Kat Ellis Ensemble - Talking to Myself (2025)

In the world of jazz vocals, debut albums are often less about definitive artistic statements than about first steps, occasions to introduce a voice, test its footing, and signal where the journey might lead. Ellis’s first recording belongs to this category. The album is beautifully produced, with a sound that highlights both the clarity of her voice and the strength of the ensemble surrounding her. From a technical standpoint, little is left to chance: pitch, diction, and phrasing are all meticulously polished, making for a presentation that is both professional and assured.

And yet, for all its refinement, the project sometimes feels overly cautious.

The repertoire leans heavily on familiar standards, delivered in ways that honor tradition but rarely depart from it. The interpretations are graceful, but they seldom surprise; one senses an admirable respect for the material, though at times that respect comes at the cost of individuality. Listeners who turn to jazz for reinvention may find themselves wishing for more risk, more moments of revelation.

Still, context enriches the story. Ellis has long been known not as a professional singer but as a dedicated science professor in Boulder, pursuing music largely outside the public eye. This debut is therefore more than just an album; it is the tangible realization of a personal calling. In that light, the project carries a sincerity that outweighs its occasional lack of daring. And her choice of collaborators speaks volumes: pianist Eric Gunnison, trumpeter and producer Brad Goode, bassist Mark Simon, and drummer Harold Summey form a seasoned Colorado ensemble whose cohesion and sensitivity consistently lift the music. Their playing provides both a safety net and a springboard, giving Ellis the freedom to explore, even if she does not always seize it fully.

For some listeners, particularly those who value faithful renditions of classic material, the album will offer exactly what they seek: a collection of songs handled with care and precision, free of unnecessary embellishment. For others, it may feel more like a prelude than a destination, a polished opening chapter rather than a fully realized statement. What remains most encouraging is the promise implied: with this foundation laid, Ellis has the tools and the collaborators to reach further. Should she lean less on technique and more on interpretation, less on reverence and more on risk, her next recording could well transform polish into something deeper, something unmistakably her own.