Some singers interpret the Great American Songbook, while others restore it—grain, patina, and all. Recorded at the Appel Room, “Live at Jazz at Lincoln Center” finds Catherine Russell doing the latter in real time, backed by a band that treats history as a living language rather than a museum artifact. This isn’t nostalgia; it’s transmission. Russell has been on an incredible creative streak lately. Her 2025 album with Colin Hancock’s Jazz Hounds, ‘Cat and The Hounds,” was an undeniable delight. The 2024 release, ‘My Ideal,” along with her duet album with pianist Sean Mason, showcased her versatility. Anyone who has seen her perform with Steely Dan or David Bowie wouldn’t doubt her credentials. Now that Donald Fagen has wrapped up his work with Steely Dan, Russell has more time to focus on her diverse solo career. Co-produced by Paul Kahn, Katherine Miller, and Russell herself, the album’s big band approach differs from her recent studio releases but still lets her talents shine.

“Now You’re Talkin’ My Language” opens like she’s been waiting all night to say exactly this. The phrasing is conversational yet firmly in the pocket, with Matt Munisteri’s guitar nudging the groove forward with a knowing wink.

“Never Too Old To Swing,” written by Lloyd “Tiny” Grimes, serves as a thesis statement disguised as a romp. Long-time bandmate and Chicago music icon Ben Paterson’s piano dances around the vocal while Michela Marino Lerman’s tap acts as a percussive co-lead—making time visible. Paterson, known for his Hammond B3 stylings, is perfectly at home here, rising to the occasion as Russell soars.

Slowing down, “I Just Refuse To Sing The Blues” makes full use of Jon-Erik Kellso’s trumpet and John Allred’s trombone. Russell leans into the lyric’s defiance, while the horns add just enough melancholy to complicate the message. Sad yet powerfully tender, Russell draws listeners in by the scruff of the neck.

Tap dance by Michela Marino Lerman and the boisterous bass of Russell Hall help swing “I Like Pie, I Like Cake.” Munisteri’s economical guitar adds the final touch to this delicious track.

Leonard Feather’s “Keep Your Mind On Me” is a slow shuffle featuring a muted trumpet by Kellso and prominent clarinet accents by Evan Arntzen. The song feels direct and disarming.

“You Can’t Pull The Wool Over My Eyes” is a masterclass in articulation. Russell turns phrasing into percussion. The solo sections give room for tasty improvisation over the dynamic shuffle, with Russell closing strong in her soaring final verse.

“Everybody Loves My Baby” makes a fitting closing track. Michela Marino Lerman’s tap work punctuates Russell’s vocals. Bassist Russell Hall walks in prominently, tying the rhythm together while Russell builds the song’s intensity with her insistent delivery—a fine ending to an excellent set of music.

The album reminds us that swing isn’t just a style—it’s a shared decision.

With horn arrangements by Mark Lopeman that nod to Harlem nightlife and territory-band grit, “Live at Jazz at Lincoln Center” is more about renewal than revival. Catherine Russell doesn’t just sing these songs—she reactivates their circuitry, proving that when the language is spoken fluently, it never goes out of style.

Russell’s streak of award-winning albums continues. Catch this musical treasure on tour now and experience the magic.