Katie Glassman

Ironically enough, singer and fiddler Katie Glassman was living overseas when she heard the early recordings of one of America's most famous singers in history for the first time. Although Elvis Presley is mostly remembered for the controversy surrounding the last years of his life, he is an important part of music history. Glassman wants to remind us of that this weekend with her performance, the Elvis Presley Sun Sessions Tribute. We caught up with Glassman to talk about what inspired her to perform an ode to The King.

See also:
- The Elvis Presley Sun Sessions Tribute @ Lannie's Clocktower Cabaret
- Katie Glassman - Snapshot Self-released
- Elvis Presley would have been 78 today. Here are the six best Colorado stories about The King

Westword: Can you tell me a little bit about how the idea for this tribute came about?

Katie Glassman: I was living in France about five years ago, and that's when I discovered the Elvis Sun Sessions recordings. And, having grown up on Western swing and old-time fiddle bands and classical jazz, hearing those recordings, I just heard all the music that I love -- rockabilly, Western swing, bluegrass, classic swing and blues. So, I don't know, most of the people who have heard me sing know that my voice tends to go in a vintage direction anyway, and these tunes are just so, I don't know, they encompass the energy of all the music that I love.

Has Elvis' music had an influence on your music since then?

I would say that elements of it have. I think Elvis' singing has had a tremendous influence on my vocals.

Can you tell me about your take on the importance of these recordings in the history of music?

I can definitely tell you within the context of, you know, my understanding. To me, most people know the later Elvis stuff, you know, "Blue Suede Shoes" and the stuff that he recorded at RCA. But this stuff just has the energy and modesty and integrity of, you know, where he came from. It's his start and it was really the start of rock and roll music.

And, when I listened to it at that point, it still had a -- and later his recordings do too -- but especially in these recordings, he really holds on to the roots of American music in every way: the blues, the rockabilly. And then his, I don't know, his energy and the flashback that was used in the sessions. I think these recordings represent really the discovery of one of the greatest singers and performers of all time. It's the beginning.

Do you have plans for any other tributes?

I would to do a Bob Wills tribute, Bob Wills and his Texas Playboys. Are your familiar with them?

Yeah.

Oh, cool! So that's my next thing kind of cooking down the road.

Do you have any idea of when that might be, or is it still in the early stages?

I would love to do it before the end of the year. It is in the early stages, though. But it would be my life's dream, for sure.

Is there anything else you want to mention?

I'm really excited to do this show at Lannie's because I feel it's just going to create a great ambiance for the audience. The band is great. I did want to mention that we added a drummer, and his name is Dave Nichols. The band is killer, and we're really looking forward to the show.

Glassman's performance, with guitarist Sean McGowan, organist Eric Moon, upright bassist Charlie Mertens and drummer David Nichols, starts at 7:30 p.m. Sunday January 20 at Lannie's Clocktower Cabaret. Tickets are $15 and can be purchased in advance on Lannie's website. - Westword

Ironically enough, singer and fiddler Katie Glassman was living overseas when she heard the early recordings of one of America's most famous singers in history for the first time. Although Elvis Presley is mostly remembered for the controversy surrounding the last years of his life, he is an important part of music history. Glassman wants to remind us of that this weekend with her performance, the Elvis Presley Sun Sessions Tribute. We caught up with Glassman to talk about what inspired her to perform an ode to The King.

See also:
- The Elvis Presley Sun Sessions Tribute @ Lannie's Clocktower Cabaret
- Katie Glassman - Snapshot Self-released
- Elvis Presley would have been 78 today. Here are the six best Colorado stories about The King

Westword: Can you tell me a little bit about how the idea for this tribute came about?

Katie Glassman: I was living in France about five years ago, and that's when I discovered the Elvis Sun Sessions recordings. And, having grown up on Western swing and old-time fiddle bands and classical jazz, hearing those recordings, I just heard all the music that I love -- rockabilly, Western swing, bluegrass, classic swing and blues. So, I don't know, most of the people who have heard me sing know that my voice tends to go in a vintage direction anyway, and these tunes are just so, I don't know, they encompass the energy of all the music that I love.

Has Elvis' music had an influence on your music since then?

I would say that elements of it have. I think Elvis' singing has had a tremendous influence on my vocals.

Can you tell me about your take on the importance of these recordings in the history of music?

I can definitely tell you within the context of, you know, my understanding. To me, most people know the later Elvis stuff, you know, "Blue Suede Shoes" and the stuff that he recorded at RCA. But this stuff just has the energy and modesty and integrity of, you know, where he came from. It's his start and it was really the start of rock and roll music.

And, when I listened to it at that point, it still had a -- and later his recordings do too -- but especially in these recordings, he really holds on to the roots of American music in every way: the blues, the rockabilly. And then his, I don't know, his energy and the flashback that was used in the sessions. I think these recordings represent really the discovery of one of the greatest singers and performers of all time. It's the beginning.

Do you have plans for any other tributes?

I would to do a Bob Wills tribute, Bob Wills and his Texas Playboys. Are your familiar with them?

Yeah.

Oh, cool! So that's my next thing kind of cooking down the road.

Do you have any idea of when that might be, or is it still in the early stages?

I would love to do it before the end of the year. It is in the early stages, though. But it would be my life's dream, for sure.

Is there anything else you want to mention?

I'm really excited to do this show at Lannie's because I feel it's just going to create a great ambiance for the audience. The band is great. I did want to mention that we added a drummer, and his name is Dave Nichols. The band is killer, and we're really looking forward to the show.

Glassman's performance, with guitarist Sean McGowan, organist Eric Moon, upright bassist Charlie Mertens and drummer David Nichols, starts at 7:30 p.m. Sunday January 20 at Lannie's Clocktower Cabaret. Tickets are $15 and can be purchased in advance on Lannie's website. - Westword

Is ‘bluegrazz’ a word?” wonders All About Jazz writer Florence Wetzel. In her rave review of Katie Glassman’s SNAPSHOT, she adds, “Perhaps it should be.”

With the official release of the North Denver fiddler-singer’s album, others will discover what Wetzel also calls “an amalgam of sound that is genuinely fresh to the ears.”

Glassman’s singular ability to blend tradition with contemporary color comes to the fore on this set of beguiling originals, which simultaneously captures the vintage, sepia-toned feel of her childhood experiences with old-time music and fiddling contests, and the fresh sophistication of her jazz studies and year-long sojourn in France.

Glassman is planning several Colorado performances with her band — Eric Moon, accordian and piano; Yaniv Salzberg, guitar and vocals; and Kim Bird, bass. On March 18, Dazzle will host the official CD launch with shows at 5 and 7 pm. - The North Denver Tribune

Is ‘bluegrazz’ a word?” wonders All About Jazz writer Florence Wetzel. In her rave review of Katie Glassman’s SNAPSHOT, she adds, “Perhaps it should be.”

With the official release of the North Denver fiddler-singer’s album, others will discover what Wetzel also calls “an amalgam of sound that is genuinely fresh to the ears.”

Glassman’s singular ability to blend tradition with contemporary color comes to the fore on this set of beguiling originals, which simultaneously captures the vintage, sepia-toned feel of her childhood experiences with old-time music and fiddling contests, and the fresh sophistication of her jazz studies and year-long sojourn in France.

Glassman is planning several Colorado performances with her band — Eric Moon, accordian and piano; Yaniv Salzberg, guitar and vocals; and Kim Bird, bass. On March 18, Dazzle will host the official CD launch with shows at 5 and 7 pm. - The North Denver Tribune

It’s tough to picture Katie Glassman performing in color. Her latest album Snapshot simultaneously captures the vintage, sepia-toned feel of her childhood experiences with old-time music and fiddling contests, and the fresh sophistication of her jazz studies and year-long sojourn to France.

Glassman is a national fiddling champion, but she is also backed by a huge amount of talent on the new album, including Sam Bush, who lends his masterful mandolin on one track. - The Marquee

It’s tough to picture Katie Glassman performing in color. Her latest album Snapshot simultaneously captures the vintage, sepia-toned feel of her childhood experiences with old-time music and fiddling contests, and the fresh sophistication of her jazz studies and year-long sojourn to France.

Glassman is a national fiddling champion, but she is also backed by a huge amount of talent on the new album, including Sam Bush, who lends his masterful mandolin on one track. - The Marquee

Though Snapshot is not Katie Glassman’s debut CD—her first was a collection of Texas fiddle tunes—her stunning sophomore effort introduces a major talent to the rest of the world. She’s a contest championship fiddler well versed in western swing, jazz and gypsy styles but her sophomore effort extends her artistry beyond just being a brilliant instrumentalist accompanied by top flight sidemen playing everything from swanky trumpets, guitars, bass, splattery tubas, and mandolins to tinky toy pianos, organs, dancing accordions, cello, willowy steel guitars, and earthy dobros. (Mandolinist Sam Bush and dobroist Sally Van Meter are listed among the entourage). Besides showcasing her acumen on fiddle, it’s also apparent that she’s a versatile composer steeped in the aforementioned genres as well as a quality vocalist who could probably make it on that alone if she so chose. Her jazz-based vocals are controlled, supple, delicate, often wispy and frequently breathtaking, and occasionally there’s a hint that she could contend as a radio pop darling as well (“Long White Dress”).

The compositions are similarly intriguing—western swing (“Uncle John,” “Bye Bye Boise”) that would make Bob Wills snaps his fingers and exclaim his trademark “a-ha!”; a waltzing musette that plops you onto a Parisian sidewalk café listening to a bunch of well-behaved, tip-hungry gypsies. With its lazy Appalachian feel with trumpets and droning suspense, “Devil’s Plea” resembles a miniature three-act play where, eventually, the protagonist submits to his addiction —and the devil—once and for all. It’s a deep listen with countless impressive moments, such as Sean McGowan’s jazz guitar riffs (“Rain Rain”) and Eric Moon’s dazzling ivory tinkling anywhere the needle drops. - Driftwood Magazine

Though Snapshot is not Katie Glassman’s debut CD—her first was a collection of Texas fiddle tunes—her stunning sophomore effort introduces a major talent to the rest of the world. She’s a contest championship fiddler well versed in western swing, jazz and gypsy styles but her sophomore effort extends her artistry beyond just being a brilliant instrumentalist accompanied by top flight sidemen playing everything from swanky trumpets, guitars, bass, splattery tubas, and mandolins to tinky toy pianos, organs, dancing accordions, cello, willowy steel guitars, and earthy dobros. (Mandolinist Sam Bush and dobroist Sally Van Meter are listed among the entourage). Besides showcasing her acumen on fiddle, it’s also apparent that she’s a versatile composer steeped in the aforementioned genres as well as a quality vocalist who could probably make it on that alone if she so chose. Her jazz-based vocals are controlled, supple, delicate, often wispy and frequently breathtaking, and occasionally there’s a hint that she could contend as a radio pop darling as well (“Long White Dress”).

The compositions are similarly intriguing—western swing (“Uncle John,” “Bye Bye Boise”) that would make Bob Wills snaps his fingers and exclaim his trademark “a-ha!”; a waltzing musette that plops you onto a Parisian sidewalk café listening to a bunch of well-behaved, tip-hungry gypsies. With its lazy Appalachian feel with trumpets and droning suspense, “Devil’s Plea” resembles a miniature three-act play where, eventually, the protagonist submits to his addiction —and the devil—once and for all. It’s a deep listen with countless impressive moments, such as Sean McGowan’s jazz guitar riffs (“Rain Rain”) and Eric Moon’s dazzling ivory tinkling anywhere the needle drops. - Driftwood Magazine

Chocolate covered bacon. Spam sushi. Over easy eggs on pizza. I’m a fan of things that, at first, don’t seem to go well together, and yet when you actually try it’s pretty darn good. That’s the kind of surprise I
got when listening to Katie Glassman’s latest release, Snapshot. It’s bluegrass and vintage jazz. A torch singer with a fiddle. Blues polka.
The album starts out with Uncle John, a western swing number that if not for Glassman’s silky vocals, would be immediately pegged as an Asleep At the Wheel classic. Then comes the title track, a jazzy
number that would be perfectly at home in a sharp Vegas lounge in the 50's. Next up is Devil’s Plea that starts with a breathless vocal part that builds the suspense on what direction the song will take: will it be
bluegrass, will it be jazz? Ahh, who cares, it will be a good listen.
Earlier in her career Glassman won a bazillion awards for her fiddle prowess. But like any good musician she used that to springboard into other genres and styles. On the whole, I’d say Snapshot is more of a jazz project than anything, but that categorization is more about picking the biggest minority. Personally I found myself drawn to several tunes with more of a bluesy tinge: Rain, Rain; Long White Dress; and a
Billie Holiday-soaked 1000 Shades Of Blue. So whether you want a little twang in your jazz, or some sultry vocals in your bluegrass, Katie Glassman comes through on this disc. - Twangville

Chocolate covered bacon. Spam sushi. Over easy eggs on pizza. I’m a fan of things that, at first, don’t seem to go well together, and yet when you actually try it’s pretty darn good. That’s the kind of surprise I
got when listening to Katie Glassman’s latest release, Snapshot. It’s bluegrass and vintage jazz. A torch singer with a fiddle. Blues polka.
The album starts out with Uncle John, a western swing number that if not for Glassman’s silky vocals, would be immediately pegged as an Asleep At the Wheel classic. Then comes the title track, a jazzy
number that would be perfectly at home in a sharp Vegas lounge in the 50's. Next up is Devil’s Plea that starts with a breathless vocal part that builds the suspense on what direction the song will take: will it be
bluegrass, will it be jazz? Ahh, who cares, it will be a good listen.
Earlier in her career Glassman won a bazillion awards for her fiddle prowess. But like any good musician she used that to springboard into other genres and styles. On the whole, I’d say Snapshot is more of a jazz project than anything, but that categorization is more about picking the biggest minority. Personally I found myself drawn to several tunes with more of a bluesy tinge: Rain, Rain; Long White Dress; and a
Billie Holiday-soaked 1000 Shades Of Blue. So whether you want a little twang in your jazz, or some sultry vocals in your bluegrass, Katie Glassman comes through on this disc. - Twangville

Snapshot, the debut album from Denver jazz fiddler Katie Glassman, might easily be mistaken for a lost recording of Eartha Kitt playingAustin City Limits. But while Glassman's music is steeped in tradition, it also conveys stylistic idiosyncrasies that stem from her personal musical background.

"A lot of people have described my music as vintage jazz meeting western swing," she says. "That really resonates with me. When I put this whole project together, I wanted it to be something old with a twist of something new."

From the opening chords of "Uncle John," Snapshot sounds like it was just pulled out of a dusty box in a ranch house attic, heavy with history and curling at the edges. Glassman's tunes draw from a wide base of highly appealing musical styles, incorporating anything that gives her violin a personality, from the gypsy jazz she learned in France to the swing she was raised on in Denver, where she grew up with futureDeVotchKa and Flobots musicians.

"When I was in eighth grade," she says, "I started playing guitar, and Andy Guerrero, who's in Bop Skizzum and was in the Flobots, we would sit and play guitar and sing Beatles songs. And so they were such a huge inspiration for me."

Glassman's accomplishments include a slew of national fiddle championship titles and a stint at the premier jazz music school in France. But her sights are set squarely on a Colorado-based career.

Being a Colorado musician matters to her, she says, "because there's such a wide variety with just the bands here alone; we could do so much with supporting one another ... Hopefully my music will contribute to a niche with a lot of the traditional bluegrass players and a lot of the country jazz players. Swing music, I feel, falls between those cracks and needs to be revived."

Glassman drew upon those inspirations — and a bevy of others from her 10 years as a side fiddler in Denver — for her first solo album, makingSnapshot into a polished, yet diverse curriculum vitae.

"I do feel like the album is a culmination of what I've done my whole life," she says. "There's not so much Texas fiddle on there, but there's the acoustic waltz with 'Deer Brush.' And there's 'Ma Liaison Avec la France,' and that's my French connection. And Eric Thorin arranged both 'Pretty Pictures' and 'Molly Song' with a string quartet, which encompasses another special part of my life. It's kind of a summary of where I've been."

It's hard to call Glassman a niche artist when her music conveys such a broad range of influences.Snapshot may be roots music, but a great many of those roots are non-native species. It shouldn't shock, then, that among pitch-perfect old-timey original compositions on Snapshot, there's a sweet, swingy version of Paul McCartney's "Honey Pie," or that her top three dream gigs are shared stages with DeVotchKa, Dakota Blonde and Lannie Garrett.

"I don't really want to be a solo artist," she says. "This is a part of me and I'm putting it out there, but I really value these other musicians ... It's just an honor for me to have them help color my picture." - Colorado Springs Independent

Snapshot, the debut album from Denver jazz fiddler Katie Glassman, might easily be mistaken for a lost recording of Eartha Kitt playingAustin City Limits. But while Glassman's music is steeped in tradition, it also conveys stylistic idiosyncrasies that stem from her personal musical background.

"A lot of people have described my music as vintage jazz meeting western swing," she says. "That really resonates with me. When I put this whole project together, I wanted it to be something old with a twist of something new."

From the opening chords of "Uncle John," Snapshot sounds like it was just pulled out of a dusty box in a ranch house attic, heavy with history and curling at the edges. Glassman's tunes draw from a wide base of highly appealing musical styles, incorporating anything that gives her violin a personality, from the gypsy jazz she learned in France to the swing she was raised on in Denver, where she grew up with futureDeVotchKa and Flobots musicians.

"When I was in eighth grade," she says, "I started playing guitar, and Andy Guerrero, who's in Bop Skizzum and was in the Flobots, we would sit and play guitar and sing Beatles songs. And so they were such a huge inspiration for me."

Glassman's accomplishments include a slew of national fiddle championship titles and a stint at the premier jazz music school in France. But her sights are set squarely on a Colorado-based career.

Being a Colorado musician matters to her, she says, "because there's such a wide variety with just the bands here alone; we could do so much with supporting one another ... Hopefully my music will contribute to a niche with a lot of the traditional bluegrass players and a lot of the country jazz players. Swing music, I feel, falls between those cracks and needs to be revived."

Glassman drew upon those inspirations — and a bevy of others from her 10 years as a side fiddler in Denver — for her first solo album, makingSnapshot into a polished, yet diverse curriculum vitae.

"I do feel like the album is a culmination of what I've done my whole life," she says. "There's not so much Texas fiddle on there, but there's the acoustic waltz with 'Deer Brush.' And there's 'Ma Liaison Avec la France,' and that's my French connection. And Eric Thorin arranged both 'Pretty Pictures' and 'Molly Song' with a string quartet, which encompasses another special part of my life. It's kind of a summary of where I've been."

It's hard to call Glassman a niche artist when her music conveys such a broad range of influences.Snapshot may be roots music, but a great many of those roots are non-native species. It shouldn't shock, then, that among pitch-perfect old-timey original compositions on Snapshot, there's a sweet, swingy version of Paul McCartney's "Honey Pie," or that her top three dream gigs are shared stages with DeVotchKa, Dakota Blonde and Lannie Garrett.

"I don't really want to be a solo artist," she says. "This is a part of me and I'm putting it out there, but I really value these other musicians ... It's just an honor for me to have them help color my picture." - Colorado Springs Independent

The marriage of jazz and country music has a long and colorful history. In writer Geoffrey Himes' excellent
article, "Jazz and Country Fusion: The Searchers" (JazzTimes, December 2008), he explores how this
history contains everyone from saxophonist Sonny Rollins, bassist Charlie Haden and guitarist Bill Frisell,
to banjoist Béla Fleck and trumpeter Wynton Marsalis. Defining "country music," however, is probably as
difficult as defining "jazz": there are enough subdivisions and original players between the two genres to
create any number of hybrids. Such abundance is precisely why this fusion is so exciting, and also why
fiddler Katie Glassman's Snapshot is such a musical treat.
Part of what makes Glassman unique is the many years she has spent studying and playing both genres. A
Denver native who started fiddling at age nine, her accolades include winning the national Junior Fiddle
Championship in 1998 and Colorado State Fiddle Championship in 2011. But she also studied jazz and
classical violin at the University of Colorado, becoming the first violinist from there to receive a certificate
in jazz studies. On top of her instrumental chops, Glassman sings in a sweet breathy soprano, seamlessly
blending both genres in her distinctive phrasing.
Fifteen of the sixteen tunes on Snapshot are Glassman originals. Because these songs emanate from her
inner musical world, they're not simply jazz songs recast in a country way or vice versa—she has melded
her muses and truly created her own language. Glassman's fiddling is magnificent throughout, cheerfully
shape-shifting between hot jazz stylings of Stephane Grappelli and Joe Venuti and the Western swing
fiddling heard in Bob Wills and His Texas Playboys. Most tunes fall under the five-minute mark, ranging
from the energetic swing of "Uncle John" to the delicately pensive "Pretty Pictures" to the high, lonesome
sound of "Deer Brush Waltz." Glassman is also blessed with excellent accompanists; standouts include
Gabriel Mervine's warm trumpet weaving throughout "Devil's Plea," John Macy's twanging steel guitar on
"Takin' My Baby Along," and Greg Harris' fine vibraphone work on the haunting "Rain, Rain."
This music is delightfully without category; just when you are sure it's one thing, you hear another strand.
Is "bluegrazz" a word? Perhaps it should be, since this language continues to grow in leaps and bounds,
creating an amalgam of sound that is genuinely fresh to the ears.
Track Listing: Uncle John; Snapshot; Devil’s Plea; Ma Liason Avec La France; Takin’ My Baby Along;
Molly Song; Fly Away Lil’ Girl; Bye Bye Boise; Rain, Rain; Pretty Pictures; Long White Dress; 1000
Shades of Blues; Honey Pie; Deer Brush Waltz; Goodbye Mr. Heartache; The Accomplice.
Personnel: Katie Glassman-Salzberg: fiddle, vocals, guitar (6), accordion (16); Eric Moon: piano, B3
organ, toy piano, accordion; Eric Thorin: bass, tuba; Christian Teele: drums; Yaniv Salzberg: guitar (7, 11,
14), harmony vocals (1, 5); Gabriel Mervine: trumpet (2, 3, 9, 13); Sean McGowan: guitar (1, 3, 5, 8, 9, 13,
15); M’hamed El Menjra: guitar (2, 4); Paul Musso: guitar (10); Andrea McGowan: harmony vocals (7, 10,
11); Billy Contreras: fiddle (5, 8); Regan Kane: violin (6); Wesley Michaels: cello (6, 10); Greg Harris:
vibraphone (9); John Macy: steel guitar (5, 15); Sally Van Meter: dobro (7, 11, 14); Sam Bush: mandolin
(14).
Record Label: Self Produced - All About Jazz

The marriage of jazz and country music has a long and colorful history. In writer Geoffrey Himes' excellent
article, "Jazz and Country Fusion: The Searchers" (JazzTimes, December 2008), he explores how this
history contains everyone from saxophonist Sonny Rollins, bassist Charlie Haden and guitarist Bill Frisell,
to banjoist Béla Fleck and trumpeter Wynton Marsalis. Defining "country music," however, is probably as
difficult as defining "jazz": there are enough subdivisions and original players between the two genres to
create any number of hybrids. Such abundance is precisely why this fusion is so exciting, and also why
fiddler Katie Glassman's Snapshot is such a musical treat.
Part of what makes Glassman unique is the many years she has spent studying and playing both genres. A
Denver native who started fiddling at age nine, her accolades include winning the national Junior Fiddle
Championship in 1998 and Colorado State Fiddle Championship in 2011. But she also studied jazz and
classical violin at the University of Colorado, becoming the first violinist from there to receive a certificate
in jazz studies. On top of her instrumental chops, Glassman sings in a sweet breathy soprano, seamlessly
blending both genres in her distinctive phrasing.
Fifteen of the sixteen tunes on Snapshot are Glassman originals. Because these songs emanate from her
inner musical world, they're not simply jazz songs recast in a country way or vice versa—she has melded
her muses and truly created her own language. Glassman's fiddling is magnificent throughout, cheerfully
shape-shifting between hot jazz stylings of Stephane Grappelli and Joe Venuti and the Western swing
fiddling heard in Bob Wills and His Texas Playboys. Most tunes fall under the five-minute mark, ranging
from the energetic swing of "Uncle John" to the delicately pensive "Pretty Pictures" to the high, lonesome
sound of "Deer Brush Waltz." Glassman is also blessed with excellent accompanists; standouts include
Gabriel Mervine's warm trumpet weaving throughout "Devil's Plea," John Macy's twanging steel guitar on
"Takin' My Baby Along," and Greg Harris' fine vibraphone work on the haunting "Rain, Rain."
This music is delightfully without category; just when you are sure it's one thing, you hear another strand.
Is "bluegrazz" a word? Perhaps it should be, since this language continues to grow in leaps and bounds,
creating an amalgam of sound that is genuinely fresh to the ears.
Track Listing: Uncle John; Snapshot; Devil’s Plea; Ma Liason Avec La France; Takin’ My Baby Along;
Molly Song; Fly Away Lil’ Girl; Bye Bye Boise; Rain, Rain; Pretty Pictures; Long White Dress; 1000
Shades of Blues; Honey Pie; Deer Brush Waltz; Goodbye Mr. Heartache; The Accomplice.
Personnel: Katie Glassman-Salzberg: fiddle, vocals, guitar (6), accordion (16); Eric Moon: piano, B3
organ, toy piano, accordion; Eric Thorin: bass, tuba; Christian Teele: drums; Yaniv Salzberg: guitar (7, 11,
14), harmony vocals (1, 5); Gabriel Mervine: trumpet (2, 3, 9, 13); Sean McGowan: guitar (1, 3, 5, 8, 9, 13,
15); M’hamed El Menjra: guitar (2, 4); Paul Musso: guitar (10); Andrea McGowan: harmony vocals (7, 10,
11); Billy Contreras: fiddle (5, 8); Regan Kane: violin (6); Wesley Michaels: cello (6, 10); Greg Harris:
vibraphone (9); John Macy: steel guitar (5, 15); Sally Van Meter: dobro (7, 11, 14); Sam Bush: mandolin
(14).
Record Label: Self Produced - All About Jazz