The music featured on vocalist Alex Siegers’ debut album spans six decades. Yet some of these works have never been recorded, or have recordings that seem impossible to find beyond the walls of a university library.
In From Here, Alex showcases an important collection of Australian jazz standards — allowing these pieces to “continue living” through her newly accessible recordings.
Alex Siegers has released a new album of hard-to-find Australian jazz standards
MAY 28, 2024
Siegers has an unusual, strong voice with an appealing vibrato, and an enviable range. Allied to her natural exuberance which shines through, she is well-equipped to bring off the variety of approaches needed to master the sometimes difficult compositions she has chosen.
From Here, Alex Siegers in The Australian
APRIL 27, 2024
The vocalist utilises nuances and subtleties that define Australasian jazz with her keen ear and exquisite voice. Her album of nine compositions triumphantly blends the laid-back, sophisticated rhythms and melodic inventiveness that characterise that style. How gorgeous is her rendition of Kerrie Biddell’s “Three For All” and her inventive reprise of Sharny Russell’s “Somebody’s Daughter”? With her magnificent range and the impeccable musicianship of her stellar band, whose contributions are pivotal to the album’s charm and success, she flourishingly weaves melody with stories and emotions. Siegers delivers a performance that displays her jazz articulation, rhythm and some excellent lyric writing.
From Here, Alex Siegers in DINGO
APRIL 1, 2024
What makes this debut album from Alex Siegers so fascinating is not just that it explores Australia's heritage of jazz standards, or that it contributes to that jazz canon with style and grace, it is also an emotional expression of a great voice...Alex's voice is superbly articulared, including within the scatting and vocalese tracks. Her vocal presence is clear and works confidently with the piano of Aaron Blakey, the bass of Jacob Graham, and the drums of Andrew Dickeson.
From Here, Alex Siegers in 2MBS Fine Music SYdney Magazine
APRIL 1, 2024
Siegers closed the first set with the standard Deed I Do to very warm applause. It appeared obvious by this time that the performance was heading towards the obligatory standing ovation. Siegers was growing in confidence and exuberance, and with the promise of another excellent set in the air, no one was going home….There should be more nights like this, where the immortal swing feel, in many ways the essential language of jazz, can be unself-consciously celebrated.
The Melaleuca Jazz Orchestra ft. Alex Siegers at Foundry 616
MARCH 29, 2024
The evening began with ‘How High the Moon’, featuring Siegers and the MJO’s exceptional rhythm section. It was a great introduction to the night, Siegers singing and scatting the melody, and inserting the odd musical quote here and there. ‘Come Rain or Come Shine’ followed, and for me, it was one of the best songs of the evening – the vocals were just right, the piano improvisations sensitive, and the rapport between the musicians obvious. ‘St Louis Blues’, with its enjoyable tempo changes, had the crowd roaring. And we were only three songs in.
THE SONGBOOK OF ELLA FITZGERALD : MELALEUCA JAZZ ORCHESTRA @ FOUNDRY 616 : A MUSICAL FEAST
MARCH 24, 2024
Scatting across octaves like a kite, Alex then synches with Casey, his head down as his delicate notes and black and white fingers create sweet points with her voice.
Deep Blues and a rich Australian songbook
MARCH 1, 2024
The 18-voice choral ensemble contained several fresh faces perhaps pointing the way for a new generation of specialist chamber singers. They know their venue well, singing there regularly at liturgical services and in their annual concert series. This experience was used to maximal effect, with the early repertoire performed from further back in the church near the sanctuary of the altar and below the dome, allowing for more reverberation. The modern repertoire was sung from closer in at the transept, giving a brighter, more immediate sound.
Rays of Light/ Choir of St James’
AUGUST 23, 2023
Catapulting the ears of the audience back to the world of Renaissance polyphony, three works by Pierre de Manchincourt and Tomas Luis de Victoria followed on the text of Regina coeli. These works highlighted the virtuosity, blending and balance of the choir splendidly and the antiphonal effects were delightful, from the imitative passages recalling the joyous pealing of church bells to the dancelike triple time alleluias referencing the Trinity and evoking great joy in life.
Clouds of Gold/Choir of St James’
MAY 16, 2022
Burden of Truth. The Song Company
JANUARY 28, 2022
This is a truly remarkable large-scale feat that is deserving of huge respect. Featuring 34 singers of The Song Company (both past and present) with added choral support from the University of Western Australia Conservatorium of Music and The Oriana Chorale, Burden of Truth features two large-scale works – an a cappella arrangement of Gavin Bryars’ minimalist masterpiece Jesus’ blood never failed me yet and Antony Pitts’ Transiens, a reworking of material from The Eton Choirbook (a collection of late 15th century English sacred music). Individual vocal parts were recorded remotely and according to the company website, were captured ‘at home during the Covid-19 lockdown period April-June 2020’.
Altos Steph Dillon, Cassandra Doyle, and Alex Siegers were present in the texture and provided a rounded, warm tone
Spellbound by The Choir of St James’
MARCH 9, 2021
Excellent solo voices emerging from the choir expressing the dramatic soundscape of sombre reflection, austerity, tenderness, demand, supplication and the flames of Judgement Day, ending in jubilant and rhythmic polyphony
a rose upon a thorn/Choir of St James’
MARCH 8, 2021
The Choir of St James’ is to my mind one of Australia’s best vocal consorts attracting excellent musicians back from rich careers in the UK and Europe, as well as developing the finest local talent.
Encounters with Mr Handel, St James’ Church, Sydney
MAY 29, 2019
DREAMS and time were the central themes of this the fourth program of The Song Company’s 2017 season, and it left its mark.
Beginning in almost total darkness, and counterintuitively to the title of the first work by Australian composer Alice Chance, “And the Lord said, Fiat Lux” (let there be light), this stirring and emotional work, which was played on tape and recorded in the Crypt of St Mary’s Cathedral in Sydney, set the tone for this inventive and entertaining concert.
In entertaining and dramatic Company
SEPTEMBER 9, 2017
Non- Stop Entertainment
AUGUST 30, 2017
Alexandria Siegers, Robert Macfarlane and Andrew O’Connor brought great enthusiasm and deep musicality to this work
Dreamer of the day Alex Siegers talks song
AUGUST 21, 2017
Alex Siegers is a jazz star. And a classical star.
Think they’re different worlds? Wait until you see the culmination of her varied vocal skills in The Song Company’s Dreamers of the Day concert. Leaping between centuries, it’ll feature works by Antony Pitts, Stravinsky, Reich, and loads in between.
The depth of talent in the Choir of St James’ was highlighted by the number of singers who stepped from the choral ranks to sing solo parts. The vocal projection and techniques for solo singing are quite different from those required for first-rate chorus singing and the ability of these singers to switch between them so readily is admirable.
St John Passion/ The Choir of St James’
APRIL 8, 2017
There are two outstanding features of this album – one is the inimitable sound of the ensemble which reflects expert musicianship, great versatility and sophistication; the other, is the freshness of the Australian repertoire which brings to life the unique landscapes and legends of Australia, both indigenous and immigrant.
SOAR/ Gondwana Chorale
MAY 6, 2016
Siegers, who gained attention in recent months for her impressive UCSB Amplified solo video performances, is a developed jazz singer with irresistible stage presence. Siegers not only kicked it up on Deedle’s Blues and You Can Have It, but proved a persuasive balladeer on We’ll Be Together Again, which featured tender keyboard lines by Nick Ray.
UCSB Jazz Ensemble’s Basie tribute concert
MARCH 21, 2016
Classical singers (both ensemble singers and soloists) aren’t always convincing when they take on non-classical programmes, with classical touches creeping uncomfortably into their singing. An excellent choice of repertoire and an aesthetic performance avoided this pitfall, making a thoroughly enjoyable evening of music.
Baroque To Broadway/Choir Of St James’
SEPTEMBER 14, 2015
The other main ingredient of a good Bach Passion performance is the choir, and the choir of St James consistently delivers excellent results. It is a well-blended, tightly-knit group: confident, energetic and well-prepared. The sopranos have a strong, clear assertive sound and the altos display a good body of tone. The solid bass sound provides a firm foundation and it is only the tenor section that could ideally be a little stronger.
Songs Of SUFFERING AND SALVATION/The Choir Of St James’ King Street
MARCH 30, 2015
The Choir of St James’ concluded their highly successful 2014 season this Saturday gone with Songs of Christmas, a melange of popular tunes and Christmas favourites featuring guest artists and world-renowned a capella superstars the Idea of North.
Songs Of Christmas/The Idea Of North With The Choir Of St James’
JANUARY 6, 2015
In sum, this concert displayed the finest singing from The Choir of St James’ that I have ever heard over several years of concert and service singing – some even under my own conducting! Warren and the Choir truly surpassed themselves in terms of musical excellence and commitment to their extremely demanding and evocative programme. The large audience was extremely appreciative, and the City of Sydney should be proud that music of this calibre is flourishing in its parish church.
SONGS OF REMEMBRANCE/THE CHOIR OF ST JAMES’
NOVEMBER 24, 2014
Recording a live performance is not for the faint hearted. It is an unforgiving exercise with no second chances and needs consideration of voices, instruments, soloists and the acoustics of the venue, not forgetting the unpredictability and unsettling effects that the vagaries of traffic noises can have! Warren Trevelyan-Jones has led a cohesive and empathetic ensemble which delivers a superb performance in convincing style.
Brahms Ein Deutsches Requiem/The Choir of St James’ King Street
MAY 7, 2014
SONGS OF THE DIVINE, THE CHOIR OF ST JAMES’ KING STREET
MARCH 24, 2014
There was also some delightfully bell-like solo soprano singing, rich and expressive alto solos, beautifully clear tenor singing and robust bass solos.
The concert closed with a florid arrangement of Adeste Fideles for solo harp, Tavener’s The Lamb and Rutter’s Dormi Jesu. These brought to a conclusion a fine commemoration of Britten’s centenary with musically rewarding performances. It also reinforced the standing of the choir of St James as perhaps the finest in Sydney for this repertoire.
A Ceremony of Carols, The Choir of St James’ King Street
NOVEMBER 25, 2013
Student Testimonials
