(Modern Creative / Avant-Garde / Folk) Jenny Scheinman (with Bill Frisell, Kenny Wollesen, Tony Scherr, Steve Jordan etc) - Jenny Scheinman - 2008, FLAC (image+.cue), lossless

At a Glance
Nationality: American
Community biography from SoundUnwound
Jenny Scheinman is an accomplished violinist. Renown as a jazz violinist, she has credits with artists in many genres. She has collaborated and played with Linda Perry, Norah Jones, Ani Difranco, Aretha Franklin, Lucinda Williams, Bobo, and Bill Frisell and has produced several critically acclaimed CDs of her own including one of the Top Ten Albums of 2005 by the New York Times. In 2008 Scheinman released a self-titled vocal album. She has also played with her friend, Sean Lennon, on the Late Show with David Letterman. Her playing is frequently used as soundbed for NPR programing.
She grew up in Petrolia, California, a remote area of Humboldt County near Cape Mendocinoand currently resides in New York City.
She is the niece of robotics pioneer, Victor Scheinman.

Review by Britt Robson @ eMusic
Of the two Jenny Scheinman discs simultaneously released in mid-2008, Crossing the Field is the typically adventurous jazz set featuring guest spots by Bill Frisell and Jason Moran, and Jenny Scheinman is the eye-opening singer-songwriter vocal debut. There are six covers among the ten tunes here, and some are wonderful, including the dirt-rural traditional folk blues, “I Was Young When I Left Home,” arranged by Bob Dylan, a classic-rocking rendition of Jimmy Reed’s last hit from 1963, “Shame Shame Shame,” and a faithful take on the creamy swing of the Platters’ “Twilight Time.” But Scheinman’s four originals are gems, too — the top quartet of tunes on the entire record, in fact. The gift for melody so apparent in her jazz writing is paired with poetic lyrics and intrepid sense of rhythm, creating free-verse double entendres and twists of inflection that change, and frequently charge, the narrative.
On “Newspaper Angels,” for example, delightfully pregnant pauses twice alter the context: One has a “sister looking at her baby [pause] brother” and another describes how “there’s five miles between them [pause] and the nearest neighbor.” These subtle bits of wordplay enable her flat, honest vocals — reminiscent of Sheryl Crow — to create depth and wisdom and surmount her tonal limitations. “Come On Down” is an unabashed rocker (and makes the Crow resemblance more explicit). “The Green” is a fascinating, erudite whodunit that opens and closes with “Where is my mother’s sister?/ Did she climb in the back of a shiny El Camino?” And “Skinny Man,” the highlight of the collection, is a lament so beautifully sad you won’t know whether to cry or celebrate.
In addition to her cutting-edge jazz work, Scheinman has backed up Norah Jones and other refined pop stars, which makes this eponymous disc vulnerable to cries of sellout from jazz purists. But check the way Scheinman plays fiddle with a haunting bluegrass reverence on Mississippi John Hurt’s “Miss Collins,” and then uses the same instrument as a grand violin to bring home the complexity of emotions on Tom Waits’ “Johnsburg, Illinois.” Or check Frisell’s guitar lines on “Rebecca’s Song,” which modulate from a whisper to a murmur. Jenny Scheinman sings on Jenny Scheinman, it’s true. But the music ain’t half bad either.
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Review by Thom Jurek, All Music Guide
Violinist, songwriter, and composer and Jenny Scheinman's self-titled offering has been affectionately dubbed "the vocal album" by fans; it's her first to feature her voice up front. It is also one of two recordings Scheinman's issued under her own name in 2008 -- the other, Crossing the Field, is instrumental. The players are drummer Kenny Wollesen, guitarist and producer Tony Scherr, and bassist Tim Luntzel. Bill Frisell guests on one track, as does drummer Steve Jordan. Scheinman's voice is plaintive at its core, but it's disciplined and authentic. The material mixes folk, old-timey country, blues, and rock through four originals and seven covers. The opener, " I Was Young When I Left Home," is a traditional folk-blues arranged by Bob Dylan. The lonesome vulnerability in Scheinman's vocal, juxtaposed with Scherr's slide guitar, offers a tale of regret and shame. Her violin folds itself into the bridge, underscoring the sense of distance and motion: her protagonist cannot stop moving; if she does, her "sin" will overwhelm her. We can hear traces of Woody Guthrie, Josh White, Elizabeth Cotten, and Mimi Fariña in this re-telling. Sadness is followed by redemption in her ragged-but-right country rocker, "Come on Down," a love song to God's own desiring angel: "...He kisses your body, he kisses your soul/He kisses you all night and still you want more..." The beauty in the lyric is an invitation: to this spiritual being with carnal talents, and an exhortation for listeners to join her. Other covers include a gorgeous swing read of "Twilight Time," a lost blues by Mississippi John Hurt, a devastatingly effective electric take on Lucinda Williams' "King of Hearts," Tom Waits' "Johnsburg, Illinois," and an anthemic, nasty, party roll on Jimmy Reed's "Shame, Shame, Shame." But it's "Rebecca's Song," by gifted songwriter Rebecca Fanya, that may be the finest moment here. Frisell's atmospheric guitar treads lightly in the melody, and frames Scheinman's weary but determined vocal, tunneling into a lyric that is both autobiographical manifesto and warning. Scheinman's depth in these lines, both vocally and instrumentally with her ghostly violin, are startling, even unnerving. Scheinman's own songs are excellent. "The Green" is a haunted folk tale in waltz time about a missing family member. Scherr's guitars lilt around the bassline as Scheinman's violin becomes the voice of the disappeared. The slow rock shuffle of "Skinny Man" charts the wounds and fears of a single man -- who may stand in for the entire gender. Her voice reaches the breaking point on the refrain: her protagonist acknowledges a shared sense of brokenness and offers shelter, but in his self-absorption he cannot accept them. It's among the most moving, dignified paeans to lost love in years. "Newspaper Angels" is an old-timey country waltz. Its lyrics offer a frozen moment in a sepia-toned photograph, but the characters' loneliness, disintegration, and tragedy are revealed in Scheinman's vocal. It attempts to restore what the photo cannot: the man at the heart of the song; longed for; absent. The album's narratives offer paradoxical emotions in abundance. Scheinman's voice seems transparent, but in its grain, her characters become opaque, formless as smoke. Yet they exist because the physicality in her singing bears witness to their passing -- through us: they exist in the shared experiences in our stories of family, friends, lovers, and ourselves. This is a work of uncommon beauty and depth: sad, graceful, and passionate.
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Editorial Reviews @ Amazon
Product Description
In a 2007 interview entitled "Who Norah Adores," Norah Jones, asked to name her three favorite artists, cited violinist Jenny Scheinman, who among her numerous high-profile credits, appears on Jones' multi-platinum, Grammy-winning, groundbreaking Come Away With Me. Jenny has been the Rising Star violinist in Down Beat's International Critics Poll for several years. She has appeared and recorded with artists as diverse as Lucinda Williams and Bill Frisell, Wilco's Nels Cline and The Preservation Hall Jazz Band. Her residencies at Brooklyn, NY's Barbes with a rotating cast of some of the greatest players in jazz, rock, and country/folk/bluegrass are becoming the stuff of legend.
She also sings; and her move into vocal music, coupled with her unique and original presence as a commanding new voice in instrumental music, make Jenny Scheinman's story one of the really important ones in 2008. Jenny's self-titled vocal debut is a spellbinding take on contemporary Americana, featuring interpretations of songs by Bob Dylan, Lucinda Williams, blues immortals Mississippi John Hurt and Jimmy Reed, and Tom Waits; as well as folk songs, originals and the standard "Twilight Time." The moods range from rocking ("Come On Down") to romantic ("Rebecca's Song) and from raw back porch gut bucket ("Shame Shame Shame") to heartbreakingly poignant ("Newspaper Angels.")
The album as a whole signals the emergence of an unforgettable new voice in American music; and coupled with the simultaneous, digital-only, release of her new instrumental collection, Crossing The Field, announces Jenny Scheinman as a unique, undeniable force. To paraphrase Norah Jones, someone lovely and new.
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Customer Reviews @ Amazon
5.0 out of 5 stars - Natural Evolution, May 26, 2008
By: Keith W. Murphy (Australia)
I need to 'fess up, I was driven to write this review as a backlash against the lousy 2 star review. The hombre who penned that number has no idea what Scheinman has constructed/moved towards so far in her path as a muso. I have all of her solo albums thus far, and a few featuring her as a guest. From the Yoshi's date, through Shalagaster and 12 Songs, there is an open affiliation with material from a 'folk-song' background. Whether it's Klezmer groove, or standard popsong structure(12 Songs), she has worn her musical heart very much on her left-field sleeve. Longterm postings with the Norah Jones/Frisell/Peyroux scene seem to have deepened her understanding of the lexicon of Yankee popular song.
This is a voice & mind that has absorbed much of what resonates with lovers of emotionally candid music-and can convey those special things, lyrical punch/sparse melodicism, with transparent ease. Unadorned blues/roots music, that needs to get over primarily on feel - which Ms. Scheinman has in abundance. Speaking of voice, it is special and uncommon to find an instrumentalist who decides to give the pipes a workout so deep into her years as an artist. In this instance, it is a step forward for someone who has quietly and solidly been building her repertoire & confidence over many years and a wide range of genres - gypsy jazz, downtown, klezmer, avant-garde, etc.
Does someone have to sound like someone else to make them approachable?. I hope not, or else when someone as brave as JS comes along their own individually forged path, we'll ignore them and miss out on something truly remarkable and special.
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5.0 out of 5 stars - Surprising and Affecting, July 21, 2008
By: BrianR. (NYC)
A CD that burns slow and steady but gets warmer with each listen. Her vocals are assured and delivered with great sensitivity to the material. She "gets" the songs, whether her own compositions or the eclectic covers that seamlessly fit into the flow of the record.
Excellent support from her collaborators, and great violin woork (duh!) by Ms. Scheinman.
An acquired taste, perhaps, but truly a CD as a labor of love, love of music, love of words, creating a mesmerizing release.
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5.0 out of 5 stars - Invested songcraft, July 5, 2008
By: a listener (New Jersey, USA)
Jenny Scheinman clearly has a lot to express and plenty of craft to back it up. You hear the surprising ways that she decides to phrase each word - it is often not the kind of sublimation that one would expect from classical player; nor it is a show-off of a vocal technique; rather she inhabits the character's depths and uses subtleties of her musical art to expose the brittle edges with rough honesty. Is her craft going to improve even further? Of course, and she is still finding her way around things, but it is remarkable even now. Now, waiting until she becomes as good as Lorraine Hunt Lieberson before buying this album is silly, because she already can be as devastating.

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