“… her smooth melodic lines have never been so consistently infused with literary subtext, which spells the difference between sounding pretty, and having something to say.” - Stephen Holden —The New York Times
“A pure voice that flows as easily as burnished notes from a muted trumpet …” - David Finkle —Huffington Post
“Understated elegance and playful warmth…” —USA Today
Hailed by critics as a “musical marvel!” (Rex Reed, NY Observer), Hilary Kole continues to engage audiences throughout the world since beginning her professional career at the legendary Rainbow Room as the youngest singer ever to grace that stage. She has appeared to sold-out audiences at the famed Oak Room at the Algonquin Hotel, at Lincoln Center as part of the “American Songbook Series” with Jonathan Schwartz, and at Carnegie Hall for the tribute to Oscar Peterson alongside Quincy Jones, Herbie Hancock and Nancy Wilson. Ms. Kole has had the privilege of being the last singer to record with Oscar Peterson, and the first singer since Ella Fitzgerald to record a duet with that jazz legend.
Additional major international appearances have included repeat performances at Blue Note Tokyo, the Montreal Jazz Festival, The Umbria Jazz Festival, as well as appearing with orchestras throughout America, including the New York Pops, Colorado Symphony, the Florida Orchestra, and others.
In addition to her recordings with Oscar Peterson, Ms. Kole has also recorded with music legends Dave Brubeck, Hank Jones, Michel LeGrand, Mulgrew Miller, David Frishberg, Monty Alexander, Benny Green, Freddy Cole, John Pizzarelli, and Mike Renzi among others.
Hilary's latest album, "A Self Portrait", was released in Fall 2014 to rave reviews and was featured on USA Today's Top Ten List.
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Long a beloved staple on the NYC jazz scene and world-renowned as a multi-faceted concert hall and symphony performer, Hilary Kole has emerged triumphantly from a difficult three-year legal struggle to put out a recording – and found her true musical heart in the process. On her new independent full-length album, the acclaimed vocalist and musician paints A Self-Portrait with illuminating stylistic brushstrokes and an expansive repertoire that takes her far beyond her storied roots as a purveyor of the Great American Songbook. Back, better than ever and baring her jazz and pop soul like never before, Hilary celebrates life free of limitations and full of optimism.
So personal and intimate that it could only be a self-produced project, A Self-Portrait
– recorded and co-produced by famed engineer Jim Czak at legendary Nola
Studios, where Hilary recorded her first demo at 14 – features the
singer working with her longtime bandmates Paul Gill (bass), John Hart
(guitar) and drummer Aaron Kimmel, along with pianists Tedd Firth, John
DiMartino, and cellist Agnas Nagy. Together they uncover new emotional
dimensions in tunes that she sees as personal snapshots of her life that
also communicate deeper universal truths. Having always felt more
connected to the sound of her live performances than to her previous
studio recordings, Hilary took an organic approach to recording in line
with the way she sings when an audience is present. Her interpretation
extends to her own masterful arrangements of 11 of the songs. Credited
also as arrangers are Firth (“Lemon Twist”), Rich DeRosa (“The Man I
Love,” and co-arranged with Kole “Some Other Time”), and Misha
Piatigorsky (“50 Ways to Leave Your Lover.”)
Those who don’t know the backstory that Hilary brings into A Self-Portrait will still experience an artist who makes fresh, freewheeling choices and whose artistry is constantly evolving and dedicated to, as she says, “opening up the vault a little.” On this collection, that translates to a spirited variety of Songbook classics and obscurities, a batch of hits from the 60s and 70s pop landscape and the glorious mid-90s inspirational gem from Elvis Costello and Burt Bacharach, “God Give Me Strength.” All of these are Hilary favorites that she has worked into her recent repertoire. Collectively, they parallel her personal arc these past few years from frustration and despair to determination and hope.
Songbook choices include the opening track “While We’re Young,” “When The World Was Young” (featuring English lyrics by Johnny Mercer and whose Blossom Dearie interpretation especially inspired Hilary), Cole Porter’s “It’s Alright With Me,” “I Remember You” (lyrics also by Mercer, previously recorded by everyone from Ella Fitzgerald to Diana Krall), the cabaret classic “Come a Little Closer,” Bobby Troup’s clever swing tune “Lemon Twist,” the Gershwins’ “The Man I Love” and the lush, melancholy closer “Some Other Time” from Leonard Bernstein’s musical On The Town. The 60s and 70s gems include Stevie Nicks’ Fleetwood Mac ballad “Landslide,” a crafty take on Paul Simon’s “50 Ways to Leave Your Lover” (including unexpected high-register wordless vocal runs), an understated journey down Joni Mitchell’s “River” and a heartrending take on The Beatles’ “And I Love Her.”
As the title of the generous 14-track collection implies, Hilary brings a truly inspiring personal and professional background to A Self-Portrait. The New York native, who studied composition at Manhattan School of Music, started her professional singing career at the legendary Rainbow Room.
In addition to performing at famed Manhattan venues like Town Hall,
Birdland, Blue Note, Iridium, 54 Below, Jazz at Lincoln Center and
Carnegie Hall (with Michael Feinstein and The New York Pops), she made
her concert-hall debut at Lincoln Center as part of the “American
In June 2007, she appeared at Carnegie Hall in a tribute to Oscar Peterson, a performance reprised in January 2008 at the Canadian Memorial to Dr. Peterson at Roy Thompson Hall alongside Quincy Jones, Herbie Hancock and Nancy Wilson.
Globally, she has since headlined at the Umbria Jazz Festival, the Montreal Jazz Festival, the Nairn Jazz Festival, and the Cotton Club and Blue Note in Japan. She followed her 2009 debut album Haunted Heart (produced by and featuring jazz-guitar great John Pizzarelli), a Gold Disc Award winner in Japan, with You Are There, an ambitious compilation featuring vocal-piano duets with legendary pianists Dave Brubeck, Michel Legrand, Benny Green, Cedar Walton, Hank Jones, Kenny Barron, etc. which won a New York Bistro Award for record of the year, and received national recognition as a USA Today Best Album of the Year.
Despite these accolades, during her unexpected forced hiatus there
were times when Hilary felt like she had lost a part of herself—but as
she says, “Through this darkness, I have learned so much about myself
and about the world.” Explaining her natural evolution from her strictly
jazz/Songbook roots, she takes a probing look at where she’s been and
where she’s headed. “Each song I chose for A Self-Portrait has a
significant meaning to me and has in one way or another shepherded me
through the darkest moments of my life.”
“They’re songs that tap into everyone’s desire to not only feel better, but make things better,” she says. “When I sing them – both here and on stage – I feel liberated and empowered. They’re my way of acknowledging how hard it is sometimes to live, to love, to grow up and to evolve—and these songs express my determination to get through these difficult times. Everything starts sitting at the piano, studying a song’s sheet music and finding the musical expression I am looking for to best fit the lyrics. To me, A Self Portrait is about being in the moment, in the most real way possible. I think it is the most authentic recording that I have ever done – yet.”
Hilary’s time away from recording gave her a chance to take stock of her deepest passions and longings as a performer and interpreter. “I had the opportunity to look at who I am as an artist, and realize that I cannot pretend to only be one thing,” she says. “I am, like most artists, many things – or maybe just one thing that cannot be classified. A Self Portrait represents more of who I am. I once thought I had to sing in a box, sing a certain way. I now realize that for me that would be the safe road, but not the truest road.”
That path includes a deep love for a wide range of influences, from Cole Porter to Maria Schneider to Celtic chants, Bohemian rhapsodies, Samuel Barber, the Rolling Stones and Fun. It’s also taken Hilary in unique thematic directions over the years as she debuted at the Oak Room at the Algonquin Hotel as the co-writer and star of the critically acclaimed, Off Broadway revues Our Sinatra and Singing Astaire. Hilary’s latest tour de force is a symphonic tribute to the music of Judy Garland; she has already performed this multi-faceted orchestral show with symphonies around the country, and has a national tour planned for 2015.
Her choice to include “River” on this album offers a glimpse into her next large-scope undertaking: a new show based on the music of Joni Mitchell.
“The beauty of A Self Portrait is that it’s an honest musical glimpse into this moment of my life, looking back on a hard time but from the perspective of having made it through to a bright, exciting present and future,” she says. “It was such a hard road to travel to win the ability to get this out there, so the seemingly simple task of just walking into the vocal booth in the studio and doing the first take was both the hardest and most liberating thing I’ve done in my life. It was a very emotional experience, an opportunity to pour three years of held-back emotion and passion into a true labor-of-love project. I have nothing but gratitude for my family, friends and fans who have shared with me their unconditional love and support – and for my wonderful band who stayed by my side through it all and captured my vision so beautifully throughout.”