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 Kendra ShankİAndrea Canter
"One of New York's most original performers." --Gary Giddins, Jazz Times For the past year, vocalist Kendra Shank has been celebrating the release of A Spirit Free: Abbey Lincoln Songbook (Challenge Records). On many “best of the year” lists, the recording and her recent tours are finally bringing the West Coast native the recognition that her talent has long deserved, inviting comparisons to the most innovative singers of modern jazz, from Abbey Lincoln herself to Betty Carter, Patricia Barber, and Kurt Elling. On April 25th, Kendra adds her 50th birthday to the celebration at the 55 Bar, along with her long-time collaborators, pianist Frank Kimbrough, bassist Dean Johnson and drummer Tony Moreno. Expect surprise guests throughout the evening as Kendra performs at the small jazz club that has been a regular home for the past six years. In 1999, Kendra was voted Talent Deserving Wider Recognition in the Downbeat International Critics Poll. Recognition came slowly, but since the 2007 release of A Spirit Free, the elastic improviser has accumulated a pile of accolades, with a “unique and immediately identifiable sound and style” (Don Heckman, LA Times), as “a singer with a sound” (Abbey Lincoln) who “phrases inventively, whether crisp and sizzling or sensuously smoky” (Patricia Meyers, Jazz Times).
 Kendra Shank Kendra Shank’s flair for vocal drama comes naturally as the daughter of a playwright and actress. Growing up in southern California, she first acted at age five, was playing guitar by thirteen, and working as a folk singer in Seattle after high school. She first fell under the spell of jazz listening to a professor’s recordings of Billie Holiday; the attraction was furthered as she spent time in Paris, listening and sitting in at jazz clubs. Back in Seattle she began studies with Jay Clayton, and later landed a gig with the great Bob Dorough as vocalist/guitarist/percussionist for his West Coast tour. It was Shirley Horn who took notice and co-produced Shank's critically-acclaimed debut, Afterglow (Mapleshade, 1994), and invited the young singer to sit in at the Village Vanguard in New York. Relocating to New York in 1997, Kendra released two recordings for Jazz Focus—Wish (1998) and Reflections (2000), the latter with pianist Frank Kimbrough, bassist Dean Johnson, and drummer Tony Moreno, who also appear on the new recording. Named to “best of year” lists by Down Beat, Jazz Times, All Music Guide and Jazz Police, the Abbey Lincoln tribute creates "...a practically telepathic integration...these four people appear to have emerged from the same womb" (Lawrence Brazier, Jazz Now).
In recent years, Shank has headlined at major jazz venues across the U.S. and internationally, and has been featured on NPR's JazzSet and Marian McPartland's Piano Jazz. Later this spring (May 8th), she will return to perform at the Seattle Art Musuem with her long-standing rhythm section (Frank Kimbrough, Dean Johnson and Tony Moreno).  Frank KimbroughİRay Gawlak Pianist Frank Kimbrough first met Kendra Shank through Shirley Horn in 1993 and has been her keyboardist and frequent arranger ever since. He’s released a number of recordings fronting his acclaimed trio, including Play (2006) as well as his new solo release, Air, both on Palmetto. Frank also appears with the Maria Schneider Orchestra, Ben Allison, Joe Locke, and Ted Nash, among others, and toured with the late Dewey Redman. A founding member and composer-in-residence of the Jazz Composers Collective (1992 - 2005), he has received numerous grants and commissions, including awards from the NEA and Chamber Music America.Seattle transplant, bassist Dean Johnson has been a busy freelancer in New York for the past 28 years, including a decade with Gerry Mulligan. He’s performed with a list of stellar artists including Bob Brookmeyer, Randy Brecker, Joe Lovano, Dave Liebman, Dave Douglas, Lee Konitz, Wynton Marsalis, The New York Voices, Jackie and Roy, and Roseanna Vitro, in addition to Kendra Shank.  Dean JohnsonİAndrea Canter Drummer/composer Tony Moreno teaches at New York University and Columbia University, has composed music for film and dance, and recently published the textbook, “Rhythmic Studies for all Instruments.” Among his sideman credits are performance or recoding with Dave Phillips and Freedance, Marc Mommaas and Global Motion, Larry Willis, Eddie Henderson, Sonny Fortune; Ole Mathiessen Quartet, Timucin Sahin-Greg Osby Quartet, Jean Michel Pilc Trio, and many others. If you are in or near Manhattan on April 25, come join the party at the 55 Bar—where free spirits reign and great music is more than the frosting on the cake. And while the spirits are not free (two-drink minimum), there is no cover! The 55 Bar is located in Greenwich Village at 55 Christopher Street between 6th and 7th Avenues; 212-929-9883; www.55bar.com. On May 8th, the Kendra Shank Quartet performs at the Seattle Art Museum, 5:30 and 7:30 pm, at 1300 First Ave., Seattle; 206-654-3100; www.earshot.org/Events/Art_of_Jazz.html. On May 9th, the quartet goes east to Yakima at Season’s Performance Hall at 7:30 pm; 101 North Naches Ave., Yakima, WA; 509-453-1888; www.seasonsmusicfestival.com. More about Kendra Shank at www.kendrashank.com. See an exclusive interview with Kendra at www.jazzink.com (see Musicians/Interviews on the home page menu). |