(Vocal Jazz) Eugenie Jones - Black Lace Blue Tears - 2013, MP3, 320 kbps

"Some people speak of dreaming in color. I’d say I dream in jazz and wake the next morning with lyrics and arrangements in my head. Here – in front of microphone and behind a pen - sharing those dreams with others – is where I feel most at home.”
Eugenie Jones first appeared on the jazz scene in Seattle, WA. Audiences raved over her sound and described her uniquely sultry voice as one that they could listen to all night.
"I never imagined myself growing up and someday singing before audiences. My undergrad and graduate degrees are in business and I've spent the bulk of my professional life in marketing and business development.
In my mind my mother was the singer in our family. As my Father directed Sunday morning choirs, her soprano voice rung out over all others and was a constant backdrop around our house.
She lived the last years of her life with me and after I lost her to cancer, over time I found myself more and more missing the sound of her singing filling the rooms of our home and hearts. That longing led me to explore my own ability as a singer and to ask myself, "I wonder if I can.....?"
Seeking an answer to that question led me to Seattle's jazz community, voice coaching with the incomparable Greta Matassa and connection to musicians such as Darin Clendenin, Randy Halberstadt and Bill Anschell. Most importantly, seeking solace and self-discovery lead me to the realization that I have a voice and the heart to share it.
I know you're in heaven smiling at me Mom; likely saying, "I knew it all along."

Seattle-based vocalist/composer/arranger Eugenie Jones didn't start out as such. A business and marketing major in college, Jones graduated and went on to be a business owner, consultant and all-around marketing roustabout. But life is never so simple and after her mother's death, Jones decided that it was time to pursue music as a vocation. On her debut Black Lace Blue Tears Jones flexes all of her creative muscles assembling nine originals and interpreting two standards, all at a high level.
Jones taps the talent pool of the Seattle area for her support, snaring pianist Bill Anschell, bassist Clipper Anderson, drummer Mark Ivester and guitarist Michael Powers (all ubiquitous at Origin Arts). How she avoided the gravitational pull of the label is a modern marvel. That said, Jones proves she can compose in any vocal idiom infused with jazz, as shown on the Bacharach/David-tinged "A Good Day" or the Stevie Wonder-inspired "Can You Dance." "All The Kings Men" possesses an "Angel Eyes" quality, minor key and smoky, while the title cut reflects Linda Ronstadt. Clipper Anderson's deft bass seamlessly transforms the traditional jazz orientation into a crossover mode where nothing is lost in the translation.
Jones' interpretation of Paul Desmond's "Take Five" uses the lyrics written by Dave and Iola Brubeck. She removes the odd meter element, smoothing the piece with a warm and liquid delivery. "My Funny Valentine" holds up well to her interpretation, surely the trillionth performance of such. Jones is both daring and naive to cover the time honored ballad, but capably pulls it off because of her sheer and fearless talent. It is difficult to hear Black Lace Blue Tears as a debut recording because of its refinement. It should be interesting to see how Jones develops from here.

Eugenie Jones: vocals; Bill Anschell: piano; Clipper Anderson: bass; Mark Ivester: drums; Michael Powers: guitar.

Оф.сайт : http://www.eugeniejones.com/