Quotes from Radio: Jazz?
Jack Hopke, WWNO, New Orleans:
“The music attracts beyond the novelty factor. A number of artists have recently undertaken jazz covers of pop and rock tunes, but the Lester effort stands out for its thoughtful song selection, its quality of swing (which sounds natural, unforced, and well-mated to the material), and Lester’s fine singing”
Eric Cohen, WAER, Syracuse, New York:
“With the wonderful backing of a trio, John has taken these rock songs and transformed them into compelling new musical short stories with a jazz subtext. Whether it be covering Counting Crows, Don Henley, or Pearl Jam, John Lester will get you hooked immediately. I’ve reviewed literally hundreds of CDs over the past year and I can honestly say that “Jazz?” is one of the most compelling I’ve heard from first note to the last. You want a great listening experience…look no further than John Lester Quartet.”
Jon Norton, GLT Jazz, Illinois State University:
“To those who say Jazz is Dead: You haven’t heard John Lester!”
Bob Rogers, taintradio.org, JazzWeek’s Internet Station of the Year 2011:
“The John Lester Quartet’s new release is titled “Jazz?” Songs include Eddie Vedder’s *Evenflow*, Don Henley’s *Sunset Grill*, Roger Waters’ *Money * and The Cure’s *A Letter to Elise*. On each track, singer/bassist John Lester strikes me as someone who knows how to tell the story, allowing the listener to hear these old songs in compelling new ways. That’s what jazz and good songs do best. So regarding that question mark in the title, the answer is “yes!”
Bo Rodriguez, KMBH/KHID, Rancho Viejo, Texas:
“Rock found Jazz? or did Jazz find Rock?….great comments from our “Jazz in the Afternoon” listeners about John Lester’s new cd “Jazz?”
Quotes from Reviews (All Albums)
“A gifted double bassist and fine songwriter with a rich smokey voice.”
-Time Out“Lester is a laid back, relaxed singer, a songwriter with a fresh viewpoint, and a talented bassist!
-Folkwax Magazine“…une bassiste fantastique!”
-Le Monde“…whatever he’s singing he brings conviction and swing to it.”
-www.vortexjazz.co.uk“Lester’s USP is his supreme mastery of all possible varieties of bass guitar, and his use of them as lead instruments…his understated virtuosity demands attention.”
-Maverick Magazine“He can even work minor miracles and make a bass solo sound interesting!”
-Jazzwise“Not just another guitarist with three chords and their version of the truth!”
-Folkworld, Germany“A unique blend of jazz and original material from a world class singer/songwriter whose talent
and experience make every gig special. One of the finest exponents of this art form on the
scene today.”
–Steve Rubie, 606 Jazz Club, UK“…biting lyricism that cuts quick and deep.” -LogoMagazine.com
“John Lester evokes comparison to such modern minded contemporaries as Seal, Ben Harper, and Sting with his strong melodies and deep harmonies accented by the bassist’s bright overtones and jazz inspired counterpoint.”
-Minor7th.com“…a voice full of tone, like a single malt whiskey.”
-Adult Contemporary Essentials“John doesn’t just have a great voice, he is a voice! Great songs that really communicate.”
-KPFA, Berkeley“John sings his spiritual, humorously endearing heart out while Sarah (his upright bass) takes her deep, sweet time… after all, she’s 80.”
-Metro Santa Cruz
Album reviews: Jazz?
JazzMonthly.com (May 2013)
“John Lester has had one foot set in rock with the other solidly set in jazz since he began playing at age 14. These two distinct paths now converge with the release of his 4th independent CD, John Lester Quartet “Jazz?”, on October 2, 2012. The album, recorded in London and mixed in New York, is a collection of influential rock songs performed as improvisational jazz. “Jazz?”features John on vocals and upright bass with Steve Lodder on piano (Carla Bley, Ernestine Anderson, Paul McCartney), Theo Travis on sax and flute (Robert Fripp, Davide Sylvian, Steve Wilson), and Davide Giovannini (Roy Hargrove, John Scofield, Steve Winwood, and Bjork). As evidence from the breadth of experience, all players are versed in both the jazz and rock genres.
“Jazz?” is inspired by John’s love for great contemporary rock songwriting and acoustic jazz improvisations. ‘Mr. Jones’, by Counting Crows, sets the stage with an intro of bass and vocal only, reminiscent of John’s unique solo shows. With the band kicking in at the second verse, the jazz theme of the album is firmly established. ‘Money’, the classic Pink Floyd tune, finds new roots with upright bass walking the famous 7/4 line, while Tori Amos’ ‘God’ is a blistering uptempo piece with John’s vocal floating like a laid back trumpet melody over the driving rhythm section. The once rocking ‘A Letter to Elise’ by The Cure, is slowed to a soft ballad, creating space for the sensitive Robert Smith lyric. John stays true to the essence of the vocal melodies while he and the band uncover the subtle shift towards swing for which this collection of rock songs is so perfectly suited.”
Nick Wells – iBass Magazine
“As unsung acoustic bass players go, they don’t get much more talented than John Lester. His latest album, “Jazz?”, brings together a self-assured blend of influences and deft improvisations. Recorded in London’s Eastcote Studios and mixed in New York, the album builds a compelling mix of contemporary rock songs and acoustic jazz improvisation that’s well worth checking out – not least Mr. Jones, by Counting Crows, which sees Lester digging into some propulsive grooves before the band kicks in. “Jazz?” is a fine recording that finds the whole group favouring a subtle shift towards jazz, yet what could have sounded disjointed all gels perfectly.”
Album Reviews: So Many Reasons
Chris Parker – vortexjazz.co.uk
“A San Franciscan currently resident in Amsterdam, but who has also lived in Paris and London (both cities mentioned in songs on this album), John Lester plays bass and guitar as well as singing his own songs in a voice occasionally reminiscent of Peter Cincotti’s, but which has the light blues inflexions of, say, Bill Withers. Lester’s songs range from witty (‘Beware La Merde’ is a tongue-in-cheek yet clearly heartfelt plaint about Paris dogowners’ lack of supervision of their pets’ bowel movements) through earnest (‘Last Letter to Theo’ praises Vincent Van Gogh’s brother Theo for his care of the troubled painter, ‘Union Street’ is what used to be termed a ‘protest’ song about long-term homelessness and vagrancy in the US) to bluesy (‘Rose Coloured Glasses’ applies light irony to optimism), but whatever he’s singing he brings conviction and swing to it, and the album as a whole is not only an extremely promising UK debut but a highly effective calling card for his live act (involving Theo Travis, Andy Hamill and Roy Dodds), which promises, on this evidence, to be wonderfully entertaining.”
”It’s a subject not often treated so well or so sensitively in song, the unconditional support that loved ones often give to the sometimes-mercurial tides of those who make art. John Lester makes that the subject of his song “Last Letter to Theo,” which came about after he saw some of Vincent van Gogh’s paintings, was taken by them, and began to learn about the artist’s life, and among other things read his exchange of letters with his brother Theo. This is no museum piece of a song, though; it’s one that resonates with human connections and imagination, love and the sometimes-hard choices of trust.
There are lighter words and jazzier tunes on this third CD from Lester, too. Most of them are in some way snapshots or ideas from his time living in Europe (Amsterdam is the California musician’s current base), including the humorous advice to tourists to France, “Beware La Merde,” and the title track “So Many Reasons.”
Lester is a laid back, relaxed singer, a songwriter with a fresh viewpoint, and a talented bassist who has shared the stage with FolkWax artist of the year Gretchen Peters, another artist who mixes Jazz with her Folk; Erin McKeown; and bass virtuoso Michael Manring.”
”There are not too many acoustic bass players singing their own material – only Jay Leonhart springs to mind – so Lester pretty much has the field to himself and certainly has exclusive bragging rights here in the UK. And he should do well at concerts, clubs, and festivals, if this well balanced album is anything to go by. Lester has a good voice and has come up with a wide range of material, from hard swingers (Steppin’ Back in Time), to ruminative ballads (Last Letter to Theo), to pleasing novelties (Beware La Merde). He is also a good bassist with excellent time and intonation, and he can even work minor miracles by making a bass solo sound interesting. The conversational urbanity of ‘Good Intentions’ or the moody ‘Both a Blessing and a Curse’ could be performed in jazz and non-jazz alike and make Lester allot of friends.”
“John Lester’s latest album, So Many Reasons, shows a huge leap in his songwriting, musicianship, and production values. This album sees Lester swinging hard on ‘Steppin’ Back in Time’, providing spicy finger funk on ‘Good Intentions’, and even tapping chordal accompaniment to his expressive vocals on “Last Letter to Theo’. Although he is clearly the central focus, Lester has assembled a stellar cast of tasteful musicians to help bring his songs to life and it is here that the album stands out from a lot of other ‘bass’ albums. As a singer/songwriter/bassist, Lester insures that every tapped chord or bass melody compliments the song and his accompanists respect that, providing similarly sensitive support. Whether you’re a fan of upfront bass playing or rhythm section work, So Many Reasons deserves a close inspection to hear how an expressive frontman and sensitive support player can be the same thing.”
Album Reviews: Big Dreams and the Bottom Line
Michael Ornadet – LogoMagazine.com
“John Lester first came to wider attention on the ‘Peace Not War’ compilation, released early this year, alongside the likes of Billy Bragg, Massive Attack and Ani DiFranco. He was in good company, and he fitted perfectly. Those familiarwith the quiet, post-Squeeze output of Paul Carrack and anything by Paul Kelly will know what to expect here; languorous storytelling drawn against a backdrop of a mellifluous upright bass and sparse acoustic guitar, yet underpinned by a seam of biting lyricism that cuts quick and deep. That Lester is doing it on his own is remarkable, that he can stand in the company of Ben Harper and Sting – often outshining them both – is nothing short of a revelation.” 4 stars (out of 5)
“Like that other bass playing singer-songwriter, Sting, Lester reveals a rare talent for gentle, thoughtful, melodic music. With a voice full of tone, like a single malt whiskey, and a remarkably laid back feel to the jazz-inflected acoustic folk, this studio debut reveals an artist whose place is cemented by intelligent lyrics and a novel kind of song. Written on bass (including his 80-year old double bass, ‘Sarah’), the songs are more than the usual lyrics set to music – there is a relaxed riff running through everything, like a jazzy Van Morrison stripped down to the essentials – and the primarily bass accompaniment eases you in, settles you down and gently tells you a poetic story. If the concept of Ben Harper mixed with Sting in Fields of Gold mood has an appeal, here is your album.” RATING: 8 out of 10
“The influences on ‘Big Dreams and The Bottom Line’ cover a wide range of musical styles, with an emphasis on neo-acoustic jazz, offering a precious glimpse into the world of artistic and idiomatic compositions by a thoughtful and insightful individual. And whilst Lester and his mistress (a vintage upright bass named Sarah) meander lazily through palpable bass lines on ‘The Heart Of Our Family’ and ‘The Garden’, Lester’s dexterity on the 6 string fretless bass on most of the other tracks on the album is both melodic and intense. He avoids the impetuosity of the bottom-end giants of the jam band scene, trading the forceful and muscular electric bass style from that genre into an expressive and layered acoustic style, more suited to the self-penned material on the album. Although Lester appears to conform to traditional musical values, he comes across as an engaging eccentric, which will no doubt endear him to niche market music fans. With his somewhat gruff, but laconic and delicate vocals, perfectly attune to his chosen instrument, it is no wonder that this songsmith has become popular amongst the more discerning gig-goers in London.”
“I doubt Leo Fender ever imagined the bass guitar could go this far when he bridged the gap between acoustic and electric music a half century ago. Using acoustic and electric bass guitars, and an occasional upright, singer-songwriter John Lester evokes comparison to such modern minded contemporaries as Seal (“On My Own”), Ben Harper (“The Happy Man”) and Sting (“Broken”) with his strong melodies and deep harmonies accented by the bassist’s bright overtones and jazz inspired counterpoint. Guitarists David Juriansz and Jean-Michel Hure support Lester, affording plenty of space with tempered rhythms and long sustained notes while percussionist Celso Alberti keeps time and accentuates both camps. “Reach Out” waxes political atop a fat, resonant fretless foundation, and “I Saw You” is vaguely reminiscent of Marty Balin’s greatest ballad “Coming Back To Me”. “Big Dreams and the Bottom Line” shows you can do a lot with a small ensemble. This disc is an intriguing listen and provides an effective template for players looking to spice up intimate gigs in small venues.” © Tom Semioli
“John Lester is a truly gifted singer/songwriter originally from San Francisco. He began his career as an upright bassist, playing with a variety of bands, before developing his own unique style of songwriting as a solo bassist. ‘Big Dreams’ is his first studio release, an extra-ordinary collection of beautifully crafted and perfectly executed songs. John’s underlying folk/jazz flavor is salted with a taste of reggae and funk. His technical ability on both upright and electric basses is impressive, but he is also notably capable of writing intriguing lyrics and delivering them soulfully. Opening track ‘The Ways Of A Woman’ is a thought-provoking take on feminism and spirituality and ‘Out Of The Clear Blue Sky’ asks some serious questions about war. Recent live dates with Steve Lawson and Michael Manring will hopefully have brought John Lester to a wider audience.” © Andy Long
Live Performance Reviews
Dave Adair – Americana-UK.com
“The nimble figure of Europe based, American double bassist/singer songwriter John Lester cut a meek, but welcoming figure to the right of what looked like a large stage, with his solo presence. Lester used to run a quaint coffee shop near a hospital back in the States after deciding to go solo. This vocation obviously aided the life-bearing nature of his songs and his commanding vocals rise above the throbbing double bass to deliver life pondering lyrics and a cosmopolitan sense of humour. ‘Out Of The Clear Blue Sky’ neatly merges political bewilderment and crisp poetry, as an intrigued crowd gazes on and appears contemplative at the end of a searching and life mulling set, brought to a close with the wistful ‘They Come And They Go’. This submissively gives into the unchangeable nature of life and the ending of it, providing a moment of clarity for people to appreciate in the interlude before Gretchen Peter’s entrance. “
”How do you describe a John Lester performance? The promoter couldn’t – “I’ve never seen a performance like it.” Even the artist himself joked that the hardest concert to promote was one for a “guy who sings and plays the double bass.” John Lester hails from California with the musical background rooted in jazz. He writes and performs songs from the heart with a voice full of soul – oh, and he plays the bass. That’s double bass (called Sarah by the way), 5 string electric bass, 6 string fretless bass, and the odd bit of guitar. With the help of a loop station he would more usually construct a bass riff, add a beat, and then sing and play along, giving the impression you were listening to a combo. John Lester doesn’t just play the bass either. He attacks it more like a lead guitarist and using the high end range of the 5 and 6 string instruments and a finger style the sound he creates is beyond belief. Now you can understand what the promoter means when he introduces an artist he can’t describe. Although unmistakably West Coast American, John has live in Europe for the last 6 years. His set includes a lot of songs inspired from his time in Paris, London, and Amsterdam. “Beware La Merde” is a humorous take on dog’s mess on Parisian streets which cleverly integrates a limited use of French words. “Last Letter to Theo” is a sensitive homage to Van Gogh’s brother and the role he played in supporting the great artist. John Lester is also a reminder that not all Americans support their presidents’ actions in the Middle East. His set usually ends with the chilling take on 9/11, and his most successful commercial recording to date, “Out of the Clear Blue Sky”. Whether you share the ambience of a small club venue or see him perform at a popular festival (of which he plays quite a few this summer), John Lester is someone who reminds you that live music can excite in many ways other than just volume. He only plays a few venues in the UK each year but is well worth tracking down and putting the date in your diary.”