Jessica soon became a regular at Camdenís Jazz CafÈ, her abiding passion for oblique asymmetric sounds and freewheeling infectious grooves gaining prominence on the 90ís acid jazz scene in London. During this time she played with rare-groove legends Jean Carne, Dexter Wansel, Tom Browne, Kleeer, James Mason and Clyde 'Funky Drummer' Stubblefield, as well as regularly appearing with soul-garage diva Juliet Roberts.
She also participated regularly in the all-star Jazz Cafe jam sessions, and with Andrew Missingham's cutting edge combo at Gilles Peterson's legendary 'That's How It Is' club. This led to appearing at Straight No Chaser magazine's 'Shape of Things to Come' III in London, and throughout Japan on the 'Freedom Principle Tourí with the cream of London's modernists. This included Jhelisa on vocals, Chris Bowden on saxophone, Byron Wallen on trumpet, Simon 'Palmskin' Richmond on percussion, Naked Funk's Jeremy Shaw on guitar and Andrew Missingham on drums. In 1993 she was signed to Soho based Soul jazz Records and released two singles: 'Some Girls Do' (Single of the Week, Peter Young, Jazz FM) and 'Serengeti' (featuring the Jamiroquai rhythm section). This was followed by the album 'Siren Song', which she toured throughout Britain (including the Phoenix and Glastonbury Festivals), Europe and Japan. She has also recorded with Japan's United Future Organisation, garage DJ and producer Joey Negro, and as a session player on many tunes for Acid Jazz Records, including her own 'Couldn't Take the Missing You' on Totally Wired 12. Her magical keyboards on Pops Mohamed's How Far Have We Come? marked her first involvement with MELT, and led to her visiting Johannesburg, meeting Cuban percussion masters Changuito and Mayito and recording with Amampondo, Mabi Thobejane and Madala Kunene under the watchful eye of record company owner Robert Trunz. Between 97 and 99 Jessica teamed up with DJ Nikki Lucas, laying stratospheric keyboards and dub effects over Nikkiís choice of beats. This experience together with the myriad of diverse influences cited above led to the production of Film. In 1997, Jessica Lauren had an extraordinary vision: to try to make a truly modern jazz album, one that made sense next to Bjork or Beck, Radiohead or Roni Size, yet still retained the live spontaneous sound of real time musicians rather than using programmed beats. She spent a year writing the material and immersed herself in a hugely diverse range of music: from the genius of Michel Legrand's 60's film scores to Fela Kuti's afrobeat. Influences span from the Cuban rhythms of Changuito and the gangster claves of Eddie Palmieri to the sonic revolutions of the Beatles with George Martin at the controls; from the spirituality of Pops Mohamed to the anarchy of Captain Beefheart and the surreal underscores of Hanna-Barbera cartoons. The resulting compositions are highly original, powerful, and surprisingly accessible tunes, and provide the foundations for Film. Taking full control of the project, she assembled a crew of the finest musicians and technicians and went into Milo studios in Hoxton. Over the next few months, this meticulously crafted aural adventure took shape. The musicians were encouraged to play against their own styles; convention became the enemy, surprise the secret weapon; egocentric riffing and clichÈs banished in favour of pure artistic response and imagination. There were no licks on this record as Jessica wanted "their spirit, their heart, their experience, their artistry". She philosophises, "artists must aspire to dig deep in their search for music that enriches the spirit, stimulates the ear and the imagination, and profoundly touches the very soul." Released in January 1999, Film is a wide-angled keyboard soundscape, a brilliantly constructed blend of beautiful, exciting compositions played by the finest musicians and moulded into a powerful sonic panorama, by turns surprising, inspiring and deeply moving. Film takes you on an aural cinematic journey through a landscape rich with crazy keyboard colours, roller coaster rhythms and dreamy ambient reveries. Exciting, surprising and hugely emotive in equal measure, it blends the spirit of some of the UK's finest musicians, with Jessica's analog electronica and vibrant piano to make a subtle and brilliant whole. Following completion of this album Jessica performed with DJ Nikki Lucas at the 'Marlboro International Jazz Festival', May 1999, in Beirut, Lebanon. Then with Marque Gilmore's (Nitin Sawney band) Drum FM in London and Rome ('Millenium Migration', October 1999, and 'Interplanetary Sounds' festival, December 1999); and lastly at the Frank Collymore Hall, Barbados, West Indies ('Pure Fusion' festival, December 1999). She recorded frequently as session keyboard-player throughout 1999 with dance DJ/producer Joey Negro (hear her on his nu-disco classic 'Monte Carlo' and with the Sunburst Band) She recorded with Swiss DJ/producer Alex Attias (Catalyst, Mustang), and with DJ/producer Duncan Forbes (Spooky, Animated) working on various collaborative dance-based projects, and is a member of n production teams The Jettsons with Duncan Forbes and Laurant Webb, and Love and Salt with DJ/producer Justin Morey (Resident Filters).
Her collaboration with Forbes and Webb has resulted in, The Jettsons present Jessica Lauren 3, 'The Name of Fela Will Always Stand For Freedom' b/w 'Teratoid' which was released on People Records on 10" in August 2000. Featuring Andrew Kremer on upright bass and Winston Clifford on drums, the rhythm section is from Film. This record has received extensive play world wide making The Jettsons an outfit to watch out for.

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