Album Notes

“She is what the early Nineties buzz would have dubbed a “young jazz lion(ess).” – Linda Gruno, Denver Examiner

'Simon captures that sparkle of early spring with nearly all of her original compositions, especially "Morning, Sunshine" and "Lily of the Valley."' - Jon Solomon, Westword

"The sweeping melodies of the sax and guitar throughout the album float above the chord changes like northbound sparrows sailing over fields of sprouting flora." - Joseph Prinzivalli, Ft. Collins Scene

“…feels like it's been in the songbook for years, inspite of just coming from the proverbial (and literal) shrink wrap…” – Alexander Yellen, jazz arranger and composer

Written over a three year period during and after her studies in New York, Simon’s songs are personal narratives influenced by modern improvisational music, singer-songwriters, Bulgarian folk music, and artists such as Bjork and Tom Waits. Her songs have a distinctly personal quality, and manage to get stuck in your head for days.

More from the Denver Examiner: http://www.examiner.com/x-10104-Denver-Jazz-and-Blues-Examiner~y2009m5d11-Lelah-Simon-wants-you

More from Westword: http://www.westword.com/2009-08-06/music/lelah-simon/

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Track Listing:

To Be Oblique, the album’s first cut, is a tastefully dissonant, grooved based trip. It winds around a few uneasy key centers, trying to resolve itself before ultimately accepting its contradictions.

“Post-impressionistic Jazz” may be a good descriptor for the down-tempo Lily of the Valley. Minimalism reigns here – even the drums are simplified to straight quarter notes for a full eight minutes.

Owing its disco-pop feel and lyrical quality to Bjork, Others’ Eyes features Julia Brochey on vocals. It explores self-reflection – but doesn’t take itself too seriously.

Morning, Sunshine, the album’s most straight-ahead selection, is a velvety, relaxed morning ballad.

Neil Young’s Tell Me Why gets a mellow treatment in this pretty instrumental version.

Green could be called pastoral – it conjures lush, springtime images...Perhaps from the third week of April?

The country waltz 151, sung by guitarist Chris Mosley, is a heartbreaking narrative on single life and the dreaded bar scene.

Gift is the most challenging number on this record; it owes two of its three time signatures to Eastern European dance music, but doesn’t forget its poppy American roots.

An instrumental version of Elliot Smith’s Satellite brings the record to a close with an intimate lullaby.


Personnel:
Lelah Simon, basses, compositions, arrangements
Paul Romaine – drums
Danny Meyer – tenor sax
Carmen Sandim – keyboards
Chris Mosley – guitar and vocals
Julia Brochey – vocals