Logged In As Admin: {{reverbUser.name}} ({{reverbUser.id_unique()}}), Acting As: {{reverbPageObject.data.name}} ({{reverbPageObject.id_unique}})

You are using an outdated browser. Please upgrade your browser to improve your ReverbNation experience.

Eugenie Jones / Press

“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.”

“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”

“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. 3.5 Stars””

“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..."