tag:www.janinegastineau.com,2005:/blogs/latest-news?p=4Latest News2019-06-17T11:40:50-06:00Janine Gastineaufalsetag:www.janinegastineau.com,2005:Post/57944292019-06-17T11:40:50-06:002019-07-18T10:55:04-06:00The Tour Begins! with 7 Notes on Life (h/t: Amy Krouse Rosenthal)<p><span class="font_large">6/17/19 – The Tour Begins! </span> (image: page 1 of Mozart's original REQUIEM score)</p>
<p>I’ve given myself this once-in-a-lifetime trip, the chance to sing Mozart in Salzburg, Vienna, and Prague, as a gift to honor my love for and dedication to a life in music. This love inspired me to return to school in 2016 and earn my master’s degree from DU. This love pushed me to return to the Spirituals Project and sing powerful and healing music with that beautiful, multi-racial multigenerational community. And it’s the reason I’ve hitched my wagon to the musical vision of the superb conductor Dr. Catherine Sailer (whom I had the joy of working with while at DU) joining some of my fellow DU alum to sing CARMINA BURANA with Colorado Ballet earlier this spring. </p>
<p>Dr. Sailer is leading a group of us, under the “Evans Choir” moniker, to meet up with several other choirs from CO and WI to perform a gala production of the Mozart REQUIEM in Vienna. We’ll also perform smaller concerts in Salzburg and Prague, sharing some shorter choral works in English, Latin and Czech. </p>
<p>For the past year, as I couch-surfed and stayed with friends, saving $$ and preparing for this trip, I’ve also been living the question, “where do I belong?” at this phase of my life and as a newly single person. Music and writing—plus my incredible friends and my beloved family—are now my anchors. My “home” has become wherever they are. When away from them, home is wherever I park the carryon suitcase that holds all my belongings at present. </p>
<p>I embrace this lighter load, which in turn is lifting and healing my grieving heart. Life is an adventure, with borders to be crossed and erased, new places and new faces to meet and experience fully. I am determined to give that all that I have, and be open to </p>
<p>Since this summer – with the choral tour and my subsequent solo gig in Edinburgh, Scotland in early July, plus jazz jams and festivals in Prague, Scotland, London & more — is largely about music, I thought it most appropriate to begin by quoting the wonderful writer Amy Krouse Rosenthal, from her inspiring 2010 TED talk, “7 Notes on Life.” Her message helps us embrace both the wonder and the uncertainty of life, viewed through the musical scale. Watch the entire talk <a contents="here" data-link-label="" data-link-type="url" href="https://youtu.be/hxWgIccldh4" target="_blank">here</a>; I’ll share some highlights. </p>
<p><strong>A – Always trust magic. </strong>(Magic: where purpose and random happenstance seem to intersect; serendipity.) </p>
<p><strong>B – Beckon the lovely. </strong>(Whatever you look for, you will find...) </p>
<p><strong>C – Connected.</strong> (As we all are, truly.) </p>
<p><strong>D – DO.</strong> (We all know, on any given hour, what we really should be doing. Do it!) </p>
<p><strong>E – Empty space.</strong> (In music, the absence of notes—the space between the notes—is integralto the song. And so it is with us, our lives. Don’t fear this.) </p>
<p><strong>F – Figure it out as you go.</strong> (If the edges of an idea are solid…and you are operating from truth and intention, the various pieces will slowly emerge.) </p>
<p><strong>G — Go to it. </strong>(In the words of theologian Howard Thurman: “Ask not what the world needs. Ask what makes you come alive, and go to it. Because what the world needs are people who have come alive.”) </p>
<p>Through it all, AKR calls us to be brave, to let go, to embrace what we are & have, So, I will hold all of this in my heart, as this journey unfolds. My plan: to sing, to travel, to reach out, to live this gift of a life with all I have. Hoping you can join me on this journey!</p>Janine Gastineautag:www.janinegastineau.com,2005:Post/57087302019-04-05T11:46:30-06:002019-04-05T11:46:30-06:00Behind the scenes with Colorado Ballet's CARMINA BURANA - Day 4: Celebrating the Manly Ones!<p>Behind the Scenes with @Colorado.Ballet and <em>Carmina Burana</em> – Day 4: Celebrating the Manly Ones! </p>
<p>Today was a doubleheader: daytime performance for area high school students, followed by our final dress rehearsal. Arrived at 11 am, dismissed by 6 pm. Phew! As challenging as it was to sing this hour-long score twice today (and man, those robes grew hotter by the hour), I am even more in awe of the dancers and their endurance. I can’t imagine dancing these two ballets twice in a single day. (which they will do, with typical dedication, come this Saturday!) </p>
<p>On second viewing, <em>Serenade</em> was even more lovely and heartrending today; the women in this company dance it so beautifully. (Not to slight the few men in the cast, but you know Balanchine! <em>Serenade</em> is all about The Woman.) </p>
<p>My post today, however, celebrates the Manly Ones. <em>Carmina Burana</em>—even with its bevy of fetching young maidens—is all about The Men. They have much more to sing than the women in the chorus, thanks to the guys-only <em>In Taberna</em> (In the Tavern) section. Here, the chorus (plus tenor and baritone soloists) sing about anger, grief, misery, the loss of joy, the pleasures of the flesh, the succor of drink and the welcome distraction of the gambling table. Railing against the capriciousness of Fortune, they drink in the face of death, and inform us that everyone else does so, too: the lowliest among us, the soldier, the servant, the stupid and the wise, the swift and the lazy, the loose woman, the exiled man, the penitent and the prisoner, the monk, bishop and deacon, all the way up to the Pope and the King. HA ha! </p>
<p>First, kudos to the men in Colorado Ballet, for the brio and bravura with which they dance these four numbers. Such no-holds-barred lust, fury, and penitence. They’re great. </p>
<p><strong>But my biggest shout-out goes to my choral brethren in our Evans Choir.</strong> From our very first read-through of the score 2 ½ wks ago (you read that right), they’ve blown me away with their clarity, their power, and their vocal depth and expressiveness. The 30-odd number of them produce a powerful and gorgeous sound. The excellence is <em>on point</em>, people! </p>
<p><em>Carmina</em>, especially the <em>Il Taberna</em> section, is a fiendishly challenging score to sing. The tempos change within a single song at a maddening pace. For example, the final baritone solo, <em>Circa Mea Pectora (In My Heart),</em> starts out in 6, and by the fifth measure, changes to a bar of 3, followed by a bar of 5 and goes into a measure of 7. (Thankfully it shifts to a 2-count when the full SATB chorus enters.) Another number, <em>Tempus Est Iocundum (This Joyful Time) </em>alternates between a 4-count and a 3-count, then back to 4, but speeds up every measure after that. It’s nuts! SO fun to sing if you can get it right, but no small task doing so. We are on our toes the entire time! </p>
<p>Back to the all-guy <em>Il Taberna</em> and how fabulous our guys sound. At first, lamentation abounds: they sing, “Misery, misery!” with the tenor, shout “Woe Woe!” with the baritone. They burn inside with anger and for their sins are then (figuratively) a-roast on a spit. Escaping to the tavern, they sing a final chorus of 8th and 16th notes at rapid-fire tempo, over <em>five full pages of music </em>and what seems like MILES of dense lyrics full of tongue twisters (in Latin!), and tempos switching from 4 to 3 and back, slowing down/speeding up over and over. I can’t adequately express in words how truly difficult this section of the music is, or how hard to sing in six-part harmony, cleanly, as one voice, both pianissimo (very softly) AND sempre staccatissimo (staccato, but even sharper and more detached, i.e. hyper-articulated). For the record, singing anything very softly, or very quickly, or BOTH, is Just. Damn. Hard. 'Nuff said.</p>
<p>Not to mention, in rehearsal the guys have, to a man, been singing these songs over and over again, and in the dressing room each day before we go on, because we have to get all of the music to that point of agreement between orchestra, chorus, and dancers. Not to mention, most of the time they are singing behind one (or 2!) scrims, making it pretty hard to see the conductor, and with dancers’ moving bodies also blocking the view. Yet through this entire process, the men in our Evans Choir have sung cheerfully, tirelessly, and with an inspiring amount of enthusiasm, focus, and professionalism. They sound powerful, assertive, mournful, vengeful, funny, and above all, fabulous. I’m pretty much in awe of them.</p>Janine Gastineautag:www.janinegastineau.com,2005:Post/57070022019-04-04T09:50:07-06:002023-06-27T14:18:46-06:00Behind the scenes with Colorado Ballet's CARMINA BURANA - Day 3<p>Dancers, Singers, and Robes, Oh My!</p>
<p>First dress in Ellie Caulkins Opera House. Most of us came early to watch the run-thru of <em>Serenade</em>, the other ballet on the bill. It was as lovely as I'd remembered, and the final moment with all the dancers slowly crossing on that upstage diagonal moved me to tears. (I'm such a softie!)</p>
<p>And we finally saw the choreography for <em>Carmina - </em>I don't want to give anything away by sharing details, but it was powerful and moving. Seeing the cast up close reminded me how gifted this company is, how incredibly hard ballet dancers work, and what tremendous athletes they are. Completely focused, uncomplaining, 100% committed to whatever they're asked to do. Another reminder that this is one of the best ballet companies in America.</p>
<p>We also heard the soprano and tenor soloists, and - wow. The tenor looks like a linebacker, a really big guy, and it's fascinating hearing these high notes just blasting out of that body. The soprano, Nadia, has a glorious, light, sweet tone - her notes just floated effortlessly forward, filling the entire house. And Matthew, the baritone (who has several fiendishly difficult solos, singing from a high falsetto down to the very basement of his range), just kills it. He's only in his 20s and already SO good, I can't quite imagine how much his voice will improve as his career continues...but of course, it will. I have such admiration for classically trained singers working at this high level.</p>
<p>And...I know you were wondering, what of the orange robes? Several dancers in the opening number already wear them, as do the three vocal soloists (soooo glamorous, NOT) and the chorus arrived yesterday to find two massive racks of robes waiting for us, too. They are huuuuuge (I am guessing 5-6 yeards of fabric each, see pic of me and my pal Valerie), heavy, and pretty dang toasty to wear. Someone had the genius idea of being less than fully dressed under them, and singers were stripping off pants and skirts left and right after trying them on. By tonight, there may be an entire chorus wearing sports bras and gym shorts under these voluminous garments. As the song says, "life upon the wicked stage ain't nothing that a girl supposes..."</p>Janine Gastineautag:www.janinegastineau.com,2005:Post/57059602019-04-03T15:38:18-06:002019-04-03T22:00:32-06:00Behind the scenes with Colorado Ballet's CARMINA BURANA - Day 2<p>Orchestra Rehearsal, in Which We Try to SIng in Tempo with a Conductor 35 Ft Away and an Orchestra in the Pit Beneath Us</p>
<p>Last night we sang onstage for the first time, continuing to accustom ourselves to the conductor's signals (he first worked with us at last Sunday's rehearsal). He is a very fine conductor, but his style, his little signals for entrances, etc, are quite different from our choral director's. No surprise, no two conductors could ever be exactly the same, but we are still getting to know each other. It's rather like a slightly awkward but well-intentioned first date. Add to that challenge the distance between us (35 feet!), and the accompanying lag in sound as it travels across the stage from the pit to where we are, which equals conductor plus two sizeable groups of musicians--orchestra and chorus--fighting it out over tempo. Not to mention our far upstage location behind partial scrims and a giant wheel of Fortune (see photo). So, not only is it hard to hear, it's hard to <em>see.</em></p>
<p>An interesting problem to solve.</p>
<p>After singing thru a few sections, the technical staff turned on some monitors behind us, and we were able to hear the orchestra in something approaching real time. However, even though the sound only had to travel vertically (which for some reason, I assumed would be <em>faster</em> than a horizontal trip) there was still a millisecond of delay. Enough to remind us we mainly needed to rely on <em>sight</em> (the conductor's hands & baton) rather than sound. Particularly hard for me - I have always relied the most upon my ears and my tonal memory when I sing! Happily, by the end of the evening, I think we'd all found our way to a place of agreement. </p>
<p>While we sang, André, the gentleman who is staging the ballet (he teaches it to the dancers, and maintains the integrity of the original work as they rehearse it) quietly marked the steps of each section, paying close attention to the conductor's tempo. That tempo MUST remain consistent throughout the run of this production. I assume the tempo was originally set, not by our conductor, but by André, because in ballet <em>the music has to serve the movement,</em> even as it seeks to express that same music. And because there are human beings moving, ballet demands an almost extreme fidelity to tempo and rhythm in live performance, unlike a typical concert where tempos can 'breathe' a little and fluctuate in very subtle gradations. And with such large numbers of people involved, staying together requires deep and sensitive listening. </p>
<p>The artistry comes from the conductor, who finds a way to create beauty within these strictures, leading us along with him/her. It's pretty magical, actually.</p>
<p>Tonight - first dress! Glimpses of the Carmina choreography & the dancers! Plus, how many of us get to wear the big orange ecclesiastical robes?</p>
<p> </p>
<p> </p>Janine Gastineautag:www.janinegastineau.com,2005:Post/57041182019-04-02T22:05:00-06:002019-04-03T22:01:11-06:00Behind the scenes with Colorado Ballet's CARMINA BURANA - Day 1<p><span style="color:null;">Hi Everyone! I'm incredibly blessed this month to be singing during the final performances of Colorado Ballet's 2018-2019 season. (Singing? In a ballet? What?!) </span></p>
<p><span style="color:null;">From their website: "This season’s Ballet MasterWorks program will open with George Balanchine’s <em>Serenade</em>, and the second half will include a performance of <em>Carmina Burana</em> for the first time in nearly 20 years. This production of <em>Carmina Burana</em> features choreography by the acclaimed Fernand Nault, along with Carl Orff’s evocative and powerful music performed live by the Colorado Ballet Orchestra and the Evans Choir." </span></p>
<p><span style="color:null;">As a member of the Evans Choir, I thought it might be fun to share some behind-the-scenes details with you, as we move into production week, followed by our seven performances. </span></p>
<p>First, it's a rare treat as a professional singer to have more than one performance of anything. It's difficult in the Denver area to get a musical residency at Nocturne or Dazzle. One of my themed musical revues, like the Stephen Sondheim and Joni Mitchell shows, would be perfect for longer runs, but I have yet to get a theatre company to include them in a season. So I am really enjoying the prospect of living within this music for the next two weeks. Once you get past opening night, you can settle in and really enjoy yourself, find new nuances, grow into it. This is very meaningful to a performer. </p>
<p>I adore <em>Carmina Burana</em> and sang it once before, with the Colorado Music Festival Chorus at Chautauqua, under director Michael Christie. It's a funny and fairly scandalous piece about the vicissitudes of Fortune, the renewal of spring and the powerful pull of lust and desire. The text is based on poems written in the 11th-13th centuries in medieval Latin, middle high German and French. Don't let the antiquity fool you - this music is as relevant as anything written today. There are songs of love and longing, songs about hooking up, the men get drunk and sing over gaming tables in a tavern, and the ballet opens and closes with an ode to the wheel of Fortune. You'll hear our 50-member chorus, a full orchestra, and three incredible soloists (my fave is the baritone, OMG wait till you hear him!). </p>
<p>We'll be onstage with the dancers, far right and left, sometimes hidden behind scrims, sometimes visible, in the Ellie Caulkins Opera House, which is the ballet company's home turf. Getting to sing on this hallowed stage, with THIS ballet company, is an absolute thrill for me. For over a decade, when I was Colorado correspondent for DANCE magazine, I saw every show in CB's entire season. I interviewed and got to know many of the dancers, wrote two cover stories and many reviews about the company, and fell in love with all of them. To share the stage with them now is such an honor. </p>
<p>Plus - bonus!! - the company is also dancing George Balanchine's gorgeous <em>Serenade</em> on this program. My favorite ballet of all time; trust me, seeing it will make your world better. And I get to see it <em>every night </em>during these 2 wks - my idea of heaven. Aaaaah! </p>
<p>So I hope you will read these posts and share this journey with me. I think it's going to be tremendous. Tickets <a contents="here" data-link-label="" data-link-type="url" href="https://tickets.coloradoballet.org/single/PSDetail.aspx?psn=4356" target="_blank">here</a>.</p>Janine Gastineautag:www.janinegastineau.com,2005:Post/56721802019-03-01T12:55:00-07:002019-04-02T13:24:17-06:00Janine featured in KUVO's "31 Colorado Women Who Shape Jazz" - and upcoming Vintage Cabaret debut<p>WOOHOOO! I am included in <strong>KUVO's</strong> <strong>"31 Colorado Women Who Shape Jazz"</strong> during Women's History Month, honoring women in Colorado making an impact on the jazz scene. I got to discuss my "SHE-roes" in the genre, the songs I love, how I was drawn to jazz, and more! Click <a contents="here" data-link-label="" data-link-type="url" href="https://www.kuvo.org/post/q-time-janine-gastineau-during-women-s-history-month#stream/0" target="_blank">here</a> for my profile!</p>
<p>And <a contents="support KUVO" data-link-label="" data-link-type="url" href="https://www.kuvo.org/membership">support KUVO</a>, for all they to support all of us!</p>
<p>And...on <strong>May 29</strong>, I make my <strong>Vintage Theatre</strong> debut in their cabaret series, singing <em>SONGS I LOVE, AND YOU SHOULD TOO! </em>with the wonderful pianist David Nehls. I have some very special songs (and stories, natch!) to share with everyone - and am so excited to play in this intimate theatre setting. There's a bar for cocktails, too, so bring someone special along and join us for a really fun evening of live music. David is a brilliant musician, and I am thrilled to perform with him; he's even sharing a couple of his original songs (from his many hilarious musicals) with me. </p>Janine Gastineautag:www.janinegastineau.com,2005:Post/55987702019-01-01T13:05:00-07:002019-04-02T13:06:13-06:00Happy 2019, & new musical adventures<p>Greetings, friends! Happy New Year and all good wishes for 12 months of growth and discovery. I wrapped up the year with a fantastic trip to the UK, where I hit up every open mic I could find (London, Cork, Dublin, and Edinburgh), met some wonderful musicians along the way, visited Stonehenge and the Lake District, and spent five glorious days in southern England on the Jurassic Coast with an incredible group of people at the annual JONI Fest. This is a community of diehard Joni Mitchell fans, some professional and some amateur musicians, who meet once a year for a five-day house concert to share her music, their original music, food and friendship. I performed, too - DRY CLEANER FROM DES MOINES and COYOTE - and was welcomed so warmly. I've found a new musical community!</p>
<p>In the new year, I've felt a call to return to choral singing, and have joined two local ensembles: the Spirituals Project (led by Dr Roger Holland) and the Evans Choir (led by Dr Catherine Sailer). Both choirs have several exciting concerts for the winter and spring - TSP honors Dr King in THE DREAM & THE DREAMER (Jan 30 & Feb 27 @ the Newman Center) - while members of the EC appear with Colorado Ballet in a new production of CARMINA BURANA (Apr 5-7 and 11-14 @ the Ellie Caulkins Opera House).</p>
<p>And to top all that, in June I will travel to Salzburg and Vienna to sing with Dr Sailer and the Evans Choir for a gala production of Mozart's REQUIEM! WOW. To perform in the cities of Mozart's birth and where he lived and composed and had his brilliant career...it's a dream come true! </p>
<p>CARMINA and the REQUIEM are <strong>my all-time favorite choral works</strong>, and I am beside myself with joy to be performing BOTH of them in the <em>same season</em>! My heart is SO full. On top of which, my son (who sings tenor) is also coming on the REQUIEM tour. Added bonus, to be sharing this adventure with him :)</p>
<p>My goal is to return to the EU and the UK and perform in jazz clubs in 2019. I'll keep you posted!</p>Janine Gastineautag:www.janinegastineau.com,2005:Post/53709822018-08-01T14:19:07-06:002018-08-01T14:19:07-06:00Janine's a Graduate! Whoooo hoooo!<p>HI everyone - happy to share that I finished my master's degree at Lamont School of Music and graduated from DU in June. I now have a Master's of Music in Jazz Performance, and also won a special award for Outstanding Graduate Recital! I'm very excited to bring my new skills to bear as a musician, performance coach and teacher both locally and abroad. I'm also looking forward to getting back out into the community to perform, as I put gigging largely on hold this last year.</p>
<p>I also enter this new phase of my life eager to give and serve our community. Please check out my new GIVING page for information on two remarkable organizations that are making a tremendous difference in our world. I support both causes on a monthly basis, and offer a reward for any of my fans who wants to join me! For people making a one-time donation, I offer a digital download of one of my musical tracks. For monthly donors, I offer a digital download or hard copy of an entire album! If you message me here with your donor info, I can send you that download link immediately!</p>Janine Gastineautag:www.janinegastineau.com,2005:Post/49758202017-12-13T15:15:42-07:002018-08-01T15:34:02-06:00Janine is a featured vocalist on KUVO!<p>Super cool news -I’m featured in the “Local Vocalist Spotlight”on the homepage of KUVO, Denver’s great jazzz station. Writer Candace LeGault penned a very nice profile of me, and it’s up all month long. So exciting! Read it here: http://kuvo.org/post/local-vocalist-spotlight-janine-gastineau</p>
<p>This is another example of KUVO's generous support for local musicians. Please consider becoming a member and supporting them, too, and their many efforts to keep jazz alive and thriving in the Mile High City! To join, go here: https://donate.nprstations.org/kuvo/?_ga=2.214221591.1466518593.1513202897-685985260.1513202896</p>Janine Gastineautag:www.janinegastineau.com,2005:Post/45171022016-12-19T09:59:55-07:002016-12-19T10:11:50-07:00Janine Speaks at Jazz Festival in February 2017!Another happy bit of news: I've been invited to give a talk at the Kinser Jazz Festival in Casper WY in early February. The title of the talk is <strong>BROADS ON THE BANDSTAND: The Forgotten Women Who Fought for the Right to Play in the Swing Era. </strong><br><br>This talk arises from a fascinating part of jazz history, one that features all-women big bands, who were most active from the early swing years thru the end of WWII. Many of these bands were also led by women, including Denver's own Joy Cayler , who later led a group called Brass Beat that many of our local sideman and women performed with.<br><br>I have had such fun researching this topic. The stories, the photos and videos have revealed some <strong>amazing</strong> players I knew little to nothing about, and aren't mentioned much (if at all) in much of jazz scholarly or mainstream writing & publishing. These women' stories of persistence and faith and success despite great odds need to be heard & shared. Everyone who's been to my shows knows how I love history and love sharing what's behind the music I sing, and discovering this topic has been a revelation. There's an entire segment of jazz history that's been underreported and under-taught. And IMHO, jazz history is incomplete without a working knowledge of everything these women "added to the conversation." I hope I make my own small contribution to that conversation, both with my music AND my writing & speaking. Stay tuned for more!<br> Janine Gastineautag:www.janinegastineau.com,2005:Post/45170542016-12-19T09:45:15-07:002016-12-19T10:05:58-07:00Grad School: Fall Quarter done, 3.82 GPA!Hi Friends! A mighty THANK YOU to everyone who's asked me about school this fall, sent encouraging words, listened to me kvetch, etc etc. I am happy to share that, thanks to a great program and some wonderful teachers, I finished my first quarter with a 3.82 GPA! Now, I've always loved learning, but as an undergrad I was - outside of my major classes in music, theatre & dance - not the best student... So it's great to get the chance to redeem myself now. And I truly credit my professors - Donna Wickham, Ken Walker, Lynn Baker, Marc Sabatella, Elwood Colahan, Dr. Catherine Sailer, & Caitlyn Brozna-Smith - for getting me this far. (A special shout-out to Marc S, who is my jazz theory teacher, and an extraordinary educator.) I'm really proud to be at DU's Lamont School, which has proven to be a very challenging & inspiring place. I can't wait for Winter & Spring Quarters and what I'll absorb the rest of this year. Janine Gastineautag:www.janinegastineau.com,2005:Post/40127262016-01-28T11:42:36-07:002016-02-08T22:55:41-07:00Janine on KGNU!I had the recent pleasure of appearing on KGNU <strong>twice in one week!</strong> On <strong>Tuesday 1/19/16</strong> I was a guest on KGNU's KABARET program. Host Riley Ann asked several insightful questions about my music, and I had a great time talking to her in between sharing several of my favorite songs! I was accompanied by the always-terrific Bill Kopper (guitar) and Bill McCrossen (bass). You can listen to the archived show <strong><a contents="here" data-link-label="" data-link-type="url" href="http://www.afterfm.com/index.cfm/fuseaction/shows.permalink/showID/23/showDate/2016-01-19/showName/Kabaret/kgnuShowID/91072" target="_blank">here</a></strong>.<br><br>Two nights later, <strong>Thursday 1/21/16</strong>, I was a returning guest on KGNU's JAZZ LIVES, spinning 2 more tracks from my new album and chatting with host Jerry Maddock. He had, as always, a terrific and wide-ranging list of tunes chosen for that evening's show, so I recommend listening to the entire show <strong><a contents="here" data-link-label="" data-link-type="url" href="http://www.afterfm.com/index.cfm/fuseaction/shows.permalink/showID/36/showDate/2016-01-21/showName/Jazz%20Lives/kgnuShowID/88885" target="_blank">here</a></strong>. I'm on at 7:08, after his opening tune, again "The Last Time I Saw Jeannine" (though he's varied the versions each time I've been on the show) - a very sweet and charming gesture!Janine Gastineau