Juliet Ewing | Simply ’S Wonderful Review

by Illiam Sebitz

Juliet Ewing steps into the Gershwin universe as someone who has lived in its rooms, breathed its air, and walked its stages night after night. Simply ’S Wonderful is a tribute album and a culmination of the sound of an artist reclaiming material that shaped her musical identity. What emerges is a portrait of a vocalist who blends classic Broadway polish with jazz phrasing shaped by years in New York’s clubs. Ewing’s tone is warm, present, and unforced. This is the sound that anchors the project, while her musical intuition provides the emotional nuance that animates every corner of this set.

The trio behind her shapes the album with expert sensitivity. Pianist Ron Drotos supplies a spacious, swinging core on most tracks, while Tedd Firth steps in with his signature lyricism on “The Man I Love” and “The Lorelei.” Bassist David Finck is a grounding force, sculpting lines that glide, sway, or intensify as needed, and Mark McLean’s drumming supplies rhythmic settings and color without ever intruding. Together, they set the table for Ewing to do what she does best: make standards feel like living stories.

Ewing opens the album with the bright, breezy swing “’S Wonderful,” a confident statement of singing. Her articulation is sublime, with consonants lightly dancing, vowels glowing, the entire line delivered with musical theater precision, softened by jazz ease. The trio keeps the groove buoyant, letting her phrasing stretch and settle naturally. She lets its innate charm and the lyrics land with a style.

“Love Is Here to Stay / They Can’t Take That Away from Me” is a medley that reflects/Ewing’s interpretive skills. Ewing shapes the narrative arc with elegance, moving seamlessly between affectionate intimacy and reflective wistfulness. Finck’s bass gently carries the harmonic motion, giving her space to float high notes with understated shimmer. The emotional honesty in her singing makes for an expressive performance.

“I’ve Got a Crush on You” finds Ewing leaning into tonal warmth, offering an affectionate, close-to-the-ear reading. Her vibrato sits naturally at phrase endings, never exaggerated. Drotos supports her with diaphanous voicings that allow the lyric’s story to bloom without distractions.

A nod to her reimagined cabaret interpretation, “Oh, Lady Be Good” bursts with personality. Ewing’s rhythmic play signals her jazz instincts—phrases land a shade behind the beat, teasing the groove. She injects the lyric with character while maintaining vocal refinement, a balance few singers manage so gracefully.

“Slap That Bass” channels the theatrical spark of classic Broadway with an undercurrent of swing. Her crisp diction rides atop an energetic rhythmic bed, and McLean’s drums add a snappy propulsion. It’s playful without being gimmicky—Ewing understands the humor baked into the lyric and heightens it with style.

“But Not for Me” is a performance that echoes the snark-into-pathos arc that Ewing has perfected onstage. Ewing begins with conversational candor, almost confiding in the listener, before opening into a beautifully sung chorus weighted with emotional texture. She proves that storytelling, when grounded in truth, can elevate vocal jazz.

One of the album’s  emotionally resonant interpretations is “The Man I Love.”  With Tedd Firth at the piano, the harmonic landscape becomes a new color surrounding /Ewing. Ewing’s legato lines are long and expressive, and her dynamic control moves from intimate murmurs to cresting phrases. Her musical theater training shows, but she keeps everything within a jazz sensibility.

Light, graceful, and tastefully swung, “A Foggy Day” captures her ability to communicate personality without over-embellishing. She lets the lyric do the talking, using her voice to highlight the lyric/melody charm.

A rarity in the Gershwin catalog, “The Lorelei” sparkles thanks to Firth’s inventive arrangement. Ewing approaches it with vocal agility, making the lyric’s wit pop. Her control over tempo rubato sections gives the song a developing shimmer.

“Embraceable You” offers a fresh reading as Ewing sings the melody with interesting variations, and when she reaches the title phrase, her tone opens into something intimate. She doesn’t rush; she allows the lyric to unfold with warmth and subtle inflections, echoing the qualities that have earned her praise in live performances.

“Naughty Baby” is a delightful burst of sass. Ewing’s phrasing is rhythmically fun, and in the pocket, her character is playful but never exaggerated. A standout example of her theatrical instincts serving the jazz delivery rather than overwhelming it.

“I Got Rhythm” finds the trio swinging hard, and Ewing matches them with swing articulation, forward motion accents, and a natural feel for the tune’s rhythmic structure. Her scat-lite embellishments are tasteful, a nod to improvisational spontaneity without stepping outside the album’s aesthetic.

“Summertime” is a bold closer. Instead of a blues-soaked reading, Ewing offers an ethereal, almost cinematic interpretation. Her vocal color becomes vaporous, and the arrangement leans toward atmospheric impressionism. It’s a stunning re-envisioning, ending the album with familiarity and imagination.

Simply ’S Wonderful is Juliet Ewing stepping fully into her identity as a jazz vocalist. The album shows her emotional intelligence of a seasoned actor, the stylistic fluency of someone steeped in the Great American Songbook, and the interpretive daring of an artist who’s lived these songs in multiple worlds. Her voice is golden, her storytelling precise, and her phrasing deeply musical. With the support of Drotos, Finck, McLean, and producer/arranger Tedd Firth, she delivers a Gershwin album that feels classic and fresh. This is how you honor Gershwin, not by recreating the past, but by singing it through the truth of your own voice.

Artist: AJuliet Ewig
Album: Simply ’S Wonderful
Label: HoneyDiva Music/Lexicon Classics

Buy and Stream Links
Release Date: September 12, 2025

About the author

Illiam Sebitz

Born and raised in a picturesque European village, my fondness for music began during my formative years, when the charismatic tones of the recorder first filled the halls of my primary school. This early fascination escalated into my lifelong pursuit of embracing the melodious charm of the flute; I have even spent time refining my skills at a music conservatoire. As a seasoned music connoisseur, I find myself captivated by the multifaceted world of music. I enjoy writing music reviews to better enable me to explore genres as diverse as world, rock, jazz, classical, folk, and film music, each offering a unique auditory journey that enriches my life and intellect.

In my spare moments, you'll likely find me meticulously crafting my latest woodworking project, sharpening my skills with flute etudes, or inventing tales of fantasy through the art of creative writing. My eclectic interests and expertise harmonize to create a symphony of passion and curiosity that resonates within every aspect of my life as a music enthusiast.