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"Jordan’s silvery sound and fluttering vibrato meant she could carry the words and music with an ethereal focus, seemingly effortless but with a sharp edge." Lukas Foss' Time Cycle, with members of the New York Philharmonic
George Grella, NEW YORK CLASSICAL REVIEW "Jamie Jordan has the most amazingly pure voice that soars...Jordan is superb here, almost operatic." Sangbin Rhie's Child on the Death of Songs and Robert McClure's and my body's cells keep ticking, from Eunmi Ko's 12 Views on Life Colin Clark, FANFARE "The team is at times augmented by the wordless and lyrical voice of Jamie Jordan, adding to the pretty cadence and accenting vibes on “Lily Lou” and French vocals to the dreamy “La Lettre.” Pacific Harp Project's Play George W. Harris, JAZZ WEEKLY "The most affecting piece, Had They Remained, never ceases to surprise and captivate after repeated hearings. Druckman, rolling softly on a tam-tam in the latter half of the definitive second song, sounds like a distant choir, and Jordan soars and floats with gorgeous tone." Nicholas Stevens, CLEVELAND CLASSICAL "Jamie Jordan does a fine job...(she) excels in her various roles with a pleasing ability to change her sound according to the demands of the music at any point." GREGO GAPPLEGATE EDWARDS, GAPPLEGATE CLASSICAL-MODERN MUSIC REVIEW review of Soli for Soprano and Percussion Orchestra with McCormick Percussion Group "The featured soprano on the recording is Jamie Jordan, who masterfully carves her way through these challenging compositions with assertive elegance and controlled musical nuance." MARCUS REDDICK, PERCUSSIVE ARTS SOCIETY NOTES review of Soli for Soprano and Percussion Orchestra with McCormick Percussion Group “Tehillim is distinguished by its pulsing energy, rhythmic complexity and vigor, harmonic shifts and ecstatic moods, all superbly conveyed by Ensemble Signal and the four female signers, Caroline Shaw, Jamie Jordan, Mellissa Hughes and Kirsten Sollek, conducted by Brad Lubman." VIVIEN SCHWEITZER, NEW YORK TIMES "Act I concluded with Hums and Songs of Winnie-the-Pooh (1970/1983) ...this delightful chamber work illustrates the composer's affinity for good literature ostensibly written for children. The three movements take various texts from A. A. Milne's original, centered on Pooh's flight with a balloon. The music is childlike and dreamy, laced with humor and a delight in verbal sounds. Soprano Jamie Jordan was an ideal interpreter of this music. Singing with lyricism and soft-edged clarity, Jordan captured exactly the right tone and persona to show these songs at their magical best." ARLO McKINNON, OPERA NEWS "Mr. Knussen first wrote “Hums and Songs of Winnie-the-Pooh,” in 1970...In this fantastical piece the soloist shifts from passages of humming and “Rumtum de diddle” nonsense, to elegiac melodic writing, to passages where the voice leaps about in a super-high register. The soprano Jamie Jordan dispatched the part brilliantly." ANTHONY TOMMASINI, NEW YORK TIMES "A small but appreciative audience greeted vocalist Jamie Jordan as she strode onto the stage of Marcus Center Vogel Hall Thursday night, to open the fall edition of the Unruly Music Festival. Jordan responded with superb performances of four compositions for voice and electronics. Her careful selection and juxtaposition of these very different works revealed some interesting thematic connections among them." DAVID BOHN, THIRD COAST DIGEST "In “La Passione” (2002) Mr. Andriessen set six extracts from Dino Campana’s “Canti Orfici” (“Orphic Songs”) for soprano, solo violin and an orchestra augmented by electric guitar and bass, cimbalom and synthesizer. Jamie Jordan sang with alluring clarity..." ALLAN KOZINN, NEW YORK TIMES |