“Beautiful new record from the flutist, composer and occasional singer Leah Paul…chamber music that has morphed into a kind of art songs, nicely done”
-John Schaefer, New Sounds WNYC
“…you’d think she’d have plenty worries of her own, what with trying to achieve a deft balance of classical, jazz and art-song aesthetics in her music. But she has done it with such seeming ease that it’s hard to find the seams…there’s no shoehorning of styles, no self-satisfied sense of achievement merely from bringing things together. Rather it’s a natural flow from an artist who seemingly has never considered there are different styles, but that music is music.” -Steve Hochman, Tuesday Reviewsday, Southern California Public Radio
“A nearly impossible to pin down flutist and composer…Paul has delivered another category-defying beauty with her latest album…a lush and dreamy take on modern chamber music.”
-Chris Barton, LA Times
” It took a while to get used to this music as it is unlike anything I’ve heard in a long while. I must admit that I am both enchanted and mystified by this disc and figure that it will take several listens to comprehend what it is that makes so magical and indescribable.” – Bruce Lee Gallanter, DMG
“Navigating between jazz, experimental and contemporary music with confidence and authority”
-Peter Margasak, eMusic
Leah began her music career in Brooklyn, NY in 2002 after studying flute performance at the University of Michigan.
As a flutist, Leah has played a vital role in NYC’s new music and downtown scenes. She has been a longtime member of Matthew Welch’s Blarvuster, recently performing his new opera Borges and the Other at Roulette, as well as playing on his Tzadik release Blarvuster. In 2010 Leah recorded with Anthony Braxton’s Triilium E Orchestra as a soloist, the first-ever Braxton opera studio recording, Leah is also featured on his upcoming release of Trillium J recorded in the spring of 2014.
Leah has also recorded and performed with countless bands and ensembles such as TV on the Radio, the Dirty Projectors, Milagres, Michael Leonhart, Aaron Seigel and City Center.
Leah’s upcoming release ‘We Will Do the Worrying’ is being met with high praise from high places. We Will Do The Worrying is an extension of the rich chamber writing Leah has honed on her previous albums, this time bringing in lushly layered vocals, alluring string quartet arrangements and percussive elements to create vignettes of other-worldly landscapes and experiences. Leah’s gift for weaving harmonically textural motifs, playful rhythmic counterpoint and sparse yet meaningful lyrics allow the ten pieces on this album to soar, sparking imaginative daydreams in the minds-eye of the listener.
Leah Paul’s album Trenza is unlike any chamber music you’ve heard. Featuring genre-busting musicians such as Chris Speed and Sara Schoenbeck, every piece takes on an identity in the way your favorite rock song might, unraveling complex counterpoint and harmonic shifts at breakneck pace. Leah’s work as a flutist with artists such as Anthony Braxton and the Dirty Projectors informs her compositions as they are simultaneously unexpected and catchy. California Quintet was written during her first year in Los Angeles after relocating from Brooklyn. Each of the six movements chronicles an exploration and shift in perspective that one experiences when completely changing one’s surroundings. Steps to Stairs employs lower strings mixed with winds to create an ensemble that blossoms into full orchestral timbres while maintaining an intimate backdrop for sparse melodic textures to emerge. Trenza beautifully braids the nuances of classical, jazz and contemporary music into a singular voice and a joyful listening experience. This is Leah’s second release on Brooklyn’s Skirl Records.
Leah Paul’s 2011 release of her works for quartet Bike Lane, on Brooklyn’s Improvisation/new music label Skirl Records has been met with enthusiasm and praise. Bike Lane is a collection of composed music for flute, clarinet, bassoon and viola. The inspiration for this album is the ever-merging scenes of classical, improvised, and rock music that are unique to New York City. It is composed chamber music channeling pop structure, with an improvisational spirit and feel. Peter Margasak of eMusic says “…while operating like a sophisticated chamber ensemble, the quartet reveals a wonderfully fluid, graceful pop sensibility. There’s nothing cheap or shallow about the music, but the themes lodge in the memory like radio hits.”
Leah’s earlier projects include the Bridesmaids, a chamber pop group which received acclaim from TimeOutNY, the Big Takeover and Venuszine.
Currently Leah is currently living in the Silverlake area of Los Angeles, in addition to her career as a composer and flutist, she is also an active teacher working for the Harmony Project of Los Angeles, YoungArts, as well as a guest lecturer at the Longy School of Music and a presenter at the Los Angeles Composer’s Salon.
Henry Mancini Institute Symphony Orchestra
Assif Tsahar New York Underground Orchestra
Fire of Space “Handbasket”
Eternal Buzz Brass Band
Eternal Buzz Brass Band “Evolution”
(Ropeadope Digital 2007)
The Bridemaids “Here Come the Bridesmaids…”
Aaron Seigel “Every Morning, A History”
Milagres “Seven Summits”
TV on the Radio “Dear Science”
City Center “City Center”
Michael Leonhart’s Avramina 7
El May “El May”
Matthew Welch’s Blarvuster
The Bridesmaids “Forever”
Anthony Braxton “Trillium Opera Cycle”
Milagres “Glowing Mouth”
(Kill Rock Stars)
Dan Joseph’s Tonalization for the Afterlife
Leah Paul’s Bike Lane
Leah Paul’s Trenza
Anthony Braxton’s Trillium J