Jonathan Widran – Jazzologist

“…I had the great privilege to discover this past year an incredible and innovative, high energy Los Angeles-based jazz ensemble that I believe will soon become a nationally recognized artist. In the bio I wrote after seeing Magnolia Memoir make their local debut last June at Largo at the Coronet Theatre, I said: “They opened the door to a realm that lead singer and songwriter Mela Lee playfully dubs ‘jazz for a new generation, jazz in an abandoned warehouse with whatever we could find..’ Fashioning a vibe that’s traditional yet contemporary, brimming with youthful pop and bits of edgy soul, coolly structured yet vibrant and experimental, the ensemble—featuring Alexander Burke (piano, vibes, organ) and Gordon Bash (upright and electric bass)– joins Lee for a journey to a sacred but gritty joint, let’s say an old speakeasy, where Billie Holiday meets Tom Waits at 3 a.m., conversation flows, the lights die down and only the coolest cats are still hanging out.”

Mela Lee

Beyond those influences, beyond the heartbreak, there’s a grace, a sweetness, an optimistic spirit in Mela’s songs and her voice that is not haunted but represents the deep joy after the mourning is over. Nine months after that show, I was excited to see Magnolia Memoir receive a month long Tuesday night residency at Molly Malone’s Irish Pub on Fairfax in March. MM is an unusual fit for the small stage at a club that generally hosts rising pop-rock singer-songwriters, but in their March 23 set, they rocked and seduced just as they did at the several hundred seat venue last June.

Gordon Bash

The group has evolved a bit, with core members Lee, Burke and Bash joined by Toby Karlin (sax, flute), Aron Forbes (guitar), Matt Lucich (drums) and special guest Ricardo Hambra (dumbek and tablas). The new “cats” solidly complemented the sizzling core vibe forged by the three mainstays. On a mix of sassy charmers (“Pretty Kitty”), raucous jazz rockers (“Unexpected Bliss”) and even a wink to Brit soul (“Crying Shame”), Lee showed her vocal dynamics which ease effortlessly from powerhouse to whispery elegance. She’s got the sly, sensual innocence of Billie and the playful jazziness of Ella, with lovely touches of Ani Di Franco…”.

Alexander Burke

Burke is a whirlwind, jumping from the main keyboard to vibes to Rhodes, while Bash jump jived like mad on the big bandy rock jazz of “Unexpected Bliss,” literally jumping onto the upright bass and playing it while perched near the neck! As impressive as Magnolia Memoir’s self titled debut was, I am expecting big things from their upcoming sophomore release based on the handful of songs they performed from it, including “Get Lost,” “The Wait” and “Crying Shame.” I also enjoyed a colorful version of “Doorbell” by The White Stripes. I’ll use a Melina-ism to sum up my thoughts as I watch the brilliant Magnolia Memoir evolve: “Many shades of amazing!”

-Jonathan Widran / Wine and Jazz Magazine