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Crossover Media music promotion works a diverse linuep of well known and developing artists to terrestrial radio and online media.
Client list includes:  Sony, Verve/UMG, Warners, Concord, Disney, eOne


For more information contact Max Horowitz    maxcrossover@gmail.com

 

"Music is a science. Music is mathematical. Music is a foreign language. Music is History. Music is physical education. Music develops Insight and demands research. Music is all these things, but most of all, MUSIC IS ART. That is why we teach music. Not because we expect you to play or sing all your life...But so you will be human...So you will recognize beauty...So you will be closer to an infinite beyond this world...So you will have something to cling to...So you will have more love, more compassion, more gentleness, more good- in short, more LIFE."   - Ludwig van Beethoven

Top 10 Albums For December 5, 2022

  • Konstantin Reymaier

    Cesar Franck - Trois Pieces & Trois Chorals

    2022 marks the bicentenary of César Franck, undoubtedly one of the most prolific composers in 19th century France. Of German ancestry, born in Liège, Belgium, he made his career in Paris. He left a substantial oeuvre of orchestral, choral and chamber music as well as pieces for piano and organ. He was one of the first musicians to take up the harmonic developments of Richard Wagner, and transformed them into his own unique musical language which in turn shaped the further development of French music.

    Among his most beautiful and poetic works are two sets of pieces written for the organ: Trois piéces and Trois chorals. The first set was written for the inauguration of the organ in the Palais du Trocadéro, built for the Exposition Universelle (or World’s Fair) of 1878. The second was composed over the course of two months in the summer of 1890; Franck died in November of the same year, and the works were published posthumously in 1891.  

    While most recordings of Franck’s music use historical instruments by Aristide Cavaillé-Coll, this recording features the large organ at St. Stephen’s Cathedral in Vienna which was completed in 2020 and has attracted great international attention, due to its tonal qualities. Naturally, they are different to the sounds Franck himself would have had at his disposal. Nevertheless, the softness and sheer abundance of colours make it very suitable for these pieces and show their orchestral qualities in a different light. The present recording includes detailed and insightful liner notes by organist Konstantin Reymaier.

  • Various

    A Tribute to Ryuichi Sakamoto,To the Moon and Back

    Milan Records today releases A TRIBUTE TO RYUICHI SAKAMOTO – TO THE MOON AND BACK, a collection of songs from Sakamoto’s vast catalogue newly reworked and remodeled by contemporary artists and collaborators. Available everywhere now, the album features contributions from THUNDERCAT, DEVONTÉ HYNES, HILDUR GUÐNADÓTTIR, THE CINEMATIC ORCHESTRA, DAVID SYLVIAN, ELECTRIC YOUTH, ALVA NOTO and more, each of which were hand-selected for the project as either past collaborators, friends, admirers, or personal favorites of Sakamoto.

    Envisioned by Sakamoto’s management team and Milan Records, A TRIBUTE TO RYUICHI SAKAMOTO – TO THE MOON AND BACK features artists across generation and genre, each with their own connection to the iconic musician. From contemporary admirers of Sakamoto’s work like Thundercat, Devonté Hynes, and Hildur Guðnadóttir to longtime collaborators and friends like David Sylvian, Alva Noto, Cornelius, and Fennesz, plus some of Sakamoto’s personal favorites like Lim Giong, Gabrial Wek, and 404.zero, the included artists reflect the breadth of Sakamoto’s influence on contemporary music. Given full access to the musician’s extensive catalogue of solo releases and film scores, each artist personally selected their contribution and put their unique spin on Sakamoto’s originals. The result is a collection that reflects the many dimensions of Sakamoto’s career, from the diversity of sound the consummate musician has traversed to the continued legacy of his work on artists of all backgrounds.

  • Rudolf Buchbinder

    Soiree de Vienne

    Rudolf Buchbinder – Soirée de Vienne sounds echoes of the celebrated Austrian pianist’s home city in the form of music closely associated with it. The recording, released by Deutsche Grammophon on 25 November, captures both the lost world of salon soirées and Vienna’s legendary attitude to life, with its heady blend of intensity and insouciance, earthiness and beauty.

    “We all have impossible dreams,” says Buchbinder. “And one such dream gave rise to this album: I’d so much like to attend a Viennese soirée where all the composers on this recording are assembled: Strauss, Schubert, Chopin, Schumann and Beethoven.” His album brings them together in spirit, if not in person, and highlights 19th-century Vienna’s place as one of the world’s most important cultural crucibles. This is a matter of considerable pride for a performer and profound musical thinker who has lived in the city since early childhood, became the youngest ever student at its renowned Akademie für Musik at the age of five, and is an honorary member of the Wiener Philharmoniker, Wiener Symphoniker, Gesellschaft der Musikfreunde and Wiener Konzerthausgesellschaft.

    His new album opens with Soirée de Vienne, a concert paraphrase of themes from Die Fledermaus and other Johann Strauss works created by Alfred Grünfeld, darling of imperial Vienna’s salon scene. It concludes with Soirées de Vienne: Valse-Caprice No. 6, Liszt’s reworking of melodies by Schubert. “These two pieces,” notes Buchbinder, “embody the spirit of a good evening get-together: inspiring, good-humoured, effervescent, but always probing the depths.”

  • Xuefei Yang

    Guitar Favourites

    Classical guitarist Xuefei Yang announces the release of Guitar Favourites, her next album by UMG China on the Decca label. The album represents Xuefei’s unlikely journey to become the finest Chinese guitarist on the world stage through a collection of much-loved tracks known to classical guitar lovers around the world. Xuefei has put together a personal selection of pieces showcasing her musical journey, including pieces she played as a young girl through to audience favourites she’s performed countless times on stage over the years. The album also features Xuefei’s first composition, Xinjiang Fantasy, a work based on traditional folksongs from the Xinjiang region in north-west China, and the world premiere recording of a piece by guitarist John C. Williams.

    The album is the product, as well as the embodiment, of an unlikely, pioneering musical journey: from humble beginnings in a culture with no guitar tradition, Xuefei gave up a normal education at a highly regarded school to become the first ever guitar student to enter a music school in China.

    As the first Chinese student to be awarded a scholarship from ABRSM, Xuefei went on to become the first Chinese guitarist to study at London’s Royal Academy of Music, and the first to launch a professional career on the world stage.

  • Isobel Waller-Bridge

    VIII

    Prolific composer and musician, Isobel Waller-Bridge, releases her brand new EP ‘VIII’ – a bold, gripping body of work for string ensemble. The eight tracks, conceived as compact miniatures, feature beautiful, lush soundscapes as well as tense, unsettling moments. Recorded at Air Studios in London, and performed by the pioneering, un-conducted string orchestra, 12 Ensemble, this poignant collection of pieces sees Isobel using innovative string techniques throughout.

    Critically-acclaimed and in demand for her film, television and theatre scores (Black Mirror, Fleabag, Emma, Munich – The Edge Of War), Waller-Bridge deliberately challenged her established creative process for her first EP on Mercury KX that creates a wealth of emotional uncertainty. Instead of adhering to the parameters of provided visuals or a set narrative, the composer embraced a, somewhat, intimidating and unusual sense of freedom for this very personal project. Working in this way allowed Waller-Bridge to delve deeper into who she is as a musician and composer, touching on the idea of multiple selves, to then find her true musical identity.

    Isobel explains, “I found there to be a profound catharsis in writing these pieces. They have in one form or another lived in me for decades and are a private (albeit public) reflection of my style, my development, and my love of writing. The process and the material has reconnected me with parts of my identity, and made me even more curious about music than I was before. I wrote this music to let my inside out.  They are imperfect, and perhaps they are incomplete.  But they are honest.”

  • Jeff Goldblum & The Mildred Snitzer Orchestra

    The Christmas Waltz

    "Razzleberry dressing would be nice…”

    JEFF IS BACK!

    JEFF GOLDBLUM & THE MILDRED SNITZER ORCHESTRA RETURN WITH A BRAND NEW CHRISTMAS SINGLE 
    FEATURING JEFF ON VOCALS - ‘THE CHRISTMAS WALTZ’

    ON DECCA RECORDS

    Christmas is a time for good cheer and tidings of comfort and joy, and that is exactly what Jeff Goldblum brings with his new Christmas single, ‘The Christmas Waltz’. Recorded with his long-time band, The Mildred Snitzer Orchestra, the heartwarming jazz standard is released globally today on Decca Records.

    ‘The Christmas Waltz’ marks a welcome return to music for the Hollywood icon – not that he ever stopped, having continued to gig with The Mildred Snitzer Orchestra whenever he had the opportunity. 
    Here, we are treated to the actor’s incredibly distinctive voice, which is perfectly suited to this high-spirited, festive number, as he takes to the mic for lead vocals.

    Jeff Goldblum, who celebrated turning 70 just last month, says: “Our purpose is a mighty one. We rejoice in life for its own sake. Was I wearing a hat?”

    The song was originally written for Frank Sinatra, who requested a new Christmas song and recorded it for the first time in 1954. As ever, Goldblum brings his inimitable wit and charm, the band bring their dazzling jazz licks, and together they deliver the feel and the swing.

    The new single is not the only thing launching today. Fans will be thrilled to know that Jeff is entering the world of TikTok, revealing his first post, in true Goldblumian style.

  • Roman Nagel

    Peaceful Christmas EP

    A hundred years ago, Sigmund Freud would have loved him. Roman Nagel, a pianist from Lindlar, Germany, prefers to stand on the edge of the chasm where the unconscious lurks, or expressed differently, where the psychological structure that influences both the ego and the superego. Whereas for Freud the dream was the ideal path to the unconscious, for Nagel it is improvisation. He looks for patterns and repetitive elements and develops a vocabulary consisting of modules he enjoys varying. Suddenly he had arrived in neo-classic music, a music that oscillates between meditative calm and underlying turmoil. Granted, Ludovico Einaudi was an influence, but Nagel only listened to other stars of the genre, such as Nils Frahm, Joep Beving and Martin Kohlstedt, after finding his own personal aesthetic.

    Five peaceful instrumental tracks with a seasonal flair that will help you find a more peaceful Christmas. "Peaceful Christmas” is my first Christmas EP and is all about peace.

  • Samara Joy

    Linger Awhile

    Once-in-a-generation vocalist Samara Joy has signed with Verve Records, and will release Linger Awhile, her full-length debut for the label, on September 16. At just 22 years old, Samara has already garnered critical acclaim for a voice “as rich as custard” (The New York Times) and a delivery that is  “disarming [and] unhurried” (NPR Fresh Air), just as she has built a devoted following on TikTok and made avowed fans of Regina King, LaKeith Stanfield, and others. The Bronx native took home the 2019 Sarah Vaughan International Jazz Vocal Competition prize while still in college and performed on The Today Show earlier this year. Hailed as an “exciting boundary-stretcher” by the  (The Boston Globe), Samara also made her “glowing, auspicious debut” (NPR) at the Newport Jazz Festival last weekend, earning multiple standing ovations in the process.

    Linger Awhile finds Samara updating beloved songs with a modern twist, sometimes singing original lyrics using the melodies of famous instrumental solos, a style known as vocalese. Recorded at Sear Sound in New York City and featuring exemplary musicianship by Pasquale Grasso (guitar), Ben Paterson (piano), David Wong (double bass), and Kenny Washington (drums), the tracklist is comprised of reinvented classics including “Someone to Watch Over Me” (George Gershwin), “'Round Midnight” (Thelonious Monk), and “Nostalgia (The Day I Knew)” (Fats Navarro). Linger Awhile not only highlights Samara’s timeless vocals and a musical wisdom beyond her years, it also introduces this foundational popular music to a fresh audience.

  • Nelson Freire

    Memories - The Unreleased Recordings 1970-2019

    Decca Classics is proud to announce Nelson Freire - Memories: The Unreleased Recordings 1970-2019. The release pays tribute to the great Brazilian pianist, who passed away on 1 November 2021 and would have been 78 this October. It includes previously unreleased studio recordings and broadcast performances spanning concertos from Beethoven to Bartok.

    Decca Classics Label Director and Nelson Freire’s long time recording producer, Dominic Fyfe, says,

    “We lost Nelson too early. He still had many records to make. This two-disc set ‘Memories’ will hopefully serve as both a consolation and celebration. Searching through notes made at past sessions I discovered a handful of tracks which had never been released plus Nelson’s own commentary on the radio broadcasts included here. The recordings span almost five decades and salute this wonderful artist and friend. He was one of the Greats and his discography on Decca will forever be a jewel in our crown”.

    Listeners will be able to hear unreleased recordings of Freire made in Berlin in 2014 of Bach, Gluck and Beethoven, including the Andante favori – his only recording of this piece. These are coupled with broadcast performances given by Freire between 1970 and 1985 which were personal favourites of his: Beethoven’s 4th with the Saint-Saens cadenzas and a Brahms 2, conducted by Horst Stein, of which Nelson said, “this is quite special”. Rarities include a Bartok 1 from 1970, the year in which he debuted the piece, and the only performance he ever gave of Richard Strauss’ Burleske. To complete the collection, pieces by Beethoven, Brahms, Villa-Lobos and Debussy, previously only ever released as digital bonus tracks, are presented here on CD for the first time.

  • John Williams

    The Fabelmans OMPS

    Sony Music Masterworks today releases THE FABELMANS (ORIGINAL MOTION PICTURE SOUNDTRACK) by five-time Academy Award® winner JOHN WILLIAMS. Available everywhere now, the album features an original musical score composed by Williams for director Steven Spielberg’s deeply personal cinematic memory of the forces, and family, that shaped his life and career. The soundtrack marks the latest collaboration between Spielberg and Williams, whose longstanding creative partnership spans nearly 50 years and 30 films. From E.T., Jaws and Jurassic Park to Schindler’s List, Lincoln and Saving Private Ryan, Williams and Spielberg’s collaborations have produced some of the most iconic and well-recognized music in film history. The Fabelmans is available in select theaters now and will expand to theaters everywhere on November 23.

    “The Fabelmans marks the 50th year of John reshaping my stories through his music – this time for the most personal film I have ever made,” STEVEN SPIELBERG says. “John knew my parents well and loved introducing them to the orchestra during our scoring sessions, which made my Dad so proud, and left my Mom beaming.?He wrote this score as a gift to them and, when he first previewed?it for me on his?Steinway, I knew he had made this his most personal gift to me as well. Thank you, Maestro.”

    The score was deeply meaningful for Williams, too. “Composing the score for The Fabelmans was a particular joy for me, given the personal nature of the film and its depiction of characters who seem to be so closely associated with Steven Spielberg’s own childhood and family,” JOHN WILLIAMS says. “Over many years, I knew and greatly admired Steven’s parents, and I was always very impressed by his mother Leah’s musical talent. This is a truly special film, so lovingly directed by Steven and featuring a touching and very personal screenplay by Steven and the always-brilliant Tony Kushner. I’m honored to have played a small part in the making of this film.”

Stories For December 5, 2022

  • Milan Records releases tribute album to Japanese musician Ryuichi Sakamoto To The Moon and Back
    Posted At : November 30, 2022 12:00 AM
    On December 2, Milan Records releases A TRIBUTE TO RYUICHI SAKAMOTO – TO THE MOON AND BACK, a collection of songs from Sakamoto’s vast catalogue newly reworked and remodeled by contemporary artists and collaborators. Available everywhere now, the album features contributions from THUNDERCAT, DEVONTÉ HYNES, HILDUR GUÐNADÓTTIR, THE CINEMATIC ORCHESTRA, DAVID SYLVIAN, ELECTRIC YOUTH, ALVA NOTO and more, each of which were hand-selected for the project as either past collaborators, friends, admirers, or personal favorites of Sakamoto.Envisioned by Sakamoto’s management team and Milan Records, A TRIBUTE TO RYUICHI SAKAMOTO – TO THE MOON AND BACK features artists across generation and genre, each with their own connection to the iconic musician. From contemporary admirers of Sakamoto’s work like Thundercat, Devonté Hynes, and Hildur Guðnadóttir to longtime collaborators and friends like David Sylvian, Alva Noto, Cornelius, and Fennesz, plus some of Sakamoto’s personal favorites like Lim Giong, Gabrial Wek, and 404.zero, the included artists reflect the breadth of Sakamoto’s influence on contemporary music. Given full access to the musician’s extensive catalogue of solo releases and film scores, each artist personally selected their contribution and put their unique spin on Sakamoto’s originals. The result is a collection that reflects the many dimensions of Sakamoto’s career, from the diversity of sound the consummate musician has traversed to the continued legacy of his work on artists of all backgrounds.
    Ryuichi Sakamoto Tribute Album Is On The Way


    NOISE11 PAUL CASHMERE writes….A tribute album to Japanese musician Ryuichi Sakamoto ‘To The Moon and Back’ will be released this Friday (2 December 2022). The album features contributions from David Sylvian, Alva Noto, Cornelius and Thundercat and taps into the decades of Sakamoto’s recorded works. Here's the TRACKLISTING –

    1. Walker – Lim Giong – Follow The Steps Remodel
    2. Grains (Sweet Paulownia Wood) – David Sylvian Remodel
    3. Thousand Knives – Thundercat Remodel
    4. Merry Christmas Mr. Lawrence – Electric Youth Remodel
    5. Thatness and Thereness – Cornelius Remodel
    6. World Citizen I Won’t Be Disappointed – Hildur Guðnadóttir Remodel
    7. The Sheltering Sky – Alva Noto Remodel
    8. Amore – Fennesz Remodel
    9. Choral No. 1 – Devonté Hynes Remodel (featuring Emily Schubert)
    10. DNA – The Cinematic Orchestra Remodel
    11. With Snow and Moonlight – snow, silence, partially sunny – Yoshihide Otomo Remodel
    12. Forbidden Colors – Gabrial Wek Remodel
    13. The Revenant Main Theme – 404.zero RemodelRyuichi Sakamoto is a composer, producer, artist, and environmental activist born in Tokyo. Making his debut in 1978 with the album Thousand Knives, Sakamoto's diverse résumé includes pioneering electronic works in the legendary techno group Yellow Magic Orchestra, producing globally-inspired pop albums and numerous classical compositions, two operas, and nearly 40 original film scores for directors, including Bernardo Bertolucci, Pedro Almodóvar, Brian De Palma, and more recently Alejandro González Iñárritu for whom he composed the music of 'The Revenant'. His film soundtracks have won prestigious awards, including an Academy Award, two Golden Globes, and many more. Sakamoto's activism has spread wide to include various environmental conservation efforts and promoting denuclearization and world peace. After 3/11 in Japan, he became a strong voice of support for the victims of the earthquake, tsunami, and nuclear meltdown in Fukushima.Sakamoto has considerable contributions to the art world with both solo and collaborative installations and multi-piece exhibitions presented in galleries and museums worldwide. Most recently, MWOODS (Beijing) presented the largest and most comprehensive collection spanning 30 years devoted to Sakamoto's artworks in various media, centering around 8 large-scale sound installations.In 2017, the documentary Ryuichi Sakamoto: CODA (Stephen Nomura Schible) was released coinciding with the release of his renowned 14th solo album async. Additionally, Sakamoto presented unique performances at the Park Avenue Armory (NYC), later released worldwide as the film Ryuichi Sakamoto: async Live at the Park Avenue Armory. In 2021, with longtime collaborator Shiro Takatani, Sakamoto presented a new theater piece, TIME, which premiered at the Holland Festival.Sakamoto has resided in NY since 1990.
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  • Chineke! Orchestra's 'Coleridge-Taylor' is performed with affection, dedication, and feel for the material / textura
    Posted At : December 2, 2022 12:00 AM
    textura writes….Founded in 2015, the London-based Chineke! Orchestra holds the distinction of being Europe's first professional majority Black and ethnically diverse orchestra. How fitting, then, that the first release on its own Chineke! Records (established in partnership with Decca) should be a double-CD set featuring the music of African-British composer Samuel Coleridge-Taylor (1875-1912), with a special bonus the world premiere recording of a work by his daughter Avril (1903-98). In presenting 144 minutes of music, the release, which also commemorates the 110th anniversary of his death, offers a vital and generous portrait of the composer.
     Whereas some selections are well-known, others are less familiar, and some in fact have never been heard before. Included among the eight pieces are three suites, all featuring concise movements and providing ample evidence of Coleridge-Taylor's gift for melody, three long-form pieces, and the half-hour Concerto for Violin & Orchestra in G minor, Op. 80; it and the Romance in G major, Op. 39 are elevated by the presence of American violinist Elena Urioste in the soloist's role.
     It takes no time at all for the recording to captivate when it begins with the “Othello” Orchestral Suite, Op. 79, published in 1909 and first performed two years later. A rousing “Dance” leads the charge, the music alternating between spirited and swooning parts, after which “Children's Intermezzo” seduces with innocent charm and ballroom dance rhythms. Stately (“Funeral March”) and plaintive (“The Willow Song”) movements follow before “Military March” caps the work on a triumphant note. In dramatic contrast to the short movements in the opening suite, Avril's Sussex Landscape, Op. 27 (1936) extends across nearly fourteen minutes for its dramatic evocation of the English coast, with multiple changes in tone and dynamics signifying the tempestuous character of the setting. Stormy during its first half, a sense of calm permeates the woodwinds-enriched second, the pastoral character suggesting a setting bathed in sunlight and welcoming to creatures human and otherwise.
     Inspired by the writing of African-American poet Paul Lawrence Dunbar, Coleridge-Taylor's African Suite, Op. 35 (1898) follows an introductory movement with the romantic folk charm of “A Love Song,” the elegant rhythms of “Valse,” and the jubilant swirl of “African Dance.” Coleridge-Taylor's then represented by his own sweeping and adventurous long-form work, Ballade in A minor, Op. 33 (1898), after which the first half ends with the ever-popular Petite Suite de Concert, Op. 77 (1910), its four ‘light music' parts teeming with enticing melodies, elegance, and imagination.
     Two of the release's major drawing cards appear on disc two, the violin concerto and the Romance in G major, Op. 39 (1900), both distinguished by the considerable artistry of Urioste. The former, first performed in 1912 but not published until later the same year following the composer's death, was originally written for Minnie “Maud” Powell, an American violinist and a champion of African-American and female composers. The large-scale “Allegro maestoso” with which it begins segues from a dramatic intro to moments marked by Urioste's control and rhapsodic voice, the composer's melodic signature fully present in her articulations. The soloist and orchestra work through passages of contrasting character, every transition effected smoothly and the two clearly in sync. A lyrical “Andante semplice” follows, with Urioste delivering the opening theme against a backdrop of gentle strings and the music blossoming into an enthralling reverie. Rhapsodic too is the closing “Allegro molto,” a spirited rondo highlighted by the soloist's virtuosity and poise. Here's a concerto that deserves as rightful a place on a symphony concert stage as those by Brahms and Tchaikovsky. Though at ten minutes it's less substantial by comparison, the thoroughly endearing Romance would be as splendid an addition to any concert set-list.
     Nonet in F minor, Op. 2 (1894), written when the composer was still a teenage student at the Royal College of Music, can't help but seem a tad anticlimactic arriving as it does after the Urioste-enhanced works; that said, the four-part work possesses no small amount of appeal, especially when the composer's talent for melody is clearly present. Performed by the Chineke! Chamber Ensemble, the twenty-six-minute performance offsets a graceful andante with three suitably lively allegros. As a single-volume overview of the composer's work, Coleridge-Taylor is hard to beat. That its pieces are performed with such obvious affection, dedication, and feel for the material makes it an even more essential release for Coleridge-Taylor devotees. By any estimation, the set is an invaluable addition to the recordings of his work currently available.
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  • MoonStrike with Jerod Impichchaachaaha Tate and Matthew Detrick - Raven Steals the Moon
    Posted At : December 2, 2022 12:00 AM
    Houston Texas based ‘Apollo Chamber Players’ sixth studio recording; ‘Moonstrike.’ is the 19th commission of Apollo’s 20 by 2020 multicultural initiative. The Azica Records album title track was written by Chickasaw composer Jerod Impichchaachaaha’ Tate and commemorates the 50th anniversary of the Apollo 11 moon landing.Joining us for this podcast is Jerod Impichchaachaaha’ Tate and Apollo Chamber Players founder and violinist Matthew Detrick. We will discuss Part 4 III. Raven Steals the Moon (Haida) which features the Haida Play Song and War Song.MoonStrike, is narrated by Chickasaw astronaut John Herrington, the first American Indian citizen to fly in space. Tate explains, “American Indian legends are very colorful and have a tendency to take twists and turns within the narrative. Regarding the Moon, it is very consistent that the traditional tales involve trickster characters and competitions for ownership of this precious object.”MoonStrike also draws inspiration from Apollo Founder Matthew J. Detrick’s love of space and childhood dream to become the first person to play the violin in space.listen to the podcastOn Friday, September 2, 2022, the Apollo Chamber Players, under the direction of founder and violinist Matthew J. Detrick, released MoonStrike the album, on Azica Records. In addition to Jerod Impichchaachaaha’ Tate's piece: MoonStrike, the universal celebration of storytelling, space, and folk song, is also realized through new works by Jennifer Higdon and Pierre Jalbert. Tate’s title work, MoonStrike, is narrated by Chickasaw astronaut John Herrington, the first American Indian citizen to fly in space. All three works were commissioned by Apollo Chamber Players as part of its 20x2020 project, launched in 2014 with a mission to commission 20 new multicultural works before the end of the last decade. The New York premiere of MoonStrike will take place on Thursday, March 9, 2023 at Carnegie Hall’s Weill Recital Hall.Pulitzer Prize-winning composer Jennifer Higdon’s In the Shadow of the Mountain (2020) is inspired by her upbringing in the Great Smoky Mountains and incorporates the sounds and colors of the region. Higdon shares, “The resonance of that area led me to choose, for my first opera, Charles Frazier’s novel Cold Mountain. The struggles of survival in Appalachia, the majesty of its natural features, and the sonorities of the mountain’s music, color the quilt of that opera and of this string quartet.”Next is the title work, MoonStrike (2019), by Chickasaw composer and U.S. Cultural Ambassador, Jerod Impichchaachaaha’ Tate. The work honors the 50th anniversary of the Apollo 11 moon landing through American Indian moon legends as narrated by Chickasaw astronaut John Herrington. Tate explains, “American Indian legends are very colorful and have a tendency to take twists and turns within the narrative. Regarding the Moon, it is very consistent that the traditional tales involve trickster characters and competitions for ownership of this precious object.” MoonStrike features three diverse American Indian legends, and is bookended with an arrangement of a Calusa Corn Dance. MoonStrike also draws inspiration from Apollo Founder Matthew J. Detrick’s love of space and childhood dream to become the first person to play the violin in space.Rome Prize-winning composer Pierre Jalbert's L'esprit du Nord "Spirit of the North" (2019) is a three movement work that fuses three French-Canadian folk songs with his unique, contemporary musical language. The first movement, “Chanson de Lisette,” is a playful theme and variations, while the second movement, “Cantique (Canticle),” contains two religious folk tunes: a Passion and a tune entitled “Les Pélerins.” The third and final movement, “Fiddle Dance,” was inspired by French-Canadian fiddling traditions.Produced by Max Horowitz — Crossover Media, This content, as well as the related podcast, are licensed under Creative Commons Attribution 4.0 International (CC BY 4.0) for redistribution and adaptation.
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  • Madison Cunningham takes her own path to musical expression on new album: Revealer / Guitar Player
    Posted At : November 29, 2022 12:00 AM
    “If You Love Guitar, Play Guitar and Be the Best You Can Be”: Madison Cunningham Takes Her Own Path to Musical Expression on New Album, ‘Revealer.' The singer-guitarist’s third full-length release draws inspiration from open tunings and intimate observations.

    Guitar Player's Joe Bosso writes…Madison Cunningham aced her way through the whole “sophomore slump” thing in fine form with her second album, 2019’s Who Are You Now(opens in new tab). That sublime set of musically adventurous and startlingly personal songs enchanted music fans and critics alike, and went on to earn the iconoclastic singer-guitarist a Grammy nomination(opens in new tab) for Best Americana Album.Music is therapy for the 25-year-old California native, and as suggested by the title of her sumptuous new album, Revealer(opens in new tab) (Verve Forecast), songwriting is her way of making sense of feelings.“I actually had the title right at the beginning,” she explains, “so in many ways it was something of a guiding principle for me. As the songs came into form, the word sort of magnified itself as a through-line. I began to think of a revealer as being kind of a figure. It’s the personality of grief, or maybe it illustrates how grief eliminates all the things that are bubbling under the surface.”

    I began to think of a revealer as being kind of a figure. It’s the personality of grief

    She pauses as she runs that thought around in her head, and chuckles. “I just loved the word,” she says. “I thought it was very beautiful.”Much of the grief that informed Cunningham’s new music stemmed from the mid-2020 death of her beloved grandmother, and she processes her heartbreak amid soothing strings that wrap their way around her velvety voice on the stirring ballad “Life According to Raechel.” Her anguish takes on a more steely and defiant form on “Hospital,” a gritty guitar riff that lodges inside your head and stays there.Cunningham has a crafty way of describing sensations without editorializing them, but they have a cumulative power, like on the bleary folk-flavored gem “All I’ve Ever Known,” where she summons a grab bag of images and life experiences over a bobbling, hypnotic guitar figure that takes listeners through a series of looking glasses.Released in September 2022, Revealer(opens in new tab) is Madison Cunningham's third studio album. (Image credit: Verve Forecast)
    Her love of the late-period Beatles graces the shifting time signatures of “Your Hate Could Power a Train,” and on “In From Japan,” she artfully marries musical theater with Jeff Lynne-style rock orchestration.“On my previous record, I tried to make the statement ‘I am a guitar player,’ and I think that point was made,” Cunningham notes. “I didn’t veer from that idea too much on this album, but I wanted it to be a spectrum of things.“I wanted the songwriting to shine through. Like with ‘Life According to Raechel,’ I never pictured it with guitar – I always heard it with strings. It was always about the song and the story I wanted to tell. It’s one of my favorite songs on the record. I’m so proud of it.”

    With its highly intimate, yet relatable observations bathed in sophisticated, jazz-tinged folk rock, much of the music on Revealer conjures up another era. At the mention of Laurel Canyon legends Joni Mitchell and Crosby, Stills & Nash, Cunningham lights up. “Oh, definitely!” she says, with a laugh.I’m not shy about my influences. I can’t hide them

    “I would consider myself to be a student of those writers. I think they tapped into something that was just so prolific and profound. They didn’t hide any of their emotions that went directly onto the page. I think they’re very unapologetic about that, and I absolutely model my writing and career off of that.”Still, Cunningham points out that she’s not about to be thought of as anybody’s idea of a carbon copy. “I’ve always just wanted to fight for my own voice,” she says. “I’ve gone through so many different iterations of my own sound to the point where I can say, ‘Oh, yeah, I was highly influenced by so-and-so during that period.’“I’m not shy about my influences. I can’t hide them. But really, I just try to express my own identity in everything.”(Image credit: NOAH TORRALBA)READ THE Guitar Player Q&A
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  • Jakob Bro, Joe Lovano and company put together a moving homage to Paul Motian on 'Once Around the Room' / The Quietus
    Posted At : November 29, 2022 12:00 AM
    A deeply felt and utterly original homage to a common inspiration and beloved colleague – the late, great drummer-composer Paul Motian – Once Around the Room is also the first album co-led by the Danish guitarist Jakob Bro and US saxophonist Joe Lovano. Bro conceived of a special band for the project, convening what Lovano calls “a mini orchestra” for the Copenhagen studio session, which took place 10 years to the date since Motian died in 2011, at age 80. The textured septet features three bassists (Larry Grenadier and Thomas Morgan each on double-bass, plus Anders Christensen on bass guitar) and two drummers (Joey Baron and Jorge Rossy), all players who have worked together in various combinations as well as recorded for the label in recent years. Along with two Motian-influenced originals each by Bro and Lovano, Once Around the Room includes a group improvisation and an especially dynamic rendition of a vintage Motian composition: “Drum Music.” The previous ECM work by both of the co-leaders has been widely praised, with The New Yorker declaring that “Lovano can render a musical phrase into a poem”, and DownBeat noting that “Bro’s guitar is luminous… his music both hypnotic and dramatic.”Lovano – who toured and recorded in Motian’s peerless trio with guitarist Bill Frisell for three decades (1981-2011) – explains the new album’s title: “Paul would jog most every day around the reservoir in New York City’s Central Park, and he had a tune referencing that ritual called ‘Once Around the Park.’ And for our Copenhagen recording, we were all gathered together in a sort of circular situation in the studio, so it felt like we were going around the room as we played the pieces and took solos.” Musing on what he learned from working so intimately with Motian, Lovano added: “What I think about every time I’m on the bandstand or in the studio is something I really gleaned from Paul: that music should be about deep breathing and close listening. You should lead and follow at the same time, share the space and let the music carry you. It’s not about demonstrating your instrumental virtuosity as much as it’s about the art of improvising, being in the moment and really present with the music. “Bro, who made his ECM debut on Motian’s Garden of Eden album, says: “What I loved so much about Paul’s music was its aesthetic sensibility, both in the way that he played and the way that he composed. Whether he was playing his own music or standards, it was always clear that it was Paul Motian. The way he put people together and organized his bands was also inspiring. Most personally, the harmonic universe of Paul’s compositions was vital in my search for something individual in my own song writing. Gradually, I moved from my tunes being directly related to Paul’s to where I could connect his influence and ideas to more of a Nordic tone. I started relating to the music of my childhood, whether it was psalms or folk tunes, and began building bridges between the worlds of my various influences. Paul’s inspiration helped lead me to develop my own voice.”Bro first worked with Lovano in 2009, when the saxophonist joined the guitarist’s trio with Anders Christensen and drummer Jakob Høyer for a three-night stand at the Copenhagen Jazzhouse. “I had been fascinated with Joe for as long as I remember: his sound, his rhythmic feel, his sense of expression,” Bro explains. “I always hear the deep history of jazz in Joe’s playing. But at the same time, he has his own tone and approach to music. His world of harmony points forward, too.” Lovano returns the compliment, referencing the younger guitarist’s sound – the harmonic shimmers, tolling lines and looped atmospherics. “Jakob is in many ways a great disciple of Bill Frisell, but he has his own vision of music and of life,” the saxophonist says. “He’s not ‘a lead guitar player,’ as such – although he can definitely go there. His thing is more of an orchestral sound, very creative. And he really was instrumental in the conception of this album.”Lovano’s compositions for Once Around the Room include the twelve-tone, drone-laced piece “As It Should Be” (whose title nods obliquely to “It Should’ve Happened a Long Time Ago,” the classic title track to the Motian/Lovano/Frisell trio’s first album, released by ECM in 1985). That tune, and Lovano’s evocative tribute “For the Love of Paul,” both make excellent use of roiling double drums to heighten the ensemble dynamism; the piece also includes some of Lovano’s most affecting playing on the album, plus a pealing solo by Bro. The guitarist wrote the balladic “Song To An Old Friend” (with Lovano carrying most of the melody), as well as the folk-like “Pause,” where Bro’s intimate playing weaves within the undertow of basses. “Sound Creation,” the group improvisation arranged from an initial idea by the saxophonist, explores the ensemble’s orchestral sound in an atmospheric way, with all the interwoven melodies invented in the moment (and Lovano trading his tenor sax midway to add a line on tarogato, his Eastern European reed instrument).For the album’s lone Motian composition, “Drum Music,” Baron and Rossy feature both alone and together; the performance also includes one of Bro’s grittiest solos on record, which Lovano matches with a squalling solo of his own. “ ‘Drum Music’ was something of a theme tune for Paul’s trio with me and Bill,” the saxophonist says. “We would usually play it at the end of a set, sometimes just the theme and sometimes leaping off from it. On this record, we really dig into it! It’s a powerful piece of music.”Reflecting on the session for Once Around the Room, Bro concludes: “Given the number of musicians in the group and everybody’s busy schedule, what are the odds, finally agreeing of on a date that we could all do and then it happens to be same date as Paul left us? It was miraculous that everyone made it to Copenhagen in the era of Covid – Joe flew in from Paris, Larry from London, Thomas from New York, Jorge from Switzerland and Joey from Berlin, joining me and Anders here. It felt almost surreal when we were all gathered and ready to record – and yet there was such a warm and open atmosphere in the studio. We all had a connection with Paul, and it felt like he was in the room with us somehow.”Once Around The Room was recorded in Copenhagen at The Village Recording studio in November 2021. The album was produced by Manfred Eicher.
    The Quietus - Peter Margasak writes…Newly unearthed archival recordings of live dates from the 1960s, a profound homage to the swing-and-drag aesthetic of drummer Paul Motian from former collaborators, a new quintet from the veteran Swedish drummer Sven-Åke Johansson, and a thrumming quintet session from drummer Tom Skinner of The Smile are featured in Peter Margasak’s latest round up of jazz and improvised music

    It feels as if the importance and influence of drummer-composer Paul Motian has only grown since his passing in 2011 at age 80, his singular style of swing-and-drag growing more prophetic and his mysterious melodic sensibility only more meaningful. Saxophonist Joe Lovano was one of his greatest late career collaborators, one-third of the trio with guitarist Bill Frisell. Danish guitarist Jakob Bro, who also worked a bit with the drummer, put together this moving homage, and it seems fitting that the project features two drummers (Joey Baron and Jorge Rossy), two double bassists (Thomas Morgan and Larry Grenadier), and a bass guitarist (Anders Christensen) in conjuring the kind of humid bottom and rubato propulsion that Motian routinely delivered. The band tackles Motian’s characteristically dark, slippery ‘Drum Music’ with searing intensity, but with the exception of the spaciously and fully improvised lyric rumble of ‘Sound Creation’, the tunes were written by the co-leaders for a setting that duly invokes the music of its subject. Bro can’t help but summon the spirit of Frisell, but it’s more about presence that sonic identity and his rapport with Lovano, whether playing unison passages or offering spiky counterpoint to the saxophonist’s finely etched, richly grained improvisations. It’s the best kind of musical salute, one that elevates the honoree while opening up fresh new paths for today.SEE The Quietus PAGE
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  • DePue Brothers Band set to perform at St. Bonaventure University's - Regina A. Quick Center / The Bradford Era
    Posted At : November 29, 2022 12:00 AM
    DePue Brothers Band will perform at 4 p.m. Sunday, Dec. 11, at St. Bonaventure University’s Regina A. Quick Center for the Arts.The DePue Brothers Band encompasses a vivid blend of bluegrass, classical, and rock genres. This musically iconic family from Bowling Green, Ohio has been making music together for over 30 years. They were named "Musical Family of America" in 1989 by presidential decree, were the subject of a nationally televised PBS documentary in 1993, and two of the brothers, Jason and Zach, were featured in the film documentary Music from the Inside Out in 2005.Each of the four DePue brothers is a classical virtuoso in his own right, bringing rich and diverse talents to their sound. The brothers created their first album, Classical Grass in 2003, which sold out of its first printing.  Coming together with Tony Trischka, Mark Cosgrove, Don Liuzzi, and later Mike Munford, and Kevin MacConnell,  the band began performing and recording in 2004. Their band album released in 2010, Weapons of Grass Construction, incorporates a progressive mix of genres and gives a direct nod to their bluegrass tradition and their classical training while adding a deeper infusion of rock and blues.  Hal Real, Founder of World Café Live, says "This band of brothers, and symphonic friends, gives real meaning to the phrase ‘progressive bluegrass,' bending genres while delivering a powerful mix of classical chops, blazing bluegrass, and rock and roll."Wallace DePue, who is assistant concertmaster of The Philly POPS and has performed as an extra violinist with the Philadelphia Orchestra, received his Doctorate of Musical Arts (DMA) degree in Violin Performance from the University of Texas at Austin in 2006. He served as assistant principle of the Austin Lyric Opera Company from 2000-2006 and as Assistant Concertmaster and Concertmaster of the Star Wars in Concert Orchestra in 2009 and 2010. In addition to performing, Wallace is the owner of "Concert Instruments" (concertinstruments.com), a highly respected string repair business. He is also the inventor of "Bow Block ®", a unique extension of a stringed instrument that offers an exciting percussive 3rd dimension to aspiring and progressive-minded violinists, violists, cellists, and double bassists in ALL fields of musical genres.Jason DePue, who plays violin, viola and mandolin, is in his 14th season as a member of the First Violin Section of the Philadelphia Orchestra. Playing violin throughout his life, he attended Encore School for Strings and the Curtis Institute of Music. Throughout his education his principal violin teachers were William de Pasquale, David Cerone, Vasile Beluska, and Boris Brant. In furthering the art of violin playing, he has performed live recitals of the Paganini 24 Caprices as well as the Sonatas and Partitas for Unaccompanied Violin by J.S. Bach. He is formerly the Concertmaster of the New York String Seminar.Zachary DePue, Concertmaster of the Indianapolis Symphony Orchestra, is a graduate of the Curtis Institute of Music. Formerly a first violinist with The Philadelphia Orchestra he is a founding member of the classically trained garage band/trio Time for Three.  
     The Bradford Era writes….The internationally acclaimed DePue Brothers Band will perform at 4 p.m. Sunday, Dec. 11, at St. Bonaventure University’s Regina A. Quick Center for the Arts in the fourth presentation of the 2022-23 Friends of Good Music performance season.The concert, “A Magical Grassical Christmas,” is dedicated to the memory and legacy of band member Alex DePue, second-oldest of the four brothers and a talented violinist, who was killed in a car accident earlier this year. For this performance, the band will be joined by vocalist Calesta Day.Hailing from Bowling Green, Ohio, the DePue Brothers Band founded the term “grassical music” to describe their vivid blend of bluegrass, classical and rock genres, a sound they pioneered in the early 1990s. Each of the brothers is a classical violin virtuoso, and each brings rich and diverse talents to their sound.
    Performing with the band is a family affair for brothers Wallace Jr., Jason and Zach, and one they fit into their individual music careers. All members of the band boast impressive credentials.The brothers have been making music together for almost 40 years. They were named “Musical Family of America” in 1989 by presidential decree, were the subject of a nationally televised PBS documentary in 1993, and Jason and younger brother Zach were featured in the film documentary “Music From the Inside Out,” which highlighted musicians in The Philadelphia Orchestra in 2005.
    The late Alex DePue performed on Grammy nominated Steve Vai albums and appeared on Vai’s critically acclaimed concert DVD in 2009.Their first album, “Classical Grass,” sold out of its first printing. Their next full-band album, “Weapons of Grass Construction,” was released in 2010, and their most recent CD, “When It’s Christmas Time,” came out in 2013. A single, “Sweet Georgia Brown,” was released in 2015. All are available on CD Baby, iTunes, and all online stores affiliated with digital music aggregator TuneCore.From January through November, DePue Brothers Band concerts are an exhilarating mix of classical, bluegrass, rock and jazz, featuring tunes ranging from Copland to Van Halen. After Thanksgiving, their holiday show, “A Magical Grassical Christmas,” is a seasonal celebration of holiday favorites.SEE The Bradford Era PAGE
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  • Sheku Kanneh-Mason, Harry Baker - Noisenight 13@Jazz Cafe. Distinctive and easygoing chemistry / theartsdesk
    Posted At : November 29, 2022 12:00 AM
    A sense of witty, articulate experiment throughout

    theartsdesk's Rachel Halliburton writes….The elation in the queue was palpable as people stood laughing and chatting in the November cold waiting for the doors of the Jazz Café to open for the latest crowd-funded event organised by Through the Noise. This 13th Noisenight – which brings major classical soloists to nightclubs – was a chance to see Sheku Kanneh-Mason and pianist Harry Baker at a key moment in Through the Noise’s history, the start of its first national tour.  While much of the buzz was around Kanneh-Mason, from the moment the two musicians started playing it was clear that what was special was their distinctive and easy-going chemistry; at points it felt like eavesdropping on a conversation between friends. They began with a reworking of Nigel Kennedy and Kroke’s "Lullaby for Kamila". Where the original is dominated by the haunting lyrical legato of Kennedy’s violin, here Kanneh-Mason started with a gentle meditative pizzicato which was developed and amplified in Baker’s increasingly percussive response. Even when Kanneh-Mason started to use his bow, teasing the full sweetness out of the melody, the dominant sense was of a wry playfulness in which the two musicians alternated between echoing and challenging each other.That sense of witty, articulate experiment continued in their performance of Arthur Hamilton’s "Cry Me a River" and James Taylor’s "Something in the Way She Moves". For the Hamilton, Kanneh-Mason performed the theme with a strong, rich vibrato – in response Baker deployed simmering rivulets of notes that grew into more expansive chords as the melody intensified. People in the audience started swaying and dancing as Kanneh-Mason kicked off the next number with a jaunty pizzicato and Baker tuned into his vibe with a jokey understated retort.The sense of the pair’s brilliance really came to the fore with their improvisation based on the famous Chaconne of Bach’s Violin Partita No. 2 in D minor. In stark contrast to the raw power of the piece’s opening chords, they stripped the opening statements down into individual melodic lines, slowly building up the complexity through the dialogue between their instruments. At points it was as if the piece had been turned into the musical equivalent of an Escher, as they inverted themes and splintered ideas, giving the sense that that there were enough unexplored patterns in the original to stretch to infinity if they chose.Harry BakerFollowing this great reinvention of a great classic, both performed their own compositions – Baker playing his version of the folk song "Fare Thee Well" with a flare and style that made it feel like the soundtrack to the opening of some movie featuring lattes, mild angst, and Manhattan. Kanneh-Mason’s "Melody", also inspired by folk music, was as soulful as it was resonant – in his performance you really sensed the restraint he had been exercising in more jazzy numbers, where he was ensuring that he was in dialogue rather than soloist mode.Their daring “slightly more intimate” take on the Adagietto of Mahler 5 went on to show off the expressive range of both musicians. Kanneh-Mason tapped into the Mahler with a tremulous sensitivity and aching lyricism that held the room spellbound, despite a little competition in clinking bottles from the bar and a few shouts from outside. In a traditional classical venue that would have mattered more; here the informality meant that the audience was transfixed whatever the disruption. From time to time Baker would pick up the theme before relaying it back to Kanneh-Mason, who would amplify it with a combination of velvety tones and whispering vibrato.They returned to more contemporary work with performances of American indie rock collective San Fermin’s "In This House" and Big Thief’s "UFOF". For these final numbers, once more the tone was light and witty – again, we had a sense of being in the company of two musicians shooting the breeze, thoroughly enjoying the games they were playing with the songs’ harmonies and textures.As in other Through the Noise gigs there was a real sense of a mixture of generations in the crowd, all intoxicated not just by the Mojitos but by the exhilarating range of music they had come to see. As an encore the pair played Dionne Warwick’s "I Say a Little Prayer" – making this no doubt the first time this has appeared in a concert also featuring Mahler; yet another enjoyable innovation in an evening that bodes well for the future of this dynamic, intelligent enterprise.PHOTO: Matthew JohnsonSEE theartsdesk PAGE
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Max Horowitz

maxcrossover@gmail.com

A graduate of the Aaron Copland School of Music(Queens College NYC), Max Horowitz is the principle of Crossover Media music promotion. Founded in 1994, CM client list incl; Sony, Verve/UMG, Warners, BMG, Concord, Disney, eOne. Prior to Crossover Media, Max worked as Producer for SiriusXM, Music Choice, Classical-104WNCN - New York, DayNET Talk Network, and is the recipient of various radio awards including; The Peabody, 'International Festival of New York, and 'New York State Broadcaster Awards. He has produced long form radio shows for artist projects involving; Yo-Yo Ma, Chick Corea, The Bad Plus, Vladimir Horowitz, Marcus Roberts, Red Hot org and others, and is a contributer to the Simon & Schuster published textbook 'Understanding The Music Business.'

Amanda Bloom

amandacrossover@gmail.com

Amanda Bloom is the publicity and communications manager at Crossover Media. A Brooklyn resident, Amanda is also an active NYC jazz vocalist who draws musical inspiration from a wide range of influences. Crossover Media's projects which encompass multiple genres has been a great fit for her both personally and professionally. Amanda earned a BM in jazz vocal performance from the Peabody Institute of Music at Johns Hopkins University under the guidance of Jay Clayton & Gary Thomas.

Zachary Swanson

zacharycrossover@gmail.com

Zachary Swanson began studying the double bass at the age of 6 in his home state of Massachusetts. Using gut strings and a personalized technique, Zachary has developed a conception of the double bass that heightens the integrity of various musical environments. He can be found playing around New York City and beyond in a variety of styles, ranging from adventurous improvised music to backing singer-songwriters. Zachary is a graduate of the Peabody Institute of Music at Johns Hopkins University and currently resides in Brooklyn, NY where he has made his home since 2012. 

Eeppi Ursin



Eeppi Ursin is a platinum-selling, award-winning singer-songwriter, jazz vocalist and pianist originally from Finland. Ursin is known for her angelic-strong voice and exceptional skill set ranging from top-class performance to writing music for various groups. Her stage presence combines warmth, style, humor and virtuosity. Her recordings and performances as a singer vary from pop, jazz, dance, a cappella and children's music.

Throughout her career she has captivated audiences all around the world performing at prestigious venues with acclaimed artists such as trumpeter Leroy Jones and Spirit of New Orleans, Vocal Ensemble Club For Five, and UMO Jazz Orchestra, to name a few. Eeppi Ursin also collaborates with renowned theatres and modern opera ensembles as a composer and arranger.

Eeppi Ursin has released three solo albums where she stands out as an artist with a strong and unique yet catching pop sound. Her albums with praising reviews are: Violet (Buckshotmusic 2005), Yellow Page Girl (Buckshotmusic 2009) and Jäljet (Luomusic 2017) followed by numerous radio hit-singles. In addition to her solo albums Eeppi appears on over 40 recordings of which five are platinum- or gold-selling albums.

In 2014 she was chosen to perform as the soloist at the President's Independence Day Reception in her home country Finland. In 2001 she won the 1st prize in the Lady Summertime international jazz vocal competition. Eeppi Ursin works and lives in New York City.