Born on November 15th: Jennifer Charles, the sulky and captivating voice of Elysian Fields

Jennifer Charles in Washington, D.C. in 1968. Her father, a radio host, chose this more common surname when she was still a child.

Born into a family of Russian immigrants, with a touch of Irish ancestry, Jennifer's family has many roots. While her mother was a programmer for a classical music radio station, her father hosted a late-night jazz show on another. Needless to say, music (all kinds of music, one might say) was a constant presence in both her parents' homes, despite their early separation. From a very young age, despite an almost crippling shyness that still affects her today, she took dance lessons (particularly flamenco) and even appeared on stage in a few small children's roles. Her mother also regularly took her to see concerts by the National Symphony Orchestra and to jazz clubs like Blues Alley. Unless she possesses a perfect memory or serious archival skills, she has undoubtedly forgotten some of the artists she saw in New York, London, or her hometown. But not The Lounge Lizards (John Lurie's band), Diamanda Galas, or Blondie…

She holds a degree in theater, earned three years after moving to New York in 1987, but it was ultimately music that won her over after meeting guitarist Oren Bloedow in the mid-90s. Together, they founded The Elysian Fields and, to date, have recorded around twenty albums, all similar yet all different. The band has, in fact, developed a unique style that literally captivates listeners who quickly become devoted fans. For lack of a better description, their music is often called "noir rock" (a label that seems to have been invented just for them) or, more prosaically, dream-pop tinged with jazz and avant-garde. Their originality rests largely on Jennifer Charles' contralto voice, sensual and sometimes very theatrical. She also considers the voice an inherently fragile emotional instrument: "To create and compose, you have to know how to make yourself vulnerable," she likes to repeat. "You also have to seize, or even provoke, encounters that sometimes stray from the beaten path." After the sublime "Bleed Your Cedar" (1996), their work on "Queen Of The Meadow" (2000) with producer Steve Albini—who was known for more aggressive productions—was not well received by their label, Universal, despite its heartbreaking beauty. Jennifer and Owen patiently waited before being able to present it to the public without altering it in the slightest. Because, in their eyes, artistic integrity is paramount. Years later, the recent "What The Thunder Said" (2024) also asserts the same uncompromising poetic approach.

Over the years, alongside her band, Jennifer has also contributed her distinctive voice by recording tributes to the songs of Marc Bolan (2020) and Connie Converse (2018), participating in a Bebel Gilberto album, and accepting Jean-Louis Murat's invitation (who quickly became a close friend and collaborator) first for "Mustango" (1999) and then for "A Bird On A Poire" (2004), a duet steeped in irony. Like the breadcrumbs left by Hansel and Gretel, Jennifer's voice, and her songwriting as well, can be found from time to time on countless projects, some completely unexpected, such as "Great Jewish Music" in 1998, or even with DJs!

Even to her most devoted fans, Jennifer Charles only reveals all her facets sparingly. And she always manages to surprise…

(MH with Stéphane Soupart - Photo : © Etienne Tordoir)

Photo: Jennifer Charles with The Elysian Fields at Botanique in Brussels on October 13, 2024