Beata Pater

“Pater sings with rare degrees of sensitivity, intelligence and honest emotion. She often achieves an absolutely otherworldly level of beauty in her performances. Her vocals are silky, sensual and surprising…. This is an album that will totally transport you."

Originally from Poland and now based in Southern California, Beata Pater studied classical violin before finding her milieu in jazz vocals. Her violin mastery may in some ways inform her extraordinary vocal style. Pater sings with rare degrees of sensitivity, intelligence and honest emotion. She often achieves an absolutely otherworldly level of beauty in her performances. Her vocals are silky, sensual and surprising. This is Pater's ninth album and "Tet" is the Hebrew alphabet's ninth letter and has the numeric value of 9. According to Pater, it's also a symbol of creativity. And creativity has certainly found fruition in this adventurous album (produced by Pater). Whatever sort of material she's interpreting, Pater uses her vision and personality to transform each number into something uniquely her own. She's continually finding something unexpected, yet completely right, in terms of the vocal nuances. Among the outstanding tunes here are Chick Corea's "Crystal Silence," Freddie Hubbard's "Little Sunflower," Bill Contos' "I Feel You," the standards "Old Devil Moon" and "Lazy Afternoon," plus three songs penned Pater's friend Alan Chip White. The arrangements -- primarily by Pater and pianist Hiromu Aoki, with string arrangements by Alex Danson and wind and brass by Aaron Lington -- are impeccably tasteful, as is the instrumental work by the 18-piece ensemble. They perfectly complement Pater's magical vocals. This is an album that will totally transport you.

Paul Freeman Pop Culture Classics

"A translucent jazz singer of the highest order. Beata Pater is a name to watch for as she, hopefully, gains more exposure on the world jazz scene where she belongs."

Who is Beata Pater? Clearly, she ranks up there with some of the finer vocal-jazz stylists around today. This is her ninth recording in collaboration with some exceptional musicians; and yet she is not as well-known as she deserves to be. That may soon change. New to this listener, Beata Pater is a compelling storyteller who uses alt-jazz stylings. In fact, she is likely to be new to many in the U.S. as she has had minimal publicity. She is a transplant from Poland now living in the Bay Area of California. At first listen, her muted sound recalls a smoky Dietrich in her later years. As you are pulled further into this 11-song disc, you discover her uniqueness as a versatile jazz vocalist. For instance, just about all that can be done with “Old Devil Moon” (Burton Lane/E.Y. Harburg) has been done by others decades ago. Yet, with an impeccable 18-piece ensemble behind her (more on them later), Pater offers a new spin with a whispering treatment that is as enticing as it is sexy. Unlike Dietrich, whose range was limited, Pater’s sound can be ornate, salty, or sweet, depending on the mood she brings to the song—despite the sometimes impressive but often overbearing accompaniment by the band. Regardless of comparisons, it all remains intoxicating, making the CD a worthwhile investment. Freddie Hubbard’s “Little Sunflower” and Chick Corea’s “Crystal Silence” (with lyrics by Al Jarreau and Neville Potter respectively) are masterpieces and supreme examples of definitive ensemble work. This brings up the relevance of those notable musicians on the album. Led by the brilliant pianist Hiromu Aoki, who collaborated on the core arrangements with Pater, along with string arrangements by Alex Danson and those for wind and brass by Aaron Lington, are nothing less than extraordinary examples of collective ensemble work that inspires. Their interplay is top drawer throughout this moving album. Above all, the CD depends on Pater’s silky, painfully haunting vocals that, at times, recall Morgana King. With Aoki’s prodigious piano solo riffs and the musicians, she shows she is a translucent jazz singer of the highest order. Beata Pater is a name to watch for as she, hopefully, gains more exposure on the world jazz scene where she belongs.

John Hoglund Cabaret Scenes

“ She is one of the finest examples of what a Jazz singer is all about."

Beata Pater has just released her 9th CD entitled "TeT" and it's a beautiful piece of musical art. Backed by an 18-piece band that includes a wind and brass double quartet, and a double string quartet, Beata began playing violin at the age of 6 and became "totally obsessed with the instrument". She was a serious student of classical music but at age 15 she joined a Funk/Jazz/Fusion band that enjoyed some success while still living in her native Poland. Still looking for something new, she moved to England to continue her violin studies. While studying in England another opportunity arose in Japan. She was contracted to teach violin at the Yamaha school for six months but stayed for 10 years. All this instrumental training and experiment with genres allowed Beata to develop her singing voice and style from the perspective of a highly trained instrumentalist. Beata uses her voice as a finely tuned instrument and the results are rich and satisfying. In fact, at times when I was listening to her CD, I almost forgot she was doing a vocal since the sound of her voice was so soft and beautiful . She is one of the finest examples of what a Jazz singer is all about. "Tet" contains a selection of Jazz standards and original tunes by contemporary composers. Each tune is beautifully and musically done to the highest standards. Pater calls the CD "TeT" because there are nine tunes on this recording and "TeT" is the ninth letter of the Hebrew alphabet and the symbol for the number 9. I have attached two "YouTubes" for your listening pleasure. The first one is the classic Jazz tune, "Little Sunflower" composed by Freddie Hubbard and Al Jarreau. This is one of my favorite Jazz tunes and I loved hearing my good friend who recently passed, Steve Madaio play this on his Trumpet. Steve's version was a lot faster than Beata's but both version are just terrific! The second "YouTube" is an absolutely brilliant version of the Jazz standard "Invitation". I know you will enjoy both!

Robert Nicosia Music Man

“She achieves a sound between Miles Davis’s Birth of the Cool and Oliver Nelson’s Blues and the Abstract Truth as realized by the lovechild of Betty Carter and Mark Murphy. But Pater is like no other. Elastic and malleable, hers is the new voice of jazz vocals.”

Beata Pater uses her learning and talent for progressing her art. Dissatisfied with stylistic stasis, she is constantly evolving into something more sophisticated and progressive. Tet, her ninth release, again finds the singer establishing new harmonic ground. Using an 18-piece orchestra with wind and brass and string double quartets, sans drums, she achieves a sound between Miles Davis’s Birth of the Cool and Oliver Nelson’s Blues and the Abstract Truth as realized by the lovechild of Betty Carter and Mark Murphy. But Pater is like no other. Elastic and malleable, hers is the new voice of jazz vocals.

C. Michael Bailey Bailey’s Blog

“Vocalist Beata Pater creates a myriad of moods on this album of originals and jazz standards… delicate, fragile and luminous, drawing you in with subtlety.”

Vocalist Beata Pater creates a myriad of moods on this album of originals and jazz standards. Her voice here is reminiscent of vintage Lani Hall, a bit nasally with a rich and subtle swing, and it works well on material like the creative and Ellingtonian read of “Little Sunflower” which features Aaron Lington’s bass clarinet. She’s delicate, fragile and luminous with pianist Hiromu Aoki and a spacious “Lazy Afternoon” and Chick Corea’s “Crystal Silence.” Cleverly putting a Brazilian lilt to “Old Devil Moon” she brings old world moods and strings to a trio of Alan Chip White tunes, with “Strays” a deep and penetrating piece, drawing you in with subtlety.

George Harris JazzWeekly

“An exquisite set… Tet is simply a beautiful offering and features highly impressive singing by Beata Pater.”

Vocalist Beata Pater offers an exquisite set on her latest recording titled Tet. Backed by an 18- piece ensemble, Beata sings a selection of jazz standards and original compositions by such contemporary composers Freddie Hubbard, Al Jarreau, Chick Corea and Neville Potter. Beata also produces and co-wrote the core arrangements for the recording with her pianist Hiromu Aoki. The string arrangements which were beautifully written by Alex Danson and the wind and brass arrangements were written by Aaron Lington.

Joined by several revered jazz and classical North Californian accompanists, Beata opens with an immaculate version of Freddie Hubbard’s “Little Sunflower” which highlights her beautiful soprano range on Al Jarreau’s lyrics, the lovely string arrangements and the gorgeous piano solo played by Hiromu Aoki. “Lazy Afternoon” is also beautifully sung and here Beata captivates you, dear listener, in a lower alto voice that flows alongside the lovely violin players and pianist’s solo. Chick Corea’s “Crystal Silence” is given a new interpretation that opens with exotic strings and now includes lyrics by Neville Potter. Beata’s excellent soprano makes this song a keeper.

Among the standards sequenced on the recording are upbeat versions of “Old Devil Moon” and “Invitation” as well as three songs written by Alan “Chip” White. Overall, Tet is simply a beautiful offering and features highly impressive singing by Beata Pater.

Paula Edelstein Sounds of Timeless Jazz

“Pater sings like an angel… her voice is light and soothing and it always sounds like it’s located from somewhere out in the clouds. Bask in Pater’s untethered vocal style…this album is fascinating in a quiet way, like the desert.”

There’s a huge pile of recordings of female vocalists on the coffee table in my listening room right now, and Beata Pater‘s Tet has been sitting there for months, unnoticed. That was a mistake since this Polish-born singer, also a classically trained violinist, sounds just different enough to emerge from the pack as someone different and worthwhile. Pater isn’t concerned with being just a jazz singer, the kind who takes all the classics from the Great American Songbook and tries to put her stamp on it. From the opening notes of Tet, her ninth album, Pater’s goal is obvious. Backed by a lush orchestra and dreamy arrangements, Pater sings like an angel. That’s not meant to be a cliche–her voice is light and soothing and it always sounds like it’s located from somewhere out in the clouds. That ethereal delivery is deliberate, but it is natural. Beata Pater has done a few things to ensure that the nine songs on Tet float above the earth. There are no drums on this album, which deconstructs the idea of a big band jazz album. But as beautiful and easy as it all sounds, there’s an edge to the music, a feeling that there’s much going on underneath all that pretty. On her last album, Fire Dance, Pater took a cue from the Cocteau Twins’ Elisabeth Fraser and concocted a female vocal album without words. In other words, she’s not afraid of taking risks within an otherwise comforting genre. On Tet, Beata Pater concentrates on her wanderlust–her upbringing in Poland and how it centered around playing the violin while the other kids were outside playing, her gravitation toward funk and jazz fusion as she got older, and eventually her years spent in Tokyo, the UK and the US. She’s lived in the “Southern California desert” for the last decade or so, which could be almost anywhere, and that physical environment informs so much of her music–enormous, spartan but intriguing once you move in closer and see all the quiet details. Tet, if you didn’t already know, is the ninth letter of the Hebrew alphabet, and the number 9 is represented by the letter itself. There are nine tracks here, so it’s key that this number, which often symbolizes creativity, has a specific purpose here. These songs, rich with melody and invention, have an uncanny way of invoking Beata Pater’s life experiences through both cultural touchstones and the specific words that she utters. You can focus on that side of Tet, the hidden layers of meaning, or you can bask in Pater’s untethered vocal style. Either way, this album is fascinating in a quiet way, like the desert.

Marc Phillips Part-Time Audiophile

“彼女は、ヴァイオリニストの為か、彼女の歌は、ヴァイオリン的なものを感じさせる。"

ベアタ・パテルは、ポーランド生まれ、4歳からヴァイオリンを習い、15歳の時、ジャズフュージョン・バンドに参加して活躍、英国でクラシックのヴァイオリンも続けて勉強していたという。その後、来日して10年程、ヤマハでヴァイオリンを教えたり、CBS Sony のスタジオ・シンガーとして、コマーシャルやバック・アップ・シンガーとして活躍、同時にジャズ・クラブなどにも青木弘武（ｐ）等と出演している。今は、サンフランシスコ近郊に居を移しているが、定期的に日本でも活躍しているアーティストだ。今回の作品は、彼女の9枚目のアルバムで９曲を歌っている。TETというのは、ヘブライ語で９を表し、創造性のシンボルであるところからタイトルがつけられたという。ストリングスとブラスのダブル・カルテットにピアノとベースが加わる18人編成のビッグバンドで彼女と青木弘武の創意あふれるアレンジで「Lazy Afternoon,」、「Old Devil Moon」等のスタンダードにフレディー・ハバードの「Little Sunflower」、チック・コリアの「Crystal Silence」等のコンテンポラリーな作者の歌を交えて細く頭に抜けるような少しモーガナ・キングを思い出させる独特な声で歌う。彼女は、ヴァイオリニストの為か、彼女の歌は、ヴァイオリン的なものを感じさせる。大変ユニークで印象的な歌だ。随所で聞かせる青木の色鮮やかなピアノ・ソロも注目。（高田敬三）

Beata Pater was born in Poland and studied violin from the age of four, and at the age of fifteen she was active in jazz fusion bands, and continued to study classical violin in the UK. During her 10 years living in Japan, she taught violin at Yamaha, worked as a CBS Sony's studio singer, worked as a commercial and back-up singer, and at the same time appeared as a jazz club with Hiromu Aoki (p), and many others. Today, she has moved to the suburbs of San Francisco, and is an artist who is active in Japan regularly. This time, she sings nine songs on her ninth album. TET is a Hebrew word that represents 9 and is given a title from where it is a symbol of creativity. The 18-piece big band with strings and brass double quartets with piano and bass is the creative arrangement of her and Aoki Hiromu in "Lazy Afternoon,", "Old Devil Moon". Singing in a unique voice that reminds me of a thin, slippery Morgana King, with songs by contemporary authors such as Freddie Hubbards “Little Sunflower" and "Crystal Silence" by Chick Corea. She expresses herself feel like a violin, probably because of the violinist teachings in her background. It is a very unique and impressive song. Attention is also focused on the colorful piano solo of Aoki, which is heard everywhere.

Keizo Takada Music Pen Club

“She attempts to push her creativity further than ever… Pater has an interesting wide-ranging voice, quite sweet on the first track… on later tracks, the voice was much more of a strong alto. Pater is also a classically trained violinist with a jazz sensibility, which is obvious from this pleasing CD.”

Called Tet because there are 9 tunes on the album, 'tet' is the 9th letter of the Hebrew alphabet and the symbol for number 9. The singer explains that 'tet' is also symbolic of creativity, a womb for creation. It's Ms Pater's ninth album on which she attempts to push her creativity further than ever with a selection of jazz standards and tunes by contemporary composers accompanied by an 18 piece ensemble (a doubletet?) without drums, in order to give a looser feel. Pater has an interesting wide-ranging voice, which sounded quite sweet on the first track, a catchy Latin rhythmic Little Sunflower (pleasing alto flute and bass clarinet with the strings, and the bass keeping the rhythm); on later tracks, the voice was much more of a strong alto. Other standards included, (as above) are a slow, atmospheric Crystal Silence, with the strings prominent; Old Devil Moon (a lively Latin version, repeated riff from the strings, and gentle scat singing.) The contemporary songs were all new to me, I Feel You (Bill Cantos); The Contessa, Strays, Ode To Max, all written by Alan 'Chip' White. That last song is a tribute to Max Roach. There are skilled piano solos on most tracks, for instance, I Feel You has a piano and bass opening, and is a rich, deep-voiced love song. Beata Pater is Polish and widely travelled, having lived in England and Japan, toured in the USA and now lives in San Francisco - her musical vision influenced by her travels. Experienced in many other kinds of singing such as pop and TV commercials, Pater is also a classically trained violinist with a jazz sensibility, which is obvious from this pleasing CD.

Ann Alex BLOG

“Eternal allure… The thing about Beata Pater’s magical vocals is that she is TOTALLY unique, and you’ll find (as I have) that her work is timeless…"
"No boundaries magical jazz vocals Beata Pater – Tet:"

The thing about Beata Pater’s magical vocals is that she is TOTALLY unique, and you’ll find (as I have) that her work is timeless… I didn’t find any LIVE videos from the current album, but to illustrate her eternal allure, be sure to watch the video below…

…there are a lot of videos posted, so be sure you SUBSCRIBE to Beata’s YouTube channel, where you’ll find hours worth of her high quality entertainment… I did.

I reviewed her in issue # 165, and was just astounded by her “non-lyrical” work there… I’ve no doubt you will be as well… on the new release, the opener, “Little Sunflower” (lyrics by Al Jarreau) makes the purchase of the entire album worth it (you won’t find samples yet, as this doesn’t release until May, 2019… I will come back and add them in as soon as I’m told they are available). Lively players compliment her vocal wizardry, and will hold you absolutely spellbound for the entire 5:22 length of the track!

As always, Beata “pushes the envelope”, and songs like “Crystal Silence” illustrate her ability to wrap you in her vocal spell… the violin and strings lend the tune a quite melancholy aura… I highly recommend you listen to this one (as well as all the others) with your headphones on, so you can catch every little nuance of her intriguing performance.

The bass intro to “I Feel You” is definitely in the “most mellow zone”, and when Beata weaves her vocal into the piece, it’s almost like she’s “talking” with the bass… I believe this song will be getting MAJOR airplay on stations ’round the globe.

It didn’t take me long to determine that Beata’s performance on Burton Lane’s “Old Devil Moon” is my absolute favorite of the nine amazing jazz vocals she offers up for your aural adventure… lively pacing, and superb arrangements of the piece are the hallmarks!

I give Beata a MOST HIGHLY RECOMMENDED rating, with an “EQ” (energy quotient) score of 4.99… learn more, and watch for the pre-sale, on Beata’s website

Dick Metcalf Contemporary Fusion Reviews

“A delectable palette of goodies for millennials who wish they were around back in the day. Quite a satisfying session.”

BEATA PATER/Tet: “For someone with pretty much of a mainstream ‘real life‘ Pater has made a real point of showing off her art chick side when it comes to making records. If you’re familiar with her back catalog, you’ll see she’s still an art chick but she’s taking her vibe in a whole different direction. Coming in as a left leaning jazz singing thrush, Pater goes old and new at the same time serving up a delectable palette of goodies for millennials who wish they were around back in the day. Quite a satisfying session that pulls together her various sides nicely, this bag breaker has loads of good stuff on the ball throughout.”

Chris Spector Midwest Records

“Tet” by Beata Pater shines with startling artistry"

“Beautiful interpretations and lush renderings permeate “Tet.” While there is much about this album to warrant multiple spins, the songs “Little Sunflower” and “I Feel You” are arguably the best examples of the shapes and sounds that Pater’s voice can take. Her flexibility is impressive and the full roster of musicians never overwhelm the vocals.”

Violinist turned vocalist Beata Prater presents her ninth album, “Tet” (stylized “TET”). “Tet” is the Hebrew word for nine. The number is significant to the album: there are nine songs on the recording, it matches Pater’s number of recordings and as Pater explains “it is symbolic of creativity, a vessel which holds something within, a womb for creation. Goodness is hidden with in it.”

On “Tet,” Pater delves into classic and contemporary jazz. She is backed by an 18-piece ensemble that includes a wind and brass double quartet and a double string quartet. The overall sound will remind listeners of the big band sound. The quality is rich, even lush, and plays well with Pater’s qualities as a vocalist.

While there is much about this album to warrant multiple spins, the songs “Little Sunflower” and “I Feel You” are arguably the best examples of the shapes and sounds that Pater’s voice can take. Her flexibility is impressive and the full roster of musicians never overwhelm the vocals.

About Beata Pater

A native of Poland, Prater began her journey to professional musicianship as a violin-obsessed child. She began playing at age 6. Pater recalls, “My childhood was different than the other kids. When everyone else was playing outside, I was inside, practicing my music. I was totally obsessed with the violin.”

That obsession led to Pater becoming a serious student of classical music, but she frustrated her parents and teachers when she joined a funk/jazz/fusion band at age 15. The band garnered some success around Poland and even managed a few recordings.

But, always on the lookout for a challenge, Pater went to England to continue her violin studies. While there, she learned of another opportunity that took her to Japan where she got a job as a violin teacher at the Yamaha school. She would live in Japan for 10 years, and in addition to teaching music, Pater also found work as a studio singer for CBS. She could be heard in commercials, movies, on television and as a backup singer for a pop band. Her career morphed again when Pater found herself performing with Japanese and American musicians. The band played American-style acoustic jazz.

In 1995, Pater moved to the US, first settling in San Francisco before moving to the deserts of Southern California in 2006, where she has lived ever since.

Pater recorded her first album in Japan in 1993. Her subsequent work was recorded in the US.

On her last album, “Fire Dance,” Pater only used her voice as an instrument. She did not scat, but wordlessly told stories in song. The artful approach continues to impress audiences. Now, on “Tet,” Pater uses words and audiences are just as likely to be impressed.

“Tet”: soundscapes and style

Typically, descriptions of albums delve into what stands out on recordings. On “Tet” so much “stands out” that it is difficult to know where to begin.

First, the instrumentation does not include drums. And while it is true that some jazz artists might only use a piano, the lack of drums places the onus of rhythm, or groove on other instruments, perhaps where listeners do not expect it. The result is music that feels like liquid. Bass notes pull like heavy drops bulging before falling. The entire ensemble often feels kinetic like a small body of water rippling.

Second, there is Pater’s voice. The trained violinist sometimes uses her natural instrument in the same ways a violinist might work the interaction of bow and strings for effect. The ends of lines sometimes have a vibrato that is more felt than heard. And, even on songs that do not have that particular effect, the unexpected vibrato shows up in the middle of phrases and the effect is artful and adds beauty each time it appears. This is easily heard on “I Feel You.”

There is such a shift in Pater’s vocalizations from song one (“Little Sunflower”) to “I Feel You” and “Invitation” that the varying dynamics might make listeners pause. Just when audiences are sure they understand Pater’s register and skillset, she does something else. For example, when she uses her voice as part of the instrumentation on “Invitation.” The technique displays Pater’s unique approach to music and her musician (violinist) approach to playing with an ensemble.

Beautiful interpretations and lush renderings permeate “Tet.” The album will be available May 10, 2019.

Dodie Miller-Gould Lemonwire

“Beata Pater has surrounded herself with outstanding musicians who play beautifully behind her unique and one-of-a-kind voice. She is the epitome of jazz, in her own delightful way.”

This is Beata Pater’s ninth CD release and “Tet,” the album title, is the ninth letter of the Hebrew alphabet, as well as the symbol for nine. In numerology it stands for completion. Beata Pater explained her description of “Tet.”

“It is symbolic of creativity; a vessel which holds something within a womb for creation. Goodness is hidden within it.”

Opening with the Freddie Hubbard gem of a tune, “Little Sunflower”, Beata Pater’s smoky voice tenderly caresses his song. There is something about this vocalists’ voice that creates a signature sound, much like the great Morgana King or the memorable Shirley Horn. Once you hear Beata Pater, you will remember her sound. She has a unique tremolo, along with her rich alto tones that suddenly soar into a sweet, second soprano. She slides sleepily and laid-back up and down the scale on “It’s a Lazy Afternoon.”

Pater’s vocalization is hypnotic. Hiromu Aoki’s piano solo tinkles the upper register, with the string ensemble beautifully cushioning their arrangement. It’s an intriguing arrangement that highlights Beata Pater’s vocals, expertly framing the colorful tones of her voice. There’s also the hint of an accent to uniquely make her style unforgettable. She tackles some challenging melodies on this album like Chick Corea’s “Crystal Silence” and the haunting song, “Invitation.” Alex Danson’s string arrangements are stunning, as are the rhythm section arrangements that Hiromu Aoki and Beata created. As a violinist herself, Beata Pater pulls from her multi-musical talents and worldwide experiences. After all, she draws from Polish roots, has lived in England, and spent a decade in Japan. Currently, she has settled in San Francisco.

On this project, she scats and plays with the familiar “Old Devil Moon” tune, making it one of the few up-tempo arrangements she offers us. With her serious classical studies and playing concert violin for several years in her native Poland, she brings a fresh face to these old standards, perhaps thinking more like a violinist than a vocalist. During the ten years she spent playing, teaching and performing in Japan, she met Aoki, who is one of Tokyo’s top, first-call accompanist for singers. They work well together, with neither afraid to jump off the mountain top without a parachute.

In celebration of her album title, Beata Pater has recorded nine songs and puts her own stamp on each one. This project is a tribute to modern jazz singing and arranging. Beata Pater has surrounded herself with outstanding musicians who play beautifully behind her unique and one-of-a-kind voice. She is the epitome of jazz, in her own delightful way.

Dee Dee McNeil Musical Memoirs

“A delectable palette of goodies for millennials who wish they were around back in the day. Quite a satisfying session.”

BEATA PATER/Tet: “For someone with pretty much of a mainstream ‘real life‘ Pater has made a real point of showing off her art chick side when it comes to making records. If you’re familiar with her back catalog, you’ll see she’s still an art chick but she’s taking her vibe in a whole different direction. Coming in as a left leaning jazz singing thrush, Pater goes old and new at the same time serving up a delectable palette of goodies for millennials who wish they were around back in the day. Quite a satisfying session that pulls together her various sides nicely, this bag breaker has loads of good stuff on the ball throughout.”

Chris Spector Midwest Records