Latest News

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.

Read article here

December 18, 2014

Seasons Greetings from Macau, featuring Jane Monheit

November 13, 2014

Jane Monheit To Perform at EFG London Jazz Festival

Wednesday, November 19 at Cadogan Hall. Get tickets here!

November 1, 2014

Jane Monheit’s “Born To Be Blue” on Jazz Greats’ Top 55 for 2014

Visit the Jazzploration website

October 7, 2014

Interview with Ray Bertolino WPHC

Here’s a recent interview with WPHC’s Ray Bertolino

October 1, 2014

Video: Jane Monheit on VOA’s Beyond Category

September 29, 2014

Suitland High, November 1

September 23, 2014

New Jane Monheit Interview

New interview posted at Ticket. Click title for link.

“There’s no surviving in this business without fortune and luck, but you have to put the work in to make something of the opportunity.” That’s the sort of straight talk you get from Jane Monheit. Questions abound; is she a revivalist? Is she a preservationist? Is she a re-enactor? Is seeing her perform jazz repertoire the equivalent of using a time machine? As authentic as she is and as honestly as she presents the music, one would have to answer, (no,) not exactly.

The award-winning interpreter of jazz is currently saluting Judy Garland and as usual, attempting to get everything right.

Read full interview here

July 9, 2014

Jane Monheit’s Jazz Party Kick-Off at Birdland

On Sunday night, Birdland was proud to launch a new summer series, Jane Monheit’s Jazz Party,” which will continue through September. The series provides Jane the opportunity to develop new material, and to collaborate with invited musical guests in a relaxed environment that is part concert, part jam session, part workshop and all fun.

See full article and photos from the kick-off concert!

July 9, 2014

‘Jane Monheit’ by Justin ‘Squigs’ Robertson



Date Venue Location   Tickets
06 March 2015 Texas Tech
Special Guest of John Pizzarelli
Lubbock, TX US Reserve now
07 March 2015 UCO Jazz Lab
Special Guest of John Pizzarelli
Edmond, OK US Reserve now
13 March 2015 Segerstrom Center
Costa Mesa, CA US Reserve now
14 March 2015 Segerstrom Center
Costa Mesa, CA US Reserve now
01 April 2015 EPCOR Center
Calgary, AB CA Reserve now
09 April 2015 The Barns at Wolf Trap
Vienna, VA Reserve now
10 April 2015 Rams Head On Stage
Annapolis, MD US Reserve now
11 April 2015 Katharine Hepburn Cultural Arts Center
Old Saybrook, CT US Reserve now
18 April 2015 The Sheldon
St Louis, MO US Reserve now
23 April 2015 Jazovia
GIlwice PL TBA
24 April 2015 Kino Komeda
Ostrów Wielkopolski PL TBA
25 April 2015 Theater Gorzow Wielkopolski
Gorzow Wielkopolski PL TBA
27 April 2015 Jazz Festival Basel
Basel CH Reserve now
29 April 2015 Porgy & Bess
Vienna AT Reserve now
01 May 2015 Halle Opera House
Halle DE TBA
02 May 2015 Coliseum
Barcelona ES Reserve now
05 May 2015 Teatro Campos Eliseos
Bilbao ES Reserve now
07 May 2015 Ronnie Scott's
London UK Reserve now
08 May 2015 Ronnie Scott's
London UK Reserve now
15 May 2015 Towne Crier
Beacon, NY US Reserve now
16 May 2015 Infinity Hall
Norfolk, CT US Reserve now
17 May 2015 Jazz at Lincoln Center
w/ NY Youth Symphony
New York, NY US TBA
18 May 2015 Jazz at Lincoln Center
w/ NY Youth Symphony
New York, NY US TBA
08 August 2015 Five Towns College Dix Hills Performing Arts Center
Dix Hills, NY US TBA


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.

More »

“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.”

« Less

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.

More »

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.

« Less

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.

More »

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.

« Less

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.

More »

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.

« Less

Master Class

Take a private lesson with Jane and her world-class band!
To schedule, contact
(518) 686-0972

More »

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)

« Less