“Souter may have been genetically predisposed to the blend of cultures reflected in her music, which contains Middle Eastern, Brazilian and flamenco elements in an airy jazz framework.” Shaun Brady, Philadelphia City Paper
“An astute and expressive singer,” NATE CHINEN, NEW YORK TIMES
“At the top of my list of great talent. She really moves me.” SHEILA JORDAN, NEA
“A beguiling artist who infuses everything she interprets with voluptuous intelligence and keen emotional insight.” KQED ARTS
A protégé of jazz vocal legend Mark Murphy, who called her a “true musician” and “an extraordinary talent,” she has established herself as an uncommonly creative vocalist and songwriter with four critically-acclaimed albums, Listen Love (Nara, 2004), Nights of Key Largo (Venus, 2008), Obsession (Motéma, 2009) and Beyond the Blue (Venus-Motéma, 2013), a UK Sunday Times magazine Top Ten Jazz CD, for which she set her own “exhilaratingly mature lyrics” (Chicago Examiner) to favorite classical melodies. Her new album, Picture in Black and White – a riveting musical journey inspired by her discovery at age 28 that her estranged birth father was Trinidadian and black, having been brought up to believe he was Spanish and white – is due for release in 2018.
“Broadly imaginative” NEW YORK TIMES
“Expressive . . . full of passion” PHILADELPHIA INQUIRER
As well as making five albums as a leader, she also appears on legendary bassist Charnett Moffett‘s Spirit of Sound (Motéma) album and on French singer Pascalito’s upcoming The Picture of Rafael Ohayon. She has performed and/or recorded with a veritable who’s who of jazz, including Steve Kuhn, Alan Broadbent, Kenny Werner, Yotam Silberstein, Yasushi Nakamura, Joe Locke, David Gilmore, Marvin Sewell, Billy Drummond, Joel Frahm, Lew Soloff, Romero Lubambo, Francois Moutin, Alec Dankworth, Nikki Iles, Jim Hart, Lynne Arriale and Howard Johnson.
“Singers like her don’t come along every day.” NEIL TESSER, CHICAGO EXAMINER
“Souter’s crystalline contralto and impeccable phrasing are mighty arrows in her quiver, but it is her ability to become one with a song, finding its intrinsic core that enables her to score successive bull’s-eyes … an exquisite exercise in seductive spell-casting.” CHRISTOPHER LOUDON, JAZZ TIMES