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Eugenie Jones Revels In Both Musical And Geographic Variety On “Players,” Scheduled For Release March 11th By Open Mic Records | News

RICHMOND, Calif., January 4, 2022 / PRNewswire-PRWeb / – “Wide-range” takes on new meaning with the March 11 singer / songwriter / lyricist release Eugenie Jones “Players” on his own Open Mic Records. Jones’ third album is the result of an odyssey that took her from her base in the Pacific Northwest (Seattle) in the Great South (Dallas), the bustling East Coast (New York), the plains of the Midwest (Chicago), and vice versa, working with a breathtaking array of great jazz musicians who include (among others) bassists worker reggie and Lonnie plaxico, trombonist Priest Julien, keyboardist Shaun martin, drummer Dan Weiss, and percussionist Bobby sanabria.

The multiple settings and sets are not accidental; make music in every region of United States is the central concept of dual disc recording. “It was way beyond anything I’d ever done,” said Jones, who produced the album and shared A&R tasks with Workman. “And although it was a disturbing prospect, once I make my decision, I am very tenacious in doing whatever it takes to make my heart’s desire come true.”

The diversity of the “Players” also extends to his tunes. His Dallas single session (with the bassist Lynn seaton and drummer Quincy Davis with Martin) features Gershwin’s merry swinger “I Got Rhythm” and two signature Jones originals: “There Are Thorns”, a hymn to determination, and darkly soul “One more night to burn.” that of Chicago the output includes two Irving Berlin pieces with contrasting styles; “You Can Have Him” has a late-night lounge vibe, while “Blue Skies” has an urgent and funky cast, highlighted in a Fender Rhodes solo by Kevin O’Connell.

In Seattle, Jones explores Billy strayhorn bad mood ballad “Multicolored blue” that of Nina Simone “Do I Move You” steeped in blues and four of its own tracks, using three completely different compositions on the six tracks. Meanwhile, the New York The session focuses on Jones originals, but these range from an incisive Latin groove (“Ultimo Baile En Casa”, with Sanabria) to a mellow Quiet Storm ballad (“As Long As”) that trumpets Hill of the Marquis underlines in a beautiful solo.

The common link, of course, is Jones. His full alto voice, impeccable performance, inventive rhythm and expressive technique form an indelible imprint on songs of all types, in all cities and in all musicians. Infused her original compositions with remarkable verve and passion, she also breathes surprising new life into the standard repertoire, claiming the familiar tunes as completely her own.

Eugenie Jones was born and raised in Morgantown, West Virginia, in a family of singers: his parents, Eugene and Tommie, were in the choir of the Baptist Church of Friendship. Surrounded as she was by music, however, Jones initially had other plans for herself. She obtained an MBA and moved to Seattle, where she started both a family and a successful career in Marketing Communications.

In 2008, when Tommie passed away, Jones wanted to keep a piece of his mother. This brought her back to vocals, which in turn drew her to the rich local jazz scene of Seattle. After spending several years honing her craft with the best musicians of the Pacific Northwest, she recorded “Black Lace Blue Tears” in 2013. It was widely acclaimed upon its release, becoming the first vocal album to be released. win the prestigious Earshot Jazz NW Recording. of the year. 2015’s “Come Out Swingin ‘” was similarly celebrated, surpassing the Jazz Week Top 50 and earning Jones another Earshot Jazz (NW Vocalist of the Year) award.

Even though she flourished as an artist, however, Jones brought her considerable skills as a businesswoman to the local music industry. She founded two nonprofits, the education-focused Music Discovery Center (MDC) and the Music for a Cause event. Under these latter auspices, she is executive producer of the Jackson Street Jazz Walk, an annual block party community event that commemorates both that of Seattle contributions to African American music history and fundraising for local community service organizations.

This combination of creativity, skill and ingenuity leaves no doubt that Jones has the ability to surpass even the impressive achievements of the “Players”. “As a lifelong learner looking to be better today than yesterday,” she said, “I will always seek to answer that internal question of ‘what’s next. “”

This winter and this spring, Eugenie Jones will bring the music of “Players” to the towns where it has been recorded, starting with a performance in his hometown at the Royal Room, Seattle, Sat 3/12, then cross country to the locker room, Harlem, NY, Sat 4/2, and the Jazz Forum, Tarrytown, New York, Sun. 4/3. Additional dates will be announced shortly.

Media contact

Terri hinte, Terri Hinte Public Relations, 510-234-8781, [email protected]

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