Executive Producer: Kurt Deutsch
Produced by David Finck for Organized Sound Inc.
Recorded, Edited, and Mixed by Alex Venguer
Recorded August 17-18, 2021 at Berklee Powerstation, NYC
Mastered by Oscar Zambrano at Zampol Productions, NYC
All Musical Arrangements by Tedd Firth
Piano: Tedd Firth
Bass: Lorin Cohen
Drums: Eric Halvorson
Guitar: Bob Mann
Vibes: Joe Locke
Percussion: Kevin Winard
Trumpet: Scott Wendholt
Saxophone: David Mann
Cello: Richard Locker
Creative Consultant: Adam Gopnik
Very Special Thanks: Phil Hall
This album is dedicated in loving memory to Peter Foley.
Cover photo: Landon Nordeman for The New York Times
(featured in Melissa Errico's essay "Back In The Girdle Again"
about the making of a femme fatale's noir gown;
published May 4, 2021 as part of her series, Scenes From An Acting Life)
Gown (on cover) by: Eric Winterling
Hair and Makeup: Shaniqua Griffin & Melissa Errico
Art Direction, Web & Graphic Design: Mark Shoolery
Liner Notes Editor: Todd Sussman
Dramaturge: Sarah Rebell
Chaplin Entertainment, Inc.
1650 Broadway,Suite 303
New York, NY 10019
Tel: (212) 695-8888
Fax: (212) 695-8925
Sam Morris PR
to David Finck, a natural and loving leader, and a true friend since Legrand himself brought you
(& your bass!) into a room one day. You have always believed in me & I always felt it. Thank you.
to Adam Gopnik, who makes every impossible possible. Your words make me sing.
to Tedd Firth, who reads my heart and baffles me with his talent.
to Alex Venguer, we made this album sitting on a crescent moon together. More to come.
to David Shire, for your noir masterpieces, past and present.
to my wonderful musicians Lorin Cohen, Eric Halvorson, Joe Locke, Richard Locker, Bob Mann,
David Mann, Scott Wendholt, and Kevin Winard. Those sessions were exciting and real.
to Oscar Zambrano for sensitively mastering another album for me.
to Jeremy Sams for finding Michel Legrand’s spirit is always alive, and for creating
a new English song the fourth world premiere Legrand this year alone! Merci!
to David Shenton for music research, copying, working with Jeremy,
and helping me dig. You’re a truly great partner & a magical musician.
to Michael Feinstein, for invaluable research and ideas like treasures.
to Will Friedwald for wonderful song ideas and brilliant history.
You are one of the gems of Manhattan & of my life.
to Charles Cermele, thank you for your thoughts on noir, and suggestions with no detours.
to Eric Winterling, who made The Dress for the album cover.
to Feinstein’s/54 Below and Jennifer Tepper for being my base,
and to Gianni Valenti at Birdland Jazz Club for decades of work and support.
to Clementine Guinchat for the many French lessons.
I hope you’re wearing your Victoria Secret.
to Marie-Monique Steckel and my lovely Mathilde Auge for producing the
concert series and our two film festivals curated together at FIAF, NYC.
to Todd Sussman for sweeping in with such clarity and understanding,
and reviewing and editing all textual materials like a surgeon. A poetic one!
to brilliant golden-mind Sarah Rebell for nerding out with me
over art and history, and lovingly reading by my side.
to David Rosen, for believing in this.
to beautiful Powerstation Berklee Studio on 56th Street. Thank you, Gloria Kaba, Ben Miller,
and thank you Ian Kagey, you knew we cared a LOT. And you did, too.
to the visual artists who entered this project each with a magic lens:
first, the miraculous photo journalist and portraitist Landon Nordeman,
who captured Eric Winterling’s gown at my only fitting in a photo originally
for exclusive use by The New York Times and my essay. Thank you for understanding
the next step and leaping with us to adapt it as album cover art!
to designer Mark Shoolery, who made that leap. Thank you Mark for making
graphic design its own expressive planet and language, yet again.
to Diane Vadnal, for being a great natural leader. Brains and beauty and class. Thank you!
to photographer and my good friend Andrew Werner for shooting the sessions,
and coming to my concerts with so much love in your eyes.
to Ralf Nau, post production photo & design editor, for understanding the soul of a project,
and unifying a vision. There is no one like you. More chocolate chip cookies.
to Ghostlight Records, Kurt Deutsch, Kevin Gore, and Dan Fortune PR. An amazing team.
to James Eades and his video team for being with me in noir light—
sometimes alone in a small vocal booth for hours as I sang or cried and sang…
filming our recording sessions, capturing vibraphones, saxophone, trumpet,
drums, percussion, guitar, and of course Tedd’s utterly blessed hands on the piano.
It has been, and really is, more than a recording. It is not mine. It is ours. It is a project!
to Matthew Edginton for working with me on a music video,
a dream come true to work with you. You’re the top.
To Erin Privratsky, for growing up with me.
to Sam Morris, for taking joy in dreaming every dream.
to Randy Roberts for beginning with a boa and brimming with inspiration.
to Storm Gardner, for being exciting and being a builder, you shift my life.
to Charles Busch, for being yourself so maybe others will follow, being themselves. And for
pointing to that special place where the practical meets the chance we want to take.
to my incredible video cast—Tedd Firth, Rufus Collins and Ed Bacher—
for creating a full noir movie in 8 hours. Netflix anyone?
to Patrick McEnroe, for starring in my real life, so lovingly with our three graces.
Very special thanks to Phil Hall for invaluable vocal coach support which became
deeply philosophical. Your love and your talent for love has changed me.
* * * *
Terry Teachout was a generous champion of my work. The night before we lost him, I sent him
one song from this album, and his wise response made me excited to send him the rest
immediately. Too late, and too sad, and always to be missed.
This album is dedicated in loving memory to Peter Foley.