Biography
English jazz singer Tessa Souter commands attention through her richly hued contralto and an inquisitive taste in repertoire that mixes rarely heard standards, recent pop material, self-penned songs, and new lyrics fitted to older melodies. After working first as a writer, she entered professional singing following her relocation to the United States in the early 1990s. Her initial recordings—2004’s Listen Love, 2008’s Nights of Key Largo, and 2009’s Obsession—placed her own compositions beside works by the Beatles, Nick Drake, and Wayne Shorter. The same small-group intimacy and stylistic breadth characterized the classically oriented 2012 album Beyond the Blue and the 2018 release Picture in Black and White.
Born in London in 1956 to a Trinidadian father and British mother, Souter displayed an early fascination with music. As a child she performed at home for family and friends under her mother’s guidance; at eight she began formal piano lessons, and her instructor simultaneously encouraged vocal study. By twelve she had taught herself guitar, using it to accompany pop songs among peers. Although she wrote lyrics for existing tunes, she did so without thoughts of commercial release. At sixteen she left home; a youthful marriage and the arrival of a son delayed her ambitions. Following divorce and financial hardship, a supportive neighbor provided low-cost childcare, allowing Souter to complete a degree in English Literature at Queen Mary University of London while continuing to sing and play guitar.
After graduation she edited reports for an engineering company, then joined Parents magazine as an editorial assistant, advancing to chief copy editor within a year. She soon contributed freelance pieces to multiple periodicals. A second marriage ended in divorce, prompting travel that took her to Lenox, Massachusetts, New York City, and San Francisco; she remained in the United States and sustained herself through freelance writing for domestic and overseas publications plus housecleaning work. Frequent visits to jazz clubs reignited her musical interests, and friends persuaded her to participate in jam sessions and open-mike nights. Exposure to Wayne Shorter’s recordings deepened her engagement with the idiom. She recorded a four-track demo to secure gigs and later studied music theory for a semester at Manhattan School of Music, where she encountered Sheila Jordan and Mark Murphy; she studied with the latter for four years while assisting in his teaching programs.
By 1999 her commitment to jazz had intensified, yet she retained her pop sensibility. She supplied lyrics to Freddie Hubbard’s “Little Sunflower” and other jazz pieces, initially reluctant to acknowledge the additions in performance, though she grew increasingly drawn to composing original music. Over the following years, word of her distinctive voice and cross-genre approach circulated through New York, culminating in the 2004 release of her debut album, Listen Love.
The Japanese label Venus issued 2008’s Nights of Key Largo, a collection of romantic standards featuring pianist Kenny Werner, saxophonist Joel Frahm, Brazilian guitarist Romero Lubambo, bassist Jay Leonhart, and drummer Billy Drummond. The next year she joined Motema and delivered Obsession, interspersing original material with interpretations of songs by the Beatles, Cream, and Nick Drake. For 2012’s Beyond the Blue she fashioned jazz arrangements of works by Beethoven, Brahms, and Debussy. In 2018 she issued her fifth album, Picture in Black and White, offering treatments of pieces by U2, Wayne Shorter, and Ornette Coleman.
Born in London in 1956 to a Trinidadian father and British mother, Souter displayed an early fascination with music. As a child she performed at home for family and friends under her mother’s guidance; at eight she began formal piano lessons, and her instructor simultaneously encouraged vocal study. By twelve she had taught herself guitar, using it to accompany pop songs among peers. Although she wrote lyrics for existing tunes, she did so without thoughts of commercial release. At sixteen she left home; a youthful marriage and the arrival of a son delayed her ambitions. Following divorce and financial hardship, a supportive neighbor provided low-cost childcare, allowing Souter to complete a degree in English Literature at Queen Mary University of London while continuing to sing and play guitar.
After graduation she edited reports for an engineering company, then joined Parents magazine as an editorial assistant, advancing to chief copy editor within a year. She soon contributed freelance pieces to multiple periodicals. A second marriage ended in divorce, prompting travel that took her to Lenox, Massachusetts, New York City, and San Francisco; she remained in the United States and sustained herself through freelance writing for domestic and overseas publications plus housecleaning work. Frequent visits to jazz clubs reignited her musical interests, and friends persuaded her to participate in jam sessions and open-mike nights. Exposure to Wayne Shorter’s recordings deepened her engagement with the idiom. She recorded a four-track demo to secure gigs and later studied music theory for a semester at Manhattan School of Music, where she encountered Sheila Jordan and Mark Murphy; she studied with the latter for four years while assisting in his teaching programs.
By 1999 her commitment to jazz had intensified, yet she retained her pop sensibility. She supplied lyrics to Freddie Hubbard’s “Little Sunflower” and other jazz pieces, initially reluctant to acknowledge the additions in performance, though she grew increasingly drawn to composing original music. Over the following years, word of her distinctive voice and cross-genre approach circulated through New York, culminating in the 2004 release of her debut album, Listen Love.
The Japanese label Venus issued 2008’s Nights of Key Largo, a collection of romantic standards featuring pianist Kenny Werner, saxophonist Joel Frahm, Brazilian guitarist Romero Lubambo, bassist Jay Leonhart, and drummer Billy Drummond. The next year she joined Motema and delivered Obsession, interspersing original material with interpretations of songs by the Beatles, Cream, and Nick Drake. For 2012’s Beyond the Blue she fashioned jazz arrangements of works by Beethoven, Brahms, and Debussy. In 2018 she issued her fifth album, Picture in Black and White, offering treatments of pieces by U2, Wayne Shorter, and Ornette Coleman.
Albums
