April Varner has established herself as one of the most compelling voices in contemporary vocal jazz. A native of Toledo, Ohio, Varner’s formal jazz training began in 2016 at Indiana University, where she transitioned from show choir training with The Singing Hoosiers to intensive jazz vocal study. She later earned her Master’s degree from the Manhattan School of Music, studying under vocal masters like Theo Bleckmann and Tierney Sutton (not too shabby). Varner’s trajectory skyrocketed in 2023 when she won the prestigious International Ella Fitzgerald Jazz Vocal Competition. Varner’s
Varner’s deeply rooted connection to the “First Lady of Song” laid the foundation for her latest release on Cellar Music Group, titled Ella. This project marks a mature milestone in her growing discography on the label. Her previous releases include her self-produced 2024 debut EP, Hummingbird, her critically acclaimed, Ulysses Owens Jr.-produced debut album, April, which cleverly featured an entire tracklist of songs containing the word “April”, and her seasonal projects Winter Songs, Vol. 1 and Winter Songs, Vol. 2, which explored holiday standards with lush vocal intelligence.
On Ella, Varner avoids simple imitation, choosing instead to capture the kinetic spirit of Fitzgerald while inserting her own inventive flair. Backed by an elite team featuring producer and drummer Ulysses Owens Jr. and pianist-arranger Emmet Cohen, Varner tackles standard repertoire with fresh architectural configurations.
Her treatment of Cole Porter and standard classics shines brightest on three foundational cuts. On “I’ve Got You Under My Skin,” featuring a tight, hard-hitting big band framework arranged by trumpeter Brian Lynch, Varner handles the complex rhythmic grid with sophisticated melodic ease. She commands the sudden shifts between a driving Latin groove and a traditional, muscular swing without letting the technical difficulty overshadow the emotional narrative. The track is supercharged by a blazing trumpet solo that masterfully pivots the entire orchestra from its big band swing directly back into a deep Latin pocket.
In direct contrast to the brassy heft of the previous tracks, “Night and Day” strips away the big band energy, opting instead for an intimate, hushed trio reading. Varner leans heavily into the often-neglected introductory verse, using a soft, conversational delivery that highlights her immaculate breath control. Beneath her vocal line, pianist Emmet Cohen delivers a masterful, floating piano solo, using lulling reharmonizations that create an ethereal, dreamlike atmosphere and transform the love song into an impressionistic dialogue.
Finally, “Fly Me to the Moon” opens with an ambient, minimalist approach as Varner delivers a tender introductory verse floating over a washing texture of cymbals before the arrangement locks into a jaunty, mid-tempo swing. Rather than tracing the predictable contours of the melody, Varner playfully reshapes the intervals, injecting her signature vocalese sensibilities into the choruses. The big band answers her intimate verses with lush, organ-like brass chords, stepping out with a wonderfully controlled ensemble solo that provides an elegant, swinging framework without cluttering her vocal space.
Ella is an evolutionary leap for April Varner. Where her debut April was a playful, concept-driven introduction and her Winter Songs releases proved her commercial appeal, Ella solidifies her standing as a premier bebop technician and contemporary jazz storyteller. By handing a songbook inherently tied to her own competitive victory, Varner honors her greatest inspiration while making a definitive statement of her own artistic voice.