What's remarkable about Ferguson isn't that he simultaneously sings and plays bass, but that he does both so well. ... Ferguson is equally accomplished as a straightahead jazz bassist and a smooth, supple tenor with a style reminiscent of, but far more expressive than, Chet Baker's youthful cool-school vocalizing. ...The most affecting contemporary jazz-oriented male vocalist, Ferguson can't quite explain how or why he is able to invest so much vulnerability in his music. ... (Jazz Times, April 2001 - Joel E.Siegel) Leading a quartet, featuring saxophonist Chris Potter, pianist Stefan Karlsson, and drummer Jim White, Ferguson's intimate, deeply felt singing combined with eloquent instrumental solos yields one the year's most satisfying in jazz vocal albums. (NPR Jazz Riffs CD Review - Joel E. Siegel) Jim Ferguson's Deep Summer Music should please those who complain that jazz doesn't have enough male singers anymore. Much to his credit, the Nashville resident is a clone of no one. ... he is a recognizable singer who can be sweetly introspective one minute and bluesy the next. ...While other jazz singers are trying to impress you with how fast they can scat their way through John Coltrane's "Giant Steps," Ferguson makes feeling his top priority on this soulful, if derivative, release. (All Music Guide EXPERT REVIEW - Alex Henderson) Many famous singers...have recorded "The Night We Called It a Day," but the best version on record is the most recent one, performed by the singer-bassist Jim Ferguson. A light, low-lying tenor with a slight but unmistakable Southern accent and a flawless command of the falsetto-like "head voice," ...his heart is in jazz and standard song; perhaps the finest male balladeer of his generation, he sings with unaffected, irresistible sincerity. (Commentary Magazine - March 2002 - Terry Teachout)

Barbara Lea's taste and integrity and uncompromising standards, along with her devotion to lyrics and her deep musicality, have made her one of the most widely respected and admired interpreters of the classic American popular song. She was born Barbara LeCocq; her musical heritage is traceable to a great uncle, Alexandre Charles LeCoq, an important nineteenth-century composer of French light opera. Born into a musical family in Detroit, she worked with small dance bands there before attending Wellesley College on scholarship and majoring in music theory. Boston was a hotbed of jazz in the late 40s and early 50s, allowing Barbara to sing with major instrumentalists such as Marian McPartland, Bobby Hackett, Vic Dickenson, Frankie Newton, Johnny Windhurst, and George Wein. At the same time, she sang in the college choir, worked on the campus radio station and newspaper, and arranged for and conducted the Madrigal Group and brass choir concerts.
Her professional career started upon graduation. Her early recordings for Riverside and Prestige met with immediate critical acclaim and led to her winning the DownBeat International Critics' Poll as the Best New Singer of 1956. She appeared in small clubs in New York, including the renowned Village Vanguard, and throughout the eastern U.S. and Canada, as well as on radio and TV.
She studied acting to improve her stage presence and, with the near-demise of classic pop in the early 60s, turned to the legitimate theatre, performing an impressive list of leading and feature roles in everything from Shakespeare to Sondheim. She moved to the West Coast and received her M.A. in drama at Cal. State-Northridge, then returned to New York and taught speech at the American Academy of Dramatic Art and acting at Hofstra College. In the 1970s, with the resurgence of interest in show tunes and popular standards, Barbara Lea was literally sought out to appear in the Peabody Award-winning National Public Radio series "American Popular Song with Alec Wilder and Friends". This led to two lengthy feature articles in The New Yorker (where Whitney Balliett declared "Barbara Lea has no superior among popular singers") and a renewed singing career.
Barbara has starred in the JVC, Kool, and Newport Jazz Festivals several times, but her increasing devotion to the songs as written has led to concerts of the works of Rodgers and Hart, Arthur Schwartz, Cy Coleman, Cole Porter, Hoagy Carmichael, and the Gershwins, as well as cabaret appearances devoted to Kurt Weill, Jerome Kern, Johnny Mercer, and Yip Harburg. She has over a dozen CDs currently available on the Audiophile label, which has a reputation for featuring the best in singers of classic pop, plus reissues of two early LPs on Fantasy/Original Jazz Classics, and two recent releases on the European-based label Challenge.