Imagine sleepwalking through your existence, numbed out, This is the theme of jazz singer and songwriter Julie Lavender's latest album, NEVER FELT THE SUN on Covenant Records. Although Lavender feels this recording is an autobiographical "life painting" that traces her personal journey of "awakening to life and love," she uses her experiences to explore universal themes. On this collection of mostly original songs, she renders portraits of deepening intimacy, the call to stillness, the passion of children, the wonder of nature and the search for a vibrant relationship with our Creator. "In writing the lyrics to the songs, there were moments of great risk for me as I let people see where I have truly been," states Lavender. "At times I felt achingly vulnerable. But the journey I am on involves not only the personal experience, but the sharing of it with others." NEVER FELT THE SUN and Julie's previous CD, GOOD WOMAN, are available at her website (www.julielavender.com) and Lavender -- who has performed throughout North America, the Caribbean, Europe and the Middle East -- trained extensively as a classical guitarist before entering the world of jazz and pop singing. Now she blends smooth-jazz stylings with hints of traditional jazz, a bit of the introspection of vocal new age, touches of classical music, and the occasional feel and phrasing of Broadway showtune singing. Surrounded on her album by top smooth-jazz session musicians (many of whom are recording artists in their own right), Lavender also is joined by special guests that include legendary Broadway-film composer Hugh Martin, jazz virtuoso flutist Hubert Laws, and acoustic guitarist Peter Sprague. Julie co-produced the recording with longtime musical associate (and keyboardist-saxophonist) Kamau Kenyatta. The recording begins with the title tune, "Never Felt The Sun," an introduction to the "coming to life" theme of the album. "Stop" encourages people to do just that, to put aside the fast pace, anxiety stress race and just "be." In "Veil, " Lavender opens a window into her frank and probing relationship with God. "Tree" uses the imagery of the felling of an aged and beloved tree to express themes of loss, grief and rebirth. In "Tin Man," a tip-of-the-hat to "The Wizard of Oz" character, Lavender sings sage advice born out of her personal experience with "wrestling to find the tender, feeling-heart encased within the hard, metallic, rusty shell." "Morning Song" was inspired by her children ("their spontaneous magic helped me throw open the doors to my heart and let joy reach me"). "Velvet Arms of Midnight" captures the feeling of sleeping next to your mate and finding there, in the midst of a harsh and abrasive world, a soft, still and safe place from which to love. Julie ends the album with three cover tunes. On the first, "Bachianas Brasileiros No. 5" by Hector Villa-Lobos, her goal was to make this classical piece work for jazz audiences. Utilizing three cellos and an acoustic bass in conjunction with a drummer and two percussionists, Julie sings an English translation of the lyrics. Lavender puts her own twist on the 1950s tune "When I Fall in Love" by penning a new first verse that shows that a couple who has been together for many years can still open themselves further and fall deeper in love. The CD closes with "Here Come the Dreamers" which Julie says "is such an optimistic song. It ends the CD by opening a portal into what can come next for the awakened soul. It evokes a dreamy vision for an abundant life teeming with possibilities." The music for "Here Come the Dreamers" was written by the legendary Hugh Martin (lyrics by one of his longtime collaborators Marshall Barer) in the early 1960s and, although it has been covered occasionally since then, Martin wrote a special arrangement of the tune specifically for Lavender and this album, and he played piano on the track. Martin became one of the top composers of Broadway showtunes and Hollywood film musicals in the 1940s when his "Have Yourself a Merry Little Christmas" and "The Trolley Song" from the Judy Garland movie "Meet Me in St. Louis" became standards. He also wrote material for Garland's TV show and London Palladium concerts; the films "Abbott and Costello in Hollywood," "Best Foot Forward" and "Ziegfeld Follies;" Broadway shows such as "Look Ma, I'm Dancin'" and "Pete 'n' Keely;" and in more recent years Michael Feinstein. Since meeting nearly a decade ago, Martin and Lavender have become close friends and have performed together onstage several times at a concert of Julie's and at benefits. Recently Hugh wrote a note to Julie and said, "I'm so in love with your 'Dreamers' rendition. It's music from heaven." Also playing on NEVER FELT THE SUN are flutist Hubert Laws (solo artist who has played with the Jazz Crusaders, Mongo Santamaria, Jim Hall, James Moody and Clark Terry), keyboardist and sax-player (and co-producer) Kamau Kenyatta (Hubert and Eloise Laws, Patti Austin, Earl Klugh), guitarist Peter Sprague (Kevyn Lettau, Bob Magnusson, Billy Childs, David Benoit), bassist Darryl Williams (David Paul), bassist Dave Curtis (A.J. Croce, Peggy Watson), bassist Rob Thorsen (Hubert Laws, Mike Wofford), drummer Duncan Morse (Checkfield, Chip Davis, Tom Barabas), drummer Richard Sellers (Hubert and Eloise Laws, Bill Harris) and others. In addition, Lavender plays acoustic guitar on several tunes and piano on another. Born in Chicago, Julie was raised in California, her mother a professional opera singer and her father a trumpet-player in his own big band. Julie began studying piano at age five and won the Central California Bach Festival piano performance competition when she was 14. She had started playing classical guitar at age 11 and within a few years made it her main musical focus. In high school she began performing in folk groups, went to Holland where she performed on national television, and traveled throughout the Middle East. She heard that Eli Kassner was an important professor of classical guitar. She asked if he would teach her, and when he agreed, the 18-year-old moved to Toronto and enrolled at the Canadian Royal Conservatory of Music. Eventually she transferred to the University of Toronto where she earned her Bachelors of Music Degree in music performance. In college she earned numerous scholarships and performed in master classes taught by such renowned guitarists as John Mills, Alice Artzt, George Sakallerio, Vladimir Mikulka and Sergio Arbreo. As part of the Toronto Guitar Ensemble, Julie played concerts in Cuba and Martinique. After college Julie decided to pursue jazz and pop music rather than classical guitar. She began writing vocal tunes, won a radio station's songwriting contest and performed in distinguished Los Angeles clubs. Her influences included Joni Mitchell and Sting because both artists combine pop and jazz stylings in their music. Lavender traveled extensively in Europe during this period of time which gave her music a more cosmopolitan feel. She also began listening to more contemporary jazz -- first Lee Ritenour, Dave Grusin and The Yellowjackets, and then singers such as Diane Schuur, Basia, Kevyn Lettau and Jude Swift. Julie studied comedy improvisation with The Groundlings. She wrote and recorded a suite of music for a children's album, ANNIE AND WILLIE'S PRAYER, released by a phonics company. She also contributed an eight-minute composition, "Healing In The Dark," to an important conference on AIDS where the piece was performed with choreography. Lavender put together a band and performed regularly in Southern California clubs for two years to refine her sound. Then she recorded and released her first nationally-distributed album, GOOD WOMAN, which received critical acclaim and substantial airplay on smooth jazz radio stations nationwide. That recording also was co-produced with her musical director Kamau Kenyatta. The CD featured renowned pianist Greg Phillinganes (Barbra Streisand, Anita Baker, George Benson, Quincy Jones, Michael Jackson). "With my songwriting I especially enjoy exploring the depths and nuances of relationships between all types of people of all ages," explains Julie. "I wonder sometimes why writers don't spend more time composing songs about what couples are going through who have been together for quite a few years. Each album is a new adventure and a deeper experience for me than the previous one. I am inspired to compose when something has affected me deeply, when I have one of those significant revelations, and my life is changed." |
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