Fleur Stevenson is a creative, imaginative singer and has worked with some of the top musicians including Gareth Williams, Brandon Allen and David Newton and Frank Harrison to name but a few. She has performed at major U.K. venues including Pizza Express Jazz Club, Ronnie Scott’s, the 606 Club and many more.
Classically trained in trumpet and voice, she was a chorister as a young singer. Then Stevenson stood in for the singer in a local jazz band during rehearsal and realized she felt at home with jazz. She formed her own band and also founded Jazz Singer’s Night in Reading to encourage jazz vocalists. She is very much a rising star on the British jazz scene.
Her upcoming release Follow Me, due on June 2, 2019, is a brilliant insight into the vocal talent she possesses – and that talent goes deep.
“Beautiful Love” opens the album; it’s a lovely, trippy number with an uplifting essence from the start. A celebration of love, this song is well suited to Fleur’s vocal agility and also includes some stellar piano from Pete Billington (Pete Billington Jazz Group, Jamie Cullum, Tina May), and some rather gorgeous scat singing. Scat can kill a good song and often does – but here, Fleur drops in and out with precision timing and the creative use of her voice as an instrument is perfect for this number. Her intuitive musicality shows as she revels in ascensions and descensions which would probably scare the pants off even the most practiced lesser-talented performer. A musically well-arranged and cleverly proportioned number, “Beautiful Love” is a great opener, with some great percussion from Simon Price too.
“Misty Roses” is swingy, sultry and atmospheric, a story of enchantment and wonder. Also pretty enchanting vocally. A change in atmosphere from the previous track, Fleur Stevenson demonstrates more of her vocal prowess – and this is over some great piano once again as well as a really good and controlled bass line, well worked by Raph Mizraki (Adderbury Ensemble, Concordia). The title track is simply good old-fashioned jazz with some good lyrics, clear as a bell vocals and solid backing. There are really well-thought-out solos from Billington on piano and Price on drums, with a deftly inserted touch of improvisation slotted in, just in case anyone was feeling musically bereft.
“The Nearness of You” is given a make-over and interpretation by Fleur and the group and it works well. Crystal clear vocals bring the lyrics to life, aided by the emotive singing and careful arrangement. Mizraki’s bass solo is rich and gently assertive without being overbearing. Too often songs or how they are sung are said to be “beautiful,” but this is a truly beautiful, delicate interpretation of this standard. “You’d Be So Nice To Come Home To” was made famous by singers including Sarah Vaughan, and Fleur Stevenson chooses to present it with a slower, breathy introduction, evolving into a slightly sassy delivery – complete with another perfectly timed and pitched scat section. The piano and band move to the fore during the third quarter and, in a delicious, slightly irreverent manner, take the speed up a notch and swing the song out the courtyard. It’s huge fun and a great interpretation.
“Can’t Help Falling In Love” is always in danger of becoming hackneyed, but not in Stevenson’s hands – not for a moment. The song is given a vocal and musical brush down, then returned to the listener in a tender form steeped with passion. Again, Pete Billington’s piano steals the middle section, worked over a bedrock of Raph Mizraki’s bass and Simon Price’s drums before the vocals return, still bang on point, still warm, tender and sweet until the last breathy note. “Teach Me Tonight” opens in 4/4, which is slowed down precisely one beat after the vocals enters, This works an ear-catching treat. Taken to the lower range of her vocal scope, Fleur Stevenson rolls with this one as the band-led section takes us down the road of the blues.
“I Talk to the Wind” is dramatic, well-arranged and delivered with class. “I Thought About You” starts with a Mizraki bass solo, over which the vocals drop in, all narrative with a twist of the cheeky and just a touch of sleaze. Gorgeous. “Old Devil Moon” is fun, lively and there is a knowing in the delivery. The piano and drums parts offer change and variety to an already multi-layered number. Smiles all round.
A piano/voice duet, “You Must Believe In Spring” begins with keyboard setting the theme before the vocals come in. The song gets emotional, a little melancholic and then supremely hopeful, lifted as the vocals develop the lyrics. The piano is excellent but Billington has proved himself many times on this album. The track is lovely in many senses.
Fleur Stevenson’s Follow Me is incredibly easy on the ears. The musicality and arrangements are good, and Stevenson is in possession of a voice which has power – yet she has the control to drop down to a caress in a heart-beat. And she can scat; boy, can she scat! There is attention to detail in every track and very clear nods to the composers, yet each number is also imbued with originality. The musicians are allowed to sparkle and shine with intensity on occasion which shows a generosity in arrangement redolent of the original performances.
This album is class, it has style and it is an up-lifter of spirits. Follow Me? I think a good number of music lovers will do just that.
- Joan Torres’s All Is Fused – ‘Embrace Form’ (2024) - July 14, 2024
- Julian Costello – ‘Vertigo’ (2024) - June 29, 2024
- Eric Anders and Mark O’Bitz – ‘Contrapasso’ (2024) - June 21, 2024
