PBS this Sunday

November 21st, 2014 | No Comments

Jay Leno

Join me on PBS this weekend!

In October, I joined musical director Crispin Cioe and a stellar band (folks who work with Bruce Springsteen’s band, Saturday Night Live, Beyonce, and many others) at the Kennedy Center in Washington, DC. We taped the 2014 Mark Twain Prize for American Humor live, and it’ll be airing this Sunday night, November 23, at 8pm Eastern. (Don’t despair if you have plans! I’ve been a part of this twice before, and I often hear from folks throughout the year who’ve caught a re-airing later in the year.)

This year’s honoree is Jay Leno, and we backed up amazing guests like Jerry Seinfeld, Wanda Sykes, Garth Brooks, Kristin Chenoweth, Jimmy Fallon, and many more. Tune in to check it out!

Here are a few behind-the-scenes photos…

Kiku and Elizabeth at Mark Twain show 2014

Elizabeth with Mark Twain Prize 2014 poster

Great review of “Brainchildren”

October 13th, 2014 | No Comments

Music blog The Music and the Myth reviewed “Brainchildren” and said some very nice things.  Andrei Cherascu really listened to the record and dug in to the lyrics and music.  I hope you’ll read it and listen to the record as you do!

Elizabeth / Brainchildren / Cover RGB

I met Big Bird.

September 10th, 2014 | No Comments

Sometimes the perks of my job are really unbelievable.

I was pretty psyched to meet Big Bird last week while playing trombone on stilts with the Shinbone Alley Stilt Band - we were part of Shakespeare in the Park’s A Winter’s Tale.  Check out the NY Times review of the show and try to spot me in the last photo in the slideshow…. I’m in there!


Big Bird Elizabeth Jazz 2014


Big Bird Stilt Band 2014

Together in the Woodshed #4: Alex Skolnick

July 25th, 2014 | No Comments


Alex SkolnickThe fourth episode of my new podcast, “Together in the Woodshed,” featuring conversations with great artists about teaching and learning music, is now available! This episode’s guest is Alex Skolnick, named one of the best 100 guitarists of all time by the 2012 Guitar World readers poll.  He’s the guitarist for the band Testament, as well as an accomplished jazz musician and composer.  He has a new memoir out called “Geek to Guitar Hero,” currently available through his website, Amazon, and independent bookstores.  Alex talks about what inspires him to always be learning,  how to enjoy the process of working on your music, and how teachers he had, like Joe Satriani, never let him rest on his laurels.  He sees his role as a teacher as offering an honest assessment of his students, and speaks about that well.

We had a wonderful – and long! – conversation, and it was great to hear about the kind of music that inspired him during his early years, the kind of expression that draws him to music and performance, and the connections he sees between writing music and writing words.

Here’s a particularly nice part of our chat, from the very end, when we were talking about having the maturity and confidence to seek out honest feedback:


Elizabeth: How do you help a student do that same [iterative composing] process?  How do you help students push themselves to do more, and then shape what’s worthy of continuing?

Alex:  I’m a believer in balance.  I fit my birth sign very well…. Libra.  I like to maintain being diplomatic, but truthful.  In terms of students, you’re gonna get different reactions depending on who you get feedback from.  If you play your idea for your grandmother, for example, Grandma’s probably gonna clap her hands and say ‘It’s wonderful! I’m so proud!’  And if you play it for somebody who’s a fellow musician, that’s in competition with other musicians, they might say ‘It’s terrible! Why would you even come up with that?’ So usually the truth is somewhere in the middle.  So you need to get an honest assessment.  And I try to be that for my students, because they don’t always get that.  And they can’t always tell when somebody’s being honest, or offering praise to make them feel good, or offering criticism to make them feel bad.  So it’s really pointing out what’s working and what’s not.  It’s hard to be that for yourself, too, I mean that takes a long time.  I think that even at this level, where you have albums under your belt, and you have a catalog, I still have people I play my music for…. I want to know if they don’t like it, because it’s somebody I trust.

Elizabeth:  How do you develop trust?  What are the signs that you feel like you can actually be honest with someone?

Alex:  That’s a really good question.  I think, honestly, you have to be a little bit judgmental, and you have to say ‘how does this person conduct themselves in other areas of their life?’  How do they talk about others?  You have to have a sense of comfort; the person has to exhibit traits that are indicative of honesty.  It doesn’t have to be brutal, blunt honesty.  Somebody like that might not be good for somebody who’s not ready for that.  I think it’s a little bit like trusting anyone.  You can make mistakes, too.  We all do.  And then you learn from the mistakes – ‘oh, I shouldn’t have trusted that person.’

Elizabeth:  It sounds like you’re talking about having the sense of self and confidence that you’re working on something you care enough about to actually get real feedback….

Alex:  Absolutely, and I think that holds many people back.  I’ve seen others who exude confidence – I mean, the music world is full of them, people that just talk the talk and they’re so high and mighty. But deep down inside, they really don’t have any confidence, and they’re deeply insecure. Sometimes that whole posturing is a reaction to being insecure.  Whereas, there are others who don’t need to put on an act at all.  They’re unassuming, but then they get onstage and do what they do really well.  I’ve always related more to those types of people.  There’s a maturity that happens when you’re ready for honest feedback, and you’re not just gonna play your demos for your relatives, and your best friend.  It’s a big step.  And then what do you do with the feedback once you get it?  Maybe you’re just not ready to…. whatever it is you’re working on, maybe it’s just not ready to be displayed to the world yet.  You need to woodshed some more.  And that’s not a bad thing – it’s actually good to know.  But you have to be willing to embark upon that process….spending the time, and knowing that it might not work out either.

I would have loved to have put out a jazz record in 1993 or 1994.  But I knew I wasn’t ready, and I didn’t know if I would be ready.  I only ended up doing it in 2002 because it felt ready.  But even if I never did, I was exploring this music, and getting this enrichment by studying music on a deeper level, wherever it led, and I was happy just doing that.  I think what often happens is musicians get too focused on one certain goal, whether it’s an album or a gig or whatever, but they really just need to chill out and enjoy the process of working hard.  Enjoy the process.


Get the full conversation as a podcast below! And please visit Alex’s website to learn more about all of his music and writing.  He’s also on tour with Testament in Europe this summer if you happen to be there.



Together in the Woodshed #3: Dena DeRose

May 14th, 2014 | No Comments

The third episode of my new podcast, “Together in the Woodshed,” featuring conversations with great artists about teaching and learning music, is now available! This episode’s guest is Dena DeRose, an incredible pianist and vocalist, and a faculty member at the University of Music and Performing Arts in Graz, Austria.

I’ve admired her playing, singing – and especially phrasing! – for years, and it was wonderful to get a chance to hear her thoughts on the importance of peers as a cohort in learning about and playing music – “that [community] is the energy of jazz.”  She also talks about surrounding yourself as a learner with musicians who are better than you are, to learn and push yourself, and what attitude you need in order to never be bored.

Dena DeRose with Martin Wind

Here’s a particularly nice part of our chat, when we were talking about her peers when she was a young pianist:

Dena: Of all those guys, I guess Steve Davis was probably the one who opened my eyes to so many things, he was and is such a good musician.  I just remember when we were about 16 or 17 years old, and we had our first gig together as a group, and it was at his house, his parents were having a house party.  His father hired us and we played in the backyard.  But before that, I got there, to his house, and I walk into the living room, and Steve is in the middle of the living room with an Art Blakey record on, and he proceeded to play the trombone solo note for note, the sax solo note for note, the trumpet solo note for note, and then parts of the bass solo, and parts of the piano solo, note for note.  It floored me.  At that age, at 16, 17, that was a huge eye-opening experience, to see somebody on the trombone doing that – and really doing it, and loving it – that’s the thing, too – he was just in it – and I sat there in the living room and my mouth was to the floor, and I was like “wow, I want to be able to do that.”  I just thought “ok, that’s how we have to learn this music.”

Get the full conversation as a podcast below! And please visit Dena’s website to learn more about all the amazing things she has going on, including summer concerts in the San Francisco area for all you west coasters.



elizabeth! is a vocalist, trombonist, and songwriter working in NYC and Los Angeles. Originally from Vermont, she studied neuroscience at Harvard before moving to NYC to play, tour, and record with jazz musicians, indie rockers, pop stars and more. Her new album of original jazzy pop tunes was just released on Canopy Jazz!

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