Carol Welsman

"Other than among musicians, Carol Welsman is probably one of the most underrated jazz piano and vocal artists in the country."

Check out the full review here

Released last fall, Los Angeles songstress Carol Welsman’s new disc, I Like Men, is a sexy, sultry collection of songs associated with the great Peggy Lee. The good news is it’s a winner, classily produced and sharply orchestrated to highlight Welsman’s purring mezzo. Welsman, who’s also the pianist, clearly has great taste is definitely a talent to watch. (Welcar Music)

"There’s an irresistible playfulness to Welsman’s approach that brings a welcome warmth to her shimmering elegance."

Though she herself was somewhat reclusive in the twilight of her career, Peggy Lee’s musical legacy continues to receive loving attention. Tribute discs appear regularly, with approaches ranging from slavish imitation to radical reinterpretation.

Carol Welsman makes no attempt to emulate Lee’s cool, almost detached delivery with her I Like Men, her eighth recording to date. Rather, she delivers a collection subtitled “Reflections on Miss Peggy Lee,” in which she applies her perfect pitch to a collection that honors rather than imitates Lee’s musical attitude and accomplishments.

Welsman is also a first-rate pianist, though her understated approach isn’t out to dazzle. Coupled with her impeccable phrasing, backed by a fine cast of musicians, she saunters through a program of tunes either written or made famous by the late Ms. Lee, with one original tossed in for good measure.

Welsman favors Latin rhythms, with many of the arrangements here featuring busy but bouncy percussion with tricky (though never distracting) rhythmic twists. Most tunes are taken at relatively sprightly tempo – Welsman’s having fun here – but she gets suitably reflective on a quietly contemplative “The Folks Who Live On The Hill” and the wistful “Remind Me.” Lee’s own “Johnny Guitar” (co-written with Victor Young) receives a classically cool reading that would do Lee proud. Welsman’s own “Dance On Your Own” (with help from Daphna Ziman) is a gently swinging number, and of course “Fever,” Lee’s signature tune, is included, here benefitting from Welsman’s spare but sparkling piano as the band toys with intriguing time signatures to keep things interesting.

There’s an irresistible playfulness to Welsman’s approach that brings a welcome warmth to her shimmering elegance. Unlike Lee, cool to the point of detachment, she seems thoroughly engaged, with the sheer joy of song a palpable presence throughout the project. While the melodies are generally familiar, a fine cast that includes guitarist Pat Kelley and sax great Tom Scott give Welsman plenty of room to establish her own personality and render each song her own. She does so with appealing aplomb. Highly recommended!

Music Critic Elysa Gardner's #4 favorite album (of all genres) of the year.

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3. Carol Welsman I Like Men: Reflections of Miss Peggy Lee (Welcar)

New Releases: 

1. Tom Harrell Prana Dance (HighNote) 


2. Ruby Braff For the Last Time (Arbors) 


3. Carol Welsman I Like Men: Reflections of Miss Peggy Lee (Welcar) 


4. Steve Davis Eloquence (Jazz Legacy) 


5. Preservation Hall Jazz Band New Orleans Preservation Vol. 1 (Preservation Hall) 


6. Eddie Daniels & Roger Kellaway A Duet of One: Live at the Bakery (IPO) 


7. Bob Florence Limited Edition Legendary (MAMA) 


8. Clayton Brothers Brother to Brother (ArtistShare) 


9. Resonance Big Band Introducing Marian Petrescu Resonance Big Band Plays Tribute to Oscar Peterson 
(Resonance) 


10. Dark Chocolate Unwrapped (Megawave)

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CD REVIEW

The success of Carol Welsman's I Like Men: Reflections of Miss Peggy Lee defies the odds. The idea of doing "tribute" albums to more famous performers in the jazz genre is as commercially enticing as it is artistically dicey. It's hard to gain a footing in jazz, and associating oneself with a well-known name is an obvious way to get attention. But the jazz section of record stores (brick-and-mortar and in cyberspace) is strewn with failed efforts in which performers were saddled with material unsuited to them, and with which they were unfamiliar before the call came from their managers. Then, too, the tribute concept works better in a live setting than on disc, since the question always comes up, why not just listen to a recording actually by the original artist? Peggy Lee, distinctive singer and songwriter both, is a particularly difficult case as, see, for example, the misbegotten attempt Bette Midler Sings the Peggy Lee Songbook. So, why does this one work so well? For starters, Welsman, a singer and pianist for whom this is her eighth release, clearly knew Lee's work before this project began. In fact, it sounds like Lee was a primary influence on her, and while she certainly isn't imitating Lee here, she has several aspects of Lee's vocal approach pinpoint correct. She uses the breathiness of her voice as Lee did, and she recognizes Lee's timing, remaining exactly on the beat. She also has some of Lee's humor, particularly in "I Like Men," and a bit of her air of command, though, truthfully, not a lot. (Her "Fever" aims more for seduction than domination.) In fact, Welsman is so good at doing Peggy Lee that she gets away with things, for one, interpolating her own original song, "Dance on Your Own," which is more vernacular than Lee ever got. (A kiss-off song, it uses terms like "b.s.") For another, some of her song choices are somewhat tenuous; "Remind Me" probably belongs on a Mabel Mercer tribute album, instead. But these are the liberties taken by someone who is so sure of herself that she can afford to take risks, which, too, is true to Peggy Lee. And by the way, when Welsman isn't singing, she is playing some tasty jazz solos along with a small band that follows some unusual contours in the arrangements, such as the tempo changes that pace "Just One of Those Things." Like so many other tributes, this is one that probably works better as a live show, but it also works awfully well on disc, and it is that rarity, a tribute that actually does pay tribute by demonstrating an affectionate knowledge of the one to whom tribute is being paid.

"Welsman captures the late chanteuse’s easy wit and piercing emotional clarity."

“Paying tribute to Peggy Lee on her new album, I Like Men, Welsman captures the late chanteuse’s easy wit and piercing emotional clarity.  The latter quality is especially evident on her exquisitely understated piano and voice reading of Jerome Kern/Oscar Hammerstein ll classic……“The Folks Who Live On the Hill”

"I will remember this Carol Welsman disc as a well-conceived and perfectly executed tribute."

To crack open the Peggy Lee songbook is a tall order. Will this version of that song replace the one that’s already in my head? So much of Miss Lee’s material is so indelibly hers that a project like this seems risky.

Canadian singer-pianist Carol Welsman says Miss Lee was a favorite of her musician father, who “…drew a lot of comparisons with me when I was starting out, because I never had the big vibrato, always had a cooler sound, and he thought that she was the best person to follow.”

And, indeed, there are favorable comparisons to be made. Ms. Welsman’s style has always leaned toward the “cool,” and when she wants to, she’s spot on in evoking Miss Lee’s phrasing, even if she doesn’t display the same constant command.  In that regard, I think she actually displays more range in interpreting the lyrics than Miss Lee.  And that may be a conversation for another day.

Much of the material is not in the top ten of Ms. Lee’s songbook, which may be a good thing – because it allows Ms. Welsman to avoid the direct comparisons.  And yet Ms. Welsman doesn’t shy away from three that are very much in the songbook – “I Love Being Here With You,” along with “Why Don’t You Do Right,” and of course the must-have “Fever,” which Ms. Welsman makes more playful than commanding. The lone original tune on the disc – “Dance On Your Own” – was co-written by Ms. Welsman. Fooled me, until I read the credits. Fits right in.

The backing band does not overpower – and there are great solo turns for the other sides of Ms. Welsman’s talent both on the keyboard – and vocalese on Cole Porter’s “Just One Of Those Things.”

I’m not going to forget Peggy Lee with any of these. But that’s not the point. I will remember this Carol Welsman disc as a well-conceived and perfectly executed tribute. It’s going to be in heavy rotation on the iPod for some time to come, and I recommend this disc very highly.

“Without reinventing the wheel, this record is a gracious little gem, full of tenderness thanks to the smooth samba rhythms and very à propos swing feel! It offers 14 tracks that will make you rediscover classics such as Do I Love You, Fever and the Peggy Lee absolute classic Johnny Guitar"

Well known to the Montreal jazz fans, Toronto singer Carol Welsman who now lives in California, pays tribute to Peggy Lee. Actress, singer and composer, this great lady of American music (1920-2002) influenced a great number of artists from McCartney to Bette Midler and Madonna.

A popular icon, Peggy Lee also brought standards such as Just one of those things and I’m gonna go fishin’ to a very large audience.

Without reinventing the wheel, this record is a gracious little gem, full of tenderness thanks to the smooth samba rhythms and very à propos swing feel! The 14 songs will make you rediscover classics such as Do I love you, Fever and THE Peggy Lee absolute classic Johnny Guitar.

"Carol Welsman is more than a world class Jazz-Cabaret singer, songwriter, pianist and entertainer. She is a vocal-musical perfection. This woman has all the ingredients of the ultimate diva. Welsman's intelligence, multi talent, class, beauty, musical virtuosity, and mesmerizing voice set her apart from all the others"

This woman has all the ingredients of the ultimate diva. Welsman's intelligence, multi talent, class, beauty, musical virtuosity, and mesmerizing voice set her apart from all the others. A femme fatale par excellence, a stunning woman with sinfully beautiful persona, a superb pianist with daring and ultra refined class, and bursting stage presence. Ferment a new vintage of Dom Perignon, steer your inquietude, be brave and dash into the magical world of Diva Carol Welsman... What defines a star is originality. And what nourishes originality is creativity. And what makes creativity shine and last is a trilogy of stage presence, class and transcendence.

Carol Welsman enjoys those qualities. She has class, commanding presence yet warm and sensual, and super talent that shines brighter than the all damned lights of the Champs Elysees and Times Square combined. The talent of Ms. Welsman will last as long as there is music, there is a civilization, and there is an audience that appreciates the beauty of music and the warm substance of talent...This woman's art, voice and music will last for ever. For, she transcends time, boundaries and the complex cosmos of entertainment in all its forms, its divine and tabooed presence, its sacred and forbidden interpretation and what makes us search for comfort and consolation in the elixir of Jazz and Cabaret.

Many of us rejoice in remembering the days of our youth, past memories, souvenirs lost and recaptured, passages of our past, but few would go back to live the past. For the past is nostalgic and romantic, but not always pleasant and happy. Music takes us back in time. Music recreates part of our past and the life we live. Now, blend music with a voice that resonates in your heart, and your world of fantasies, joy, happiness, sorrow, madness, hope and bleeding reality will have different meaning, will make you rethink new priorities, explore hidden beauties and unites you with your very soul. One way to find out how music and vocal virtuosity can accomplish this, is by listening to the voice and music of Carol Welsman. She is a magician on the piano and a mesmerizing diva when she sings. Her originality emanates from the perfect blend of soft upbeat tempo of bossa nova, a refined swing mood, a Jazzy-country cadence and a sinfully seducing Cabaret flair. All blended together in the bursting and elegant voice of a woman who teases you, charms you, comforts you and confuses the hell out of you. This superb singer with her musical virtuosity, mesmerizing voice and perhaps her aromatic persona will tell you the whole story of your life in two lines. Ms. Welsman is sensual and lyrical. But that sensuality flirts with intellect and human depth, because she infuses in the fabric of the lyrics, rainbows of personal experience, deep knowledge of music, substance to the lyrics and clever improvisation. Although, the swing flair dominates to a certain extent the nature and contents of her repertoire, her vocal projection, interpretation of tune and most unusual piano accompaniments add an extra vocal-musical dimension rarely seen on stage or heard on tape. She would start with a bossa nova tempo, sails into a swingy mood, metamorphose into a Jazzy ambiance, but also, she enriches that complex repertoire with a nostalgic Standards flair, a refreshing film noire Cabaret scent and most certainly with her own and unmistakably soulful interpretation. In that context, Carol Welsman appeals to audience from all walks of life, those who live nearby Louisiana swamps and those who zip bubbly champagne in Biaritz, those who awake their mind in an unfinished symphony and those who pour in their palms, the outcry of a macabre Jazz tune and part of the night. THE WORLD OF CAROL WELSMAN Ms. Welsman is a diva for all seasons. She is not restrained by dogmatic music and rigidly dictated style. She is not a cliche. When she sings, she tells the story of the song and what makes the song echo truthful feeling and intimate emotions. Here and there, now and then, she pauses for a while, walks toward her adoring fans and begins to talk to them...she loves to ask them questions and she loves to hear their answers...she tells them stories, true stories or stories she fabulously creates, she recounts jokes and anecdotes about the Swing era divas and how they influenced her music. she smiles, she wonders, she laughs, she dialogues with the audience, she walks on stage, steals the stage and runs away with it. She simply takes the audience by storm. This vivacious direct rapport with her public created her irresistible stage presence. And of course, her stunning beauty add fuel to the fire.

"Carol Welsman is the "complete package," a striking 6-foot-tall beauty whose spot-perfect intonation, clear diction, and expressive phrasing have evoked comparisons to Peggy Lee and Ella Fitzgerald. As a pianist, Welsman is a minimalist in the tradition of Count Basie whose solos are as distinctive for the notes not played as those sounded."

On Sunday afternoon, a full house of Topeka Jazz Workshop patrons jammed into the Grand Ballroom of the Ramada to savor the sublime musical gifts of jazz singer-pianist Carol Welsman.

The auspicious booking of Welsman was the work of the late Jim Monroe, for decades the heart and soul of the Topeka Jazz Workshop, whose unerring ear for spotting top jazz talent continues to pay dividends. Thanks to Monroe, Topekans now know that Welsman, to cite the Los Angeles Times, is "a fully formed artist with the musicality, imagination and looks to cruise to the top of the jazz vocal genre."

From the afternoon's onset, a seductively perky romp through "Hey, Good Looking," it was clear we were in for something special.

Taking us into her upbeat world of happily swinging yet harmonically and rhythmically engaging jazz, Welsman made the well-known lyrics and music her own.

Great singers, whatever the genre, are storytellers. By this standard, Welsman's inspired renderings of dramatic miniatures, such as "Just One of Those Things" or "Slow Boat to China," were the narrative-emotive stuff of Oscars and Tonys -- and Grammys.

Welsman, to put it in the argot of music biz, is the "complete package," a striking 6-foot-tall beauty whose spot-perfect intonation, clear diction, and expressive phrasing have evoked comparisons to Peggy Lee and Ella Fitzgerald. For me, there also are echoes of the poignantly understated Rosemary Clooney and Chet Baker.

As a pianist, Welsman is a minimalist in the tradition of Count Basie whose solos are as distinctive for the notes not played as those sounded. She is also an exceptional arranger, an under-appreciated virtue that on Sunday afternoon focused the superb efforts of guitarist Danny Embrey, bassist Bob Bowman and drummer Tommy Ruskin, who successfully captured Welsman's lithe aesthetic.

Welsman possesses a joie de vivre that infuses her musicianship with an infectious playfulness. On "Time After Time," for example, she magically melded the Jules Styne-Sammy Cahn classic with Cyndi Lauper's MTV hit of the 1980s. Her funky makeover of Ellington's "Don't Get Around Much Anymore" was another crowd-pleaser.

In soloing, Welsman often scatted in unison with her piano. 

Although voice-instrumental doublings have a long history in the work of such icons as George Benson, Major Holley and Jeremy Steig, Welsman's transcendent forays were graced with a heart-grabbing lyricism that moved body and soul.

Other highlights included a sensuous "Girl from Ipanema" in Portuguese (the Romance language par excellence), a bluesy rendition of Mary Chapin Carpenter's "I Feel Lucky," and the haunting "You Take Me Away," whose rapturous lyrics Welsman penned.

The crowd embraced Welsman, giving her an enthusiastic standing ovation. As we departed with her music now embedded in heart and mind, one couldn't help think of Jim Monroe. To paraphrase Welsman herself, who dedicated the concert to Monroe, "Thank you, Jim!"