“Eugenie Jones’s credentials are surprisingly impressive, considering she’s late to the game of jazz performance. Originally from Morgantown, West Virginia, the singer/songwriter eventually found herself a new home in the Northwest, raising a family, working in business and marketing, and doggedly carving out a name for herself in the very competitive business of jazz. In short order, the jazz newcomer racked up two Earshot Jazz “Golden Ear” Awards — 2013 “NW Recording of the Year” for her self-produced, debut album, Black Lace Blue Tears, and 2016 “Vocalist of the Year,” attracting positive attention from DownBeat and Charles Mudede of Seattle’s The Stranger, as well as reaching the upper echelon of Jazz Week Review’s charts. Now, she’s headed to the Atlanta Jazz Festival, representing the straight-ahead jazz movement on the Main Stage 3 p.m. May 29. It’s a prestigious gig and one Jones takes as seriously as the first one she ever played.....”
“Seattle-based vocalist Eugenie Jones may have been a latecomer to the jazz world, but she displays the seasoned sensibilities of a jazz lifer on her sophomore release, Come Out Swingin'. The follow-up to her well-received 2013 debut album, Black Lace Blue Tears, the album more than lives up to its title, showcasing Jones' smoke-and-satin vocals in settings that float like a butterfly and swing like a night at the Savoy. Beyond her instantly engaging vocals and sharp rhythm instincts, Jones also happens to be a topflight composer, penning both melodies and lyrics to tunes that are completely at home in the jazz idiom. She enlists a sharp group of musicians to back her up, including pianist Bill Anschell, bassist Clipper Anderson and drummer D'Vonne Lewis. Subscribe to Jazziz and read the article on the upcoming Miles film staring Don Cheadle: http://www.jazziz.com/”
“.... Eugenie Jones makes the kind of music you want to stumble on when you’re driving home from a long weekend, rain hitting the windshield, your body and soul tired. You turn the dial and there is that voice and brushes swishing against the snare drum. It’s comforting and edged all at the same time. Enjoy!”
“The 37th Annual Jazz Station Awards / The Best Jazz of 2015 Female Singer List: .....Eugenie Jones (Come Out Swingin’ – Open Mic Records).....”
“Best Jazz Albums of 2015 (Come Out Swingin’ – Eugenie Jones) In that overcrowded arena known as “female jazz singers”, Seattle-based Eugenie Jones manages to stand apart from the crowd. Where many will make a passing nod to jazz and then run to the relative safety of R&B and Pop; Ms. Jones has planted herself firmly as a jazz singer. While most will also stick to the safety of covering well-worn standards, Ms. Jones has filled both of her outstanding albums with her own engaging”
“There is a lot to admire about the Seattle-based singer Eugenie Jones....writes, sings, and swings with the best of Jazz singers. Her voice is smooth, silky and sweet. She has the uncanny ability to be aware of, and effortlessly master the vocal range where she operates. There is plenty of depth and soul in her being as evidenced on the new CD - Come Out Swingin and, the CD jacket has the lady looking “sweet-tough”, if there is such an appearance. ...Her original compositions here all tell great stories; real message music. She possesses the full package for a Jazz singer. Eugenie is in great shape on this latest release. Come Out Swingin' is a knock out. Listen! Ty Bailey/"SNAPSHOT" Jazz Reviews”
“Black Lace Blue Tears..."This is an impressive debut recording by a singer who didn’t begin to work professionally until a few years ago. A West Virginia native who is now based in Seattle, Eugenie Jones brims over with confidence and authority. She sings a number of originals that are invested with aplomb and relish. Ennui, musical deconstruction, primal screaming, horn envy and emotional exhibitionism are not part of Jones’ musical vocabulary. Her strong suit is rhythm and swinging….Her medium-dynamic alto brings an unforced lyricisim to Paul Desmond’s “Take Five”.”
“The last we heard from Seattle-based renaissance woman Eugenie Jones was on her quite excellent debut recording Black Lace Blue Tears. On that recording Jones demonstrated great accomplishment as a vocalist, composer, and arranger. She was in the process of transitioning from a successful marketing career to a singer. That kind of change is not for the faint of heart. Jones returns with Come Out Swinging, a collection of tunes as different from those on Black Lace Blue Tears as they are alike. Returning with most of her band from her debut intact (pianist Bill Anschell, bassist Clipper Anderson, and guitarist Michael Powers), Jones exchanges drummer Mark Ivester for the present D’Vonne Lewis. Multi-instrumentalist Jay Thomas and percussionist Ernesto Pediangco round out this new band, opening Jones' wa”
“Eugenie Jones’s new album, Come Out Swingin’, is a solid work of Northwestern jazz. From start to finish, Jones’s voice, her songwriting, her arrangements, many of which are collaborations with her excellent pianist Bill Anshell, maintain a high level craftsmanship. Yes, there is a good deal of professionalism on the Swingin’, but it never gets cold or empty (technique for technique's sake). It’s simply that every musician on this record knows what he/she is doing, and does his/her thing very well and with what sounds like very little effort—including Industrial Revelation drummer D’Vonne Lewis.”
"I’ve seen a lot of album covers in my time, but I can honestly say that this one is the first that I’ve seen with a woman in a boxing outfit. Gotta admit I was a bit concerned, but once I took a listen to honey toned vocalist Eugenie Jones on this collection of (mostly)self-penned tunes, I felt like the music hit me on the button. Her earlier album, Black Lace and Blue Tears was a beaut, but this one is even more impressive. She teams up with at the ring side with Bill Anschell/p, Clipper Anderson/b, D’Vonne Lewis/dr as well as guests Jay Thomas/tp-ts, Michael Powers/g and Ernesto Pediangco/percussion. ........... She has a sensitive way about her lyrics that are beyond the standard topics, and delivers them with classy jabs before delivering the knockout punch. A unanimous decision here for a lady who wins every round."
“4★s This Seattle-based jazz singer is an empowered storyteller who bares her soul with no-apology lyrics & a decisive singing style. Her memorable debut, the hip, swinging and soulful Black Lace, Blue Tears was one to put on when you had friends over... On her sophomore release, Come Out Swingin’ she gets the band back together and steps up her game. Made up of terrific talent from the Northwest that’s effectively led by pianist Bill Anschell, Jones writes clever songs (“Swing Me,” “I’m Alright” and the tasty “Sweet Summer Love”) with arrangements that give the record a lively, club-like feel. Jones has a pleasing instrument, particularly on her own stylish tunes. She dips into standards like “All Of Me” and “Begin The Beguine” with a revelatory confidence. Her voice is smooth and assured, and on the Nina Simone-tinged “A Way About You” she sings with a pizzazz and makes her rhythm section sparkle. A superior effort, COSn’, deserves to to open doors ”
“EUGENIE JONES/Come Out Swingin': The late bloomer might only be four years into a career as a jazz singer but she knows how to jump right in with both feet and not make excuses for lost time. Keeping it all Seattle still for her second date, she claims this set is as much an extension of her personality as her debut. Pretty mighty stuff. Doesn't matter whether she doing James Brown, Cole Porter or her own originals, she's a jazzbo through and through with a singular vision that you love to hear her sing. Certainly a fine addition to the jazz vocal lineage.”
“COSn' shows clear marks of a singer coming into her own and following her own path toward maturity and command of her musical voice. The songs are composed, arranged, and performed mostly in the classic swing setting and are done so with silk. The local heavyweight backing band of Bill Anschell(piano), Clipper Anderson (bass), Michael Powers (guitar), Jay Thomas (sax/trumpet), Ernesto Pediangco (percussion), and D’Vonne Lewis (drums)shows immense versatility and feel for the pocket and fully complements Jones’ sensible, yet confident, voice. “Swing Me” starts the album off with plenty of forward momentum after a beautiful piano/vocal intro. It highlights the immensely talented Jay Thomas on tenor sax and introduces us to Jones’ dynamic sense of rhythm and total control of her sound. Jones spreads her vocal wings and dazzles as a soloist most on the short but memorable “Bye Bye Blackbird” when the bass and drums create a trio to propel through the tune, giving her the free”
“Earshot Jazz picks 2013 Award Winners Posted by Paul de Barros March 11, 2014 at 12:01 AM At its annual awards ceremony Monday, held at the Royal Room, Earshot Jazz announced the winners of the Golden Ear awards, for achievement on the local jazz scene in 2013. The winners were: Recording of the Year: Eugenie Jones, “Black Lace Blue Tears” …..”
"Eugenie Jones may be a newcomer to the active music scene, but the divorced mother of two teenage boys, who boasts an MBA and experience as a business consultant, is no newcomer to life. That’s why so many of the self-penned tunes on her debut recording bear the signs of personal authenticity. .....A lady of many talents, Jones skillfully arranged five of the set’s tracks, including an invigorating read of the difficult “Take Five.” Jones and her combo emerge as worthy flag-bearers for the Seattle area’s burgeoning jazz scene.... The singer’s keen sense of phrasing makes her extremely persuasive. Like a veteran horn soloist, she slides effortlessly from one octave to the next, always landing on the right, pitch-perfect note. A sly use of vibrato and reluctance to oversell the lyrics all add up to a vocal style that, while occasionally emotionally taut, is generally relaxed, flirtatious and easy to love."
“Nominated by music critic, Mark Holston for NPR's 8th Annual Jazz Critic Poll as Best Vocal CD and Top Ten 2013 releases.”
“Vocal Jazz CD of the Month "Eugenie Jones: Black Lace Blue Tears"”
“Seattle Washington is perhaps the best kept secret in jazz. When asked to name the jazz hot beds in the United States the usual suspect top the list in New York City, Chicago, New Orleans, Kansas City and to a slightly lesser extent Los Angeles. The city of Seattle can boast Jelly Roll Morton, Ray Charles and Quincy Jones and that is just scratching the surface. The jazz scene in Seattle is alive and well with the debut release from Seattle native vocalist Eugenie Jones. Black Lace and Blue Tears will street on May 28th 2013 and continues in the fine tradition Seattle has become famous for. Nine of the eleven tunes on the release are original compositions showcasing the unique individuality and style of a vocalist with mad skills and unlimited potential not only as a singer but as an accomplished lyricist. A near perfect ebb and flow permeates the release as Jones makes that transition from straight ahead singer to lyrical poet look effortless.”
"On her debut album, Black Lace Blue Tears, Jones flexes all of her creative muscles assembling nine originals and interpreting two standards, all at a high level. ...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. 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.
"..Eugenie Jones, a local singer, has a voice that covers words like pieces of silk covering precious stones. But she never overdoes it, never overflows with emotion, never goes too high or too low, but always sings with a restraint that’s cosmopolitan, yet not soulless..."