Nicole Henry

Nicole Henry has won praise from both critics and audiences worldwide for her powerful ability to truly touch and inspire people with her beautiful voice and stunning presence. She has released three international TOP 10-selling jazz CDs within the past five years and has toured in over ten countries. Jazz Improv writes, “…beautiful, emotionally evocative…a terrific voice and a sensitive way with a lyric.” It’s with that same sensitivity that Nicole Henry mesmerizes audiences wherever she goes. Uplifting and captivating, her voice embraces jazz, pop and soulful nuances with a spirited ‘joie de vivre.” Born in Philadelphia, Nicole was raised in the arts haven of Bucks County. After graduating from the University of Miami, Nicole performed throughout Miami singing pop, soul and original music, winning local awards and lending her voice to recordings. In 2004, after falling in love with the melodies, lyrics and freedom of jazz, Nicole released her solo debut CD The Nearness of You to critical acclaim. In the U.S., Nicole received rave reviews and airplay on national jazz radio, including XM and Sirius Satellite Radio. In Japan, after climbing to #2 on HMV Japan Jazz Charts, and staying in the TOP 10 for three months HMV Japan named Nicole “Best New Jazz Artist of 2004.” Her follow-up CD, Teach Me Tonight with the Eddie Higgins Trio reached #1 at HMV Japan, and earned her their honor of “Best Vocal Jazz Album of 2005.” Nicole’s latest CD release, The Very Thought of You reached #7 on the U.S. Billboard Jazz Chart in September 2008, positioned between Diana Krall and Tony Bennett. This romantic CD features love songs, originals and gems from the great American Songbook. It was produced by music veteran Hal Batt (Regina Belle, Jean Carne, Julio Iglesias) with an assist from Executive Creative Producer Don Mizell (co-producer of Ray Charles’ Genius Loves Company). Nicole’s...

Lorraine Feather, Ages

As the daughter of respected jazz critic, Leonard Feather, Lorraine Feather comes to her jazz pedigree honestly, but more from natural talent than dogged filial loyalty. In possession of a pure, rich voice, she tried acting—along with some discouraging stints in the food industry—before finding her multi-colored niche in singing and composing. Ages, about the epochs that women of “a certain age” look back on, is full of artistry and humor. Co-written with Yellowjackets pianist/arranger Russell Ferrante, guitarist Eddie Arkin, pianist Shelly Berg, banjoist Bela Fleck and pianist/arrangerDick Hyman, Feather plays the light-hearted schoolgirl, then revolves back to a deep-hearted but not cloying look at ages long lost. “I Forgot To Have Children” is a great tongue-in-cheek look at an issue that nary a single woman has not considered when looking at the end of their culture- driven “shelf life.” Yet it’s not a clichéd look, either. Her lyrical arabesques can elicit moments of pensive thought as well as guffaws of laughter. With musical dexterity—a very credible tribute to the 1890’s pop musical ballads with “The Girl With the Lazy Eye”—she comments on anything from the girl who doesn’t fit in the usual cliques in high school to the surprised commentary that all have asked, “How Did We End Up Here?” From straight-ahead mainstream jazz to ballads that defy a sugary overlay, then to an elegant bossa nova, Feather’s back-up musicians easily keep pace with her strong, smooth vocals. With bassist Michael Valerio and vibraphonist Bob Leatherbarrow augmenting the rest of the group, their originality meets Feather where she lives, in an intelligent, witty, sometimes pathos-ridden world. That, in the end, is what shines on Ages. This is not a “chick’s album.” Yes, there are the inevitable songs about significant relationships, but none are hackneyed or gender-driven. No more can be asked than that Lorraine Feather has produced a polished yet very engaging look at this life. It...

Katie King, Harry’s Fight

To paraphrase a line from the film, “Jerry Maguire,” vocalist Katie King “had me at (her musical) ‘hello’ ” on this album. This lady is, without a doubt, the finest singer I’ve heard in years. She can handle any style, and her unique approach makes each style her own. Her voice is marvelous and her phrasing impeccable, and she hits every note dead-on. There’s no “hunting,” yet she can “bend” her voice for effect as necessary. If her singing weren’t enough, King is backed by as tasty and swinging a quartet as you’ll ever hear: Bill Anschell on piano; Jeff Johnson on Bass; Craig Flory on sax, bass clarinet and flute; and D’Vonne Lewis on...

Dee Dee Bridgewater, Eleanora Fagan (1917-1959): To Billie With Love From Dee Dee

Over the course of a multifaceted career that has spanned four decades, Dee Dee Bridgewater has risen to the top tier of today’s jazz vocalists, putting her own unique spin on standards as well as taking intrepid leaps of faith in re-envisioning jazz classics. For her latest recording, Eleanora Fagan (1917-1959): To Billie With Love From Dee Dee, Bridgewater honors an iconic jazz figure, Billie Holiday, who died tragically at the age of 44 a half-century ago. “This album is my way of paying my respect to a vocalist who made it possible for singers like me to carve out a career for ourselves,” says Bridgewater, who performed the role of Holiday in the triumphant theatrical production, Lady Day—based on the singer’s autobiography, Lady Sings the Blues—staged in Paris and London in 1986 and 1987. “I wanted Eleanora Fagan to be something different: more modern and a celebration, not a [recording] that goes dark and sullen and maudlin. I wanted the album to be joyful.” Bridgewater adds that Eleanora Fagan goes far deeper than being a tribute album of retreaded Holiday tunes. “Billie deserves to have her music heard in another light,” she says, “and I definitely didn’t set out to imitate her.” Key to the fresh approach is pianist Edsel Gomez, Bridgewater’s longtime band mate who wrote new arrangements for the 12 songs on the album, including the African polyrhythmic-charged interpretation of “Lady Sings the Blues, “ a reharmonized version of “All of Me” and the gospel-tinged “God Bless the Child.” Says Bridgewater: “Edsel is an extremely gifted, talented arranger with very modern ideas. Edsel has the ability to be modern and work in a tasteful fashion.” Gomez took on the daunting challenge of bringing new life to the music with enthusiasm. “I listened to everything Billie Holiday ever recorded,” he says. “I let her music speak to...

Cheryl Conley, Lemon Twist

“Phrasing with the sensitivity of a horn player, her intonation flawless” was quoted by Leonard Feather of the Los Angeles Times, while others have crowned her style, and showmanship of music, as the rebirth of Jazz. Cheryl Conley native of Pasadena California, and the eldest daughter of Britt & Alice Conley, remembers hearing the sweet sounds of Billie Holiday, Nat King Cole, and Etta James. Her musical talent was apparent at an early age, chosen as lead in her second grade spring program. Playing the flute by 5th grade awarded Cheryl a vocal scholarship in the 10th grade to attend the USC Idyllwild School of Music and the Arts summer program. Joining the Ike and Tina Turner Review as an Ikette during her senior year in high school, Cheryl has been quoted saying “I wrote my mother a note and took off”. The Ike and Tina Turner Review as set to open for the Rollin Stones in England in May, but Cheryl decided graduating from High School in June was her first priority, so she elected to stay behind. Cheryl hit the ground running, first recording “I Found Someone of My Own” with Columbia Records pop group, The Free Movement in the 70’s, and later featured as lead vocalist with The Cal State University Los Angeles Jazz Band opening the historical Playboy Jazz Festival in 1982. Cheryl was the first voice major to receive a music degree in Jazz Studies from Cal State University Los Angeles. Later years, Cheryl was standing performer at Palermo Restaurant in Hollywood, Catalina’s Bar and Grill, The Hip Kitty, and Nick & Stef’s in Los Angeles, as well as, opening two venues, Café 322 in Sierra Madre, CA, and Red White and Blues in Pasadena, CA. In April 2008 Cheryl self produced her first production “A Tribute To Women In Jazz”. The Show featured...