Jazz is an infinitely malleable art form, and Andrea Fultz may be the first vocalist to stretch the music in such a convincingly Teutonic direction. A singer who combines a thespian’s emotional resourcefulness with a jazz vocalist’s rhythmic flexibility, Fultz can infuse fresh drama to American Songbook standards, croon lilting bossa novas, and keep a dance floor gyrating with insinuating electronica grooves. But the Munich-born Fultz defines herself with The German Projekt, a tough, unsentimental new album that plunges jazz into deliciously dangerous waters.
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Music critic Andrew Gilbert writes in The Eastbay Monthly (November 2008):
Andrea Fultz is the child of two cultures, and her music fully embraces both. Raised in Germany and Austria by her American father and German mother, she has spent a good deal of the last decade in the Bay Area, where she’s developed strong ties to some of the finest musicians in the region. A brilliantly expressive singer steeped in jazz, Fultz has honed a repertoire of tunes gleamed from 1920s to 1940s German theater and cabaret by songwriters such as Kurt Weill, Bertolt Brecht and Friedrich Hollaender, who had a highly successful career as a Hollywood composer particularly writing for Marlene Dietrich, after fleeing the Nazis.
She presents her “German Projekt” accompanied by a supremely versatile cast of players, including ace pianist Adam Shulman, violinist Dina Maccabee, bassist Eugene Warren, drummer Micha Patri and Rob Reich on accordion