, poignant stories. She deploys her considerable interpretative vocal gifts to deliver the message, occasionally interpolating her own spoken word passages for an evocative multilayered effect (on “What Is This Thing Called Love?” , “I Happen to Like New York” , and “Night and Day” ). Lisa B’s approach to Porter echoes her remarks about the Art Ensemble of Chicago—a deep if not obvious influence—during one of our first conversations. “Their goal is to create a whole from various sources,” she said. “I love their ‘It's all possible’ attitude, the complete artistic freedom and invention they personify, their incredible versatility and dedication to craft and discipline.” B’s first documented immersion in Cole Porter’s work is on her 2006 CD What’s New, Pussycat?, where she augmented a suite of largely original songs with interpretations of “Night and Day” and “You’d Be So Nice to Come Home To” (1942), presented here in remastered form.
“I got a lot of positive reaction to both tunes,” B says, explaining her decision to focus on Porter’s songs, and not her own, as the creative springboard for this project. “I feel a real affinity with him; it’s also fun to inhabit someone else’s work and take a left turn with it. Porter was such a brilliant songwriter, both a composer and a lyricist. What he’s doing seems simple maybe, and then you get into it, and just a little half-step and he’s in a whole different place. Also, he was gay or bisexual, but pretty closeted—there’s this sense of longing and heartbreak and isolation, as well as being Mister Society Guy. And there’s the wit, commenting not only on high society but also on the larger society. You always feel he’s the outsider on the inside. His body of work has a more profound doubleness than most of the Great American Songbook.”
In culling Porter’s corpus for tunes that could serve as vehicles for “adventurous interpretations that have not been done before” (B’s goal), she relied, of course, on personal taste (“probably it leans towards love songs”), but also on her encyclopedic knowledge of American music canons. Consider how she starts the CD-opening “I Get A Kick Out of You” (1934), sing-speaking the verse in duo with Fred Randolph’s conversational bass accompaniment. As the drums enter and the pace ratchets to edgy fingerpopping swing, she illuminates the lyric with luminous timbre and precise articulation, then transitions seamlessly to a pair of original vocalese choruses. She signifies on the eternal question posed by “What Is This Thing Called Love?” with a lengthy spoken word declamation over a beguine rhythm, backdropped by a horn section (B’s long-time collaborator and co-producer, Jim Gardiner, executes all the instruments on this track except for Jeff Marrs’ drums). And her intense, erotic reading of “In the Still of the Night” (1937) includes Michael Zilber’s keening soprano saxophone obbligatos and a funky rhythmic base inspired by Randy Weston’s Monkish approach on his 1954 debut recording.
B also stimulates the senses when rendering the songs straight-no-chaser. That’s evident in her clarion reading of the less-traveled “Wake Up and Dream,” which she describes as “a dreamy, inspiring waltz,” and the yearning she evokes on the more oft-covered “You’d Be So Nice to Come Home To,” counterstated by a percolating bossa beat. On “I Happen to Like New York” she melds straight interpretation with pure imagination: after a fondly ironic opening vignette depicting the arrival of her grandparents, Sonia and Solomon, from the old country to Ellis Island on July 4, 1923, she morphs into Porter’s heartfelt paean to the “new city” into which they disembark. The image of arriving into a new city is an apt metaphor for the fresh, in-the-moment approach that Lisa B, a true American original, brings to every second of this inspired recital.
—Ted Panken, Downbeat critic, recipient of the Jazz Journalists Association 2016 Lifetime Achievement Award
Tuesday, July 28th, 2015 11:23 AM PDT
See the amusing story on Lisa B, including some quirky personal details, by Richard Freedman at the Vallejo Times-Herald.
Monday, February 24th, 2014 10:26 PM PST
A reporter and camerawoman from one of the Bay Area's major television news stations, KTVU, showed up unexpectedly on Lisa B's doorstep on Christmas morning 2013 because of the buzz about her "Holiday in Oakland" music video, which she had posted less than 36 hours earlier.
They came back shortly after — after playing the video for various folks near Oakland's Lake Merritt and filming their reactions — to film an interview with Lisa. The resulting news segment was broadcast twice that evening and viewed by millions of Bay Area viewers.
SOUNDBITES ON LISA B'S FIRST FIVE RELEASES (see below for complete press on these albums and singles)
“Lisa Bernstein's mix of spoken word poetry... and passionate jazzy, high-register vocalizing is… hard to resist.” – All Music Guide
“Great pipes… talented songwriter.” – Jazziz “Daring, dexterous singer/songwriter/poet Lisa B... with appeal to both traditional and contemporary jazz tastes and even hip-hop hipsters.” – Jonathan Takiff, Philadelphia Daily News
“She totally captivated the audience. She is an originator, her arrangements are mesmerizing, and her band is great!” – Gary Hamada, Jazz and Blues Company/KRML-FM, Concert Manager “A beautiful voice, a great message, and snazzy grooves… spiritually uplifting… sultry.” – from pullquote and review, Mark Saleski, Blogcritics.com “Exudes up-front sexuality… an overflowing measure of soul.” – Cadence “...B continues to ride the progressive tip with a creative abandon that makes it seem easy to break convention and get away with it. As sexy as you can sound without being a... 70s diva.” – Chris Spector, Midwest Record “Obviously you're a gigantic talent…you totally controlled the room.” – Robin Reichert, Paradise Lounge owner, San Francisco
“Sultry and witty... Her own songs are fun and sexy, and she brings a fresh voice to well-known songs.” – Soundstage.com
“Bringing in her background as a poet…really pays off... The tunes are not just interpreted but placed in entirely different contexts.” – Blogcritics.org “Funky, fresh and sexy as all hell… seamless blending of jazz, hip-hop, soul, spoken word and popular music… One of the most daring and deft performers I’ve come across in a while.” – Jordan Richardson, Canadian Audiophile and Blogcritics.com
“A singer, spoken-word artist and poet with an incisive way of chronicling situations, memories, and emotions… a pliable, expressive voice dipped in blue… saucily suggestive… imagistic…” – Jazz Times
“…Whatever she knows or sings comes, in Whitman’s term, from the body electric.” – Frances Mayes, author, in San Jose Mercury
“Fresh, very interesting, impressive: Lisa B is a brand-new Somebody. And the writing… I was lifted up… gorgeous.” – Jackie McLean, saxophone master
"Her sound has ripened over 15 years of recording and performance, gaining a maturity and uniqueness that's nothing like the voices du jour that crowd the airwaves… You're aware of a situational emotionalism... based on the particulars of the lyrics… You're struck by her command of range and diction." - Michael E. Ross, blogger and critic on PopMatters, The Root, Salon
Tuesday, January 17th, 2012 9:42 PM PST
SINGLE: HOLIDAY IN OAKLAND
" "Holiday in Oakland" … is an effortless, breezy sweep through the decidedly R&B-gospel influences of that tough but tender city… her rap is flawless, and unobtrusive, because the “Bump City” references blend evenly, like redwoods, salsa in the dark, Tower of Power, the Pointer Sisters, and Digital Underground." - Carol Banks Weber, jazz critic, Examiner.com
"Where things really get interesting is "Holiday in Oakland," a track with an old-school beat and a melody that really sings… when Lisa B raps the names of some Oakland musical legends… it's a spirited move." - Jordan Richardson, Seattle Post-Intelligencer
" "Holiday in Oakland” funks along easily." - Kirk Silsbee, Los Angeles Times
"Lisa B wields her talent for mixmastering musical styles in "Holiday in Oakland," a paean to her California hometown that combines midtempo funk with a lyric tribute to some of Oaktown's musical heroes." - Michael E. Ross, blogger and critic on PopMatters, The Root, and elsewhere, writing on Amazon
Tuesday, January 17th, 2012 5:13 PM PST
CHRISTMAS TIME IS HERE (AND CHANUKAH AND THE SOLSTICE) "This is the sure-bet holiday music that should be playing in hipper households over the next few months.Tasty throughout... Familiar and welcome versions of the classics... some interesting choices that convey her sense of the holidays as well as let her serious side shine brightly... tossing some originals in the mix as well." - Chris Spector, Midwest Record
Tuesday, January 17th, 2012 5:11 PM PST
"Lisa B helps you cover a great deal of seasonal ground in this eclectic, fun and highly entertaining release.
The same basic principle applies for most people when purchasing Christmas music: Do you know the tunes and are the arrangements good? Lisa B scores well here… From a swinging jazz trio to more orchestrated versions of both Christmas classics and Jewish music, the recording is well paced and evolves well. A rather hip twist for Christmas music would certainly be the three original tunes that showcase her unique talent of rapped poetry… Lisa B brings it from a traditional yet highly organic place that makes for an entertaining take on Christmas music sure to please a wider audience, if not a house full of friends! If you are looking for some new Christmas music to cover a pretty broad spectrum of seasonal taste, then Lisa B’s artistic spin on the holidays should be right up your alley!" - Brent Black, @Critical Jazz blog and Courier-journal.com
Tuesday, January 17th, 2012 5:08 PM PST
" "Christmas Time is Here (and Chanukah and the Solstice)" is a vibrant, diverse holiday record that sees Lisa B working through a number of Christmas standards, originals, and Jewish tunes with an energy that is enchanting. The disc is Lisa B's fifth, and it isn't a traditional holiday record even as it contains tracks like "Let It Snow, Let It Snow, Let It Snow!" and "Have Yourself a Merry Little Christmas." Along with the usual fare, the San Francisco Bay-based performer engages with the Hebrew hymn "Hine Ma Tov" and Matisyahu's "Miracle." …The album opens with “Christmas Time Is Here," a work of surprising dissonance that finds co-producer Jim Gardiner providing a big orchestral vibe complete with sleigh bells and Henry Mancini-style sweeps... her sense of melancholy as the song pushes toward its conclusion is an interesting touch.
The risk-taking continues with the aforementioned "Hine Ma Tov." It is another orchestral number accented by bells, but the arrangement is more subtle and Lisa's vocals stand out more.
"Miracle" uses the multi-track guitar work of Andre Bush. Lisa B varies her tone a number of times and matches the tricky cadence well, digging out new meaning from the Matisyahu tune while maintaining the original's sensibility.
Where things really get interesting is "Holiday in Oakland," a track with an old-school beat and a melody that really sings… when Lisa B raps the names of some Oakland musical legends… the metamorphosis in tone may stun some listeners, but it's a spirited move... "The Flame" is another unique piece that features the spoken word talents of Lisa B… the most stimulating track on the record… it really presses forward with the intensity and life of the holidays. Lisa's sense for the theatrical makes the somewhat political lyrics pop with heat and intelligence. "Christmas Time is Here" is… a courageous, risky, considerate record that ventures easily between the orthodox and the eccentric in the full spirit of all the holidays." - Jordan Richardson, Seattle Post-Intelligencer
Tuesday, January 17th, 2012 5:05 PM PST
“An ambitious undertaking—covering three of the winter holidays—this one opens with the Vince Guaraldi/Lee Mendelson “Peanuts” offering Christmas Time Is Here,” and follows with the traditional “Hine Ma Tov,” a hymn for Shabbat (Sabbath) feasts. Three originals are “Holiday in Oakland,” a pleasantly gospel-tinged celebration of the Bay Area; “The Flame,” which reminds us that, in Ms. Bernstein’s words [from her notes on the songs], “…being aware of others’ suffering—and our own—is painful, but the pain dissipates when we find the golden flame within ourselves, and take some action to help our communities.” The spoken word “Winter Solstice” is the third original. The range is from the super-traditional to music-backed poetry… Don’t like a particular piece? That’s okay, stick around. Coming up will be something you’ll love. I’ve cherry-picked my favorites from this disc for holiday listening (“Christmas Time Is Here,” “Have Yourself A Merry Little Christmas,” and the Sammy Cahn classic “Let It Snow.”) But there’s something here for everyone, and Ms. Bernstein’s energy is so palpable—you can’t help but be drawn in. This disc is highly recommended.” – Doug Boynton, Girlsingers.org
Tuesday, January 17th, 2012 5:03 PM PST
"The 2011 season gives us some fine new jazz and vocal albums... Pop singer Lisa Bernstein’s... lower register serves her best on "Hine Ma Tov,” with a shimmering, layered orchestration by co-producer Jim Gardiner. Her own tune... “Holiday in Oakland” funks along easily." - Kirk Silsbee, Los Angeles Times
Tuesday, January 17th, 2012 5:02 PM PST
“The album opens with "Christmas Time Is Here," the Vince Guaraldi evergreen that we remember from "A Charlie Brown Christmas"… Lisa B…offers a reading that's less desolate, somehow, than versions by Diana Krall and Patti Austin. Gardiner's contributions here lend this version more aural depth, even while staying true to the song's basic introspective essence.
The second track, the Hebrew hymn "Hine Ma Tov," is a clever counter to the Christmas-dominated music in the air… a showcase for Lisa B's upper register…"My Favorite Things" gets its propers… She handles the song's calisthenic lyrics with aplomb, adding her own impromptu lyrics (a poet's prerogative…).
[On] "Miracle" … Lisa B taps into in a performance way more subdued than Matisyahu's driving, hip-hop powered version, but one fully suited to the calmer rhythms of the holidays...
"Have Yourself a Merry Little Christmas" swings with a jazzy flavor, powered by Adam Shulman, whose piano sometimes conveys a gentle dissonance that contrasts refreshingly with the song's fundamentally upbeat vibe.
[On] Donny Hathaway's "This Christmas"… Lisa B's version bubbles at the steady romantic simmer Hathaway suggests in the 1970 original.
And Lisa B wields her talent for mixmastering musical styles in "Holiday in Oakland," a paean to her California hometown that combines midtempo funk with a lyric tribute to some of Oaktown's musical heroes...
She revels in the spontaneity of the jazz ensemble (an improvisational parallel to poetry)… Her sound has ripened over 15 years of recording and performance, gaining a maturity and uniqueness that's nothing like the voices du jour that crowd the airwaves… Hearing her perform these holiday classics and the others, it's clear how that maturity has helped her. You're aware of a situational emotionalism, of her ability to express feelings based on the particulars of the lyrics… Just listen to her smoldery version of "Let It Snow! Let It Snow! Let It Snow!" You're struck by her command of range and diction, even while she not-so-sneakily conveys the sexier possibilities of a snowbound holiday.
"Christmas Time Is Here" is its own full-on embrace of the holiday spirit, but we don't just get the usual yuletide suspects… But even in her performances of the standards we recognize, there's invention and promise worth a second listen. Or a third. Or ...” - Michael E. Ross, blogger on Short Sharp Shock, critic on PopMatters, The Root, and elsewhere, writing on Amazon
Tuesday, January 17th, 2012 5:01 PM PST
"Jazz vocalist Lisa Bernstein has an interesting selection of tunes on her earnest... progressive Christmas album." - Rachel Swan, East Bay Express
Tuesday, January 17th, 2012 4:59 PM PST
Lisa B (Lisa Bernstein) uses beats of poetry and her own Jewish heritage to authenticate and liven up the usual standard Christmas fare, in her fifth, self-produced album, “Christmas Time Is Here (and Chanukah and The Solstice).” Poetry in her rapping, jazz soul, and the showmanship in her pop-rock nature are organic manifestations of this artist’s progression… Her Christmas album takes on a few traditional songs normally on replay around the holidays, such as Vince Guaraldi and Lee Mendelson's "Christmas Time Is Here," and Sammy Cahn's and Jule Styne's "Let It Snow, Let It Snow, Let It Snow!" She handles these with an exuberant, confident flair, always keeping the musical jazz notes happening. She includes the unexpected, in “My Favorite Things,” an Oscar Hammerstein II and Richard Rodgers’ masterpiece from The Sound Of Music, adding an especially straight-ahead jazz instrumental finesse fading toward the end. And then she works in the moving, orchestral Jewish hymn, “Hine Ma Tov,” which adds the necessary glean of spiritual grounding to the atmospheric, message-centered album. She was able to add a new translation to the traditional lyrics. It's when Lisa B attempts to incorporate her poetry and rap rhythms to the jazz, R&B, and Sting-esque beats of her and Jim Gardiner's three original compositions that her daring bravado shows brightly…"Holiday In Oakland," "The Flame," and "Winter Solstice"... "- Carol Banks Weber, jazz critic, Examiner.com
"I've always been attracted to, uhmm.....'non-standard' listening...Lene Lovich, Kate Bush, Yoko Ono, The Roches, Meredith Monk, and Bjork. This doesn't mean that I don't enjoy 'regular' singers. Far from it. In the jazz world, there's always room for a daily shot of Abbey Lincoln, Shirley Horn, Billie Holiday, Diana Krall, and Cassandra Wilson. But for a higher resonance factor, my ears want to hear something different...The only problem here...is that sometimes the humanity and emotion can get masked by the perceived strangeness of the presentation. I had this problem when I first heard Kate Bush...but was won over after a single listen... With Lisa B (that would be Bernstein), there was never any doubt. I was hooked when I first heard what she did with 'What's New, Pussycat?.' Yes, Bacharach and David wrote it, and Tom Jones took off with it, but Lisa B put a very cool spin on it.
On 'The Poetry of Groove,' Lisa B takes her spoken word beautifully sung excursions and wraps them up in a bunch of snazzy grooves that vary from hip-hop to slinky jazzification. On the spiritually uplifting 'Get The Signal,' the grooves are built from a sparse outline (thanks to what sounds like a kalimba) into something more earthy and insistent. The title track's hopeful message ('...It's the things you crave that fill you with singing...') is set up with a slow burn that opens up with the addition of strings, backing vocals, and piano & funk guitar accents. On 'Trane's Ride (Naima) (Remastered),' Bernstein delivers some very evocative poetry over a hip-hop mashup of the Coltrane classic.
All is not serious here though, as 'Virtual Kiss (Remix)' jokes about dissatisfaction with a life of office work. Wait...maybe that's not so funny! Even so, I did laugh at the line 'Did I go to college for this?' On this track Lisa B also adds some terrific backing vocals with slightly off-kilter harmonies. Maybe they're not as off-kilter as the idea of spending an entire working life in a cubicle. Oh, did I mention that Lisa B can bring the sexy? 'Turning It Around (Remix)' is carried by a sultry groove that kicks in after the breathy opening of 'Turn around....just like that...ahhhh...' A peach is then used as a metapho.....uhhhh, what were we talking about? In a world that pretty much drips of fresh cynicism, music such as that found on 'The Poetry of Groove' becomes all the more important." Michael E. Ross of Culchavox.blogspot.com, on Amazon:
“…on ‘The Poetry of Groove,’… Lisa's signature alto, by turns smoky and lapidary, awakens us to her spiritual travels with infectious rhythms and witticisms that are seductively inviting… She brings a refreshingly maverick cadence to the spoken-word experience. In ‘The Poetry of Groove’ and ‘Get the Signal,’ Lisa explores the record's central themes: a call to spiritualism and more reliance on our deeper, more humanistic inclinations. But this ain't no lecture: Lisa brings the musical passion behind her spiritual manifesto… with her love of jazz, Latin rhythm and hip-hop's lyric sensibilities.
The remix of ‘Virtual Kiss’ [has]… nothing missing in terms of its nervous, thoroughly modern dissonance. Hearing it today, more than 10 years after the first version, Lisa's lyrics ring eerily prophetic; this clever take on the persistence of technology and how the ways of the heart struggle to rise in a digital, cubicled world has more pertinence now than it did a dozen years ago. Lisa's inclusion of a remastered version of ‘Night and Day’ (from ‘What's New, Pussycat?’) may be the best distillation of where she's at as a singer and, more basically, as an evolving artist. This combination of a faithful vocal reading of the Cole Porter classic with her own feline-inspired poetic interpolation remains a reminder of what makes her so fiercely original. …the jazzy-chill edit of the title track, which closes the album…[w]ith its lush string accents and a deft balance of vocal and instrumental prowess… shapes up as the perfect closing statement… on an album that capably and joyously brings the talents of a true musical iconoclast front and center again.”
Wednesday, December 9th, 2009 8:02 PM PST
Midwest Record, Chris Spector: "Three years ago, B established herself as our fave Catwoman since Julie Newmar and now we find her moving back to her writer self and bringing her poetry slam side to the fore.Much more Jill Scott than Rod McKuen, B continues to ride the progressive tip with a creative abandon that makes it seem easy to break convention and get away with it. As sexy as you can sound without being a ...70s diva.”
Jordan Richardson, Blogcritics.com:
“Funky, fresh and sexy as all hell, Lisa B’s ‘The Poetry of Groove’ is an impressive collection of remixes and new pieces.
The beauty of what Lisa B (Lisa Bernstein) does is wrapped up in her seamless blending of jazz, hip-hop, soul, spoken word and popular music. Her approach to her craft is invigorating, cementing herself as an artist excited to take risks and make moves that other artists might stray from. Lisa B makes the blend work, oozing sexuality and clever cool without coming across as pompous or tacky...
Bolstered by her pedigree as a poet, Lisa B’s command of lyricism is manifest with each piece.She is, after all, the author of two books of poetry (‘Anorexia’ and ‘The Transparent Body’) and it shows in her approach to songwriting. Lisa B paints pictures with her command of language, going beyond uncomplicated metaphors to tell entire stories with her art. The title track is given the privilege of three separate mixes, forming the foundation for the record with its smooth grooves and slick beats. The ‘Jazzy Chill Mix’ starts the record off with polished beats and Lisa B’s spoken word vocals. She’s alluring, venturing through various tones and moods throughout the course of the song. The ‘Edit of Jazzy Chill Mix’ closes the record in similar fashion, while the ‘House Mix’ packs in a danceable beat. ‘Be Electric (Electronica Remix)’ is a sophisticated, sleek cut that makes great use out of Lisa’s hushed, breathy tones and funky witticisms. The remastered ‘Trane’s Ride (Naima)’ is my favourite song on the record. It uses Coltrane’s piece to underline Lisa’s deeply seductive lyrics, creating fiery waves of sensuality and sexiness. The beat, provided by James Richard’s drum and bass programming, pulsates and vibrates in time to Lisa’s hot vocal performance. Other cuts, like ‘Get the Signal’ and ‘Virtual Kiss,’ allow Lisa to do more singing. She shows off her jazz pipes, gracefully dancing through various tones and moods with delight and style. All in all, ‘The Poetry of Groove’ is a sexy and exciting collection of tunes from one of the most daring and deft performers I’ve come across in a while.”
Tuesday, July 28th, 2009 3:36 PM PDT
Fan reviews (please go to retail sites under CDs & Books and add your own!):
“literate and lively. now, this is a unique collection. lisa b. can really write, sing and interpret, bringing it all together in an integrated way. backed by great musicians and high production values.”- Claude Smith on Amazon.com
“ ‘[The] Poetry of Groove’ is everything you loved about Lisa B, orchestrated into one masterwork. I didn't think she could 'tease and appease' any further than her pop/jazz predecessor, ‘What's New, Pussycat?’ but.... When I wanted the music to go a way I could feel, it didn't, but tantalized me a little more. When I thought I knew how the groove would unfold, it orchestrated even better - clearly showing who's the boss through this sensual journey of new hits and remixes.
...With ‘Poetry of Groove,’ guaranteed you'll be allured from the first hearing and won't want to escape its primal chimera. Odysseus, expect to cave this time to the nymph goddess Calypso. And if that sounds puzzling, sail on friends to tamer water."- Tom Johnson on CDBaby
“An expressive and unique vocalist. ‘The Poetry of Groove,’ co-produced by Lisa B and Jim Gardiner, showcases the talents of this very creative vocalist/poet. One feels transported to another dimension as she weaves her sultry voice around danceable hip-hop grooves and incisive, intelligent lyrics. A very hip and unique approach to jazz and rap. The production and musicians on this project are topnotch! Love ‘Trane's Ride (Naima)’!” - The Musical Ear on iTunes
Monday, January 8th, 2007 7:37 PM PST
WHAT'S NEW, PUSSYCAT?
Interview in Exclusive Magazine:
Check out this link for an interview with Lisa B on ExclusiveMagazine.com, a site jampacked with actor, director, celebrity, and singer interviews and reviews.
All Music Guide:
"...musically and vocally, this 2006 release has a lot going for it… Bernstein uses the word cat as a metaphor — as hipster/beatnik/bebop slang — and she is really singing about human situations on jazzy, playful originals like 'Crazy Cat,' 'Slay Me (My Young Cat)' and the salsa-flavored 'Cha Cha de la Gata (Kitty-Cat Cha)'… from Bernstein’s own material to an intriguing arrangement of Graham Nash’s 'Our House,' 'What's New, Pussycat?' is infectious more often than not…on this generally memorable and clever CD.”
JazzUSA.com & Soundsoftimelessjazz.com:
“Lisa Bernstein (aka Lisa B) sings a great set that delivers a view into the nine lives and times of a jazz cat… Lisa’s voice is flexible and harmonious, beautifully altering between the highs and lows of her sympatico range. With percussive expressions by John Santos, Lisa deftly expresses the slinky allure of the cha cha cha with ‘Kitty Cat Cha”…Lisa B creates a fresh take on the harmonies and textures of Porter’s lyrics…Lisa B does it her way, scats about cats and makes it a hip listen!”
Sunday, August 13th, 2006 6:29 PM PDT
Blogcritics.org, Mark Saleski:
“Subtitled ‘Tunes & Tales about Cool Cats,’ vocalist and poet Lisa B has put together a collection of songs that explore not only the nature of the cat, but also many feline-oriented ideas: contentment, home, and the obvious contrasts inherent in the feline spirit.
Because of my cruising-for-Exotica stint, I'm most obviously excited about the title track, a nice version of the song made famous by Tom Jones. It seems a little odd (fun though) to hear a woman sing a tune so closely associated with the classic in-concert panty fling (that danged Jones, he leads a charmed life). OK, maybe it's just fun. Another left turn is made with a ballad-ized take on Graham Nash's ‘Our House.’
Bringing in her background as a poet, Lisa B. makes some unusual moves. One that really pays off is the layering of her spoken word ‘The Cat Goddess’ on top of the Cole Porter standard ‘Night and Day.’ This is exactly why the album works. The tunes are not just interpreted but placed in entirely different contexts.
‘What's New, Pussycat?’ also contains several original selections including the sexy ‘Slay Me (My Young Cat),’ ‘The Home Inside’ (which reminds me of Joni Mitchell at her jazziest), the Latin shuffle of ‘Kitty-Cat Cha Cha (Cha Cha de la Gatita)’ (note: I just love typing that title!), and the spoken word ‘Warrior Cat.’ Who knew that cats had a political side?
The program ends with the poignant lullaby of ‘When Malika Sleeps,’ written for Lisa B's cat, who died not long before the ‘What's New, Pussycat?’ recording session began. Lisa describes this as dealing with ‘the slippery slope between life and death that we creatures all must face.’ True enough. I must say, that little ‘meow’ and purr at the end is very nice.
‘What's New, Pussycat?’... does take several seeming opposing ideas and musical motifs and fling them against each other. The result might not rock your world but it'll easily put a smile on your face.”
Sunday, August 13th, 2006 6:17 PM PDT
Jazziz magazine and Smoothvibes.com: Jonathan Widran's Contempo list of “What I’m Listening To”:
1. Phillippe Saisse Trio, The Body And Soul Sessions (Rendezvous)
2. Michael Franks, Rendezvous in Rio (Koch Records)
3. Regina Carter, I’ll Be Seeing You: A Sentimental Journey (Verve)
4. Lisa B, What’s New, Pussycat? (Piece of Pie Records)
5. The Royal Dan: A Tribute (Tone Center)
“For her third album, vocalist and poet Lisa B looked to the life of the common housecat for inspiration to convey the deeply human emotions of longing and satisfaction, danger and playfulness. Purr along to her collection of both original compositions and classic covers.”
Sunday, August 13th, 2006 6:11 PM PDT
Talkingbroadway.com, Rob Lester:
“"The inclusion of two Cole Porter songs is what attracted me to this album as possibly appropriate for our column. Well, honestly, it was the retro-hipster cartoon cover that first caught my eye. Then, my ear was caught, too.
...Lisa B (also known as Lisa Bernstein) records mostly original material on her albums and this is her third. Her theme of cats finds her doing everything from crooning a touching history/tribute to her own pet, 'When Malika Sleeps,' to ruminating on the mysteries of felines in spoken sections, to vocally...purring through the old Tom Jones hit, 'What's New, Pussycat?'...as sex kitten...
Cole Porter's classic 'Night and Day,' nicely sung and laidback, is combined with her spoken poem, 'The Cat Goddess.' Her other Porter pick, 'You'd Be So Nice To Come Home To,' is also relaxed and languorous...The lyric has no reference to cats, but it seems that a house is not a home to Lisa unless a couple of cats are around. Such is the lyrical case in 'Our House,' the very fine, cozy old Graham Nash tune ('... with two cats in the yard,/ Life used to be so hard ... '). Lisa does a sincere and lovely version of this, my favorite track on the album, simple and unadorned. She's accompanied just by piano and bass on this track.
Many of the numbers have a free jazz feel with a sense of exploration. Her pianist on most of the tracks, Frank Martin, is an adventurous and intriguing player who adds a great deal of musical interest here. He is especially notable on 'The Home Inside,' which has a standout solo for him and is also one of the more interesting tracks for Lisa, as singer and co-writer (with Scott R. Looney)."
Sunday, August 13th, 2006 5:34 PM PDT
Jackadandy.net: "...the contrast between wild and domestic is nowhere...jarring at the home of my lovely friend Lisa B and her beautiful, healthy cats. There, cats are cats, their own creatures, ever only semi-domesticated; and Lisa is Lisa, a human goddess, also her own creature, and also ever only semi-domesticated. No evidence in that home of the anthropomorphism and emotional colonization that so often passes for 'cat appreciation.'
Lisa showcases the power and delight of both cats themselves and her own inner feline on her new CD, What's New, Pussycat?, which brings her special swinging, jazzy style to standards like the Bacharach title tune (very different when sung by a sexy woman than by Tom Jones, my friends!), as well as her own unique compositions.
...Lisa is a poet and writer, as well, so when she talks about her music---or about cats---it's worth reading. She's started a bloglet on her Website that gives you the inside dope on the life of a vibrant, engaged artist and the not-always-glamorous singer/songwriter biz in her charming and intelligent style...
I like my animals wild, and that's why I love Lisa B and What's New, Pussycat?. Mrrwowwrrr..."
Thursday, June 29th, 2006 4:45 PM PDT
SoundstageAV.com, Joseph Taylor:
“Lisa B (Lisa Bernstein)...has released three discs on her own Piece of Pie Records. What’s New, Pussycat?, her newest, takes as its theme cats and their mysterious, independent behavior, but the result is sultry and witty and not at all precious.
Some songs are overt in their references to their subject (the title track and the singer’s own ‘Slay Me (My Young Cat)’, some less so (‘You’d Be So Nice to Come Home To’), but she sings all of them in a sensual, throaty voice.
Lisa B is also a poet who has published two collections of her work, and here she weaves spoken-word portions into some of the selections. Her own songs are fun and sexy, and she brings a fresh voice to well-known songs...I’ve found that I play it all the time, and like it more with each listen.
Great musicians make ‘What’s New, Pussycat?’ come alive and help Lisa B keep the atmosphere fun and swinging. Ben Flint’s keyboards on the first two tracks help set the tone, and Frank Martin’s clever piano playing on the rest of the disc complements Lisa B’s singing perfectly (check out the electric piano in ‘Cha Cha de la Gata (Kitty-Cat Cha).’ The recording is vibrant and detailed.
‘What’s New. Pussycat?’ is fun, impressively played and sung, and, yes, very sexy.”
Monday, June 19th, 2006 4:02 PM PDT
Midwest Record Recap, Chris Spector:
"This set starts out with Lisa B putting her chops in evidence but leaving you thinking she's an acquired taste. By the end of the set, you've acquired the taste...you don't know whether to think she's a Gen Y/pomo jazz chanteusse or Liza Minelli channeling a hipster Ethel Merman. Lisa B is a wild ride. Once you settle in and just decide to accept it, the two of you become old friends and you are satisfied to let her entertain you...it's good nutty fun hiding behind a jazz veneer that'll keep you coming back for more. Above all else, you don't trip over pipes like these everyday."
Girlsingers.org, Doug Boynton:
“....This particular disc...centers around cat themes. The force is strong with this one. We're dealing with creativity here on a level that will soar above many. The backing musicians are very, very good. I think it's one of those 'you've got to know what the rules are to break the rules' things. Most of the disk is original. Covers of the title tune, of Graham Nash's 'Our House,' a couple of Cole Porter songs -- 'You'd Be So Nice to Come Home To' and 'Night and Day' as part of a medley with the original 'The Cat Goddess' -- are my favorites... But I keep listening to the other stuff...liking it more and more... Perhaps I'm rising to the material."
"Daring, dexterous singer/songwriter/poet Lisa B catches the 'Center of the Rhyme' (Piece of Pie), an imaginative set of originals with appeal to both traditional and contemporary jazz tastes and even, on occasion, hip-hop hipsters."
Monday, July 2nd, 2007 11:51 PM PDT
Jazz Times, Lucy Tauss:
“ 'Center of the Rhyme' reveals a singer, spoken-word artist and poet with an incisive way of chronicling situations, memories and emotions. She sings with a pliable, expressive voice dipped in blue... B intercuts her smooth rendition of Bobby Caldwell's 'What You Won't Do for Love' with a rap, and turns saucily suggestive on 'Keeps Me Up All Night.' She sets her urgent poetic lyrics against a violin-driven, electro-fusion background on 'Be Electric,' and a spacious musical bed, highlighted by romantic saxophone, swirls around her imagistic vocals on the title track.”
Sunday, July 16th, 2006 4:08 PM PDT
"Lisa B sings in a full, womanly voice that exudes up-front sexuality...singing beautifully on the swinging waltz 'A Place We Knew'...'Keeps Me Up All Night' is a straight bar band guitar blues with sassy lyrics, and 'Joe Williams Died Walking' is a hip poetic tribute to the great singer paired with a sexy stroll through 'Every Day I Have the Blues.' Lisa B has an overflowing measure of soul in her voice."
Thursday, June 1st, 2006 6:18 PM PDT
Jazziz, 2004 "Women in Jazz" issue:
Lisa B's full-page guest column appears as the "Refrain" on the issue's back inside page: Body Heat: My First Gig.
Jazziz, 2003 "Women in Jazz" issue:
“Great pipes....talented songwriter.”
Jazziz, 2003 "Blues" issue:
"With inspiration from Carmen McRae, John Coltrane, Gil Scott-Heron, and poet Garcia Lorca, San Francisco vocalist Lisa B's latest...opens with her spoken-sung homage "Joe Williams Died Walking" followed by a swinging rendition of his signature tune...After hearing about the record, Joe Williams' widow contacted Lisa to request a copy." [And later wrote me with an approving note about it!--Lisa B]
Saturday, May 27th, 2006 1:54 PM PDT
Saturday, May 27th, 2006 1:53 PM PDT
Voice of America broadcast, Rita Rochelle:
“A beautifully sensuous voice, so melodic...an excellent writer. She inspires us.”
Saturday, May 27th, 2006 1:53 PM PDT
KUSD-FM, Jim Clark:
“Her poetry riffs and asides remind me of the jazz poetry of Chicago's great Ken Nordine.”
Saturday, May 27th, 2006 1:52 PM PDT
Ted Panken (JAZZIZ, downbeat, WKCR-FM, New York), from the record liner notes:
“On ‘Center of the Rhyme,’ singer-poet Lisa B, like all rugged individualists of the jazz tribe, articulates her accomplished narrative with a tonal personality entirely her own. She spins tales of desire and obsession, formally rigorous, filled with precise, striking images. Somehow, she finds clarity when such fundamental opposites as male and female collide and—following the eternal laws of dialectics—combust into a third dimension that transcends the sum of its parts. ‘When I first kissed you, I did see stars, the pull between us was so strong,’ she speaks-sings on the title track. ‘I saw gravity and brilliance in the round sky and ground, desire and sound lit me from inside, from the center of the rhyme. And I never understood how you could reel from this physical revelation back to the gears of your solitary life... I cried, but I finally let go. I learned we all have our meter and our time.’
Ms. B is by no means alone in chronicling in song the torments and raptures of eros. What separates her from the pack is a consistent imperative to swing and a keen understanding of how to articulate the many paths which that third dimension can take. A cool-eyed realist, she’s an optimist, a survivor, sustained by a personal philosophy rooted in blues values. Consider her description of maestro Joe Williams: ‘The suavest man to sing the blues./He sang that every day he had them/But no one was confused./From his depths of strength and sorrow/Danced joy down to his shoes... You see, Joe had the perspective/That style was more than shine./That from a gritty roadhouse show/Comes truth, which is divine./That making it look easy/Means you look death in the eye.’
In point of fact, Ms. B makes it sound easy. Her voice is a lovely instrument, her timbre warm, her phrasing fluid, her articulation pristine, and she possesses an emotional range that makes lyrics sound like truth. She sings like the dickens. It’s hard to discern her influences. She cites the broad resources of poetry and rap; conceptually, the Art Ensemble of Chicago; and stylists as diverse as Gil Scott-Heron, Bonnie Raitt, and Carmen McRae. It was Ms. McRae who remarked, ‘You have to know where you’re going when you improvise.’ Lisa B does, and listeners to ‘Center of the Rhyme’ will gladly follow her.”
Saturday, May 27th, 2006 1:51 PM PDT
All Music Guide:
Lisa Bernstein’s...mix of spoken word poetry (think rap for the uptown swing crowd) and passionate jazzy, high register vocalizing is...hard to resist... you’re never sure what she’s going to do next. Is it ruminating in words on the life, death and afterlife of Joe Williams (over an outstanding trio swing vibe that segues into her playful, straightforward singing on “Every Day I Have the Blues”)? Is it enhancing Bobby Caldwell’s “What You Won’t Do For Love” with a whole new spoken story of a love deeper than Caldwell could have imagined?...Or another musical poem? The easy swinging, bluesy original “Keeps Me Up All Night” is a snazzy romance that shows what the quirky vocalist can do with normal, engaging material. And “A Place We Knew” reveals a thoughtful singer of solid phrasing and a good vocabulary of modern and traditional jazz. All the chit chat is cute, clever and definitely something that sets her apart...
Tuesday, May 27th, 2003 1:52 PM PDT
Jackie McLean, saxophone master, educator:
“Fresh, very interesting, impressive: Lisa B is a brand-new Somebody here. She definitely has a talent that’s all hers. Her music is both commercial and traditional. She has her own sound—a very nice voice. And the writing…I was lifted up by ‘Be Electric.’ ‘A Place We Knew’ is gorgeous, with gorgeous chord progressions…”
Monterey County Herald:
“...up-and-coming jazz singer Lisa B...brings a whole new take on some familiar songs as well as quirky originals, such as her ‘Joe Williams Died Walking” that opens up her latest album... And she is a terrific lyricist, which you might expect from an accomplished poet, but comes as a revelation nonetheless.”
Dr. Herb Wong, Educator, Critic, Former Record Label Executive (personal communication):
“Marvelously resourceful treatment of ‘Naima’—no one’s ever done that. Wonderful use of impressions and lyrics. Very broad appeal.”
Tuesday, July 3rd, 2007 12:09 AM PDT
Allaboutjazz.com, Dave Hughes:
“In addition to established talent such as Diane Schuur, Diana Krall, and Dianne Reeves….worthy of your ears is…Lisa B’s ‘Free Me for the Joy’… The entire program consists of Lisa B originals, with the exception of ‘Trane’s Ride,’ which uses Trane’s ‘Naima’ in the background. They’re devoid of cliché and formula, and most tunes have thoughtful, creative lyrics. Lisa B brings a fresh voice to today’s contemporary jazz.”
Tuesday, July 3rd, 2007 12:06 AM PDT
Jazzreview.com, Paula Edelstein:
“Award-winning singer-songwriter-poet Lisa B blends experimental poetry, pop, soul and jazz on her first full-length recording, ‘Free Me for the Joy’ on Piece of Pie Records. She sings memorable originals including one collaboration with John Coltrane’s ‘Naima,’ to which she has given vocals, a new chorus, and a midtempo jazz-hiphop flavor.
The track, ‘Trane’s Ride,’ is an expressive study in symbolism and depicts Lisa’s poetic skills that have evolved into personal appearances and now vocalese. The 10-song CD features Jim Gardiner, Curtis Ohlson and John Santos. The title track, co-written by Barbara Higbie of Windham Hill fame, is a grooving pop/R&B-flavored songs about seeing past the shadows of old heartbreak to the joy of new love. Lisa B is creative, versatile and offers an enjoyable set on her debut release. Rating: ****”
Tuesday, July 3rd, 2007 12:04 AM PDT
All Music Guide, Alex Henderson:
“….bringing poetry and light rapping to…this introspective effort….Lisa provides a very dreamy ode to the saxophone master [John Coltrane]. Other noteworthy songs on the album range from the lush “I Remember Paradise” and the haunting “Turning It Around” to the Joni Mitchell-ish “You’re Not A Girl Anymore,” which laughs at the ridiculous images of women…”
Saturday, May 27th, 2006 2:09 PM PDT
Jazziz Magazine, Jonathan Widran:
“No doubt the smooth-jazz and adult-contemporary success of the likes of Sade, Anita Baker, and Marilyn Scott inspired Lisa Bernstein to give things a shot with a dramatic, drawn-out, emotional voice that is a dead ringer for that of Dianne Reeves. Reeves and the others, however, focus on their pipes and leave the songwriting to either classic songwriters or to today’s best tunesmiths; whereas, Bernstein writes her own material.
Bernstein should be commended for her finer songwriting efforts, which range lyrically from the melancholy ‘I Remember Paradise’ to the buoyantly optimistic title track. Ironically, her lyrics contrast with the music; the sad words accompany a peppy groove and the happy words ease over a sweet but somber instrumental bed. And sometimes, like on ‘You’re Not a Girl Anymore’ — a coming-of-age tune detailing the loss of childhood illusions from a feminist viewpoint — the lyrics are simply far more interesting than the tune itself.
The most clever track is also the one most likely to annoy those who like their adult-contemporary vocalists to play it down the middle. ‘Trane’s Ride’ finds Bernstein affecting a talk/rap to detail John Coltrane’s impact on her body and soul while strains of the legendary saxman’s ‘Naima’ float underneath. [Note from website master: ‘Trane’s Ride’ in fact is a monologue in the character of John Coltrane, with chorus.] Some may see that as a bit pretentious, but it's a neat experiment."
Saturday, May 27th, 2006 2:08 PM PDT
CDnow.com, Drew Wheeler:
“….Bay Area singer-songwriter-poet Lisa B pulls all her talents together on her debut album… ‘I Remember Paradise’ has a studio-buffed sheen and a yearning chorus of lush, multitracked vocals, and the smoothly arranged ‘Whoever Loves Is Afraid’ is memorable for its catchy refrain… The tart chorus of the sharp, lyrical ‘God of Your Heart’ is welcome… Her computer-themed tune ‘Virtual Kiss’ boasts an engaging synthetic horn chart and spacey effects, and Coltrane homage ‘Trane’s Ride’ sets a pleasant undercurrent of his melody…In her more unusual experiments, Lisa B is certainly capable of bringing Joy.”
Saturday, May 27th, 2006 2:06 AM PDT
Jewish Bulletin of Northern California & Washington D.C. JewishWeek, Rebecca Rosen Lum:
“Singer Blends Rhapsodic Poetry – Feminism.” Long before Lisa B began rocking audiences on the alternative club circuit, she was crafting lyrics in what she calls ‘the Song of Songs tradition,’ where imagery of religious ardor matches romantic ecstasy. Lisa B - that’s B for Bernstein - has since built up a following in the urban cultural phenomenon that has seen a blend of rap, poetry and spoken-word performance enjoy a fever-pitch popularity.
The Oakland resident, who is also a serious poet with several books and awards to her credit, has just released her first full-length CD, ‘Free Me for the Joy.’ ‘God No. 2,’ the last cut on the CD, was published first as a poem in Lilith, a Jewish feminist magazine. Her poems have also appeared in Tikkun magazine and in a 1998 Northwestern University anthology called ‘Beyond Lament: Poets of the World Bearing Witness to the Holocaust.’ The CD reveals Lisa B’s talent for writing a powerful lyric. ‘Trane’s Ride,’ written by Lisa B in honor of jazz great John Coltrane, is a rumbling plea to the ‘Old Testament God’ for help with a hard journey…
Although her upbringing was not religious…she identifies as a Jew, both spiritually and artistically. ‘I was raised in the strain of Jewish culture that is political progressiveness,’ she said...
Among her accolades is a $20,000 creative writing fellowship from the National Endowment for the Arts…Her segue into song was natural once she began reading her poetry aloud, she said. She has since been learning about the music industry and working with a vocal coach on what she calls ‘the athletics of singing.’….[She has a] rich, throaty voice and lively command of the language...
As for her next move, Lisa B is up for the challenges of a performing career that can function within existing parameters-and cut new ones. ‘I am an adventurous spirit.’ ”
SAMPLING OF PREVIOUS PRESS From Poetry Flash:“...red-hot performance poet and musician Lisa B (a.k.a. Lisa Bernstein) is a jazz/club singer as well as an accomplished poet...”
From Guitar Showcase Times, Talent Search:“...a unique combination of catchy lyrics, jazzy vocals, and pop melodies...However, it is Lisa B’s use of poetry that makes it brilliant...her singing and composing talents are beautifully showcased.”
From Reviews by Steve Stolder, BAM Magazine:“[In] Lisa B’s debut EP, ‘Be the Word,’ the East Oakland vocalist/poetess’ four-man Swingin’ Word put a bit of sheen on their acid jazz concoction…Lisa B finds a unique niche that fuses John Coltrane, a breathy rap delivery, hip-hop beats, and a pronounced eroticism.”
"Brilliantly imagined, painful, intense, often strangely beautiful."
"Its themes of domination, withdrawal… and the various forms of craving that constitute life make this… each person´s story. One day is fine; the next we find ourselves in a state without longing."
"Anorexia is the most hypersexual book you´ll read for many years to come… a witty, charged experiment both in evading and incorporating current strictures on language… But I shouldn´t lose sight of the narrative here… its most fascinating component… Bernstein´s heroine finally breaks the shackles of the taboos that surround her to reinvent herself in a new form."
Lisa Bernstein (aka Lisa B) believes that poets and singers once performed the same function in society. “Originally, deep in civilization, the assumptions of [what the roles were for] the singer and the poet were the same, and it was pretty recent that they got split apart,” says the Bay Area singer/poet, who just released her first album on her own Piece of Pie label, “Free Me for the Joy.” On the album, Lisa B produces a hybrid sound of jazz-pop, contemporary jazz and spoken word — all with a bit of underlying swing — on the nine original tracks (and a reworking of John Coltrane’s classic “Naima”)
How were you introduced to jazz and why was it appealing to you?
I grew up in a jazz-loving household. My father is actually on his third career as a jazz photographer, and just published a book with Billboard of jazz photos. He’s a total jazz nut, so I am too. I just soaked it up as a kid, along with a lot of other things. I studied classical piano, and then I decided to be a poet. And becoming a singer was an outgrowth of doing poetry readings, believe it or not. I had a lot of music soaked into my brain cells.
How did being a poet lead to being a jazz singer?
I do not totally come out of the singer/songwriter tradition, which may not be apparent when you hear my record. Standing up and doing poetry readings is great training as a performer. You’re all alone in a bookstore, performance space or another venue. And my work was very musical. It really became clear that it is a form of singing, and I just discovered the performer in me, or rediscovered it. And I tricked myself into becoming a singer by starting some singing classes and saying, “Oh, this will help my performance as a poet.” But then the drive took over.
How long ago did you start taking singing lessons?
I started singing about 13 years ago and I started gigging about 10 years ago. I was [in my view] a jazz singer, so I kind of leaped right in and started doing standards and bebop and trying to improvise intelligently. I have a tremendous respect for what it takes to improvise and express the harmony as well as being dramatic and telling a story. It just became clear to me that that almost mathematical intimacy with improvising tunes was not the right path for me.
In your poetry did you find an improvisational element to your words?
No. In terms of it compositionally, I don’t mess with it too much. But in terms of inflection and phrasing and energy, yes. Certainly in the original act of composing, you’ve got to keep out the editor; it’s got to be the creator. And then go back and bring in the editor mind and revise, revise, revise. I’m a big fan of that process. The energy that brings you to sit down and compose is like the energy of improvising in that it’s that creative, upwelling feeling.
What was your muse in the compositions on “Free Me For The Joy”?
Part of it was just the creative process, working with my producer, Jim Gardiner, and doing it differently. On the tune “Trane’s Ride,” which works with the composition "Naima," obviously the muse there was Coltrane. And I actually wrote that poem as a poetry assignment because I was teaching poetry at the time, and I assigned my class this assignment of writing through the voice of someone else. And I sat down and wrote through Coltrane’s voice or what I imagine it to be. But unlike traditional poetry, what I heard behind me was this four four bar line going by and writing over it. In terms of an overall picture of the album, I think it’s a pretty female record.
What were you envisioning as Coltrane’s voice?
When I start out saying, “I wanted to talk from God, The hooves beat in my throat”… he’s looking back. It’s… his connection to God, and looking back to his historical roots in the South, and how that plays out in that voice of pain, drive and beauty. And then also the addiction element, and his plea toward this lover, “Naima,” to be his witness in this world.
Since there’s not a strong improvisational method to your music, do you consider yourself a jazz singer, and if so, then what is a jazz singer?
I feel a part of the tribe of jazz lovers. So that’s got to be there. In terms of my phrasing, I think that you can hear a horn player’s influence more than a straightahead kind of pop sound in terms of timbre and stuff. In terms of arrangement, “Trane’s Ride” and “Virtual Kiss” would be the jazzier tunes. And the fact that even though I’m not making up the spoken word parts... There’s a jazziness in the spoken poetry breaks because they’re... as inventive as bebop. A jazz singer has to have absorbed the jazz tradition, be interested in the harmonic legacy of jazz and then have to swing. The people who really deliver lyrics are jazz singers. Carmen McRae is my top one, that level of being committed to the story. Really what I’d like to do and what I’m trying to think about now is taking standards and open them up into different arrangements and take it out in a more poetic mode.