KATIE BULL BIOGRAPHY, by Scott Yanow

One of the most stimulating, adventurous and consistently surprising jazz singers on the scene today, Katie Bull is never predictable, even when melodically exploring a vintage ballad. Her work with multi-media productions has been innovative, she has recorded four diverse and high-quality CDs, and she is enthusiastic about constantly stretching herself. “I try to get out and hear as many people as I can,” says Katie, “rather than only going to my own gigs and that of close friends. I want to listen to everything. There are many sounds that I haven’t heard yet that I want to experience and include in my music.”

Artistic talent ran in Katie Bull’s family. Her father was a jazz pianist and a dance improviser, her mother a notable painter, and her stepmother a dance anthropologist and improviser. Born in New York City, she grew up in upstate New York in Brockport, a small town. “I remember early on hearing my father playing jazz piano. We had a regular jam session in our home that ranged from bebop to totally out. I could always hear the melody in my head, even though it wasn’t being played!” She often accompanied her Dad to his gigs and to events that he produced. After they moved back to Manhattan, a 15-year old Katie sang standards weekly at Walker’s in NYC with her father accompanying her on piano.

She danced, improvised, created multi-media events at a very early age, and played the alto-sax in high school. But Katie knew that singing would be her main focus, particularly after meeting Jay Clayton and Sheila Jordan. “That pretty much changed everything. They are both very loving and really took me under their wing, nurturing me. I was part of Jay’s workshops, learning about improvisation and writing improvisational structures. Sheila focused on repertoire, talking about choices and the importance of always singing things that are truthful.”

Although Katie went to college at SUNY Purchase as a music major, the jazz program was not very well developed at the time, so she switched to theater arts and took private singing lessons instead. “I would take regular trips back into the city to hear jazz, and sing with Jay, doing her compositions. ” Katie won the lead in the campus play, became involved in theater improvisation, and met Chuck Jones. “He was the most extraordinary vocal mentor, teaching me whole-body vocal production which deals with the speaking voice. It is about using the whole body, breathing organically, and how the vibration of your body comes from a free breath. It is also about exploring the sensations of spontaneity and allowing the voice to flow naturally, without manipulation.” Katie has since become a whole-body vocal production coach, working with performers who use their speaking voice, and singers.

After she graduated from college and spent time traveling to Europe and Israel, Katie returned to New York and immediately gained work as an actor. But she quickly became disillusioned with the industry’s exploitation and sexism. After one of her plays was produced, Katie realized that it was up to her to create her own art. For many years she was the co-artistic director of the Improvisational Arts Ensembles, Inc, with Kelly Donovan and Meg Fry. She is a leader in multi-media inter-arts, writing, producing and performing her own adventurous and often avant-garde productions which include music, art and sculpture. She founded her theatrical performance troupe, The Bull Family Orchestra, which is the same name used by her great aunt and grandfather years ago for their touring musical show in Alberta, Canada.

After reconnecting with Sheila Jordan and Jay Clayton, Katie Bull started making time to sing in jazz clubs and experimental theaters. She also began her recording career. “For Conversations With The Jokers, I sang songs that I had grown up with, the standards which are the family jewels of our culture. There was no mixing and fixing for we recorded it live to two track.” Ten standards and Katie’s “See Through You” are treated with respect for the lyrics but include many adventurous moments and plenty of highly original scatting. Pianist Michael Jefry Stevens, bassist Joe Fonda and drummer Lou Grassi are major assets on this stimulating debut.

Love Spook, which was recorded with two rhythm sections (both of which include drummer Matt Wilson), is split between fresh versions of standards and originals. Highlights include a touching version of “I’ll Be Seeing You,” the sensuous “Love Spook,” the witty “No Connection Rag” and the indescribable “Strange.” Cup Of Joe: No Bull is a set of spontaneous, intimate and sometimes wild duets with bassist Joe Fonda.

Katie Bull’s most recent recording, The Story So Far, is a multi-media experience. The CD packaging has exquisite art by Robert Lemon. A DVD is included which has a short movie by the choreographic film improviser Peter Richard, with the dance structure directed by Meg Fry. The CD showcases Katie Bull at her most creative, swinging in her own way while introducing a variety of memorable, diverse, thought-provoking and dramatic songs dealing with universal issues.

The Katie Bull Group Project ’09 features such creative and extraordinary musicians as pianists Frank Kimbrough, Michael Jefry Stevens and Landon Knoblock, bassists Joe Fonda and Hillard Greene, drummers Harvey Sorgen, George Schuller and Matt Wilson, and saxophonist Jeff Lederer.

For the future, Katie says, “I would love to tour both nationally and internationally. I have a hunger to bring this music to Europe and Asia. Jazz has a spirituality and a communal energy to it that makes me feel honored to perform and to add to jazz’s legacy.” Throughout her innovative career, Katie Bull has always sounded like herself and paved her own unique path, so her future activities will certainly be worth watching closely and thoroughly enjoying.