Latest News

May 20, 2015

2 In Love with David Benoit – Discount Code for Autographed Pre-order

Reserve a signed copy of the new album 2 In Love. Click the image to visit the store and use discount code DB22 to receive 20 off a signed copy!


March 30, 2015

Jane Monheit Takes the Blindfold Test in Downbeat Magazine

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March 16, 2015

Broadway World Reviews Hello Bluebird

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January 14, 2015

An Evening with Jazz Star Jane Monheit at New York’s Birdland

The acclaimed Grammy-nominated vocalist Jane Monheit returned to New York City’s iconic Birdland jazz club this week, a place she describes as her second home, for a weeklong run starting this past Monday. Her latest show is in two parts: the first set, “Hello Bluebird”, is dedicated to all things Judy Garland; the second, “To All the Men I Love,” is a collection of songs written and performed by the male musicians, singers and composers that have inspired and influenced Monheit throughout her career.

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December 18, 2014

Seasons Greetings from Macau, featuring Jane Monheit



Fan Photo of the Month

Jane visits inspiring fan Daniel in Toronto



Jane’s Bio

Jane-Monheit-04-Photo-Credit-Timothy-Saccenti“Everything I’m singing now is a reflection of my truest self,” says Jane Monheit. “After all this time in the industry, after touring for 13 years, it’s time to just be me, with complete and utter freedom.”

Monheit’s sense of liberation is apparent throughout The Heart Of The Matter, the acclaimed, Grammy-nominated vocalist’s ninth studio album. It can be felt in her wide- ranging choice of material, in the unique arrangements, and in her own fearless performances and interpretations. The diverse and very personal set of songs includes both familiar standards and compositions by Lennon/McCartney, Randy Newman, two songs by Ivan Lins, recorded in the original Portuguese, and, for the first time, a Monheit original.

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“I knew that I wanted the material to be chosen based on the lyrical content”, says Monheit of the eclectic track list. “Over the years, my singing has really taken on that focus. At the beginning of my career, I wanted to show proof of my knowledge of music, that I could improvise and sing through the changes. But as I got older, especially after getting married and having a child, I started feeling the lyrics more simply because I had more to sing about. Focusing on the technical side was part of my learning process, but over time, all of that became a natural part of my singing. Now I use it to support the lyric, not just to prove myself.”

Jane-Monheit-02-Photo-Credit-Timothy-SaccentiMonheit has been a leading light in both the jazz and cabaret worlds since emerging as a finalist in the Thelonious Monk Institute’s 1998 vocal competition. In addition to her own recordings, she has worked alongside the likes of Terence Blanchard, Tom Harrell, and Ivan Lins. She says that the distinctive, continually surprising sound of The Heart Of The Matter is the result of an especially satisfying collaboration with Grammy-winning producer Gil Goldstein, who has previously worked with such giants as Wayne Shorter, Gil Evans, and Pat Metheny. The pair first joined forces for part of Monheit’s 2009 album The Lovers, The Dreamers, and Me.

“When Gil is around, amazing music happens,” says the singer. “He brings a very specific thing…there’s a special vibe that infuses every single thing he does. The last time we worked together, I had a newborn, I wasn’t sleeping…I barely knew who I was, and Gil made such magic happen that I couldn’t wait to work with him again. And as soon as we started, it was perfect…the very first take was “Depende De Nos”, which we ended up using. We actually made this album even faster than my very first.”

Though the dozen tracks were recorded in just three days, Monheit notes that the sessions came at “a very intense time” in her own life. Her young son had recently injured his arm and needed surgery, and her grandparents had been displaced by Hurricane Sandy, losing nearly everything they owned. “When you’re isolated in the vocal booth, you’re able to process everything,” she says. “There are no distractions, so you get inside yourself more to reach a deeper level of interpretation.”

Her biggest revelation came while she was singing “Until It’s Time For You To Go”, written by Buffy Sainte-Marie. “It’s a beautiful love song,” says Monheit, “but it hit me while I was recording that for me, it’s about my son’s childhood ending- that the little boy I know now will be gone. It just struck like lightning, and after we were done it hung around me like a fog for days.”

She also felt comfortable enough to take on some music that she had always viewed as “sacred”, and fulfill a career-long wish to record something by the Beatles. She had long considered recording “Golden Slumbers”, but never felt sure about how to interpret “Carry That Weight”, the song it’s paired with on Abbey Road. Monheit’s husband and drummer, Rick Montalbano, had the idea to match “Golden Slumbers” with another Lennon/McCartney ballad, “The Long And Winding Road”, which they discovered to be a perfect fit.

“Taken together, the meaning becomes deeper than that of just a lullaby or a break-up song,” she says. “I tend to go for darker interpretations,” she says with a laugh, “but it’s nice when it’s left a bit open for the listener to find their own meaning, as well.”

Jane-Monheit-09-Photo-Credit-Timothy-SaccentiMonheit’s passion for Brazilian music colors a big swath of The Heart Of The Matter- most obviously, in the two selections wrtten by the great Ivan Lins. “This music has always been a huge part of my life,” she says.” It’s important to me that I sing in Portuguese whenever possible, out of respect for the composer and lyricist.” But Brazilian rhythms also reached into one of the album’s English-language pieces- a striking version of Joe Raposo’s Sesame Street anthem “Sing”.

“I have wanted to do a Brazilian version of that song for my entire adult life,” Monheit says, noting that she first needed to get past the idea that it would be seen as a novelty. “I’m a mother now, and that has given me the power to not care anymore…I’ll sing any song I want, the way I want, as long as it comes from the heart. And a lot of experience goes into that feeling, both good and bad.”

The confidence manifests most visibly with the inclusion of Monheit’s own “Night Night Stars”, the first song she has released for which she has written both music and lyrics. “I don’t find time to write very often,” she says. “This was based on something my son said on a drive at night when he was two years old. I wasn’t sure about using it, but Gil believed in me, and that meant a lot.”

From the song choices to the performances, The Heart Of The Matter is a work deeply informed by Jane Monheit’s life- as a woman, wife, and mother in the second decade of a remarkable career- and it reaches emotional levels she attributes to an “extreme comfort zone” in the recording studio. “It was a small group, we’re all friends, and everyone really wanted to be there,” she says. “I’m very close with my band, so to hear Gil’s beautiful work with my family beneath it inspired me to be completely unselfconscious… I think I’ve finally reached my level of onstage, live interpretation in the studio, which has always been a challenge for me.”

“When you’re playing with people you love,” says Monheit, “it always makes for better music.”

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Band’s Bio

Michael Kanan


band_mkananMichael Kanan is originally from Boston, MA, where he attended Boston College. His first jazz instructor, Harvey Diamond, was a student of legendary pianist and composer Lennie Tristano. After several years of study with Diamond, and many freelance gigs in Boston, Michael moved to New York City in 1991, where he studied for a year with Sal Mosca and then with Sophia Rosoff, with whom he currently studies.

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From 1995-2001, Michael was the accompanist for vocal great Jimmy Scott, with whom he toured the United States, Europe and Japan, made numerous TV and radio performances, and recorded three CDs.

In addition to his work accompanying vocalists like Mr. Scott, Jane Monheit, Annie Ross, and Madeleine Peyroux, Michael has also played in many instrumental settings. He performed in New York with guitar wizard Kurt Rosenwinkel, and with him recorded the popular CD Intuit for Criss-Cross. Michael was also a founding member of the International Hashva Orchestra, which included Mark Turner and Jorge Rossy and has led his own trio, with bassist Ben Street and drummer Tim Pleasant, on two recordings for Fresh Sound Talent: Convergence and The Gentleman Is a Dope. His most recent CD is a duet album with saxophonist Nat Su, Dreams and Reflections.

For the last eleven years, Michael has been the pianist/arranger for the Jane Monheit band, touring the United Sates, Canada, Europe, Brazil and Japan and performing on several of her albums and DVDs.

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Neal Miner


band_nminerBorn and raised in Manhattan, Neal received his high school diploma from the Interlochen Arts Academy, and attended the Manhattan School of Music. Most notable of his private teachers were classical bassist Orin O’Brien of the New York Philharmonic, and jazz bassist John Webber.

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Neal started playing regularly at an Upper West Side jazz bar called Augie’s at the age of 19. It was there that he was initiated into the New York City jazz scene, backing many young jazz stars such as Larry Goldings, Peter Bernstein, Brad Mehldau, Eric Alexander, Chris Potter, and Roy Hargrove, all of whom have gone on to garner critical acclaim.

Over the years Neal has accompanied jazz legends such as Jon Hendricks, Annie Ross, James Moody, Bob Dorough, Bill Henderson, Frank Wess; and new jazz stars like Jane Monheit, Stacey Kent, Ann Hampton Callaway, Dena DeRose, Loston Harris; and fashion celebrity and T.V. personality Isaac Mizrahi. Neal has also held the bass chair in large groups such as the Toshiko Akiyoshi Jazz Orchestra, Carnegie Hall Big Band, and the Village Vanguard Jazz Band.

In 2006, Neal’s latest CD, The Evening Sound, was released on the Smalls Records label. This recording captures a sound inspired by his close association with Smalls jazz club for more then a decade, and showcases Neal’s talents as a composer and bandleader. This CD can be heard on radio stations nationwide.

Neal joined the Jane Monheit band in April, 2007.

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Rick Montalbano


band_rmontalbanoRick Montalbano has been playing drums professionally since his early teens. Growing up in a professional musical environment – his father is jazz pianist and organist, Rick Montalbano – offered him unique exposure to world-class musicians, including legendary saxophonists Sal Nistico and J.R. Monterose. Years later, he would win the very first J.R. Monterose Memorial Scholarship.

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While in high school, Rick was selected as one of five young musicians to be awarded a scholarship from the National Foundation for Advancement in the Arts, a prestigious international competition.

In 1997, Rick moved to New York City where he was awarded a full scholarship to the Manhattan School of Music. There he began working with some of the finest musicians in the world, including Brad Mehldau, Phil Woods, Randy Brecker and Clark Terry. He also completed several recordings including two with virtuoso tenor saxophonist Ari Ambrose (Steely Dan).

Since 2000, Rick has been the drummer for the Jane Monheit band, touring the globe in support of a series of acclaimed albums. He has performed on Jane’s recordings, TV appearances, and DVDs.

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Master Class

Take a private lesson with Jane and her world-class band!
To schedule, contact
Anna M. Sala
(212) 581-0612

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Classic Format

Traditional Master Class format will be used. Selected vocal students will come to class with or without their accompanist to perform a song for Jane Monheit so she may work with each person individually to answer questions and give feedback on how to improve the specific piece with focus on style and interpretation. (2-3 hours)

Duo Format

Class is designed in two parts: Jane Monheit working with vocal students as described above and Michael Kanan, professional pianist working with piano students. Michael will focus on introductions, endings, styles of duo accompaniment (stride, walking bass, implied bass, and combinations), use of space, Rubato, playing / interpreting verse, sources for learning songs, sheet music v. lead sheets, consideration of the lyrics with a comprehensive emphasis on accompanying singers. After groups have worked separately with their respective professionals, the vocalists and pianists will be brought together and paired up to perform a piece. Suggestions will be given to accompanists on how to meet the expectations of the vocalists while the vocalists will be given suggestions on how to communicate with the accompanists strengthening the skills of both to work with one another. Session ends with a couple of duo selections performed by Jane and Michael. (2-3 hours)

Ensemble Format

Class is an expansion of the duo format to include guitarists, bass players, and drummers with all participating in the accompanist section of the workshop with Michael Kanan, joined by Jane’s drummer, Rick Montalbano and Jane’s bassist, Neal Miner. In the second part of the class, ensembles will play together for vocalists with the focus on accompaniment techniques. (2-3 hours)

Audition Format

 This class format invites singers to come learn the love of auditioning and receive constructive feedback in preparation of an audition song. Guidance will be provided in song selection, presentation, style, stage presence, song endings and signature songs. The class will focus on perfecting the audition technique and improving the comfort level of vocalists in audition situations. (2-3 hours)

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