“Great big talent, much too small a pond. Her name is Karen Marguth, one of the finest American jazz vocalists you’ve likely yet to discover. Her talent lifts her to the plateau of Diana Krall, Jackie Ryan and Carolyn Leonhart, and it’s high time that she advanced to her rightful place on national and international stages. Here’s hoping Marguth soon gets the sweeping attention she so richly deserves.”
“★ ★ ★ ★ ½ Karen Marguth is a spiritual grandchild of hipness highness Annie Ross. Her music is the work of a singer with a swift, light voice and the mobility and diction to roll like a Zephyr over the tongue-twisting speed bumps of a vocalese piece. She swings fiercely with her band, and she scats with a proper abandon. This is a singer who prefers to trot and sprint, and does it with commanding zest.”
“Karen has all the talent of a truly great jazz singer. She is gifted with flawless technique, great precision in all registers, and impeccable articulation. Her excellent phrasing permits her to easily scat and swing. We have included her on our list of the 101 Essential Chanteuses of all time.”
“I know a CD has captured me when, having heard it once through, I want to hear it again right away. I’m listening for the third time to ~~ Just You, Just Me ~~, and I plan to play it for friends and make converts.
This unobtrusive little CD — about the length of an ancient twelve-song vinyl record of my adolescence — is a very important piece of art, because it bravely defies convention to present naked song, unadorned (yet expert) improvisation, joyous eccentric collaboration. In an age where froth tries to pass itself off as substance, Karen Marguth and Kevin Hill offer us beauty. And that is worth celebration.”
“It will fall to others to allot their own official praise to this, Karen’s newest and perhaps most courageous work. I say that only because it takes a rather spunky singer to go in to the world with only an acoustic bass man — the redoubtable Kevin Hill — at her side. But unlike Mary Tyler Moore’s crusty old editor-boss, I like spunk. Karen’s has the benefits of voice, technique, and taste. They are the kind of refining influences that turn common spunk into high art.”
“Karen Marguth is, indeed, a Jazz singer, with pinpoint intonation and a supple voice allowing her to phrase and scat with audacity.”
“She’s got a fresh as a daisy tone, elastic as all get out, and has the rare quality of being adventurous without being cacophonous. Karen and her band pour over with the joy of music while her voice swings and snaps like a paddle ball game”
“Together, Karen and Espacio bring such luscious newness to familiar jazz standards. Their imaginative arrangements will delightfully stun you. Karen is clearly in charge with her superb vocalizing… it’s so fresh and absolutely unforgettable”
“Karen Marguth isn’t just another talented jazz or cabaret singer. Heavens no. Her steady, pure voice achieves a poetic gracefulness in interpretations of songs both classic and current. The hallmark of a superior singer is to make everything — including accuracy of pitch, phraseology, rapport with the rhythm section, sparks of spontaneity, the probing of one’s heart — seem easy and effortless. Karen delivers — and then some.”
“Marguth has all the tools, and she knows how to use them. She is the real deal, with spot-on intonation, crystal clear enunciation, and, above all, a flawless sense of phrasing. Her show at Dizzy’s proved she is a true professional”
“She has the rare, great capacity for true champions of instrumental jazz singing to surprise and fascinate. With a strong improvisational verve, she can scat and deliver tongue twisters at breakneck speed, playing with the sounds of words and managing rapid chord changes without neglecting a subtle, playful joke or falling into triviality. Her skill at vocalese is reminiscent of Annie Ross. Her virtuosity is clear in any weather, from the fastest tunes with the whole band or alone with a bass, to slower ballads, to songs from vaudeville. Marguth is that rare kind of incredible, gifted performer; but the more so because her whole group is tight and strong, plain and rough in the best sense, with its own peculiar sound. Pure, unpredictable beauty and originality”
“No schmaltz and no BS. Karen Marguth swings hard, and brings a fresh sound to the often tired world of jazz vocals”
“Karen really hit this one out of the park… Her singing style is truly original… highly appealing… and backed by some great musicianship. Kudos to all concerned”
“As a jazz singer, Karen Marguth fills the bill. She’s spot on key, and phrases with ease and feeling”
“What wonderful music! Karen is a great artist. I’ve been transmitting her music on my program on Radio Fidelite. If she comes to perform here in France, I’m sure she’ll have a large audience”
“We LOVE Karen’s CD, and have already played two tracks from it, with plans to play many more! She’s great, and so is her band”
“Karen’s album is a very pleasant surprise. Of the first jazz recordings I’ve received this year, over half of them are by female vocalists, and this one stands out. I’ll enjoy playing it”
“Karen’s CD is a jazzy delight. I’ll be giving it lots of air play on CHRW. This is a very tasty debut jazz offering. I’m hooked”
“I like Karen’s CD a LOT! Last week on my Just Jazz show I wanted to feature the best/newest disc received in so far in 2010 and Karen’s CD was it”
“Karen is really top-notch. We featured her new CD recently during “Morning Edition” and enjoyed a phone interview with her”
“Karen Marguth has hit the trifecta. That is, she’s one of the few active jazz singers to have three DownBeat “Best Albums” of the year: Karen Marguth, in 2010, A Way With Words, in 2013, and now Until.
Until, an assemblage of previously unreleased tracks recorded over the past 10 years, promotes the elevation of the spirit that one demands of a truly outstanding release. Marguth, with typical control and confidence, carries poetry in music to an enthralling level. In the studio she’s a magician, listening hard and responding in the moment to the playing of trusted colleagues like pianists David Aus and John R. Burr, the late drummer Brian Hamada, and trumpet soloists Gilbert Castellanos and Erik Jekabson. One or two takes conjure urgency and joy.
The Californian lends expression to moods and feelings drawn from her deep connection to the lyrics of songs she’s specially chosen for refashioning. She has her way with the title song by Sting, the Billie Holiday-identified “Comes Love,” the Terry Callier ballad “What Color Is Love,” the Columbian children’s tune “La Ronda” (sung in Spanish), classics from Joni Mitchell and Paul Simon and, among a few more, the lovely original song “Maureen.”
Close inspection reveals that grace — a triumphing good will, a tolerance for human error — is the unifying theme throughout.”
—Frank-John Hadley, DownBeat
"Also to be discovered for those who do not yet know her, Karen Marguth is one of those excellent singers that America keeps to herself. Native of Minneapolis but settled in California for a long time where she is a teacher, she has already recorded several albums which have been hailed by American critics. Always accompanied by excellent musicians, she has, in the past, devoted a lot to standards but she broadens more and more her repertoire by including in "Until"(OA2 Records) several pieces from pop and penned by Sting, Joni Mitchell or Paul Simon. Her sense of interpretation full of musicality, her very natural voice and her great technical qualities make these adaptations a real treat. A first-rate singer who would ask to be much better known in France."
~Philippe Vincent, Le Blog de Jazznicknames
"Karen Marguth is an American singer out of California.
Until, on the Origin Records label, has 11 tunes that are rarely employed in the world of jazz, with the exception of a live version of “Days of Wine and Roses” which concludes the album.
These pieces were recorded in various sessions in Fresno, El Cerrito and Berkeley between 2011 and 2021 with different musicians each time, but the album does not suffer from a lack of unity. The climate of the album is definitely “West Coast” with a pleasantly cool, balanced and relaxed atmosphere, including long improvisations by excellent musicians, and the smooth, natural voice of Karen Marguth.
A beautifully made album, sober and elegant, with lovely arrangements and beautiful moments of emotion, to be listened to at the fireside on a gentle Christmastime evening accompanied by a glass of mulled wine in hand."
~Michel d´Arcangues, JAZZIN Clap’Coop and BasKulture
A long running jazz vocalist who cut her teeth in California’s Central Valley scene, Karen Marguth collaborates with 3 different groups on these tracks that were recorded over the past decade.
“Comes Love” starts the listen with Richard Giddens’ carefully plucked bass as Marguth’s expressive vocals enter the cautious and adventurous jazz climate that benefits much from David Aus’ warm piano, and “Until” follows with Mike Taylor’s spirited guitar work and Eva Scow’s precise mandolin as Marguth’s radiant pipes match the playful delivery.
Approaching the middle, “What Color Is Love” recruits Gilbert Castellanos’ soulful trumpet and Brian Hamada’s gentle drumming for the sublime landscape, while “Hearts And Bones” offers plenty of light melodies amid Marguth’s versatile singing. “Close Your Eyes”, one of the album’s best, then leads with a stirring intimacy before Dan Feiszli’s meticulous bass and Aus’ acrobatic keys align with much fluidity.
Nearing the end, “Old Friends/Bookends” finds a very stylish and dynamic place to reside, where the keys, drums and bass all complement the beauty of the singing, and “Days Of Wine And Roses” exits the listen with a poetic, intimate and very pretty finish that was recorded live in 2014.
This 5th album as bandleader has Marguth taking a commanding and accomplished position, where her interpretations of classic songs makes for a very charming and diverse listen that swings triumphantly, and also finds itself in sparse moments of timeless introspection.
~ Take Effect
“Bohemian voiced Karen Marguth splits this 11 song collection with three bands, which include David Aus-John Burr/p, Matt Finders-Pat Olvera-Richard Giddens-Dan Feiszli/b, Mike Taylor/g Brian Hadama-Kelly Zanan Fasman-Nathan Guzman/dr, Erick Jekabson-Gilbert castellanos/tp and Omar Ledezma-George Ramirez/perc. She’s tensile with the nylon strings on the title track, crystalline with a Satie-esque piano working of “Old Friends/Bookends” and a bit of a troubadour on “Twistable Turnable Man”. Mike Taylor’s guitar chirps on the graceful “Hearts and Bones” while an intimate meeting with Aus results in a delicate read of “Days of Wine and Roses.” Personal permutations.”
~ George W. Harris, Jazz Weekly
The fifth album from East Bay-based jazz vocalist Karen Marguth rewards on multiple levels. Mention first must be made of a lithe and attractive voice that elevates whatever material it attaches itself to; her delivery throughout the eleven-track set is assured and engaged but not, thankfully, self-indulgent: for her, the song comes first. And speaking of which, the curatorial choices she's made prove as satisfying when old favourites mix with recent classics. Many a song is rooted in pop, but the performances enliven them with infectious jazz feeling. Critical to the presentation too are classy arrangements rich in variety and, like the vocal styling, customized to serve the material.
One other detail, astutely noted by Andrew Gilbert on the package sleeve, invites mention. Despite the fact that the album was recorded over a ten-year period and features her with three distinct ensemble groupings, Until impresses as remarkably cohesive. In fact, the only track that feels like it's from a separate group is the closing one, simply because it's a live duet in contrast to the studio productions preceding it. What holds the project together is Marguth's voice, of course, as well as her guiding sensibility.
Two of the three outfits are groups from Fresno, California, with the third her most recent collaborators from the San Francisco Bay Area. All of the participants acquit themselves splendidly, but special mention might be made of the guitar (Mike Taylor)-mandolin (Eva Scow)-bass (Pat Olvera)-and-drums (Nathan Guzman) outfit Espacio that joins Marguth on two tracks. Sting's “Until” is rendered all the more captivating through its involvement, and the treatment of Paul Simon's “Hearts and Bones,” from his 1983 album of the same name, is as memorable. Consider how gracefully she glides over the beautifully textured backdrop the quartet fashions for the title track, and how subtly the group infuses Simon's swooning song with the kind of swing that would permeate Graceland. In addition, pianist David Aus contributes an album highlight in his arrangement of “Old Friends - Bookends,” which sees Satie transition into a moving rendition of Simon's touching ballad.
A sultry reading of “Comes Love” opens the set with Marguth backed by a trio she worked with for many years—Aus, bassist Richard Giddens, and the late drummer Brian Hamada—plus trumpeter Erik Jekabson. While he adds delicious muted counterpoint to the vocal, she invests her rhythmic acrobatics with a sly and sexy feel. For a lyrical ballad rendering of “What Color Is Love,” the trio and vocalist are joined by trumpeter Gilbert Castellanos, and on a jazzier tip there's a freewheeling trio take on Bernice Petkere's “Close Your Eyes,” with Marguth joined by acoustic bassist Dan Feiszli and pianist Burr. Capping the release is an intimate live performance of “Days of Wine and Roses” recorded in 2014 and featuring Marguth and Aus only.
Elsewhere, Joni Mitchell's “Black Crow” receives a bluesy makeover that's bolstered by John Burr's Wurlitzer electric piano and funky propulsion from bassist Matt Finders and drummer Kelly Zaban Fasman. Exemplifying the range of which she's capable, Marguth and company expertly navigate the sensual Afro-Peruvian lando groove of “La Ronda” by Columbian singer Marta Gomez. With percussionists George Ramirez and Omar Ledezma, Jr. adding extra rhythmic heft, the performance entices as delectably as anything else on the release. On an album otherwise featuring covers, Until includes “Maureen,” an original ballad co-written by the singer and bassist Matt Finders and elevated by pithy flugelhorn playing by Jekabson.
Marguth has been called "one of the finest American jazz vocalists" byJazz Times, and the evidence at hand supports the claim. Regardless of whether she's tackling a standard or contemporary classic, she excels at amplifying the beauty of the song and handling the material with respect. It would be hard to imagine any songwriter being anything but thrilled to have her as an interpreter.
~ Textura, January 2022