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In the Pacific Northwest, where she built her career, Greta Matassa wins wide acclaim; four times, the readers of Earshot, the Seattle jazz magazine, have voted her the best jazz vocalist in the Northwest. Jim Wilke, the Seattle jazz maven and host of the syndicated "Jazz After Hours" radio program, praises her versatility. "She has a fearlessness in approaching material,”” Wilke says, "that makes her like an instrumentalist in a jam session.”” Seattle Times critic Misha Berson described Matassa as a vocal chameleon who "can sound husky or crisp, ebullient or wailing, girlish or jaded.”” Matassa displays all of those aspects of her talent in this live recording made at Bake's Place, a small club in Redmond, across Lake Washington from Seattle.
Matassa's fascination with songs began early. Her family moved frequently when she was small, but by the time she entered middle school, they had settled on Bainbridge Island in Puget Sound, opposite Seattle. This is what she said about her childhood:
"Growing up, my parents were big jazz fans and we had a lot of jazz music around the house. They were happy to encourage my interest in music. My father is a visual artist, and we used to spend hours talking about abstract expressionism and how that related to jazz.
"We listened to all the great stuff. I really liked the music from the thirties and forties, early Ella Fitzgerald, Billie Holiday. I used to listen to a lot of Fred Astaire, a lot of Frank Sinatra. I never took lessons. While I was teaching myself to sing, my dad and I haunted used record stores. He'd choose anybody he knew that he thought would be interesting, and we'd just pick some people we'd never heard of and bring them home. There was a Dutch singer I liked, Rita Reys. She had a style kind of like Sarah Vaughan. I had never heard of her. I haven't heard of her since. I liked a woman named Marian Montgomery, and one named Pam Gardner. But they were all secondary to Anita O'Day, who was a huge influence on me. So was Frank Sinatra. I loved Frank, and I still do. And Astaire; he phrased the way he danced; so effortless and light and classy. I liked his approach.
"I listened to instrumentalists, too, including Dizzy Gillespie and Art Farmer. My dad had a lot of West Coast jazz, Chet Baker, Dave Brubeck, Paul Desmond. I listened to them, but I focused on the singers. I learned by singing along with them. I decided I wasn't going to be disciplined enough to do scales, so I thought, 'why don't I just see if I can find out how Billie Holiday got that sound and how Carmen McRae got her sound.' I'd sing with them over and over. I call it standing on the shoulders of giants. You sort of go along for the ride and see what it feels like. Then, as I got a chance to sing with rhythm sections, I'd experiment, throwing in an Ella Fitzgerald lick or a Sarah Vaughan lick, but at the same time struggling with how to become an individual, which is a lifelong endeavor. I didn't do all that well in school because I was mostly skipping out to work on music."
REVIEWS:
Greta's dynamics and phrasing are always distinctive and exciting as she has tremendous range……a powerful, whiskey voice able to explore her own dimension—The Voice 88.7FM
"There was Matassa herself, whose voice can ping and pong along the highest riffs and effortlessly belt down to the darkest whiskey tones. She paid tribute to 14 legendary singers from Billie Holiday to Frank Sinatra, suggesting each singer's spirit and style while making each song unmistakably her own." ——Seattle Times
"Greta Matassa's singing is touched by genius" ——Encyclopedia of Northwest Music
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Andreas Öberg was born in Stockholm on August 6, 1978.
Andreas got into playing the guitar, strongly encouraged by his first guitar teacher who also introduced him the world of jazz. In 1994 Andreas began his studies at Södra Latins Gymnasium where he stayed for three years. During this period he discovered and listened to many of the worlds greatest guitar players, both traditional and modern.
At the age of 18, Andreas got the chance to perform with Peter Johannesson Band, including many of Sweden's top jazz artists and in 1998 he was admitted to the Royal Music Academy in Sthlm (graduated in 2002). During recent years Andreas Öberg has been working with his own projects as well as performing with artists in many different styles such as Jimmy Rosenberg, Putte Wickman, Joey DeFransesco, Mark Murphy, Stochelo Rosenberg, Ken Peplowski, Philip Harper, Wendell Brunius, Angelo Debarre, Marian Petrescu, Byron Landham,Dorado Schmitt, Florin Nicolescu, Boulou&Elios Ferre, Jesper Thilo, Jan Lundgren and Leroy
Jones, just to name a few.
Andreas Öberg plays both mainstream jazz, modern jazz and gypsy swing alá Django
Reinhardt. Andreas' playing has astonished listeners all over the world, with his personal combination of energy, tone, swing and technique.
In 2002 Andreas was given the Jazzclub Fasching Award,he was the winner of a national competition for young upcoming musicians and was also nominated for The Guitar People Prize, among some of Swedens most famous guitar players.
Andreas was proud to receive The Albin Hagström Scholarship in 2003 (Swedens finest prize for young promising guitarists) and the prestigeous Louis Armstrong Scholarship from the Swedish Trad Jazz Society. In November 2004, Andreas received the "Gevalia-Prize", the finest award for young musicians in Sweden and was also nominated again for Guitar People Prize, this time along with great guitarists Ulf Wakenius and Rune Gustafsson.
In the beginning of 2005, Andreas launched his CD "Young Jazz Guitarist". The CD is mainly a bop-album featuring Marian Petrescu, the Romanian piano-genius. Andreas did his first American tour in January 2005 and was featured in the May 2005 issue of Orkester Journalen (Swedens largest jazz magazine).In February 2006 Andreas released a cd with arrangements for solo guitar, simply called "Solo".
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What's a 19-year-old from Nashville, Tennessee doing singing jazz? It's a good question, but one that Rachael Price finds easy to answer. “I appreciate all kinds of music, but jazz hit an inner chord with me at the age of five. I heard Ella Fitzgerald's rendition of The Lady is a Tramp. I didn't understand the lyrics, but I liked the feeling it gave me.”
Price has dedicated her life to her love. She is a jazz studies major at the New England Conservatory in Massachusetts. “Prior to attending the Conservatory, it was like getting the gist a foreign language,” Price said, “but not understanding every word. Now I know what each word means and those special nuances.” In fact, some great talents in and from Massachusetts have already impacted the young singer. Cambridge-born, multi-Grammy nominated jazz vocalist Nnenna Freelon brought the young singer to the attention of her manager after Freelon heard her in her clinic in Montreux. Now under the tutelage of Dominique Eade at the Conservatory, Rachael is focusing on repertoire, improvisation and style, among other things. And Price is proving that something special in her voice and style is bridging the worlds inhabited by these illustrious tcontemporary vocalists and those of lore and history: noted actress/singer Kathryn Grayson of MGM fame says of Price: "The best young voice I've heard, period. No one around can even touch her voice and style -- a style all her own."
In 2003, Price was tapped by the Grammy Foundation as a vocalist with the High School Grammy Jazz Choir, and she was a semi-finalist at the Montreux International Jazz Vocal Competition in France. In 2004, Price wowed the audience (and was the youngest competitor) at the Thelonious Monk International Jazz Competition (this year for vocalists which last time around brought Jane Monheit to prominence and Terry Thornton to resurgence). And August 2005 brought her professional U. S. jazz festival debut –– opening for Joshua Redman (another Thelonious Monk Jazz Competition alum)!
“Jazz is sincere. It is real. You can convey——tell a story with your voice.” And, Rachael Price is already telling her story.
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CATHY ROCCO’s song interpretations are uniquely hers. A seamless blend that draws equally from Jazz, Blues, and the Classics, she sings with a deep conviction that embodies her beautiful spirit and dedication to her artistic vision.
Born in Pittsburgh, PA with her six siblings, she studied Classical Piano from the age of 8, and started singing professionally with her sisters at age 10. She and her sister Connie eventually toured the country as the Rocco Sisters, during which time they received a recording contract with Sutra Records, and were featured on the cover of the USA Today’s Life section. Following her sister’s retirement in 1996, Cathy emerged as a seasoned solo jazz artist. Her stylistic presentation evokes a strong sense of who she is and what she wants to say.
Cathy Rocco has recorded with George Mesterhazy (Shirley Horn), James Genus (the Letterman Show), Jim Ridl (Pat Martino), Dan Sadownick (Michael Brecker), Marlon Simon (Chucho Valdes), and a host of others.
She has recently opened for the Dizzy Gillespie All Stars, featuring James Moody, Pat Martino and Joey DeFrancesco.
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Saxophonist Ralph Moore introduced Dave Kikoski to Roy Haynes in 1986. Kikoski is still a first-call member of Haynes' band and one of the most fluent young pianists working today. Born in 1961, Kikoski is a musician who can swing forcefully as an accompanist and apply his adventurous harmonic ideas to various improvisational contexts.
Dave’s dad, a part-time musician, started teaching his son Duke Ellington and Count Basie songs when he was seven. By 1984, he’d graduated from Berklee and the next year, moved to New York, where he was soon playing with some of the best musicians on the planet, including Billy Hart, Randy Brecker, Red Rodney and Craig Handy.
Dave has worked with Roy Haynes for nearly fifteen years now, recording with the percussion legend, most memorably on 'When It’s Haynes It Roars'. Comfortable in many Jazz contexts, he’s also worked with Guilhermo Franco, Toninho Horta, David Sanchez, Pat Martino, John Patitucci, and Joe Lovano,to name a few.
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On keyboards we are importing one of the music world’s jazz “secrets”, a brilliant musical genius named Kuno Schmid, from Germany. Kuno is one of Germany’s most in-demand composers, arrangers, and jazz pianists, and has worked with many of the great jazz U.S. players including Ernie Watts, Russell Ferrante, Alex Acuna, and many more. He is probably best known in the U.S. for his work as arranger, and keyboard player on two marvelous CD’s from the 1990's featuring the great French jazz guitarist Bireli Lagrene: “My Favorite Django” and “Acoustic Moments”. Kuno plays piano with great passion, and a technique rivaling that of Oscar Peterson.
Born December 1955 in Stuttgart, Germany, Kuno studied piano and composition at Stuttgart University for Music and Performing Arts. At the age of 11, he listened to a record of Oscar Peterson which led him straight to jazz music. He was also interested in electric keyboard-oriented jazz/fusion.
As a pianist/keyboardist, Kuno traveled through Europe, North Africa and the United States. He had an engagement at New York's Village Vanguard and a performance at the Hollywood Bowl. Kuno had an artist contract with New York-based label Big World Music. He also produced records for Blue Note. As a jazz musician, he played/recorded with Billy Cobham, Robben Ford, Anthony Jackson, Toots Thielemans, Joe Zawinul, Chaka Khan, Alex Acuna and many others.
At age 21, Kuno started arranging and composing orchestral music for all kinds of records and received GEMA's Orchestral Composition Award. (GEMA is a European performance rights organization much like BMI and ASCAP in the USA). Kuno earned two gold records for commercial music productions.
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Mike Garson, a true virtuoso, has had a very diverse career. He started playing piano when he was seven, studied classical music for ten years, graduated from Brooklyn College, served in the military, and then joined a rock group called Brethren that recorded. Garson soon gained experience freelancing with a wide variety of performers, including Mel Tormé, Thad Jones, and Annette Peacock; he also studied with Lennie Tristano and had an important six-hour lesson with Bill Evans. Garson toured with David Bowie from 1972 to 1974, moved to Los Angeles, and worked with Freddie Hubbard and Stanley Clarke (1978). He became a busy studio musician (both composing and performing prolifically) and in 1982 joined Free Flight, a group that switches back and forth between classical, straight-ahead jazz, and funkier rhythms. Garson has recorded jazz as a leader for Contemporary (1979), Jazzhounds, Chase, and Reference. ~ Scott Yanow, All Music Guide
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Born in Rio de Janeiro in 1955, Romero Lubambo studied classical piano and music theory as a young boy. From the time he played his first notes on the guitar at age thirteen, he devoted himself to that instrument. Lubambo graduated from the Villa-Lobos School of Music in Rio in 1978, an outstanding student of classical guitar; and, in 1980, received a degree in mechanical engineering from the Pontificia Universidade Catolica do Rio de Janeiro.
The rhythms and melodies defining Brazilian music and American jazz fascinated Lubambo. He taught himself through intense research and practice, developing exceptional skill, versatility and fluency in both jazz and Brazilian idioms. In 1985, Romero left Brazil for New York, where he became very much in demand, not only for his authentic Brazilian sound, but also for his command of a variety of styles. After reconnecting with fellow Brazilians Duduka da Fonseca and Nilson Matta, their impromptu sessions eventually led to the formation of Trio da Paz, a Brazilian Jazz trio widely recognized for their innovation, creativity and dynamic intensity. The group has become a major force in revitalizing and evolving the rich Brazilian musical legacy. Since their successful debut album "Brazil From The Inside" Trio da Paz has continued to break new ground with their special blend of traditional Brazilian rhythms and jazz improvisation.
Romero has also established himself as a composer and performer on his own critically acclaimed recording projects and collaborations with many outstanding artists, including Dianne Reeves, Michael Brecker, Yo-Yo Ma, Kathleen Battle, Diana Krall, Herbie Mann, Wynton Marsalis, Jane Monheit, Kenny Barron, Ivan Lins, Grover Washington Jr., Vernon Reid, Flora Purim and Airto, Sadao Watanabe, Paquito D'Rivera, Harry Belafonte, Larry Coryell, Gato Barbieri, Leny Andrade, James Carter, Paula Robison, Dave Weckl, Claudia Acuña, Jason Miles, Regina Carter, Luciana Souza, Gil Goldstein and Cesar Camargo Mariano among many others.
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Pianist/composer/singer, Eliane Elias is known for her distinct and immediately recognizable musical style which blends her Brazilian roots with her impressive jazz and classical skills. Born in Sao Paulo, Brazil, Eliane Elias' musical talents began to show at an early age. She started studying piano at age seven and at age twelve was transcribing solos from the great jazz masters. By the time she was fifteen she was teaching piano and improvisation at one of Brazil's most prestigious schools of music. Her performing career began in Brazil at age seventeen, working with Brazilian singer/songwriter Toquinho and the great poet Vinicius de Moraes who was also Antonio Carlos Jobim's co-writer/lyricist. In 1981 she headed for New York and in 1982 landed a spot in the acclaimed group Steps Ahead.
Her first album release was a collaboration with Randy Brecker entitled Amanda in 1984. Shortly thereafter her solo career began, spanning over fifteen albums to date on Blue Note Records. In her work Elias has documented dozens of her own compositions, her outstanding piano playing and arranging, and several beautiful vocal interpretations. All of her recordings have garnered a great deal of praise from the critics and all have topped the Billboard and Jazz Radio charts.
In 1988 she was voted Best New Talent by the jazz critics poll of JAZZIZ magazine.
Together with Herbie Hancock in their duet, she was nominated for a Grammy in the "Best Jazz Solo Performance" category for her 1995 release, "Solos and Duets". This recording was hailed by Musician Magazine as "a landmark in piano duo history."
In the 1997 Downbeat Readers Poll, her recording "The Three Americas" was voted Best Jazz Album. Eliane Elias was named in five other categories: Beyond Musician, Best Composer, Jazz Pianist, Female Vocalist, and Musician of the Year. Eliane Elias sings Jobim was number one vocal record in Japan s music charts for over three months and awarded the Best Brazilian Album in Jazziz Critics Poll of 1999. As a guest artist she has appeared on performances and recordings with Joe Henderson, James Taylor, Michael Franks, Mingus Dynasty, Andy Summers, the Grammy winning Brecker Bros. Out of the Loop, Earl Klugh and Toots Thielemans Brazil Project , Denyce Graves, Steps Ahead and Calle 54, to name a few.
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Critically acclaimed voice, eclectic musical palette, recipient of the 2001 Michigan council of the Arts/Artserve Michigan Jazz Composers Award, Six time ASCAP Award winning songwriter, and Jazz educator, define Kathy Kosins the Jazz artist.
A serious musician from Detroit, she began singing and arranging background vocals for producer Don Was in the early eighties, acquiring over 35 credits to her name. As a lead vocalist she recorded for both Cararre (Sony) and Quality Records then toured with Was/Not Was. By the early nineties, her musical taste in R&B evolved to straight ahead Jazz. Stints with the JC Heard and Nelson Riddle Orchestras followed and led to a 1996 release of "All In A Dreams Work" (Schoolkids Records), an impressive debut featuring a first rate collection of nine originals and a cover of Miles' Four. Reported by over 250 Jazz stations, she reached the top 20 in the Gavin. Her 2002 release of "Mood Swings" (Chiaroscuro Records), continues to bring her recognition and success at the national level. On "Vintage" (Mahogany Jazz), she rediscovers little known songbook gems which she places alongside a few widely known, yet unexpected tunes from outside the jazz tradition. She is supported by a stellar cast of instrumental talents including pianist/arranger Aaron Goldberg, bassist Reuben Rogers, drummer Eric Harland, guitarist Peter Bernstein, flugelhornist Jeremy Pelt and multi-instrumentalist John Ellis.
Kathy torches her way through the sessions, infusing her original material with the romance of the swing era.
Audiences respond immediately to her music. Directly focused, expressive and sexy, with a tinge of soul around the edges, Kathy Kosins is a strong performer who delivers a song in smashing fashion.
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Enrico Pieranunzi is one of Europe's best jazz pianists, and lives in Italy. He began studying piano when he was five, partly from his father who was a jazz-loving guitarist. Pieranunzi became a professional when he was 19, playing with trombonist Marcello Rosa's quartet. Since then, in addition to leading his own groups, Pieranunzi has worked with many top players (both Europeans and Americans) including Franco Ambrosetti, Chet Baker, Benny Bailey, Art Farmer, Curtis Fuller, Johnny Griffin, Charlie Haden, Jim Hall, Lee Konitz, Sal Nistico, Enrico Rava, Tony Scott, Kai Winding and Phil Woods. Enrico Pieranunzi, who teaches at a conservatory, has done studio work and sometimes works as a chamber music soloist. He has recorded several impressive jazz sets as a leader for Enja, Timeless and especially Soul Note.
Famous jazz Critic Bat Hentoff has called Pieranunzi
“a luminously lyrical pianist, with a constant flow of ideas”
If you want to hear depth, beauty, joy, and most of all, passion, come hear the Italian master of jazz piano and the superb interplay with his two muscial compatriots.
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Jazz pianist Steve Kuhn has been on the scene for over 40 years. "The Rough Guide to Jazz" describes him as "a vastly accomplished player and a prolific composer."
In New York he worked with Kenny Dorham's group (1959-1960). Kuhn was the original pianist in John Coltrane's Quartet, playing for two months before McCoy Tyner succeeded him. He was with the bands of Stan Getz (1961-1963) and Art Farmer (1964-1966), lived in Europe (1967-1970), and then returned to the U.S. in 1971. Kuhn doubled on electric piano in the 1970s, recorded for ECM, and co-led a group with Sheila Jordan in the latter part of the decade. After a period playing commercial music, he formed an acoustic trio in the mid-'80s, which has been his main vehicle ever since. Steve Kuhn has recorded as a leader for Impulse (1966), Contact, MPS, BYG, Muse, ECM, Blackhawk, New World, Owl, Concord, and Postcards.
Steve Kuhn's tone production and keyboard dynamics set him apart from other pianists. Those assets were developed under the guidance of the Boston piano tutor Margaret Chaloff. Madame Chaloff schooled Kuhn in the "Russian technique," which has enabled him to make the piano's lower register hum like a string bass, and its upper register ring like chimes."
Len Lyons,The Great Jazz Pianists
Mr. Kuhn is a lighthearted, quirksome romantic--a melodic, rhythmic pianist who can set a quiet, breathless mood and carry it to tantalizing extremes or build a high-spirited, stomping segment with such enthusiastic vigor that, as happened Thursday night in one frenzied climax, his watch falls off his wrist."
John S. Wilson,The New York Times
"The most amazing aspect of Kuhn's playing is his touch control on the piano. His mastery of the soft muted hues and the loud thunderous colors of the piano is unmatched in jazz. One would have to go to classical masters such as Horowitz to find a similar tone control."
Ted Gioia,The Stanford Daily
website: stevekuhnmusic.com
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Whether driving a raw swing or interpreting a tender ballad, there is always a certain sophistication and beauty in the music of Christian Jacob. French pianist Christian Jacob began playing at the age of four and graduated with First Prize from the "Conservatoire National Supérieur de Musique" in Paris. In 1983, he enrolled at the Berklee College of Music in Boston and later joined the faculty. While attending The Berklee College Of Music, "Downbeat Magazine" honored Christian as "Top Collegiate Jazz Soloist" and in 1988 Christian won the 6th Annual Great American Jazz Piano Competition in Jacksonville, Florida. After graduating, Christian joined the Maynard Ferguson Big Band, as pianist, composer, arranger and musical Director. It was through Christian’s association with Ferguson that brought about his two Concord recordings: "Maynard Ferguson Presents Christian Jacob" and "Time Lines". Also an accomplished writer, Christian is often commissioned to write for big bands and symphony orchestras. "Helvetic", a 45 minutes Inaugural piece for Jazz quintet and symphony orchestra has been recorded on the Swiss Radio Label "SRI". The success of "Helvetic" brought about "The 6 Cycles" composed and performed in Bangkok in celebration of his Majesty The King of Thailand’s 72nd birthday. In the last 3 years, Christian has concentrated on recording and touring with 2 great jazz vocalists: Flora Purim (Perpetual Emotion, Speak no Evil) and Tierney Sutton (Blue in Green, Something Cool, Dancing in the Dark), and is currently promoting his latest trio recording "Styne & Mine".
Reviews:
Keyboard Magazine:
"A talented jazz piano newcomer, Christian Jacob shines and has the post-Bill Evans sound well in hand."
Benny Golson - October 2004:
"This is real jazz at its finest. You owe it to yourself to listen to this man."
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Annie Sellick is the kind of jazz singer who entertains, captivates and charms her audience. Always a pure vocal instrument, she knows how to swing, and brings new life to jazz standards, originals, and unusual lesser known material. Voted Nashville's best jazz artist three years in a row, Annie is already a huge favorite whenever she visits in Los Angeles. Don't miss her, accompanied by the great Gerald Clayton Trio.
Listen to selections from her new CD "A Little Piece of Heaven" at CDBABY.COM
From the L.A. Jazz Scene by Roger Crane:
"A Star in the Making: Annie Sellick at the Vic"
"Annie Sellick is very much a jazz singer, who focuses on the music, but she is also a storyteller...
She is a masterful jazz singer who is so adept at handling time that everything she sings has a deeply relaxed, swinging pulse... She quickly put smiles on the faces of her accompanying musicians. Not too many divas do that...
After now seeing Sellick perform twice I see no reason why she should not be a star."
Dale Olson, columnist:
"...a young stylist with her own unique delivery and vivid musical capacity... She knows exactly what she's doing, phrasing so genuinely that she immediately connects with the emotion of the songs and the hearts of the audience...Sellick can be as funky and Honky Tonk as the Gay Nineties Beatrice Kay or as earthy as Janice Joplin."
" No small credit goes to the remarkable musicians whose superb musicality blend perfectly with the singer's expression..."
From the L.A Times "Jazz Spotlight" review of this CD by Don Heckman:
"Sellick's buoyant singing brings to mind the question of how Janis Joplin might have sounded had she been born 40 years later and focused on jazz. But there's more than Joplin in Sellick's well-formed style, which also includes traces of Anita O'Day's roughhewn rhythms, Ruth Brown's blues and - even more - her own utterly unique musical personality... She sings everything with an ineffable, perky enthusiasm. But Sellick's most attractive quality may be the manner in which she has transformed her influences into her own, immediately identifiable style. She's a comer"
Other reviews:
The Nashville Rage:
"Sellick has all the tools to become an internationally recognized jazz star: a massive and malleable voice, a hip musical know-how steep in the classics, and a striking and seductive image."
Greg Lee, Program Director at WMOT Nashville, TN
"Ella's (Fitzgerald) playfulness, Carmen's (McRae) attitude, Betty's (Carter) instincts, and Anita's (O'Day) flair. What singer possesses such gifts yet has her own distinct sound? Annie Sellick. She touches everyone..."
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I (George Klabin) have nicknamed Angela Hagenbach the “Whole Package”. She comes wrapped in a stunning 6 foot tall, slender frame, and when she unwraps her voice you will be amazed at her talent and abilities.
She is a very (very) beautiful former world-famous world-class fashion model (runway and photo modeling for the big fashion houses like Dior), who decided to become a jazz singer after ending her successful fashion career in her thirties.
She came from a musical family where everyone played an instrument, and she played trombone at age 7.
Despite being beautiful, intelligent, charming, and successful, Angela can actually REALLY SING! She has a three octave range and she is a true musical instrument - pure jazz improvisation at its best! She loves to use her range and her excellent vocal technical abilities, and she really knows how to swing. As a seasoned performer, she puts on a great show, visually and vocally! She performed to standing ovations at the Vic in Santa Monica, in early 2005.
She likes to do standards mixed with some originals and lesser known songs.
Angela is also a talented songwriter, arranger, and producer who has 5 CD’s on her own Amazon records Label. Her website is Amazonrecords.com .
Please check her out live in performance on the Performers AUDIO TRACKS
Accompanying Angela on November 6th will be one of L.A.'s most in demand bassists, Jeff D'Angelo, also a top studio player in the L.A. recording studios.
From a review of Jeff in live performance, written by John Gilbert for jazzreview.com:
"Jeff D'Angelo has everything a Bassist could ask for, his soliloquies are well thought out gems, his time is as accurate as a Rolex, and his contribution to the ensemble is the straw that stirs the drink. "
We are honored to have the great drummer/percussionst Walfredo Reyes join Angela. She likes to perform songs with Latin or Brazilian flavors and Walfedo excels at these, as well as standard jazz.
On keyboards we are importing one of the music world’s jazz “secrets”, a brilliant musical genius named Kuno Schmid, from Germany. Kuno is one of Germany’s most in-demand composers, arrangers, and jazz pianists, and has worked with many of the great jazz U.S. players including Ernie Watts, Russell Ferrante, Alex Acuna, and many more. He is probably best known in the U.S. for his work as arranger, and keyboard player on two marvelous CD’s from the 1990's featuring the great French jazz guitarist Bireli Lagrene: “My Favorite Django” and “Acoustic Moments”. Kuno plays piano with great passion, and a technique rivaling that of Oscar Peterson.
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GAIL WYNTERS first found her calling in her father's Nazarene church back home in Ashland, Kentucky, belting out some impromptu baby blues one morning in the middle of Sunday services. The rest of the family were up front performing when the youngest, all of 18 months, decided it was time to join the family chorus. Later, when the family toured churches and singing conventions throughout the South, they were dubbed, "The Shivel Family Singers with Gail - The Little Girl with the Built-in Speakers." While a teenager, Gail was asked by Stan Kenton to go on the road, but her father prohibited it because he felt she was too young. In the 1970's she arrived in New York where she was booked into the Rainbow Grill Room with a 16 piece orchestra to rave New York reviews, and appeared on television billed alongside Tony Bennett, Dionne Warwick, & Roberta Flack, working with Rufus Reid and Dick Katz. She has played the Monterey Jazz Festival with John Lewis, Clark Terry and Ray Brown, sang with the Lionel Hampton Big Band, and toured Russia, Europe and South America numerous times. She has been nominated for a Grammy, and starred in two off-Broadway productions. Other notable artists whom she's headlined with are Roger Kellaway, Junior Mance, Al Grey, Tito Puente, Lew Soloff, Jon Faddis, Jackie and Roy, Dave Brubeck, Billy Taylor, and Airto Moreira.
Exerpt from review by John Anderson in New York Newsday:
"...a true vocal marvel, one who wears her heart on her sleeve, and yet is always her own woman, always an original stylist. To this day, she'll break into song at the drop of a hat, a constant, flowing river of music always seems to be running through her head. Music makes her happy, even if she uses it to break our hearts."
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