At this point in her career, Feather could find a way to spin the phonebook into a collection of engaging and catchy tunes.
Feather’s latest is another wellspring of cleverness that bounces between sweet, sardonic, poignant and mirthful … think of it as an intellectual jazz lab dedicated to the dissection of the human condition.
Math Camp contains the most cleverly composed original songs since, well, Feather’s last recording, Flirting with Disaster … this is perfect music.
The recording has a range and depth both lyrically and musically. The set is funny, reflective, romantic and even otherworldly. Feather’s distinctive and clarifying delivery is mesmerizing and compelling to listen to, as the words and notes intertwine.
I think she has marked new boundaries for herself as an artist and created a bigger, more dazzling musical ballpark for jazz and jazz song.
Lorraine Feather has carved a niche not just for her jazz delivery but for unique and almost Tom Waits-like lyrics to moody and sepia toned songs. She mixes bop with eerie bohemia … gets you into the corners of life on “In A Hot Minute” and “Some Kind of Einstein.” Cerebral swing.
Both the music and words of Math Camp flow through one’s mind like a soft, smoke-filled, uneasy series of dreams whose meanings seem perfectly clear when asleep.
Her music is erudite, many of her lyrics are clever, even funny, and, judging by the songs on her new album Math Camp, she can write ballads as powerfully as Randy Newman.
She makes unconventional thoughts accessible … Who knows where Feather will go next? … Only she knows. But we know that captivating thought, wry poetry and quirky melodies will continue to capture her listeners’ attention about complicated subjects in ways that no one else can.
Fascinating … emotionally rich …Seriously, Math Camp is a delight from start-to-finish and will send ripples through your personal universe for many a day and night.
Zany observations … a conversational ease … suggests Dave Frishberg in double time, mixed with the antic playfulness of Jon Hendricks.
Stunning complexities … tricky inner rhymes, offbeat stories … astonishing vocal dexterity.
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.
Her stuff glitters and gleams and makes you think of Dorothy Parker or Norah Ephron … Feather’s voice is intimate and agile … her words witty, nostalgic, critical, fanciful, bitchy and romantic by turns.
Energetic, enchanting, and exceptional … She’s utterly comfortable and confident … sings her meticulous, clever poetry in a silvery, light voice.
What can be said that hasn’t already been said of Lorraine Feather? A pop and fizz worthy of Annie Ross at the height of her vocalese powers … pure genius.
Intricate and intelligent … her delivery easy but never facile … Lorraine Feather’s voice, lyrics, and original point of view measure up to her roots.
Easily one of the most creative lyricists of her generation … Feather’s skills as an actress and her infectious, versatile voice add to her appeal.
A natural storyteller … delivering her clever verbal conceits with marvelous clarity.
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.
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 …
What a joy, what a delight … surprise-filled lyrics …[her songs] seem to shimmer between past and present …
͞Emotional, sardonic, hilariously poignant and piquant …The lyrics are evocative and deeply imbued with her edgy trademarks …
Lorraine Feather is that rare artist who can make time stand still … She could very well be the O. Henry of jazz.
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.
Very strange and marvelous … [her] vocal control is breathtaking …Feather passionately shows that what we conceal reveals more than what we display.
Paints imaginative word pictures that are rhythmically complex, yet as clear as her voice.
Fierce wit and literacy … probably the most unusual singer in America, [and] the most underrated musical figure around.
Finds the sweet spot where Kurt Weil, jazz period Joni Mitchell and Dave Frishberg might have collaborated … simply a mind-blower.
A hip, happening, very unusual approach to jazz … wonderfully offbeat.
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.
Remarkable. The songs conform abstract thought into song … ingenious vocal acrobatics.
She’s one courageous writer. She executes this high-wire act without a net and lands on her feet every time.
The most skillful of the new crop of lyricists … her work blooms and stands out from the rest.
More than any other contemporary singer or songwriter, Lorraine Feather has captured the heart and soul of the contemporary “I”.
Lorraine’s newest toon, animated by George Griffin, is for the title song of Math Camp