"Years ago they used to call jazz singer Dinah Washington ‘The Queen of the Blues.' Well, these days that title could very easily go to the dynamic, persuasive Barbara Morrison... she can deliver that rhythmically charged genre with consummate flair." --Zan Stewart, L.A. Times

A native of Ypsilanti, Michigan, Barbara Morrison made her show business debut recording for Detroit radio at age 10. Ever since, she has been performing at festivals, including the Montreux and the North Sea Jazz Festivals, and on stage with such legends as Dizzy Gillespie, James Moody, Ron Carter, Etta James, Jimmy Smith, Johnny Otis, Dr. John, Kenny Burrell, Terence Blanchard, Joe Sample, Cedar Walton, Nancy Wilson, Mel Torme, Joe Williams, and Tony Bennett. She opened for Ray Charles and was guest vocalist for the Count Basie Orchestra, the Clayton-Hamilton Orchestra, and Doc Severinsen's Big Band. Other credits include lead vocalist on the movie sound track for The Hurricane (starring Denzel Washington), guest vocals on The Duke Ellington Millennium and Johnny Otis' Ooo Shoo Be Dooo recordings, and appearances on the NBC TV comedy, The Naked Truth, The Tonight Show with Jay Leno, and The Dennis Miller Show. Some of her more memorable performances have included her Salute to Dizzy Gillespie and Tribute to Benny Golson. Wrote the LA Times, "She can be as playful as Ella, as thoughtful as Sarah, as naughty as Etta... Barbara Morrison... has gained a national following with her big personality and delicious sense of swing."

The road to success is often an interesting path for a jazz musician. This is certainly true in the case of Carl Saunders. For it is not every musician who can start their story by saying "my mother was the first vocalist to sing with Stan Kenton." Saunders story continues as he is fresh out of high school as a self-described "Kenton junkie" taking every opportunity to hear the Kenton orchestra. At this time, connections through Mom turned out to be a good thing, as Carl Saunders mother went to Stan Kenton and said "the kid's coming along pretty well...you ought to give him a shot to play in the band." Kenton agreed to give Saunders and audition, and, after hearing him play, Kenton gave him the option of waiting for the next trumpet spot to open, or to join the band right then playing mellophonium. Of course, Saunders jumped at the chance to get in the band right away. This was his first professional gig.

As a Minneapolis teenager in the 1960s, Bobby Lyle was the talk of the town. At thirteen, fourteen, fifteen, this kid was burning up pianos and Hammond B3s, soon gigging in clubs that couldn't yet serve him. Now, three decades after making his mark with Sly and the Family Stone, Al Jarreau, Jimi Hendrix, and Anita Baker, sitting atop a prolific career as composer, arranger, band leader, and recording artist of fusion as well as straight-ahead, Lyle has yet another recording, Straight and Smooth (Three Keys, 2004), an overt declaration of his dual keyboard personality. Anyone expecting him to give equal time to "straight" and "smooth" during his Dakota homecoming (July 5-6) in Minneapolis was in for a surprise, at least on his second night, as Lyle and his trio provided two sets of rousing, thundering originals and standards that joyfully define straight-ahead jazz.

My ears are still vibrating. I've been at the new Dakota at least 50 times in the past 8 months and have never experienced the volume—or the crowd-- cranked to this level. With local Belvedere Vodka providing corporate sponsorship of this event, and a chance to see a hometown hero in action, this was not the usual audience of jazz aficionados, at least not at the early set. Maybe there was too much vodka during Happy Hour. Clearly there was an expectation of side chatter, to be compensated for by jacking up the Dakota's usually near-perfect sound system. Unfortunately, louder decibels from the stage only served to drive up the volume of chatter from patrons who apparently considered a ballad or bass solo synonymous with "intermission." Too bad, as this was not sonically charged wallpaper but seriously swinging musical magic. With a more serious late crowd replacing most of the yaketty-yak, the second set, though amplified even higher, was more satisfying—and less challenging-- to the listener.

Now She Sings, Now She Strings:
Double Duty for Kristin Korb, Hot Summer Jazz Festival

Looking for a different gig at the Twin Cities Hot Summer Jazz Festival? Kristin Korb fits the bill. While there are many fine female vocalists, far too few women in jazz have tackled the acoustic bass. Locally we are blessed with Joan Griffith who also plays guitar. Kristin Korb is not only a member of the very tiny community of women bassists, she is also equally known as a vocalist—and she often shares both talents simultaneously. A singing bassist? Combining the vocal traditions of Ella Fitzgerald and Sarah Vaughn with the instrumental influence of Ray Brown, Korb will bring her unique talents to the main stage on Peavy Plaza in downtown Minneapolis on Friday, June 25^th, 5:50-7:00 pm.

A Montana native, Kristin grew up surrounded by music. She started playing guitar in elementary school, briefly moving on to violin and piano. Learning that the “hip” group in junior high was the vocal ensemble, she sang in the seventh grade group and played bass guitar with the eighth graders. “I spent my lunch hours and stayed after school listening to the director’s Ella Fitzgerald, Manhattan Transfer, and Diane Reeves recordings. I wanted to know about scat.”