The Whole Note, July 2011:

On pianist/vocalist/composer Fern Lindzon’s sophomore recording, she explores themes of spiritual and emotional transcendence as well as the kinaesthetic experience of soaring through, around and above the natural elements of wind, sea and sky. The musical journey is an eclectic one, featuring original material, Brazilian and Yiddish compositions as well as blues and a medley of Broadway standards – even so, there is a unifying creative intent on this breathtakingly beautiful album. For “Two Kites” she has enlisted gifted collaborators bassist George Koller (who also wears the producer hat), Mike Murley on saxophones and Nick Fraser on drums.

The jaunty title track comes from Antonio Carlos Jobim (who wrote the music as well as the English lyrics) and deliciously coalesces all of the thematic elements of the album.

Lindzon has a consummate ability to sing in Yiddish. On Dona Dona and Yam Lid/Lustige Chasidm/Balkan Bella-Busta, she effortlessly combines an ethnic sensibility with decidedly contemporary elements - all the while wrapping her tongue around the unforgiving German dialect. George Koller`s rich and extensive background in world music can be felt throughout.

Memorable tracks include the original instrumental All Fall Down where Lindzon’s intricate, yet commanding piano technique is a perfect fit for Murley’s lithe soprano work, which weaves in and out of Koller and Fraser’s pulsing lines. Also noteworthy are the haunting Distance by consummate vocalist Norma Winstone and Lindzon’s original, Grey Green, on which her evocative vocal, harmonically complex arrangement and Bill Evans-ish piano solo coupled with the inspired work of her ensemble, make this an undeniable stand-out.

Lesley Mitchell-Clarke

Los Angeles Jazz Scene, June 2011

A talented jazz singer-pianist from Toronto, Fern Lindzon has a warm and haunting voice that displays the influence of both classical and folk music along with excellent technique on the piano and an adventurous spirit.

On Two Kites she is joined by Mike Murley on tenor and soprano, bassist George Koller and drummer Nick Fraser.

The wide ranging program includes an exuberant version of Jobim's “Two Kites,” “My Romance” (which includes an original “prelude” by Fern called “Moon In The Sky”), an atmospheric version of “Basin Street Blues,” an instrumental “All Fall Down” which is based on “Autumn Leaves,” and an Eastern European medley (“Yam Lid/Lustige Chasidm/Balkan Bellabusta”). Despite the diversity, this is a unified set with one piece logically leading to the next one. Murley's solos and his knack at blending with Fern's voice are major assets as are the leader's piano playing and the support of Koller and Fraser.

Hopefully Fern Lindzon will play in the United States someday. But for now, Two Kites (available from www.fernlindzon.com) serves as a particularly strong overview of her talents and it makes for a very enjoyable listen.

Scott Yanow

An artful, adventurous approach to music

July 2011

A funny thing happened to Fern Lindzon on the way to a university degree in musicology at the University of Toronto: After stumbling on a jazz club in Yorkville and hearing guitarist Lorne Lofsky, pianist Ted Moses and flutist/vocalist Kathryn Moses perform, Lindzon saw the light.

“This is what jazz is? This is what I want to be doing!” Lindzon said, explaining her conversion from the classical stream.

After further study with several masters—pianists Fred Hersch in New York City, Marilyn Lerner in Toronto and Alan Bern in Germany—Lindzon has emerged as a rare and fascinating talent, combining an artful and adventurous approach to her piano and vocals, writing and arranging, and leading various groups in a variety of genres, from post-bop jazz to klezmer and Yiddish.

We discovered Lindzon via her latest CD, Two Kites (Iatros). This collection of 12 songs features Lindzon’s clear and delectable voice and her artful extensions of the thematic material on piano, enhanced by clearly inspired playing from saxophonist Mike Murley, with rhythmic variety from drummer Nick Fraser and bassist George Koller. With their support, Lindzon soars with musical delight on Antonio Carlos Jobim’s Two Kites, and gets to the core of My Romance, with her own Moon in the Sky vocalese prelude, never sounding maudlin. She renders the classic Dona Dona, in Yiddish and English, dramatically, as it should be, using an odd time signature to create tension with “the winds laughing.”

I loved her longest piece, a three-part medley of Yiddish songs with a delightfully modern treatment.

At Upstairs Jazz Bar & Grill, she played in a trio: complex, challenging pieces rendered with precision and purpose, her improvisations adding colour and depth to each piece. Lindzon was kind enough to give us her debut CD, Moments Like These (Iatros), which features exquisite duets with vibraphonist Don Thompson, guitarist Reg Schwager and bassist George Koller.

We next met Lindzon with her Yiddish swing klez band, Sisters of Sheynville, in mid-June, having fun in three-part harmony à la Barry Sisters, with fellow vocalists Lenka Lichtenberg and Isabel Fryzsberg. They were dancing in the park opposite the YM-YWHA in Snowdon as the shvesters frolicked on stage, having fun and rebranding such classics as Yid’l mit’n Fid’l, Shayn vi di Levoneh and Di Grine Kozineh.

Irwin Block

The Purple Cabbage, May, 2011

Although the weather yesterday was more conducive to destroying kites than flying them, they were quite safe decorating the Lula Lounge stage at Fern Lindzon’s CD launch for her latest release “Two Kites” – in fact one of the kite’s tails twined around the arm holding up the lid of the piano. Radiant in a denim blue diaphanous gown (like the CD cover) we were tipped off that sunnier skies were about to prevail.

I kind of got a sneak preview of the contents at a concert in the Richard Bradshaw Amphitheatre a couple of weeks ago, the CD being part of the Toronto Downtown Jazz Festival Special Projects initiative. Josh Grossman, festival director, reminisced about meeting Fern at his tenure at the Markham Jazz Festival and touched upon her versatility, in particular scoring for the Buster Keaton silent film “Sherlock Junior” which was screened at the TIFF Bell Lightbox Theatre. I can assure you that was an amazing experience, complete with full orchestra. I am also familiar with her work in the glorious “Sisters of Sheynville” Klezmer influenced group.

The ensemble last night, who are of course featured on the CD, included Mike Murley on saxophones, George Koller on bass and Nick Fraser on drums. The band started out up-tempo with a swinging original of Fern’s called “All Fall Down”. Lindzon couldn’t resist a reference to that special event happening in London this week, dedicating the next tune to Wills and Kate, which combined “Moon in the Sky” and “My Romance.”

The delightful title tune, written by Antonio Carlos Jobim, featured a rapid-fire, stream of consciousness lyric – in fact his only lyric written originally in English. The piece continued with a wonderful curlicued solo by Mike Murley (you would never know he was suffering from a cold), which put me in mind of the namesake kites swooping and dipping on a lovely summer day.

One of the highlights of the show for me was the bluesy take on “Let Yourself Go” (from Fern’s 2008 release, Moments Like These), where the band did indeed let loose – particularly Fern on the keys and Mr. Koller on bass. Mike Murley was featured again on soprano on “Dona, Dona”, part of the homage to Eastern European Klezmer influenced tunes; an influence which is also felt on Two Kites – on a lovely Egberto Gismonti number, as well as a sensitive treatment on the great Norma Winstone’s “Distance.”

Each outing reveals more of Miss Lindzon’s talent and versatility, and like a kite, she continues to soar.

Maureen Murray

Book excerpt from The Jazz Singers: the Ultimate Guide by Scott Yanow

An excellent singer and pianist based in Toronto, Fern Lindzon recently recorded her first jazz recording as a leader. Moments Like These a set of duets with guitarist Reg Schwager, vibraphonist Don Thompson and bassist George Koller that features her warm singing on nine of the dozen selections, including her lyrics to Wayne Shorter's Infant Eyes.
Lindzon, who also plays modern klezmer music in other settings, is a strong talent.

Concert Review by: Paul J. Youngman, June 09 at jazzreview.com

Venue: Chalkers Pub (Toronto)

Fern Lindzon is a Canadian pianist and a vocalist. She exhibits equally accomplished talents on both instruments. I managed to catch her at Chalkers Pub in midtown Toronto, a great up and coming jazz club that has played host to some fantastic jazz folk including vocalist Sheila Jordan. As I walked up the stairs to the 2nd story pub housing the jazz club, billiards room and large outdoor patio - I heard an enchanting melody, “Never Never Land” performed as an instrumental jazz version. Ms. Lindzon led her band, made up of Mike Murley (saxophone), Michael McClennan (acoustic bass) and Joel Haynes on drums through a fun arrangement, giving this old show tune a swinging contemporary jazz groove.

Ms. Lindzon explained the origins of “Where Do You Start” a jazz standard with lyrics by Allan and Marilyn Bergman and music by Johnny Mandell. The song made famous as a traditional show tune was sang by Lindzon with a smooth alto tone, she performed the song with a Broadway style of phrasing.

On the classic “Estate,” Mike Murley played in a muscular style, coaxing the muffled tones of a Latin groove from his horn. Fern Lindzon played piano in a spacious melodic style and provided vocal phrasing with grand sustain and beautiful clear notes cascading from one to the next.

The band performed many of the songs from Ms. Lindzon’s 2008 Independent release, Moments Like These, her debut recording that features duet performances with Don Thompson, Reg Schwager and George Koller. Including the aforementioned tunes, they also covered, “Let Yourself Go” and “Re’i”, an interesting and exciting song that Lindzon sang in Hebrew.

They also performed Jobim’s “Two Kites”. And a song entitled “Dona Dona,” a traditional Klezmer song dedicated this night to Maria Schneider, also in performance this evening as part of the Toronto Jazz Festival. A Norma Winstone song, “Distance”. “Loro” was a chance for Mike Murley to play soprano sax, a distinctive voice always a pleasure to listen to. “Let Yourself Go”, a great tune to let go on - as the whole band romps through the tune with serious energy and wild dynamics. There were some great solos on this song.

Bringing the show to a close on some common ground - the band played Cole Porter's, “Lets Do It” what a great way to end a show. I’ll be looking forward to hearing Ms. Lindzon again. I have her CD, Moments Like These - so no better time then now.

Reviews of Moments Like These:

Montreal Mirror, April 09

Great singer/pianist, songs and musicians like Don Thompson and Reg Schwager—mostly duets. 9 out of 10.

Len Dobbin

Toronto Life, March 09

Fern Lindzon revealed the breadth of her talents as both singer and pianist with 2008's Moments Like These, a collection of thoughtful duets with George Koller, Reg Schwager and Don Thompson.

Stuart Broomer

Vancouver Sun, February 09

Toronto singer-pianist Fern Lindzon's debut disc divides her repertoire into 11 duets and one solo number, all of which are performed with great taste and musicality. During the pairings --four each with vibraphonist Don Thompson and bassist George Koller, and three with guitarist Reg Schwager -- the musicians complement each other, never intruding on their partner's space.

Lindzon and Schwager take a spare approach to Wayne Shorter's ballad Infant Eyes, lending weight to the notes, and she and Thompson have the same modus operandi performing Oliver Nelson's Stolen Moments.

As a vocalist, Lindzon has a clear voice that resonates in the lower register and makes direct hits on octave jumps without sliding her way up.

As a pianist, she plays in the comfort zone of someone used to accompanying her own vocals, but then she surprises you.

Marke Andrews

WholeNote Magazine, April 08

Take a sensitive singer/pianist, choose an imaginative set of songs, add George Koller on bass, guitarist Reg Schwager and Don Thompson on vibes - but only one of them on each number- and you are already rounding third and heading home. It is difficult to choose favorites from this CD and Lindzon has created an album that might just be too good to be "popular," but real listeners to the music will find a great deal of pleasure in this tasteful collection of superior lyrics and melodies.

Jim Galloway

Los Angeles Jazz Scene, April 08

A very talented pianist and singer from Toronto, Fern Lindzon has released a rather unusual debut CD. She is featured in duets with either guitarist Reg Schwager, bassist George Koller or vibraphonist Don Thompson. Duets, even more than solos, are particularly tricky because they leave each player very exposed, and the two musicians must work perfectly together or their missteps will be obvious. There is nowhere to hide.

But with musicians of this caliber, there is no reason for anyone to hide. Fern Lindzon, who takes vocals on eight of the 11 duets, is not shy to take chances yet she makes it all sound easy. She sings her own lyrics to Wayne Shorter’s Infant Eyes (which is retitled To See Through Infant Eyes) and her vocalese to Moments Like These which she uses as a prelude to her lyrics to Stolen Moments. She turns the Jewish piece Re’i into a haunting ballad, contributes the playful You Really Shouldn’t, But... (a thinly disguised Well You Needn’t), and takes Where Do You Start? as a solo piece. Everything works.

Clearly Fern Lindzon deserves to be better known on this side of the Canadian border. Moments Like These, which is available from www.fernlindzon, is a keeper.

Scott Yanow

Coda Magazine, May 08

Veteran Toronto singer and pianist Fern Lindzon has taken an interesting approach to her debut recording Moments Like These. Completely made up of duets with noted musicians Don Thompson (here on vibraphone), bassist George Koller and guitarist Reg Schwager, Lindzon achieves a sense of intimacy on this recording that is pleasing and rare.

Lindzon's vocals are rich, elegant and, thanks in part to her many years of stage experience, delivered with a sense of confidence and ease. Her piano playing is very much in the jazz tradition (she has a great swing feel), but is also contemporary in tone. The temptation when playing duet might be to play more, if only to fill empty spaces, but Lindzon maintains a judicious style.

Vocally, Lindzon is most effective on standards like Irving Berlin's Let Yourself Go, where she performs a clever rendition of the rarely heard verse. Of the duets that are strictly instrumental, standouts include a spirited conversation between Schwager's delicate guitar and Lindzon's piano on You Really Shouldn't, But... and the opening track Like Someone In Love, where Thompson's mile a minute vibes provide an effective counterpart to Lindzon's clean piano lines.

Tracey Nolan

Klezmer Podcast

I first became aware of Fern Lindzon about a year ago. When I leaarned that she was releasing this, her first CD, I was immediately intrigued. Not really sure what to expect from her, when the CD arrived I started listening to it right away. And listened again. And again. Moments Like These is a collection of intimate duets with Lindzon on Piano/Vocals, Reg Schwager- Guitar, Don Thompson- Vibes, and George Koller- Bass. Normally, I would say that this would make for a great sounding quartet, but the idea of doing these songs as duets is both bold and inspired.

Lindzon pays tribute to some great jazz artists such as Wayne Shorter, Chick Corea, Thelonious Monk, and Oliver Nelson, as well as legendary singers Ella Fitzgerald and Shirley Horn. The songs are selected from a broad range of standards, show tunes, plus a few surprises.

Lindzon is a truly outstanding performer. She has the ability to hold the listener's attention throughout the album. The music never gets in the way of her floating voice, but provides a perfect background for her inventive style. In addition, the outstanding musicianship of everyone is on display during the instrumental breaks and on the three nonvocal pieces. Here we find quality jazz, a nice touch, considering that instrumental tracks are a rarity on vocal albums in general.

Another aspect of Lindzon that is not immediately apparent is her innovative approach as a composer and lyricist. As she says in the liner notes, she likes writing lyrics to standard jazz tunes. She displays this talent with great aplomb on the title track, Moments Like These/You Belong To Her, where she sings an original vocalese as an intro to her own lyrics set to the tune of one of my all-time favorite songs, Stolen Moments, by Oliver Nelson. She also sets original lyrics to Wayne Shorter's Infant Eyes on her version called To See Through Infant Eyes.

Her composing and arranging abilities are on display with the Chick Corea-inspired Children's Lullaby, which serves as a wonderful prelude to her beautiful rendition of Never Never Land, arranged in 5/4 time that reminds me of Dave Brubeck. Another Lindzon composition is the inventive TR7, a 12-tone blues that is actually a very nice piece. Just don't try to sing along, you might hurt yourself (Just kidding, Fern).

My favorite song on the album is Re'i. This is quite a departure from the rest of the album. Lindzon sings the song in Hebrew, which adds a touch of mysticism to the smooth lines of the melody. Just as we settle into the slow groove, we are treated to a perfectly matched vibes solo from Don Thompson. Another song with a twist is You Really Shouldn't, But... As a tribute to Thelonious Monk it is a great Piano piece. But again, Lindzon puts her own stamp on it by using a slight Bulgar rhythm as the background. The Bulgar is a traditional Jewish dance, and gives new direction to what is otherwise a mainstream jazz piece.

The 6-page foldout booklet is nicely done, with photos; liner notes by Mark Miller, a noted jazz critic; thank yous and credits; and song descriptions. The track personnel and times appear on the back tray card.

I must say that I was very impressed with the audio quality. The vocals are clear, with just the right amount of reverb; the piano, guitar, and bass are clear and distinct; and the vibes have great presence. Vibes can be troublesome to record properly, but I give a lot of credit to the audio team of Chad Irschick and Michael Haas for the outstanding results the have achieved.

Moments Like These is a welcome introduction to the artistry of Fern Lindzon. And especially for those not familiar with her work, have a listen, immerse yourself in the music, and seize the moments that this album offers. Moments like these don't occur very often.

Keith Wolzinger

Now Magazine, Feb 21, 08

Interesting how such a basic set of instruments can create such divergent thoughts and feelings. A vibraphone, a guitar, a bass and a female voice add up to more than the sum of their parts on Lindzon’s debut...She challenges herself by singing in Hebrew one moment and inserting a few instrumental pieces the next, evening out the listening experience. The 12-tone-row used on TR7 intrigues the ear, even if it is a little abstract and heady...her potential is evident, and the album is more inventive than might initially seem.

Addi Stewart

CD Liner notes by Mark Miller

Folks — friends, fellow musicians, fans — have been telling Fern Lindzon that there’s something very brave about Moments Like These. Daring even. After all, it’s her first CD, and here she is playing piano and singing in that most intimate and revealing of settings, the duet, with vibraphonist Don Thompson, guitarist Reg Schwager and bassist George Koller, three of Toronto’s finest jazz musicians. Daring indeed.

Well, yes, that’s certainly one way of looking at it. But here’s another: Fern is simply challenging herself, as jazz musicians are wont to do — the good ones, anyway, the ones who understand instinctively that complacency does not complement creativity.

That’s certainly consistent with the inquiring spirit that Fern has shown throughout her career: classical studies in piano and voice, a degree in music history from the University of Toronto, an introduction to jazz in her early twenties and to Klezmer music more recently, and a thriving career along the way as a pianist and singer for all seasons.

The idea of recording with just one other musician at a time is surely the boldest of her challenges on Moments Like These, particularly when that one other musician is capable of offering the level of invention and inspiration that Thompson, Schwager and Koller bring to this warm and engaging CD.

So too, in this matter of challenges, is Fern’s decision to sing Estate and Where Do You Start?, two songs already recorded near-definitively by Shirley Horn with string orchestra; Fern makes them her own all over again with much, much less.

And how about writing lyrics to Wayne Shorter’s Infant Eyes? Or creating the vocalese — the lyrics and the free melodic line — of the song Moments Like These as a prelude to Oliver Nelson’s Stolen Moments? Or composing a 12-tone blues, TR7, and an allusively Monk-ish You Really Shouldn’t, But..., two of the CD’s three instrumentals? Or adapting Re’i, a song of reflection in Hebrew, for piano and vibes, and to such ravishing effect at that? Or finding other ways as an arranger to freshen the rest of her repertoire, and other ways as a singer to bring to it new insights? Or exploring those insights even further at the piano, right hand melodically inquisitive and left hand harmonically reassuring?

Or ultimately — as challenges go — making a CD that stands with quiet confidence apart from so many other CDs these days by singers, singers who play piano and pianists who sing?

Challenges set. Challenges met.

Mark Miller was the jazz critic for The Globe and Mail from 1978 to 2005 and is the author of High Hat, Trumpet and Rhythm: The Life and Music of Valaida Snow and seven other books.

Then there's the Yiddish classic Chiribim...the middle section is infused with great jazz solos by saxophonist Jane Fair and pianist Fern Lindzon...I must mention the outstanding rhythm section...These ladies are terrific! They shift between swing, bulgar, Latin, and contemporary jazz with ease and absolutely nail each style...I really liked the musical arrangements of Fern Lindzon, who has a great understanding of the varied musical styles on the album.

Keith Wolzinger