Song comments [pdf] A few details about the songs
Lyrics [pdf] “I crave your bewitching foyer…'”
Produced by Lorraine Feather, Carlos Del Rosario, Geoff Gillette, and Eddie Arkin
Lyrics and vocals by Lorraine Feather
Music by Eddie Arkin, Shelly Berg, Russell Ferrante, and Dave Grusin
Piano: Russell Ferrante, Shelly Berg, Dave Grusin; bass: Michael Valerio; drums: Michael Shapiro, Gregg Field; guitar: Grant Geissman, Eddie Arkin; violin: Charles Bisharat
Cover, graphics and booklet design: Michael Ticcino
Photography: Mikel Healey
Publicist: Michael Bloom
Radio promotion: Michael Carlson

Flirting with Disaster
4 stars  Lorraine Feather [is] jazz’s savviest self-chronicler …the songs on Flirting With Disasterquiver with vulnerability … Feather’s lyrics tell us this album is a “wild ride from bliss to despair.” We should be grateful to have been invited along.

Fred Bouchard

Down Beat

Funny, sardonic, wise and occasionally wistful … dangerously thrilling … like love, a wildly unpredictable journey

Christopher Loudon

Jazz Times

erie … beautiful … The entire album feels like a one-woman play. It could be a Broadway musical soundtrack or the best night you’ve had at a jazz club ever.

Brenda Hillegas

Elmore Magazine

A combination of Mystery Theaterand the female equivalent of O. Henry … endlessly entertaining, tight hairpin lyrical turns, and surprising emotional cliffhangers that leave listeners both devastated and rejuvenated.

Carol Banks-Weber

examiner.com

She works sans net, fearless and supremely confident about what she’s offering, risks be damned.

Nicholas Mondello

All About Jazz

The lyrics are sometimes wonderfully touching, but sometimes harshly realistic. Regardless of the melody or the lyrics, the star is Feather.

Bob Karlovits

Tribune-Review

11 impressive songs, each with its own strength and beauty … the ballads on this recording are just stunning. Lorraine Feather continues to grow as a lyricist, vocalist, arranger, performer and human being.

Richard Kamins

Step Tempest

A Tom Waits-Mort Sahl kind of jazzer …thoughtful, winsome and yet swinging … cerebral, yet also celebratory stuff.

George W. Harris

Jazz Weekly

She is the most talented little-known master in all of American vernacular music at the moment, mind-bogglingly literate and witty and unlike anyone … some of the coolest song lyrics by any singer/songwriter alive.

Jeff Simon

buffalo.com

Lorraine Feather, accomplished singer and songwriter, is to me one of those who are, in Duke’s phrase, ‘beyond category.’ Flirting with Disastercontinues her progression … a poetic universal … a golden voice of great character and musicality.

Gregory Applegate

Gapplegate Reviews

Her voice is flexible and nuanced; she can whisper, speak rhythmically, hit the high notes pure and clear … whatever is necessary to deliver the lyrics with the most fascinating effect. Lorraine Feather is my new Joni.

Shannon West

Smooth Views

On Flirting With Disaster, her first album of entirely love songs, Feather hits it out of the park.

General Jabbo

Blinded By Sound

Miss Feather proves yet again that her sense of musical adventure and originality is without limit.

Mark Sudock

Metromedia Radio

͞Zany observations ... a conversational ease ... suggests Dave Frishberg in double time, mixed with the antic playfulness of Jon Hendricks.

Stephen Holden - The New York Times

͞Stunning complexities ... tricky inner rhymes, offbeat stories ... astonishing vocal dexterity.

Don Heckman - The Los Angeles Times

͞Great jazz lyricists are not easy to find ... Feather can turn a phrase with the best of them. Her nimble style does justice to both melody and lyrics.

Howard Reich - Chicago Tribune

͞Her stuff glitters and gleams and makes you think of Dorothy Parker or Norah Ephron ... Feather͛s voice is intimate and agile ... her words witty, nostalgic, critical, fanciful, bitchy and romantic by turns.

Tony Gieske - The Hollywood Reporter

͞Energetic, enchanting, and exceptional ... She͛s utterly comfortable and confident ... sings her meticulous, clever poetry in a silvery, light voice.

Carol Sloane - DOWNBEAT

͞What can be said that hasn͛t already been said of Lorraine Feather? A pop and fizz worthy of Annie Ross at the height of her vocalese powers ... pure genius.

Christopher Loudon - Jazz Times

͞Intricate and intelligent ... her delivery easy but never facile ... Lorraine Feather͛s voice, lyrics, and original point of view measure up to her roots.

Elzy Kolb - Jazziz

͞Easily one of the most creative lyricists of her generation ... Feather͛s skills as an actress and her infectious, versatile voice add to her appeal.

Ken Dryden - All Music Guide

͞A natural storyteller ... delivering her clever verbal conceits with marvelous clarity.

Russell Davies

BBC

͞To simply call her a singer, detracts from what truly sets her apart ... her ability to put into words the small and profound incongruities of life.

Hugo Kugiya - The Seattle Times

͞She shares a remarkable skill with Paul Simon, Billy Joel and Ira Gershwin ... but Feather goes a different direction with her talents ... twisted humor ... a nouveau bebop sound ...

Bob Karlovits - Pittsburgh Tribune-Review

͞What a joy, what a delight ... surprise-filled lyrics ...[her songs] seem to shimmer between past and present ...

Chip Deffaa - The New York Post

͞Emotional, sardonic, hilariously poignant and piquant ...The lyrics are evocative and deeply imbued with her edgy trademarks ...

Carl Hager - All About Jazz

͞Lorraine Feather is that rare artist who can make time stand still ... She could very well be the O. Henry of jazz.

Carol Banks Weber

examiner.com

͞Brooding, dark, mournful and fun ... that Feather has hit her full musical maturity is beyond question; that she has hit her peak is still in doubt.

Thomas R. Erdmann

jazzreview.com

͞Very strange and marvelous ... [her] vocal control is breathtaking ...Feather passionately shows that what we conceal reveals more than what we display.

Steve Horowitz - PopMatters

͞Paints imaginative word pictures that are rhythmically complex, yet as clear as her voice.

Bill Falconer - Coda

͞Fierce wit and literacy ... probably the most unusual singer in America, [and] the most underrated musical figure around.

Jeff Simon - Buffalo News

͞Finds the sweet spot where Kurt Weil, jazz period Joni Mitchell and Dave Frishberg might have collaborated ... simply a mind-blower.

Chris Spector - Midwest Record

͞A hip, happening, very unusual approach to jazz ... wonderfully offbeat.

Paul Freeman - San Jose Mercury News

͞Much more than a mere jazz singer ... one of the most exceptional lyric-writers of our day, a sort of hipper, post-modern Lorenz Hart.

Lynn René Bayley - Fanfare

͞Remarkable. The songs conform abstract thought into song ... ingenious vocal acrobatics.

Tom Danna - PM Magazine

She's one courageous writer. She executes this high-wire act without a net and lands on her feet every time.

Alan Bergman

͞The most skillful of the new crop of lyricists ... her work blooms and stands out from the rest.

Dave Frishberg

͞More than any other contemporary singer or songwriter, Lorraine Feather has captured the heart and soul of the contemporary "I".

Will Friedwald

A Perfect Album from a Brilliant, Multi-Talented Artist
Musical Performance: 5-stars
Sound Quality: 5-stars
Overall Enjoyment: 5-stars

Lorraine Feather was born into music. Her father was Leonard Feather, a jazz pianist, composer, and producer who is best remembered for his journalism — writing reviews and album notes pertaining to jazz. Her mother was a singer in the big-band era and an ex-roommate of Peggy Lee. And her godmother was none other than Billie Holiday. Being blessed with genes and attention from the best offers no guarantee that one will come out ahead, but in Lorraine Feather’s case everything took, and she has become one of the most brilliant and multi-talented artists performing today.

Feather writes wonderful lyrics, and her first albums were often devoted to lyrics that she’d set to instrumental classics by such artists as Fats Waller and Duke Ellington. Lately she’s been collaborating with more contemporary composers, and Attachments is the pinnacle of this period. The album is absolutely impossible to fault. Not only are Feather’s lyrics vibrant and true, but her singing is that of a master interpreter completely in control of her instrument. She has perfect diction. Though all of the lyrics are printed in the booklet that accompanies the CD, you won’t need it to understand every word. Moreover, her voice is lovely and appealing. As both a writer and performer, she has it all.

The music collaborators on Attachments are well known to jazz followers, and Dave Grusin, Russell Ferrante, Eddie Arkin, and Shelly Berg all play on various cuts. Attachments is the title of both the album and its second song, and it indicates that Feather’s lyrics are about “the connections we have or form as we go along in life — to our families, friends, lovers, to animals, to places.”

The styles range from wistful ballad (‘I Hope I Never Leave This Place’) to saucy romp (‘I Love You Guys,’ a remembrance of jazz musicians that even tosses a line or two to her husband, drummer Tony Morales). The instrumentation varies as well. Most of the songs include piano, and there are some beautiful contributions from violinist Charlie Bisharat, as well as a very significant one from bass clarinetist Bob Mintzer.

Feather’s lyrics can be sharp as a tack, and they can say something in a way we’ve never heard before, but that seems absolutely right:

You called it love.
What moved you more
Was the quiet scratch
At your entry door,
Was the longtime friend
You thought you’d keep,
Who suddenly cut you
Canyon-deep.

The recorded sound is lush, with lots of presence and just the right amount of reverb. Balances are spot-on and vocal overdubs are skillfully done. Overall, the sound seems ideal for the arrangements. Given the performances and the sound, Attachments should be a given for a Grammy nomination.

Be sure to listen to: The final cut, ‘True,’ finds Feather putting lyrics to Dave Grusin’s arrangement from Bach’s third orchestral suite. The accompaniment is just Grusin on the piano and Bisharat on violin, and the results are ethereal and tremendously moving. I’ll be playing it a lot.

—Rad Bennett, Soundstage Experience

Rad Bennett

Soundstage Experience