On October 30 Champian hosted Lou Donaldsonâs 97th Birthday Party at Dizzyâs in New York City. Attendees included Akiko Tsugara, Nick Hempton, Peter Bernstein, Fukushi Tainaka, Kenny Washington, and many members of the Donaldson family. Scroll through the pictures below!
Published in the October issue of the New York City Jazz Record
Champian Fultonâs trio was a festival highlight. Equally adept and fiercely experimental as a singer and pianist, she plays aggressively with tempo and a wide vocal range (sans scat singing). Fulton shifts dynamics rapidly without ever losing touch with a songâs melody: a Fulton trademark is a jump to the top of her range at the end of a line. Her all-standards program featured ace support from Hide Tanaka (bass) and Fukushi Tainaka (drums), a formidable rhythm section thatâs been with Fulton for two decades. When not singing or playing during her set, Fulton offered historical tidbits about songs from the Great American Songbook such as the Silver/Lewis/Sherman âEvery Now and Thenâ, recorded by Helen Humes half a dozen times. âToo Marvelous for Wordsâ got an especially delicate treatment. And any thought that Fulton couldnât make it as just a pianist were dispelled by a spirited take on Phineas Newborn Jr.âs âTheme for Basieâ. Arguably best heard live, thatâs indeed the format for Fulton on her latest release, Meet Me at Birdland (s/r).
Read the extensive feature interview in London Jazz News with Morgan Enos HERE.
âMeet Me at Birdlandâ featured on WBGO, read / watch the interview with DJ Brian Delp here.
âWhile Fulton is full of cheer and known for it, it's on heartfelt tunes such as "It's Been A Long Long Time" where she so earnestly unveils her intimidation factor-at once, she narrates two points of view as a singer and pianist, both without sacrifice.â - Broadway World
âMeet Me at Birdland will be a wonderful addition to any jazz vocalist collection. The live energy is captured on the recording, and Fultonâs phrasing is something special.â - Jazz Sensibilities
Champian featured on WBGO for âMeet Me at Birdlandâ
âOn se souvient dâavoir découvert Champian Fulton en concert quelques années auparavant dans un club lyonnais qui a fermé depuis. Nous avions noté son aisance pianistique et ses capacités vocales pour le moins convaincantes. On la retrouve ici en trio, enregistrée en public au Birdland, avec les qualités précitées. Comme à son habitude, elle se permet des parties instrumentales où sâaffirme son sens du swing et une approche personnelle fort bienvenue. Quand elle chante, elle le fait avec une précision et un savoir-faire qui la classe dans le panier des musiciennes de jazz accomplies. Câest toujours clair et concis, cela module à la perfection et le phrasé dans son ensemble est trÚs efficace. Nous lâavons dit plus haut, elle sait ce que swinguer veut dire. Sa rythmique fait le job avec rigueur et détermination. Les soli sont tous de trÚs bonne facture. Câest du jazz fait par des amoureux du genre et, ma foi, plutÃŽt bien fait. On ne révolutionne pas le jazz dans cet album mais on le met en lumiÚre avec habileté et goût. Cela parait toutefois normal car elle a été bercée au jazz par des parents musiciens qui avait pour pote des gens comme Clark Terry, entre autres. De quoi satisfaire bien des oreilles.â - Culture Jazz FR
âMeet Me at Birdlandâ proves that [Champian] has deservedly earned her place as a featured performer at one of the premier jazz clubsâŠâ - Joe Lang, New Jersey Jazz Society
âThe album captures the energy of a live recording, especially the depth of Fultonâs sensual vocal style and elegant piano playing.â - NiteLife Exchange
Champian featured on Neon Jazz
âNo matter what song she takes on, Champian has fun, and her joy is infectious.â - Marc Myers, JazzWax
âShows off Fultonâs playing and inventive phrasing.â - Downbeat
Featured in Broadway World: A 10 Video Retrospective of Champian
âStylized singing brings out attitudes, manifested in distinctive pronunciation and note-stretching, evoking a few jazz and blues stars of yoreâa blended homageâŠ. and the trio dazzles with muscularityâgoing for fierce fleetness, not pastel pretty sweetness. So, as things build, the reaction is more a gasped "wow!" than an emotion-triggered sigh.â - Talking Broadway with Rob Lester
âMeet Me at Birdlandâ is DISQUE DU JOUR on TSF Jazz, Paris
âIn addition to being an excellent piano soloist, Fulton is an outstanding self-accompanist. The recording levels put the piano and vocals on equal ground, which emphasizes the little motives she plays between phrases as well as the countermelodies she devises to support her vocalsâŠâŠWith her wide-ranging repertoire and her engaging vocal and instrumental personas, Champian Fulton is playing an important role in the preservation of classic, swinging jazz.â - Tom Cunniffe, Jazz History Online
Champian in the Absolute Sound, 2023
âHer gentle yet knowing vocal sound is ideally suited to her choice of songs and she interprets lyrics with mature understanding.â - Bruce Crowther, Jazz Journal UK
âA sensational set from a consummate professional.â - Pierre Giroux, The NYC Jazz Record
âThe smile on Champian's face floats through the speakers as you listen to this live recording! You hear the occasional amused giggle with the artist expressing her sense of joy in performance with bassist Hide Tanaka and drummer Fukushi Tainaka. Champian is equally an exceptional vocalist and pianist, and it can be surprising to realize she's doing both at once at such an elevated level of artistry.
Incredible multitasking, and she makes it sound casy! On the opening track "Too Marvelous for Words," it's a pleasure hearing the word "much" extended as she lingers and plays with the ending of the word. The whisper sound when she sings "Could you care?" in "I've Got a Crush on You" is breathtaking. There is such musical beauty when Champian sings and plays rubato verses before the trio breaks into collective tempo. Vocally there are kittenish swoops and bends which have become part of her vocal style. She drives the energy with the trio catching various rhythmic shots and motifs with glissandos, rolled chords, flourishes, and punches to lean into those swing grooves. A stunning arrangement of "Just Friends" begins as a ballad waltz and then digs into a punctuated swing groove. Champian is a charmer!â - Karin Plato, Absolute Sound
Meet Me at Birdland, recorded in September 2022 in the legendary club finally brought back to life, offers a striking contrast and proclaims the artist's need to physically reconnect with the public. In trio with her faithful Hide Tanaka and Fukushi Tainaka, the pianist-singer performs the standards (which come according to inspiration) with naturalness and again in total complicity with her partners. Or a Champian Fulton as we appreciate it, blossoming in the warmth of live performance and to the sound of applause. The swing is present from start to finish, the themes tastefully chosen (âTheme for Basieâ by Phineas Newborn, âIt's Been a Long, Long Timeâ, âI Don't Careâ by Ray BryantâŠ) and the original by the singer, âHappy Camperâ with Latin colors, is not to displease either.
Here are two more good records to be put to the credit of Champian Fulton, a musician of remarkable consistency. - JérÎme © Jazz Hot 2023
âWhile she displays a variety of influences (such as Dinah Washington and pianists Wynton Kelly and Red Garland), Ms. Fulton has always essentially sounded like herselfâ - Scott Yanow, the Syncopated Times
Champian poses outside her Oklahoma home with the Norman Transcript feature article.
Norman product Champian Fulton is comfortable flying by the seat of her britches.
The jazz vocalist and pianist really does not like having a set list of songs to follow when sheâs on stage.
The 30-something has been performing since she was a teenager and knows how to read a room.
That lets her pick and choose what song to play next matching what Fulton believes the audience mood to be. Sheâll be demonstrating that extraordinary talent along with her musical virtuosity at a show Sept. 29 in the University of Central Oklahoma Jazz Lab, 100 E. 5th St. Edmond.
Ticket information is available at ucojazzlab.com. It will be Fultonâs first concert in Oklahoma since 2016.
âIâve been performing for so long that I have a pretty large repertoire,â Fulton said. âI like to have a lot of songs in rotation so I donât get tired of them myself from playing the same things every night. But I actually donât like to write out a set list before the show. I just like to go out there, play the first song and see what the audience is like and what they respond to more.â
Different folks may prefer ballads, instrumentals or tunes with vocals.
âMy plan is to see what they respond to in the moment and make selections based on that,â she said. âItâs one of the most fun things about performing live, then each show is truly different. If I try to make a list of songs I want to play they may not go with the feeling in the room.â
Which begs the question, how do the other cats on stage, her bandmates, roll with that?
âI think that they may tell you sometimes that they would like a list,â Fulton said with a chuckle. âThey might get nervous, youâre dressed-up on stage, the lights are on you and theyâre looking at me like whatâs happening. But theyâre familiar enough with the tunes and they trust me. We love to do it that way.â
It hasnât been so long ago that teenage Fulton was performing with a band at New York Pizza on Campus corner, often receiving compensation in pepperoni pies.
Sheâs come a long way since then, developing a career thatâs made her an international jazz sensation.
Spring of this year found her on a nine-week tour of Western Europe. In the summer it was a series of gigs in Denmark.
This month, a weeklong residency at storied New York City jazz club Birdland. Later this year, 10 shows are scheduled in Bern, Switzerland.
Fultonâs latest recording âMeet Me at Birdlandâ has been submitted for Grammy nomination.
Sheâs not just a hit with jazz fans.
Since childhood Fulton has sought out, learned from and played with older jazz musicians including her father Stephen
Fulton which has undoubtedly contributed to her success.
She spoke to her genre being called âAfrican American classical music.â
âAs Art Blakey used to say, without America thereâs no jazz,â she said. âMost if not all of my heroes were and are Black. Iâve been very fortunate to have met many of these folks over the years. Jazz really is about a community of musicians and those who work in the business, club owners and the audience. I really like being part of that.â
When Fulton moved from Norman to New York several years ago the opportunities were many. Her talent and vibrant personality made the Okie fit right in.
âI was so excited to see Jimmy Cobb and meet Louis Hayes and hang out with Lou Donaldson who Iâve become very good friends with,â she said. âI wanted then and now to be in that community.â
Fulton will be hosting bluesy American saxophone great Donaldsonâs 97th birthday party this year. Heâs known for historic collaborations with Thelonius Monk, Horace Silver and Philly Joe Jones.
âThis will be my third year hosting Louâs birthday party, weâre almost exactly 60 years apart in age,â she said. âItâs really exciting to be able to call up people like Sonny Rollins and invite them to a party at Dizzyâs Club in Lincoln Center.â
Thatâs some rarified air Fultonâs breathing but she values her red dirt roots.
âI feel so fortunate and blessed for the wonderful experiences Iâve had here in Norman,â she said. âI was born here, we moved away then came back when I was eleven which was when I was getting very serious about being a jazz musician. There were so many places to play here in Norman and so many good musicians. We would have jam sessions at the house and play. Weâd play at New York pizza once a week with my band. The experience of getting to organize a gig, musically and business-wise was wonderful. People here were so supportive. We played Jazz in June and then worked up in Bricktown at Makers (Cigar and Piano Bar) three nights a week all through high school.â
Fultonâs had to disabuse notions some folks on the east coast have about her upbringing.
âWhen I tell people Iâm from Oklahoma they say, oh really, thereâs not a lot of jazz out there, but I tell them no, there are a lot of musicians where I came from,â she said. âI think itâs great here and actually rejuvenating right now.â
Fultonâs folks relocated their residence back to Norman from New York City in the last couple of years causing her to spend more free time here. It contributed to why sheâs playing an Oklahoma show next week.
âAt UCO-Jazz Lab Iâll be performing with a new trio of Steve Pruitt on drums and Tyler Jackson on bass,â Fulton said. âWeâll be playing quite a few tunes from my new album, my originals and a lot of jazz standards.â
Swing pulses through New York-based jazz vocalist and pianist Champian Fultonâs veins. Since her arrival on the scene in 2003, Fulton has been lauded for her poise and allure. A live Champian Fulton performance ensures a radiant ambiance pronounced by the multi-talentâs clarion vocals and lush keys. Birdland Jazz Club was witness to this glory in September of 2022, when Fulton enjoyed a four-night stint without repeating a single tune, all while documenting what would become her latest live album. Those tapes yielded the polished Meet Me at Birdland, Fultonâs sixteenth album as a leader, due out April 7, 2023.
In 2015, Scott Yanow wrote that Fulton âgrows in stature with each recording,â after the release of her prized date, Change Partners. Now a veteran on the scene, this seasoned jazz messenger presents a collection of sophisticated standards sprinkled with one prolific instrumental original on her cultivated new offering. Breathing charm into the turn of each lyrical and instrumental phrase, Fulton soars in the company of bassist Hide Tanaka and drummer Fukushi Tainaka.
Suspending listeners into the simulation of a live show, Meet Me at Birdland opens with an introduction from Birdland club owner Gianni Valenti as he welcomes and thanks the audience for supporting live music. Fulton is bubbling from the beginning on âToo Marvelous for Words,â a melodic route that demands and effectively serves dexterity from an intuitive rhythm section.
Optimism is stamped across Fultonâs repertoire, something she considers essential to her purpose as an artist. This uplifting spirit culminates on the original âHappy Camper,â a scintillating instrumental and deft showcase of rhythmic acuity. Tainaka enjoys a particularly brilliant episode to round off the advancing melodic navigation.
While Fulton is full of cheer and known for it, itâs on heartfelt tunes such as âItâs Been A Long Long Timeâ where she so earnestly unveils her intimidation factorâat once, she narrates two points of view as a singer and pianist, both without sacrifice. The 1935 tune âEvery Now and Thenâ is another example, where Fulton bathes in slower tempos while her piano prowess asserts itself as singular rather than complementary to her voice. âI Didnât Mean A Word I Saidâ is yet another prime example of Fultonâs piano ingenuity, and she recognizes it with a humble laugh at the sound of the audienceâs applause. Listeners will naturally sympathize with the gradual velocity on her commanding arrangement of âSpring Can Really Hang You Up the Mostâ considering the timely mid-season delivery of Meet Me at Birdland.
Fultonâs devotion to early jazz tradition is vividly transparent on âEveninââ. The savory and playful track boasts elongated solos from each band member as they recreate the improvisational bebop style of Kansas City jazz of the 1930s.
Count Basie, Erroll Garner, Fats Waller and Clark Terry are a few of her musical heroes, whom she pays homage to throughout Meet Me at Birdland on her rendition of Phineas Newbornâs instrumental âTheme for Basie,â as well as the blues-infused âI Donât Care.â In the album liner notes, GRAMMY® Award-winning scholar Ricky Riccardi cites Fulton as one of few living pianists capable of evoking Erroll Garner affectionately.
The savvy performer reinvents the breathtaking standard âIâve Got a Crush on Youâ with a fresh intimacy, while the waltz âJust Friendsâ inevitably swings at times. As she introduces the traditional âI Only Have Eyes For Youâ at the finale, Fulton is cheeky in her efforts to invite the audience back tomorrow. âEvery set is totally different..we never know whatâs going to happen,â an ironic forward to a tune with a definitive title, which she dutifully commits every end of her vocal range to. Though at this point, no matter what makes up Fultonâs phrase, we canât help but to trust her as we continue to listen and bask in the luminosity of a bright star.
##
TRACK LISTING:
1. Welcome to Birdland 0:28
2. Too Marvelous for Words 5:41 (J. Mercer & R. Whiting)
3. Every Now and Then 7:42 (A. Sherman, A. Lewis, A. Silver)
4. Evenin' 6:26 (M. Parish & H. White)
5. Theme for Basie 5:51 (P. Newborn)
6. Happy Camper 6:42 (C. Fulton)
7. Just Friends 4:14 (J. Klenner & S. Lewis)
8. I Didn't Mean a Word I Said 3:48 (J. McHugh & H. Adamson)
9. I've Got a Crush on You 7:16 (G. Gershwin & I. Gershwin)
10. I Don't Care 9:35 (R. Bryant)
11. Spring Can Really Hang You Up the Most 4:43 (T. Wolf & F. Landesman)
12. I Only Have Eyes for You 2:45 (H. Warren & A. Dubin)
13. It's Been a Long, Long Time 3:53 (J. Styne & S. Cahn)
Champian Fulton - piano / voice
Hide Tanaka - bass
Fukushi Tainaka - drums
âMeet Me at Birdlandâ will be available on all digital platforms.
Recorded Live at Birdland Theater, September 2, 3, & 4, 2022, New York City.
Recorded by Matt Kirschling
Mixed & Mastered by Mike Marciano, Systems Two.
Photography by Leslie Farinacci, Perennial Images.
Graphic Design by Ian Hendrickson-Smith
Liner Notes by Ricky Riccardi
On April 10 Champian Fulton was featured on WBGO celebrating her new record. The original english transcript is here: WBGO
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- by Ricky Ricardi
Meet Me At Birdland is not only the title of this scintillating live album, but also one of the most uttered phrases in the vocabulary of pianist and vocalist Champian Fulton. Soon after her arrival in New York City in 2003, she landed a Thursday evening happy hour gig at Birdland and has been a regular presence at the historic jazz club ever since, leading her own groups, taking in the sounds of legends like Oscar Peterson, Cedar Walton, Frank Wess, Lou Donaldson, and Dr. Lonnie Smith, and performing regularly for a time with David Berger's Sultans of Swing, with whom she made her first professional recording in 2006. âI really started my career in New York at Birdland,â she states.
Thus, there was no more appropriate place to celebrate her 20th anniversary in New York than at Birdland, especially with her favorite rhythm section partners--Hide Tanaka on bass and Fukushi Tainaka on drums--by her side. âI always return to Fuku and Hide because I think there's something really special there, with our shared points of view on the music and our friendship,â Fulton says. âAfter playing together for 18 years, I think we have really developed a special trio sound.â
That sound is immediately evident on the albumâs effervescent opener âToo Marvelous for Words,â the trio deftly executing its numerous tricky arranged passages with precision. This isnât a jam session but rather a testament to a true working band, one with a very deep repertoire (so deep that Fulton didnât repeat a single song during her entire four-night run).
Fulton chose the songs for Meet Me at Birdland wisely, reminding everyone why she remains such a unique and arresting vocalist on standards such as âIâve Got a Crush on You,â âItâs Been a Long, Long Time,â and a surprising version of âJust Friendsâ that reverts to its original waltz time (though even she canât help swinging irresistibly during the instrumental portion). She also makes a meal out of âEvery Now and Then,â an obscure pop tune from 1935 best known as a Teddy Wilson solo piano feature that is now her property thanks to her sincere delivery of the songâs melody and lyrics. Fulton embraces such dangerously slow tempos--check out âSpring Can Really Hang You Up the Mostâ for another example that demands a listenerâs full attention and rewards them handsomely for their time.
Naturally, Fulton tips her hat towards some of her favorite pianists throughout the album, getting two for the price of one on Phineas Newbornâs appropriately swinging âTheme for Basie,â and digging deeply into Ray Bryantâs minor blues âI Donât Careâ with two-fisted fury. Echoes of Basie--along with another favorite, Jay McShann--can also be felt on the driving âEveninâ,â where the trio conveys the power of a big band from the Kansas City era. And few pianists alive can evoke Erroll Garnerâs sound the way Fulton does, peppering Garnerisms throughout, always with affection and never as parody.
Garner remains one of Fultonâs biggest inspirations, along with Fats Waller and Clark Terry--all geniuses, instantly recognizable in a handful of notes, and seemingly put on this planet to inspire joy. Itâs not a stretch to say that Champian Fulton is here for a similar reason.
Careful listening of this very album will reveal the sounds of quiet, yet infectious joy, Fulton spontaneously chuckling with delight at the deft work of her loyal rhythm section (especially on Fultonâs own fiery composition âHappy Camper,â which could easily be a future standard); at the wit of the lyrics sheâs chosen to interpret (she is audibly tickled by âI Didnât Mean a Word I Said,â which she originally recorded on that debut album with David Berger); or when her own dazzling keyboard virtuosity seems to even surprise herself (thereâs a moment on âToo Marvelous for Wordsâ where I let out a guffaw of wonder at the same time Fulton did!).
On her traditional set closer âI Only Have Eyes for You,â Fulton can be heard telling the audience, âWe never know whatâs going to happen.â After 20 glorious years in New York City and 20 years of performing, we do know one thing: if Champian Fulton is performing, joy will be spread.
-- Ricky Riccardi
