The selections on this CD are as perfect as the performances: "Lazy Afternoon," "The More I See You," "Take Five" (and if you have never heard the vocal to this Dave Brubeck classic, this is a fine introduction to it!), "What Are You Doing The Rest Of Your Life" (one of the finest recordings ever done of this song!), "I Am Yours/ You Are Mine," "Thou Swell," "You and I," "In Your Arms," "How Long Has This Been Going On?," "My Funny Valentine" (this is a beautiful interpretation of this classic!), "I Can't Believe," "Over The Rainbow" (done in such a hauntingly romantic interpretation that you will find yourself listening to it over again!). All vocals and arrangements are by the gifted Mary Pearson.

This CD would make a wonderful gift for a lover or a friend or a relative, or as a gift for Mother's Day, or as a special gift for any day or night of the year! It is that good, that perfect!

Mary Pearson's "You and I" is destined to become a classic of love songs, blessed with a romantic jazz ballad approach that only Mary Pearson can deliver with such style, gracefulness, and most importantly, with such a touch of class and romance. Mary Pearson deserves much radio airplay with her magnificent "You and I." Purchase a copy for yourself and a friend! Beautiful jazz!
--Lee Prosser / JazzReview.com / February 2000

Museum's garden jazz gets off to zesty start
By George Kanzler
Star-Ledger Staff / July 2000

Jazz in the Garden series
Where: Newark Museum Garden (Central Court in inclement weather), 49 Washington St., Newark. Who and When: Trombonist Benny Powell Duo, July 6; saxophonist Javon Jackson Duo, July 13; flutist Keith marks Trio. July 20; drummer Wade Barnes Trio, July 27; singer Miles Griffith Duo, Aug. 3; and keyboardist David Carter Trio, Aug. 10.

Mary Pearson's"You and I" is one of those intimate albums perfect for listening to in the deepening shadows of evening, in a quiet place with a romantic partner. The recently released Arkadia CD, called a "seamless tapestry of romance" by WBGO's "Singers Unlimited" show host Michael Bourne, has a title with a literal meaning too -- all the tracks are duets featuring Pearson's voice and a single instrument, either piano, guitar, bass, or drums.

The duo format fits perfectly with the more intimate programs -- all duos and trios -- being featured in the Newark Museum's Jazz in the Garden lunchtime Thursdays series through Aug. 10. But the bustling Central Court of the museum at noontime (Thursday's site for Pearson's concert due to inclement weather), with an audience ranging from seniors to the single-digit set (from a nearby grade school), isn't the perfect setting for a "seamless tapestry of romance."

So Pearson and guitarist John Hart, her duo partner, ranged beyond romance in a set that was entertaining as well as romantic, as much fun as it was creative. Pearson also proved she can project beyond the intimate confines of the new CD, revealing a strong, clear voice that could do justice to a Broadway musical, but with the sensibilities of an astute jazz singer.

Leading off with a "Summertime" that was more of a gentle wake-up than a lullaby, Pearson continued with the CD's opening tune, "Lazy Afternoon," matching tones and a suave behind-the-beat delivery to the words, stretching them like taffy without ever losing the song's luscious musicality. Making sure things didn't get too lazy, she continued with a zesty "I Got Rhythm," complete with scat-sung exchanges with Hart and encouragement to the kids in the audience to dance.

One of the rewards of live jazz performance is you hear things you'd never hear on recordings. Pearson doesn't scat on "You and I," while at the museum she not only scatted, both conventionally and doing something between caricatured speech and primal scream therapy, but she also whistled. On "This Can't Be Love," her whistled solo was a Pied Piper, capturing the attention of the kids.

Then she had kids and adults alike elbow-dancing (don't ask, you had to be there) to "Sweet Wishes," a jaunty samba, singing along on "Que Sera, Sera," and vocally imitating a scraping percussion sound on a bossa nova version of "Tea for Two."

Throughout, Pearson brought fresh interpretations and insights to familiar songs, often recasting them in unexpected rhythms, time signatures or tempos. For instance, "Centerpiece," a familiar jam session jump-blues, became a soft swing ballad.

Spring Crop of Singers Yields Bountiful Results

The jazz singers just keep coming. It's hard to think of another category of performance that generates so much activity in such a wide range of styles.

Part of the reason may be that there are so many definitions of just exactly what jazz singing is. For some listeners, it's shooby-doo scat singing; for others, it's sensuous renditions of tunes from the great American songbook. Still others insist upon the melismas of gospel phrasing, while the root accents of the blues are the inspiration for yet more. And the advocates of each approach have models to look up to, from Louis Armstrong and Ella Fitzgerald to Billie Holiday, Joe Williams and Mel Torme.

Nonetheless, there are several elements that seem essential to jazz singing, regardless of style or manner. First is the capacity to swing, the ability to create a sense of rhythmic lift in one's phrasing, whether it's generated from the rhythms of swing, bebop or funk. Next is the creative spark that brings a new slant to a song - the ability to improvise, whether through melodic paraphrase or harmonic variation. Both those elements are intrinsic to instrumental jazz, as well, of course. But jazz singing, because it must deal with music and words, makes a further demand - the need to tell a story, the skill to retain and express the message of the song while fulfilling the need to improvise and swing.

Tough demands. It's no wonder that so many are challenged to take them on, and why so many don't quite make the grade. Here's a sampling of current releases by lesser-known performers with the fortitude to give it their best shot.

. . .

Mary Pearson's debut album, "You and I" (** 1/2, Arkadia), reveals another singer who is willing to take on some musical risks. The recording is actually a series of duets - musical cameos in which she is individually accompanied by pianists Lynn Arriale, Fred Hersch and David Lahm, guitarist John Hart, bassist Harvie Swartz and drummer Steve Davis. The challenges are generally well-met, despite the difficulties, for example, in rendering a tune such as "Lazy Afternoon" to the accompaniment of Davis' drums. Pearson's description of the collection of familiar love songs and a few originals stresses the presence of "intimacy, devotion, seduction, passion and love." And the explanation is right on target, with her lush-sounding voice serving as a superb storytelling medium. If the album has a problem - and it won't be a problem for fans of romantic music - it's that Pearson's focus on love songs becomes a bit wearying over the course of an entire program of music.
--Don Heckman / Los Angeles Times / April 9, 2000

{Other vocalists reviewed in this piece were:
Claudia Acuna, "Wind From the South" (***, Verve)
Lavay Smith, "Everybody's Talkin' 'Bout Miss Thing!" (**1/2, Fat Note Records)
Tierney Sutton, "Unsung Heroes" (** 1/2, Telarc Jazz) }

Pearson poised to become newest female jazz diva,
by Patrick Arena

Mary Pearson You and I (Arkadia Jazz)

You can add Mary Pearson to the short list of authentic contenders for the seats vacated by the old guard of female jazz divas. Her debut album, "You and I", smartly features Mary in pristine duets with some extraordinary musicians, including Fred Hersch, Harvie Swartz, Lynne Arriale, Steve Davis, David Lahm and John Hart.

The musical selections reveal her ability to reinvent standards without obliterating them with decoration; likewise, she balances her mildly husky voice with appropriate lightness while always staying focused on the lyrical content. (Any singer who can make you listen to the words of "What Are You Doing the Rest of Your Life?" as if they were new again has a fresh musicianship indeed.) Her tone sometimes echoes Morgana King but Pearson is a more flexible and relaxed singer.

Her duets with drummer Steve Davis are unique. It's rare for a singer to be accompanied by only drums for an entire song, but it works to sensuous result on "Lazy Afternoon". Their version of "Thou Swell" is both swell and witty. Her own composition "I Am Yours/You Are Mine" is a tribute to commitment in relationships. It is as lovely and delicate as fine lace. The final coup on this romantic set is a subdued and unemcumbered version of "Over the Rainbow". Set in three-quarter time, it captures the wonder and flow of the song without recalling other versions.

OUT / May 2000

Vocalist Mary Pearson's CD You and I is interesting in that each song is a duet in which she is accompanied by a lone instrument. It may be a piano (Lynne Arriale on four tunes, Fred Hersch on two), a guitar, a bass, or on two tunes, drums. While Pearson doesn't delve into scat singing or daring improvizational flights, her interpretations, phrasing, and articulation are excellent. Of the dozen tunes on the program, nine are standards and three are very competent Pearson originals. Most of the tunes are love ballads, and Pearson's husky, legato alto adds a measure of seductiveness to each one. The sparse one-instrument accompaniment on each song keeps the proceedings soft, interestingly interactive, and intimate.
--Dave Hughes / AllAboutJazz.com / September 2000

This woman has a beautiful voice with great range and control. The arrangements give her voice plenty of room with very minimal stuff around her, just her voice in duets with only a drum, a piano, or a guitar, that's it. Twelve love songs, some very well known, three written by Mary herself, all sung in ways you've never, ever heard them sung before. Described as having a rich, creamy tone, a commanding, luxuriant style, beauty of expression, she whispers or soars, quiet one second, loud and sure the next. A very intimate, gentle album and certainly not just background music. You'll really want to listen to this one. Over and over again.
--Jeanette Housner,
VICTORY Monthly acoustic music magazine / June 2000

In an era in which you cringe when many young singers get in way over their head in trying to interpret The Great American Songbook, wise and mature Mary Pearson brings judgment, taste and terrific musicianship to every track on this outstanding recording. Surely she is a talent dserving not only wider recognition but much greater in-person visibility, nationally and even internationally.
--Will Shapira,
Minnesota Public Radio Network / September 2000

Quiet Lights

There are singers who shake the walls and demand spotlights, and those who nudge and insinuate by candlelight. These six women [Carol Ackerson, Jane Monheit, Tierney Sutton, Mary Pearson, Claudia Acuna, and Meredith d'Ambrosio] ... proffer intimate daring and delights.

Pearson's rich, cultured voice shines on these intimate tete-a-tetes, nearly all slow duos... but tense and immediate. Her in-your-ear style moves from haunting hymnody on "You and I" to duets with drummer Steve Davis.
--Fred Bouchard / Down Beat / September 2000

Every tune is a duet, which is the right number for romance. Mary sings softly, a thick voice that's husky on the low notes. Beside her an instrument holds court; what instrument (and how it's played) depends on the song. We get drums on "Lazy Afternoon" - rather, tom-toms and soft moaning cymbals. Mary drawls the lyric, a sound that's lazy - and intimate. She's warmer on "The More I See You"; the voice reaches high, with longing and love. Lynne Arriale says plenty in spare chords; how different from Fred Hersch, who plunges into "Take Five". Over his busy display, Mary is static, percussive on words with a hornlike attack. They are two instruments, swirling in a deep embrace. The mood is eternal - or it should be.

She also writes her own songs: elegant words, and delightfully fragile. "I Am Yours" is a hug: "Time will show, just as sure as we are breathing/ Love built on trust is built to last." A similar stillness is "In Your Arms", words melting austere piano. David Lahm floats a faint echo, Mary matches it - and all is well. She nearly giggles through "I Can't Believe", breathless from all its wordplay. "I can't believe it grows stronger, the longer that I'm here with you." For balance, John Hart's guitar: a bossa as simple as she's complex. This comes right after "My Funny Valentine" -- and it belongs in such company!
--John Barrett / JazzUSA.com / May 2000

Her voice is a seamless chameleon alto that purrs in one phrase and growls in the next. In all cases, Pearson sings with great lyricism and melody. The unadorned environment of the duet offers her ample room to experiment and otherwise show off her considerable technique and talent."
--C. Michael Bailey / AllAboutJazz.com / May 2000

The clench of Pearson's command and the clarity of her voice arrest the listener all right. So does her fresh approach to ballads when she decides to free her improvisation from conventional approaches. With a long-term contract in hand, it's only a matter of time before Mary Pearson seeps ever so slightly and ever so invitingly into the jazz public's consciousness.
--Don Williamson / AllAboutJazz.com / May 2000

There's no ensemble playing on the album. Each tune has Pearson accompanied by just one instrument, ergo the title You and I. With this technique, Pearson has no where to hide, her vocalizing is right out there on the line and she comes off very well. Most of the tracks are ballads. Her duet with drummer Steve Davis "Thou Swell" ... is as imaginative an arrangement as you're going to hear of this Rodgers/ Hart chestnut...One of the album's highlights is the hushed toned performance of "What Are You Doing the Rest of Your Life?" with John Hart's guitar the sole backing for Pearson. It's a sonata for voice and guitar... Veteran bass player Harvie Swartz ... takes center stage with Pearson as they wander through "How Long Has This Been Going on?" Pearson's take on this tune as much as any, crystallizes her thorough understanding of the lyrics of the song she is singing and the ability to convey that meaning to the listener. The interplay between Pearson and Swartz on this cut is so good, it is eerie... Pianist Fred Hersch joins with Pearson on a quirky reading of Paul Desmond's classic "Take Five" and an endearing "Over the Rainbow."... Think of an overcast, chilly day with a slow drizzle interrupted from time to time with a slow momentary clearing and you will have a mental picture of this album...an album which is highly recommended.
--Dave Nathan / AllAboutJazz.com / July 2000

The unique part of You And I is that singer Mary Pearson performs only in duets with several different partners, a setting that results in performances very different from the conventional Jazz set. Pearson has a big haunting voice that combines interestingly with the other musicians. Singing with Steve Davis' drums she makes "Lazy Afternoon" and "Thou Swell" into art songs. Lynne Arriale gives a romantic setting to "The More I See You" and "My Funny Valentine" while Fred Hersch by contrast plays hard-driving piano on "Take Five" while Pearson swings through a set of lyrics for the tune. John Hart's guitar gives a tart accompaniment to "What Are You Doing The Rest Of Your Life?" and "I Can't Believe" while Harvie Swartz, who has performed in this format a lot with Sheila Jordan, gives a low down bottom to Pearson's sultry reading of "How Long Has This Been Going On?" This is a fine varied showcase for Pearson's skills.
--Jerome Wilson / Cadence / October 2000