Lucianne Evans

Lucianne Evans Biography

 Lucianne Evans is a jazz vocalist whose work bridges lyrical narrative, harmonic intelligence, and a long arc of artistic development shaped by live performance, collaboration, and repertoire-driven exploration.“As a long time observer of jazz and it’s finest vocalists, I can attest that Lucianne Evans stands among those rare singers who truly understand the essence of jazz communication.” (Dr. Herb Wong— jazz historian, educator, and longtime curator of the Stanford Jazz Workshop and International Association for Jazz Education (IAJE) Jazz Education Hall of Fame) Born and raised just east of Pittsburgh, family lore says that just shy of her third birthday she corrected her grandfather’s off-key rendition of “Take Me Out to the Ballgame,” insisting, “It goes like this”... proceeding to sing it to everyone’s glee.” She became a professional singer at 17, making her debut aboard the Gateway Clipper Fleet in Pittsburgh—the same venue where pianist Erroll Garner first performed at age 11, whom she later referenced in an original vocalese solo (Where or When). In her early twenties, all she knew was that singing was the only thing she wanted to do. That obsession led her to three consecutive summer seminars with the jazz group Oregon, including Ralph Towner and the late Colin Walcott. It was there she met two musicians who invited her to join a band in Montreal, launching a formative chapter of her early professional life kicked off by an appearance at the 2nd International Festival du Jazz de Montréal.  Her first band featured young musicians who would later become well-known performers, including pianist James Gelfand. She also worked with Francine Martel, a critically acclaimed Quebecois female percussionist who is known for her mastery of African instruments such as the berimbau, which is the instrument used on String of Hope, an original that hit over 1000 plays. 

She appeared on Canadian television programs including Jasmin – Centre-Ville, and in an extended engagement at L’Air du Temps, the celebrated jazz club in Old Montreal. It was during this Montreal period that Evans’s four-octave range first drew attention — not as display, but as a vehicle for expression.

After her success in Montreal, Manhattan was home for several years where she sang with the Hank Lane Orchestra and also raised a family. But Asheville, NC, was an unplanned transition, and proved to be the start of her most prodigious phase. It was there that she met pianist, arranger, and musical partner Tom Coppola (of SNL and Manhattan Transfer fame) who asked her to form Evans & Coppola, a duo that was ubiquitous with the emerging music scene there in the 2000's. The duo received notable critical attention, including praise from Dr. Herb Wong, who described Lucianne as “Sensitive, senual, stellar and scorching.” Her CD Flamingo appeared on the Blue Chip List of Top Vocal CDs of 2002, an annual honor preserved in international university radio archives. The most popular tracks prove to be “East of the Sun,” an original called “Hold back the Rain,” and “Luz Do Sol,” in assured Portuguese. During this period, Lucianne also presented a Nina Simone tribute concert shortly after Simone’s death in 2003. This performance was well received and led to a larger concert with pianist Keith Davis—one of the few major performances not involving Coppola. 

Following the Evans & Coppola years, she spent more than a decade developing a parallel career in the travel industry in her hometown Pittsburgh. She traveled extensively throughout Europe and the Caribbean, standout music cultures such as France and Panama —which later supported her work on French adaptations of American standards.

A significant personal and professional event occurred many years later when Lucianne and Tom Coppola briefly reunited. After more than a decade without contact, they reconnected in person. The meeting was short, but it renewed their musical rapport immediately. Soon afterward, Coppola passed away unexpectedly. The reunion underscored the importance of their earlier collaboration and influenced Lucianne’s decision to archive, preserve, and eventually incorporate selected Evans & Coppola recordings into her work For Christmas’ Sake - Christmas 2025,  four songs from the past, and two current pieces. 

Lucianne’s current work emphasizes clear production, balanced arrangements, and a contemporary sound that supports her natural vocal qualities. She collaborates closely with producers and engineers, maintains consistent studio standards, and approaches each project with careful attention to detail. Her background across multiple artistic and professional fields contributes to a focused, organized work process. Her new band is the newest venture, and the maiden voyages begin in April 2026.

“Actually, Lucianne has grown beyond the limits of her debut CD. Her skill and imagination have reached a higher plane of creativity and professional ripeness. I encourage giving her warranted opportunities with her full ensemble. To do so would be a dedicated, wise investment on the future of music.” (Dr. Herb Wong, 1926-2014)

In her early twenties, all she knew was that singing was the only thing she wanted to do—and she still knows it.