Jacqueline Tabor is a star in the world of jazz. A native of the Pacific Northwest, Tabor made jazz her own in a place known more for grunge rock than jazz. Her story is one of a singer finding her voice and paving a way. “The Lady in the Gown” is Tabor’s third album.
Tabor studied music in high school. Her education continued at Southern University in Baton Rouge. There, she majored in music and history. Her postsecondary studies allowed her to find the roots of jazz music, and to understand the blues. After raising children, Tabor returned to Seattle in 2003, Washington and resumed her studies and performance of jazz. Her pursuit of jazz led Tabor to perform in clubs around her hometown, and to enter competitions.
By 2004, Tabor was taking her music studies further by working with talented vocalist and college instructor, Andrienne Wilson. By 2005, Tabor had the skills and confidence to start her own band.
In March 2011, at Dimitriou’s Jazz Alley, Tabor was chosen as the seventh annual Seattle-Kobe Female Jazz Vocalist. She earned the honor from the Seattle-Kobe Sister City Association. The award came with the opportunity to perform in Kobe, Japan. This is when Tabor’s career really began to blossom and she released her debut album “What a Wonderful World” that same year. In that same year, Tabor won Earshot Jazz’s Golden Ear Award for NW Vocalist of the Year.
Tabor’s second album was released in 2012. Titled, “The Jazz in You” the album earned Tabor a nationwide audience and radio airplay.
“The Lady in the Gown” by Jacqueline Tabor
The album is comprised of 15 songs, one of which, the title track, is original. Tabor’s backing musicians are the members of the 200 Trio. They include Greg Feingold on bass, Max Holmberg on drums, and Cole Schuster on guitar.
“The Lady in the Gown” is a bluesy, swinging narrative about a modern woman who works from 9-to-5, takes care of her domestic and professional duties, but performs in a jazz club at night. The title character sounds a lot like Tabor herself.
Tabor’s voice is a nimble alto. Tabor’s approach to phrasing is rather masterful. There are a lot of words in the verses of “The Lady in the Gown,” and listeners wonder if she will be able to sustain the rhythm all the way through – – she does. Tabor’s diction is clear and her attitude creates an intimacy that seems to have grown out of her years in jazz clubs.
The soundscape swings with Tabor’s classic phrasing. The guitar has a ringing quality that sounds as if it has come from another era. The bass, too, is spry and deep, and the drums create a backing beat that shimmers and thumps in all the right places.
Tabor’s approach to jazz seems both traditional and thoroughly modern. There is no doubt she is talented. If listeners want to know where the future of jazz is going, they might want to follow “The Lady in the Gown.”