Bath Chronicle – Charley Dunlap

Lindsey Reed is an exceptionally good jazz singer.  Her pitch is spot on, her timing likewise, she is totally at ease on stage and has the tricks of the trade covered: microphone technique, set pacing, banter, all in place.
She began with a Cleo Laine tune, Thieving Boy, sung with the double bass and her skill immediately commanded our attention.  After two songs, guitarist Simon Gardner joined in, adding to the seasoned musicianship.
The two sets contained unusual cover song choices from Leonard Cohen, The Temptations, The Doors and a terrific, bluesy, radically rearranged I’ve Got You Under My Skin, but the real strength was in the soulful and literate quality of their originals.

Venue Magazine -  Tony Benjamin

What’s apparent from the start is that Lindsey is a classic vocalist in the British style personified by Cleo Laine (two of whose songs feature) and taken to perfection by Norma Winstone (who’s an acknowledged influence) before being claimed in the states by Patricia Barber (who gets a dedication later).  What this means is a well-modulated performance that delivers each song with pitch-perfect care and precision, avoiding histrionics or over statement.  It’s a humility that allows classics like Gershwin’s ‘Our Love Is Here to Stay’ to rub shoulders with Leonard Cohen’s ‘Dance Me To The End Of Love’ and her own ‘You Let Me Down Easy’ and lay themselves before the audience for re-appraisal.  Her performance and the arrangements of swooping bass and admirably economic guitar need no favours.  The addition of cello, trumpet and congas for the second half enriches the sound, again thanks to the understated economy of their contribution, and potential chestnuts like ‘I’ve Got You Under My Skin’ emerge from Frankie’s shadow as rather neat tunes.  By the finale  it’s evident that this is a singer who respects her well-chosen material and relishes the chance to unfold their narratives to a her audience.  It’s quality stuff.