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Daily articles carefully curated by the All About Jazz staff. Read our popular and future articles.

ALBUM REVIEWS

Jenny Scheinman: Here on Earth

Read "Here on Earth" reviewed by Doug Collette

Originally commissioned as music to accompany the film Kannapolis: A Moving Portrait, but actually dating back to sources of inspiration from the artist's childhood, the music on violinist/composer Jenny Scheinman's Here On Earth stands on its own terms as an unconventional work of string music. Fifteen tracks pass in quick succession from “A Kid Name Lily," all of which, in some proportion or another, echo the combination of melancholy and fortitude permeating the arrangement of that opener. Scheinman ...

LIVE REVIEWS

Jenny Scheinman: Little Bit Country

Read "Jenny Scheinman: Little Bit Country" reviewed by Franz A. Matzner

A brief survey of violinist, vocalist, and composer Jenny Scheinman's recordings proves her a multi-genre experimenter, uniting a wide range of musical styles through partnerships with a diverse set of premier artists, including Jason Moran, Myra Melford, and Lou Reed. Scheinman's facility and humor was confirmed over the course of a Valentine's Day weekend performance at the Kennedy Center KC Jazz Club. Partnering with guitar guru Bill Frisell and drummer Brian Blade, Scheinman announced at the outset of ...

ALBUM REVIEWS

Jenny Scheinman: The Littlest Prisoner

Read "The Littlest Prisoner" reviewed by Dan Bilawsky

It's tempting to say that Jenny Scheinman has a split musical personality, but that's not really the case. The playful-and-devious violinist with a glint in her eye and the poised alt-country singer aren't as far apart as some may think, as both are powered by the heartbeat of American life; it's just important to remember that American life isn't so simple to define. It's gritty and gorgeous all at once, and Scheinman understands that better than most. The Littlest Prisoner ...

ALBUM REVIEWS

Jenny Scheinman: Mischief and Mayhem

Read "Mischief and Mayhem" reviewed by Ian Patterson

The title of violinist Jenny Scheinman's sixth album as leader tells much of, but not the whole story. Playful and daring, with memorable melodies rubbing shoulders with arresting improvisations, there's an irresistible freshness and vigor about the music. However, there are more layers to peel away, and great subtlety and lyricism reveal themselves upon each subsequent listen. Scheinman's solo career has been somewhat overshadowed by her decade-long collaborations with guitarist Bill Frisell and her busy schedule as a side-musician, yet ...

INTERVIEWS

Jenny Scheinman: Some Serious Mischief

Read "Jenny Scheinman: Some Serious Mischief" reviewed by Ian Patterson

It's often the case that the most interesting music is made by musicians with a broad musical palette and openness to new paths and horizons. Violinist/composer Jenny Scheinman certainly qualifies in both regards. Equally at home playing folk tunes or working in essentially modern jazz setups, Scheinman also jumps at the chance to play with classical musicians, and is increasingly in demand as an arranger for a diverse range of musicians, such as Lou Reed and Metallica, Lucinda Williams, Bono, ...

ALBUM REVIEWS

Jenny Scheinman: Mischief & Mayhem

Read "Mischief & Mayhem" reviewed by Jack Huntley

Violinist Jenny Scheinman's Mischief & Mayhem fires on all cylinders. Everything works--from arrangements to overall track cohesion, from the music's fertile energy to the musician's creative interplay, and from the quality of sound engineering to the ingeniously accomplished album art--making this a near-flawless package of musical craftsmanship. Mischief & Mayhem indeed, as the album is nothing if not melodically mischievous within its sparkling sonic mayhem. Scheinman has an innate ability to harness both the spirit and power ...

ALBUM REVIEWS

Jenny Scheinman: Crossing the Field

Read "Crossing the Field" reviewed by Sean Patrick Fitzell

Celebrating the release of 12 Songs (Cryptogramophone, 2005), violinist Jenny Scheinman assembled a string orchestra to augment her septet in performance at New York's Tonic. The addition enlivened the buoyant melodies and spurred the soloists with lush accompaniment. The thrilling results prompted Scheinman to write more for this instrumentation on Crossing the Field, her fifth and most ambitious CD to date. She uses the string section as an integrated voice that interacts with, rather than playing alongside, ...


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