While the world has no shortage of Independent jazz vocalists, thankfully Maxwell conveys with an unpretentious and delightfully easy-going delivery.  While much of the material here is familiar standards and recognizable pop songs, Maxwell’s delightful way interpreting the true meaning of each cut allows the songs to take on a fresh perspective that neither disrespects the writer’s intention or the spirit of the song.

Opening with “I’ll Take Romance,” there is a subtly to the swing that is underpinned by Keith Ingram’s smart and intoxicating support all the while allowing Maxwell to paint her vocal interpretations.  ”Someone To Watch Over Me,” is a moving tune sincerely delivered and adorned with Maxwell’s gentle ability to swing with stylishness. “Skylark” though a widely covered cut, is given a new treatment and truly shines as one of Maxwell’s more convincing tracks on this delightful offering.

Happy is truly an engaging offering with a mix of well-chosen standards and a pinch of well-placed classic adult contemporary hits, given a proper dressing of jazz.  Maxwell delivers a lasting impression of blissfull Happiness and lasting Happy.

If a review were to boiled down into one word then happy would work straight across the board. Lisa Maxwell exudes a very real joy in her craft, a genuine exuberance of appreciation for a gift she is fortunate to be able to share with the rest of us.  While some singers quickly find themselves worked into a narcissistic corner attempting to convince others of a level of artistic greatest that even they are unaware of, Maxwell sings with an air of unpretentiousness unique to the recording industry today. Lisa Maxwell's phrasing, articulation and appealing tone are all carried off with the apparent understanding that the song is to be center stage while Maxwell is but the earthly vessel transporting such artistic beauty. While much of the material here is familiar, Maxwell's own special interpretations allow a fresh perspective on timeless classics that neither disrespect the original or herself. Far more than knocking off a dozen passable covers, Maxwell does more than sing the words she instead makes the music which is a rare gift.

Opening with "I'll Take Romance" there is an infectious subtle swing that is intoxicating while the Keith Ingham Quartet provide the perfect musical canvas for which Maxwell to paint her vocal pictures. "Someone To Watch Over Me" is a delightful tune accentuated with Maxwell's pristine vocals and gentle sincerity of delivery. "Blue Moon" makes a nice transition to a tune with more contemporary jazz sensibilities and some well placed harmonic changes and the chance for the Keith Ingham Quartet to re harmonize the melody to a slightly more blue infused number which once again allows Maxwell to leave her own special mark on a timeless classic. "Skylark" seems to have been covered a good bit over the past couple of years but Maxwell's rendition immediately goes into the more memorable pile. Look long and hard and there are nothing but good things happening here. A "happy" critic.

Lisa Maxwell's debut, Return to Jazz Standards (Self Produced, 2010), was well-received when released, marking the New York singer's recovery and comeback from a vocal cord disorder that sidelined her for several years earlier in the decade. Maxwell returns with Happy, a recital of not-so-standard standards, supported by Maxwell's coach, pianist Keith Ingham, and his fine quartet. The result is an evolution in cohesiveness and vision.

In a word, Maxwell's Happy is breezy. Her voice has filled out in all the right places and betrays a youthful, scrubbed, girl-next-door coquettishness. "Pretty" and "unadorned" will also describe this voice. Maxwell's natural instrument is her greatest asset, and her singing philosophy bears the same pretty and unadorned characteristics as her voice. A fan of melody, Maxwell is conservative in her adherence, more often than not. to the composer's melodic intent, demonstrated most clearly in textbook readings of "Someone to Watch Over Me" and "Skylark," two amply road-tested pieces, dusted off here.

Equal in importance to the present recital is the band, under Ingham's tutelage, the pianist turning out to be a most splendid accompanist to Maxwell; his simple, yet elegant arrangements perfectly frame the pure simplicity of Maxwell's voice and approach. Even on upbeat pieces like the opener, "I'll Take Romance," and "Under A Blanket of Blue," the two work with envious simpatico. Maxwell and Ingham coalesce perfectly on the Teddy Randazzo/Bobby Weinstein chestnut "Goin' Out of My Head," Ingham's electric piano and Maxwell's straight-arrow delivery recalling Petula Clark's 1965 recording of the song, flying slower than the speed of sound. The light samba spin is a nice touch.

Maxwell is still interested in the standards, but also shows an interest in musical roads less traveled. "This is Always," "Blue Moon" and "What a Wonderful Guy" are a joy to behold in the hands and voice of this singer. A user-friendly jazz vocalist to the end, Lisa Maxwell is one to behold.

"...Lisa & Keith were made for each other..."

"...It's impossible not to hear this and develop an immediate crush on Lisa. She is spirited, youthful, charming, warm and utterly engaging–with a complete affinity for the honest sentiment of this era of song."

Accompanied by the Keith Ingham Quartet, Lisa Maxwell’s album, Happy, is truly unrestrained, blissful audio happiness. Even singing some of the most somber of jazz songs, Maxwell’s voice makes the lyrics an enjoyably uplifting experience.

If a voice could be visual, Maxwell’s would have the biggest smile. Her voice is incredibly happy, album title aside.

With classic jazz cuts like “I’ll Take Romance” written by Oscar Hammerstein II and Ben Oakland, Maxwell puts a lively twist on some of the most original jazz arrangements. Everything on the album is indeed “happy,” which makes this album such a joy to listen to. Maxwell, who started performing in the 1980s, is a great artist to listen to on any given Sunday.

Maxwell almost lost her voice in 2007 due to neurological complications, but regained it in 2009. Later in 2009, Maxwell had the amazing opportunity to collaborate on a duet with Bob Dorough, who may be most famous for the song “Devil May Care.” Maxwell’s last album, "Return to Jazz Standards" was released in 2010. Return to Jazz Standards features Maxwell’s husband, George Newall, executive producer of School House Rock. Happy, released September 6, 2011, includes Maxwell’s coach and accompanist, Keith Ingham, Al Gafa on guitar, Steve Little on drums, and Ben Wittman on percussion.

Lisa Maxwell deserves some well-needed attention.

It is impossible to listen to Lisa Maxwell sing and not be affected by the warmth in her voice, the sensual touch of her inflections or the attachment she has to the lyrics radiating in her delivery. Like actors who delve into the characterization of the roles they play, Maxwell delves into the mindset of the lyrics she sings making the songs personable and inducing an intimate setting between herself and her audience.Her latest album appropriately titled Happy is recorded with the Keith Ingham Quartet who backs her up with balmy lounge music as she travels through a selection of ballroom standards such as "I'll Take Romance" and "Skylark" which share the attention with such classic pop tunes as "Going out of My Head" and "My Heart Goes with You." Produced by Maxwell and Ingham, the ties which they use to bind the recording recall of the Golden Age of ballroom jazz performed by such graceful vocalists as Doris Day and Shirley Horn. Maxwell sings these songs with the integrity of her predecessors and the stature of someone who owns these melodies.

Dancers express themselves in the way they move. Similarly, Maxwell expresses herself in the way she sings. The imprints she makes infuse sentiment in every lyric like when she ponders, "Skylark, have you anything to say to me?" The listener feels every plea emoting from the words making Maxwell's treatment of the words an integral part of the songs. Whether she caresses the words so they linger over several bars or trots at a snappy pace, she plants a vision in the listener's mind like in "Going out of My Mind" as she describes "I think I'm going out of my head over you,,, I can't think of anything but you… I see you each morning / You just go past me / You don't even know I exist.. I must think of a way to get into your heart."The coasting stride of "You Can't Lose a Broken Heart" is countered by the brisk beats of "June Night" harnessing a box-step in the rhythmic patterns. The legato versing of "The Folks Who Live on the Hill" and "Someone to Watch over Me" project starry-imbued ambiences while the rubato quivers in the undertow of "It Might As Well Be Spring" produce a bouncy axis beneath Maxwell's vocal movements. The samba-tinged shakes of "Under a Blanket of Blue" complement Maxwell's register which resemble a Doris Day-ish bubbliness along "A Wonderful Guy."Influenced by an era when ballroom jazz ruled mainstream radio, Happy represents Maxwell's craving to be a part of this clique, more so than as an effort to pay homage to this period. Maxwell sings these songs as if they were written yesterday instead of yesteryear as she makes them relatable to the present with contemporary jazz furnishings.

Maxwell finds the ingénue voice that Eden Atwood should have found 20 years ago if she wanted to be 6 years ahead of the jazz divapack.  With an innocent but skilled voice leading the way thorough a solidset of jazz oldies, Maxwell makes a solid, straight ahead jazz vocal set that avoids all the clichés of lite jazz and simply delivers a winning setfrom all involved.  With smart backing from Keith Ingham, who knows a smartvocalist when he backs one, the vibe is so right that this becomesirresistible.  For jazzbos that just want to enjoy themselves, this is the real deal.