Champian Appears in Hometown Jazz Festival, Jazz in June, Norman Oklahoma

Champian Is Coming Home

In the Norman transcript June 13, 2025

By: Doug hill 

One of the biggest and most celebrated talents on today's international jazz scene calls Norman her home town. Vocalist and pianist Champian Fulton cut her teeth playing Borders Bookstore gigs as a young teenager before leaving Oklahoma for university. Now based in New York City her performance schedule this year reflects dates up and down the east coast along with shows all over Western Europe.

Champian is coming back to red dirt next week as part of the 2025 Jazz in June line up Friday and Saturday evenings June 20 and 21 in Abe Andrews Park, 201 W. Daws Street. Catch her show here for free or fly to one in Denmark later this summer. Champian has many fond memories of fun, learning and hard work in central Oklahoma all of which have contributed to her stellar career. She set the goal of being a jazz musician at age eight.

"Back then my heroes were my father Stephen Fulton (trumpet, flugelhorn, drums) and his friend Clark Terry," Champian said. "I saw Clark traveling all over the world playing shows, signing albums, wearing nice clothes and having a good time. That's what I wanted and now feel so fortunate and happy because that's what I'm doing. I play music for a living traveling all over the world where I have friends. It feels great living what I dreamed of."

Stephen Fulton ran the Clark Terry Institute of Jazz Studies at Westmar University in Le Mars, Iowa for a time where he'd worked extensively with the prominent trumpeter.

Champian had some terrific role models in both men. In addition to a live performance career she released her 19th studio recording titled "At Home" in May.

"I'm really excited about it," Champian said. "It's a duo record and I love that format. It's intimate and casual. I think you find the most creativity that way."

Her collaborator is Swedish saxophonist and clarinetist Klas Lindquist.

"We recorded it last summer in a private residence so it was a little more fun than in a studio," she said. “I met Klas in 2023 at the

Copenhagen Jazz Festival. They paired us together and I loved his beautiful playing, especially clarinet which you don't hear in that kind of setting very often anymore. We played a week together that summer and started working more. I thought he was a great addition to the band because audiences really take to his playing."

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Champian's virtuosity has only improved over the years. She learned the business side early on as well along with a jazz music foundation.

"We played consistently at Makers in Bricktown during my high school years," Champian said. "It shaped me musically and gave me such a good sense of work ethic. I was working. We'd go up there and set up the drums then play from 9 p.m. to 1:30 in the morning. My dad was training me. Out first set would be 90 minutes long with a 15 minute break. Nobody does that anymore. Here in New York if you play 45 minutes, people are like I need a break. I tell them, oh man, come back to Oklahoma with me. We would crush it working so hard."

Champian took that Okie work ethic away with her at age 17 straight from Norman to undergraduate school at State University of New York-Purchase. She did more than study, also gigging in the nearby Big Apple.

"I hosted a jam session at a club starting my freshman year," she said. "Sunday night from 1 a.m. to 5 a.m. and I had class Monday morning at 9. We would play the session and the trains don't run all night but they would start again at 4:30 a.m. so I could catch a train or a ride back to school. Then have breakfast, change clothes and go to class. When you're 18 years old you're fine and can just go. Nap a little bit then yeah, let's go again."

Listening to an early Champian record circa 2004 her vocals sound like a child. She wasn't even old enough to belly up to a whiskey bar yet. In 2025 her pipes have womanly sophistication. As a kid she learned to sing from a revered University of Oklahoma operatic baritone and became his protégé.

"My artistic goals and style from when I was 14 are still very much the same," Champian said. "But I think I've gotten better over the years. My voice has certainly developed as I've gotten older. Thomas Carey was my teacher starting in 1998. Typically he didn't take teenage students. My father knew him from the Jazz in June committee. I auditioned to be Thomas' student at his OU office. He took me on and taught me everything I know about breathing, technique and managing your voice when you're sick or stressed. I studied with him until he passed away. Last time I played at Jazz in June which I think was 2000 Thomas was there. That was a wonderful relationship for me. He was an exceptionally talented singer."

Champian didn't want to sing opera though she sang some Italian and German arias to practice technique. As Carey's student she sang a few times at Cimarron Opera's annual Festival of Spirituals. During his decline in health Carey kept only a few students with Champian being among them.

"It's a nice memory studying at Thomas' house on Saturday mornings after playing a Bricktown bar until 1:30 a.m.," she said.

At Jazz in June next Friday Champian will be performing as part of "Ladies of Legacy" which includes musicians Mikki Yamanaka

and Young Joo Song. During Saturday's finale Champian will be guest artist with the Summer Jazz Collective Youth Program.

Link to Original Article

Press for Champian's 19th Release, "At Home"

STREAM “At Home” by clicking here BUY the LP or CD via bandcamp

Photo by Aidan Grant

“intimate…impressive..” Downbeat

“Fulton is equally impressive as a pianist with imagination and a vocalist who lends a personal touch to the lyrics.  Lindquist is outstanding whether playing alto sax or clarinet.  He has great tone on both instrument and seems limitless in his improvisational creativity.  At Home is one of those "as good as it gets" albums.” - Jersey Jazz Magazine

“At Home is that rare record that manages to be sophisticated without being fussy, charming without being cute. It’s just two deeply musical people doing what they love — and inviting you to sit in the living room with them. You couldn’t ask for a better seat.” - Jazz Views

Champian sat down for an IN DEPTH interview with Morgan Enos’ of UK Jazz News to discuss the new album and recent changes in her life. Read it here.

“An absolute 40 carat gem!” - Bebop Spoken Here

“At Home is an honest and heartfelt musical conversation between two musicians who welcomed the opportunity to play songs they love in a style they revere and with a level of musicianship they display in the comfort of being at home.” -Papatamus Redux

“both sides of her artistry are delightfully integrated, working as a well-oiled machine…. [“At Home”] is catnip for Fulton fans…. perfect for kicking back and simply enjoying.” - Marilyn Lester, NYC Jazz Record

“The songs are polished to a soft glow, each note placed just so, each phrase weighted with respect….when the pair turn to their own songs modest, tender, unguarded….a different air fills the room. Here, suddenly, the music breathes.” - Paris Move

“At Home” was featured on ABC Australia’s Jazz Radio

“BOTTOM LINE: Earl Hines’ “You Can Depend on Me” (featured on this recording) defines At Home. Singer Champian Fulton depends on clarinetist/saxophonist Klas Lindquist to add his perfectly played and placed obligatos to her vocals. At the same time. Linquist depends on Fulton for her sensitive and smart accompaniment on the piano. As a result, you can depend on At Home for an enjoyable musical conversation of evergreens from the 1920s and 1930s and one original.” - Papatamus Redux

“At Home” is RINGER OF THE WEEK on JazzWeekly.com & they call the album “So, simple, so unpretentious and so cozy.”

Champian and Klas sat down with the award winning podcast, All Thats Jazz, for a personal interview. Listen wherever you stream, or click here.

“Klas & Champian’s chemistry is the heartbeat of this album. It plays like an honest and heartfelt conversation between two musicians who deeply trust eachother.” - JazzLinx

“This duo offers a lesson in how to captivate the listener.  Both are master musicians, who combine their talents in a most entertaining and dynamic way.” - Making a Scene

“Champian Fulton is just fun to hear, no question.” - All About Jazz

“At Home” was featured on Svierge Radio Jazz (Swedish Public Radio)

Champian Announces New Album with Klas Lindquist on Turtle Bay Records titled "At Home"

The title of pianist/vocalist Champian Fulton and saxophonist/clarinetist/composer Klas Lindquist’s latest release, At Home, perfectly captures the spirit and intention of the new LP, out via Turtle Bay Records. A collection of standards tamed and delivered with distinguished finesse, At Home is Fulton’s first set of duets with Swedish reed virtuoso Lindquist, but glimmers like an ornate, timeless antique vase that gives each of its observers pause.

The album is Fulton’s 19th as a bandleader, and a fresh addition to Lindquist’s 40-something recordings as a featured soloist. Fulton, whose 20-year career has seen her perform in 25 countries in both concert and on TV, has been described as “a charming young steward of the mainstream jazz tradition” by The New York Times and as having a “galvanizing presence” by The New Yorker. Lindquist, who calls Stockholm home, is one of the most popular, in-demand jazz musicians in Sweden, with his 2023 album, Alternative Source of Energy, named the Jazz Album of the Year by the Orkesterjournalen readers’ poll.

Recorded, mixed, and mastered by GRAMMY-winning engineer Michael Perez-Cisneros and produced by Turtle Bay Records founder Scott Asen, the recordings on At Home were captured in Asen’s living room. The genesis for the project came from a performance given by Fulton and Lindquist at a dinner party hosted by Asen in his home, which inspired him to recreate the musical experience in the very same space, providing the musicians with an informal, private environment free of the constraints of a studio. As Fulton says, “Scott loved us playing in his living room and honestly, we loved it too … We wanted that vibe to come across the record. You know; very intimate, casual, off-the-cuff fun.” It only took two sessions for the duo to record all of the performances on the album.

On At Home, Fulton and Lindquist not only avoid the traps that may befall others recording a full album of standards—they widely circumvent them in an assured, elevated display of talent that makes it difficult to over-adulate. Fulton’s piano playing is smart and tactful in its complement of Lindquist’s deft breath and phrasing on both alto saxophone and clarinet, while the former’s vocal delivery seems an effortless, sophisticated grasp of the cadence of a rare songbird. Together, the duo’s musicianship is impressed upon the listener within seconds—the mark of artists that are the truest to themselves in their craft. Louis Armstrong biographer Ricky Riccardi writes in the album’s liner notes, “The best jazz often feels like a conversation between the participants … When the musicians are the caliber of Champian Fulton and Klas Lindquist, the conversation is able to achieve a level of high art.”

The standards chosen for At Home were selected to shine a light on Fulton and Lindquist’s most creative and vulnerable moments. The more expansive tracks, such as Ray Noble’s “The Very Thought of You,” Vincent Youmans and Irving Caesar’s “Tea for Two,” and Gordon Jenkins and Johnny Mercer’s “P.S. I Love You,” give them the opportunity to unwind, breathe, and emphasize their artistry by venturing down a relaxed, less commonly traveled path. The opening track in particular, “The Very Thought of You,” runs at seven minutes and 44 seconds. “I loved being able to record a long and languid version of this tune,” says Fulton, “I think it really sets the tone for a relaxed and intimate hour of music.”

Shortly after in the tracklist, Fulton and Lindquist take on “You Can Depend on Me,” written by Earl “Fatha” Hines and originally recorded by Louis Armstrong. Here, Fulton reimagines the subtle heartbreak of the lyric, with masterfully placed vocal vibrato that intensifies the composition’s message of romantic longing. This technique is quintessential to her sound, but infuses her delivery with emotional momentum each time she applies it.

“Tea for Two,” composed in 1924, is the oldest selection featured amongst the collection. Fulton’s vocal tone and piano accompaniment pair remarkably well with the verse’s charming turns of phrase, a quality only heightened by Lindquist’s flowing, gentle articulation and unassuming, bluish improvisation that sets a parlor-like scene. The performance intensifies with a piano solo by Fulton, featuring frequent cascading, rolling arpeggiations that only serve to deepen her expression.

The two take the album’s second instrumental break with “Serenade in Blue,” which provides a frame in which Lindquist illustrates a portrait of his lyrical sensibilities on clarinet. The tune also sets the stage for Fulton’s vocal return on the Armstrong-penned “Someday You’ll Be Sorry,” where Fulton once again reminds listeners of her prowess: Her piano style contains slight echoes of her heroes, Erroll Garner and Milt Buckner, while her vocal contains hints of Billie Holiday and Anita O’Day, overlaid with the individuality that’s drawn Fulton such a range of accolades.

Once again on alto sax, Lindquist leads the duo’s instrumental rendition of “Bésame Mucho” in a succinct three minutes, before returning to clarinet on the following, “My Monday Date.” His and Fulton’s now-familiar pairing carry the comforting mood through to the last track, “P.S. I Love You,” perhaps best described as a love letter to both the project and its audience. The carefully composed scene draws to a close with the final line, “Every night, I’m dreaming of you / P.S. I love you.”

As so aptly put by Riccardi, after the album’s conclusion, “it’s tempting to want to play it all over again from the beginning.” Indeed, the captivating musical conversation of Fulton and Lindquist’s maiden voyage is sure to similarly impress jazz connoisseurs and fledgling listeners alike.

The first single, “I Was Looking for You” drops Friday March 21.

Second single drops April 4.

Third single drops April 18.

Full album available digitally, on CD and LP May 2.

Review in NightLife Exchange "Champian Fulton Trio Was Sheer Magic"

by Andrew Portez

“Fulton, always in terrific voice, has a rather distinctive style. She rarely sings a straight melody for very long. Her approach to a melody bears some similarities to “vocalese” and “scat” singing, except Fulton uses the song’s actual lyrics rather than the made-up words and nonsense syllables of vocalese and scat. She falls behind, under and ahead of the lyric or the piano, always catching up to herself with the grace and timing of a trapeze artist. Overall, with her equally unique piano style, she strikes me as something of a female Nat King Cole”

Read the entire review here:

https://nitelifeexchange.com/the-champian-fulton-trio-at-birdland-was-sheer-magic/

Named "Most Memorable International Jazz Performance" By Jazz Buffalo Readers Poll

We are thrilled to unveil the results of the 10th Annual JazzBuffalo Poll! With over 1,500 ballots submitted across 36 categories, this year’s poll provided a wonderful opportunity for jazz fans, audiences, and readers to celebrate their favorite artists, groups, performances, and supporters.

(A friendly reminder: This poll is not a “Critic’s Poll” decided by a panel selecting the “Best.” Instead, it’s a “Readers and Fans Poll” recognizing the people’s choices as their “Favorites.” Nominations come directly from the community, and the winners and runner-ups are determined by popular vote.)

The year 2024 was filled with unforgettable jazz experiences, with fresh talent and musicianship breathing new life into the jazz community. It was a year where beloved events continued to thrive, some were sadly lost, yet new and refreshing performances emerged, making it an exciting and dynamic year for jazz.

The Jazz at the Ballroom program at the Northwest Jazz Festival in Lewiston, NY, celebrating the Great American Songbook, produced a winner for most memorable International Jazz performance by Champian Fulton and the ‘Flying High’ portion of the program. Which also featured Vanessa Perea and Olivia Chindamo.

Read more here: https://jazzbuffalo.org/2025/02/04/announcing-the-winners-of-the-10th-annual-jazzbuffalo-poll/

“Please, please, please bring back Champian Fulton and that great show! All the singers were marvelous!”

— Audience Member, Jazz Buffalo

What is "Flying High"?

Billie Holiday. Anita O’Day. Lena Horne. Peggy Lee. Rosemary Clooney. Ella Fitzgerald. It’s an impressive, but not complete, list of great vocalists who took swinging jazz standards and added an allusive female perspective. Early in their careers, they were “canaries”—young women singing with the greatest big bands on the scene: the orchestras of Glenn Miller, Artie Shaw, Gene Krupa, Benny Goodman, and others—and went on to create their own sounds and solo careers.

The renowned California-based music nonprofit Jazz at the Ballroom (JATB), proudly announces “Flying High: Big Band Canaries Who Soared.” This extraordinary musical celebration is a tribute to the legendary women who shaped the jazz genre, showcasing their remarkable talent and the timeless classics that defined the era. Under the skillful music direction of the esteemed New York-based jazz pianist and vocalist, Champian Fulton, the performance takes the audience on a nostalgic journey through the golden age of jazz.

““As a pianist I have always wanted to accompany vocalists other than myself, and I am so thrilled to be able to do that with this project and recording. It was a ball to be able to step into that role and just focus on the sound of the piano and the rhythm section. ””

— -Champian Fulton

“Flying High” was released as an LP and CD in 2024, both can be found on bandcamp.com. The show has been performed all over America and will return to The Jazz Corner of the World Birdland in NYC this March, in addition to shows on both the East and West coasts during Womens History Month. An album of Christmas music is also in the works, with a release date for Christmas 2025.

““Flying High is a superb sampler of memorable classics done with class…. Radiant!!” ”

— Rob Lester, Talkin’ Broadway

“Champian Fulton, who basically owns this recording, is no new new arrival, although she may be new to some listeners. Well, as musicians have remarked of other “girl singers,” if you can play a piano that well, singing is just icing—and Fulton does everything astonishingly well….”

— All About Jazz

Partial Artist List

Carmen Bradford – Vocals, Champian Fulton – Vocals/Piano, Jane Monheit – Vocals, Lezlie Harrison – Vocals, Gretje Angell – Vocals, Olivia Chindamo – Vocals, Vanessa Perea - Vocals, Nicholas Payton – Trumpet, Willie Jones III - Drums, Charles Ruggiero – Drums, Mike Gurrola -- Bass

About Jazz at the Ballroom

Jazz at the Ballroom is a California-based non-profit that celebrates America’s truly original music – classic jazz. They are dedicated to showcasing the greatest jazz artists in unique settings. Through their concert series, scholarship program, workshops and performances at schools, senior living centers, and hospitals, JATB works to enhance the appreciation of jazz in the larger community. For more information: www.jazzattheballroom.com Facebook: jazzattheballroom  Instagram: @jazzattheballroom

Join me on Backstage-Pass, My New Members Only Website

I love sharing my music and my life with my friends on social media, but I’ve started a membership only part of my site because I'm starting a new creative project that's very special and I want to share it with YOU.

My first album "Champian" (2007) was recorded after a long residency at Birdland with the David Berger Jazz Orchestra. I was so excited to perform with a big band (18 musicians) and work on the arrangements with David. As you might imagine, working with a big band is EXPENSIVE because there are 18 musicians and that means more transportation costs, more artist fees, etc. It was a wonderful experience and a privilege to have started my career in this format.

As I approach the planning of my 20th album, I've been thinking a lot about that wonderful experience and how I'd like to do something like that again. I was in Stockholm this year during the Stockholm Jazz Festival, and I heard the Klas Lindquist Nonet and I realized: this is the kind of ensemble I want for my next project.

That means Klas and I will be writing the arrangements together over the course of the next year, rehearsing with the band, and seeing where this goes. The nonet will feature me on piano and vocals, bass, drums, 2 trumpets, 1 trombone, and 3 saxes. And yes, Klas lives in Stockholm Sweden, so that is its own challenge!

Please consider joining me on this journey! Just click here: https://www.champian.net/backstage-pass

Expect me to share tons of stuff including videos and music not only from this nonet project, but also from my trio and solo shows that will be exclusive to this member-only section of champian.net