Wednesday, May 6th, 2015 3:20 PM
~ simple gifts ~ DownBeat Review by Carlo Wolff
Like food cooked over a slow Bohemian fire, Simple Gifts is savory and satisfying. Couched in the chamber jazz sound, it is perfectly timed and sequenced for the house concerts the band mounts; its eight tracks showcase the storytelling vocals of Susan Krebs and the nuanced textures of her chamber band, a quartet that blends strings and winds to novel, enthralling effect.
Listening to Simple Gifts is easy because Krebs sings in a narrative style, and her voice carries a lot of weight despite its relatively small size. Krebs also lets the song speak for itself, whether the story is Abbey Lincoln’s prideful cha-cha “Throw It Away,” Sergio Mendes/Alan and Marilyn Bergman’s romantic “So Many Stars,” the gentle pastorale of Jimmy Rowles/Cheryl Ernst’s “Looking Back” or the brooding “Falling Grace.”
Honed in small venues and living rooms, Simple Gifts is an album to ponder vignette by vignette.  3 1/2 STARS 
 ~ simple gifts ~ Review by C. Michael Bailey/All About Jazz
..."some bluesy piano soloing, hoedown string work, and more." Dan Bilawsky in his AAJ review of Krebs' Simple Gifts  =
Yes, I think nothing of drawing inspiration from my betters on the AAJ staff when stuck on a review. I had reviewed Everything Must Change (GreenGig Music, 2012), finding the release very fine. But Simple Gifts represents a stunning evolution that is different altogether. Here, Krebs dives into the heart of Americana in the same ways that Jacqui Sutton ( Notes from the Frontier: A Musical Journey Self Produced, 2012); Laurie Antonioli ( American Dreams (Intrinsic Music, 2010); and Tierney Sutton ( American Road (BFM, 2011)) have. 
I often use the term "organic" to describe music. When I use this term in describing Krebs’ Simple Gifts, I summon the visions, sounds, and smells of my Grandparents home in rural Arkansas and their chicken-coup-turned-storage-shed that swelled from humidity and was perfumed deeply of dust and humus in the near-cool Fall days of October around Logan County Fair time. Krebs' recording is that potent, fecund, and essential. It is an extension of the same pioneered by Cassandra Wilson in the 1990s: an extension and a perfection of that effort to push jazz boundaries into alternate areas in the same way that Western Swing did in its heyday. 
Krebs does not waste her time with the "standard" standards. She chooses lesser-worn paths to great effect. "Let's Call a Heart a Heart" and "Looking Back" are both characterized by reedist Rob Lockart's use of bass clarinet in place of the double bass. So perfectly does Lockart's various reeds meld with the violin and viola of Paul Cartwright, that the combination, in this acoustic setting, damn near defines a new genre of performance. "Falling Grace" and the Shaker title tune sport almost perfect arrangements, arrangements that capture in 20/20 the true American Pastoral. I do not anticipate hearing a more satisfying or original recording the rest of this year.

~ simple gifts ~  Review by Richard Kamins/Step Tempest
Here's a delightful idea.  Conceived in living rooms and small performance spaces, the Susan Krebs Chamber Band makes intimate jazz that swings, sways, soars but never roars. "Simple Gifts" (GreenGig Music) finds Ms. Krebs voice in collaboration with piano (Rich Eames), violin/viola (Paul Cartwright), percussion (Scott Breadman) and the many reeds of Rob Lockart (tenor and soprano saxophones, bass clarinet, flute).
The program starts with the easy loping beat of "Let's Call a Heart a Heart"; the rich vocal gets great support from the bluesy piano, swooping violin, the tenor and bass clarinet and the percussion.  Breadman makes the most of his small trap set (cajon, hand percussion and cymbals), propelling the band forward with ease and pizazz. The melody and arrangement of Jimmy Rowles' "Looking Back"  may remind some of the sound Sting created for his song "Russians" (but without the angst of Brecht/Weill that one hears in the later piece.) Cartwright strums his violin to set the rhythm on Sergio Mendes's "So Many Stars", working in tandem with the piano and percussion while the soprano dances around the voice. A gypsy feel permeates the band's interpretation of Abbey Lincoln's "Throw It Away", with Cartwright's rich violin lines flying above the growling bass clarinet and dancing rhythms of percussion and piano.   Eames take a dazzling solo on "For All We Know" while Ms. Krebs delivers a dramatic vocal. At times, there is a theatrical nature to her approach to the lyrics; that works very well on pieces like "For All We Know" and "Once Upon A Summertime." The violin also has that quality on the pieces so the sounds match well.
The CD close with the title track, the Shaker traditional that Aaron Copland used to such great effect in "Appalachian Spring."  This version has the feel of a Bruce Hornsby song, most noticeable in the saxophone and piano.  Lockart's vibrant solo reverberates in a similar fashion to what Jan Garbarek created in "Witchi-Tai-To" in 1970. Again, Breadman's work is exemplary as he not only sets the pace but knows how to push the soloist. 
"Simple Gifts" is intimate yet expansive, playful yet emotionally strong, music to lift your spirits.  Through this music, one can hear how much fun The Susan Krebs Chamber Band has when they work together. And it's contagious. 
~ simple gifts ~ Review by C. J. Bond/Jazz Music Blog
"The SUSAN KREBS Chamber Band - "simple gifts" CD is a synergy of memorable compositions, and outstanding performances by impeccably talented artists condensed into a single, intimate collaborative recording. This "music of friends" first heard in 'living rooms and small theaters' has all the forceful ingredients of the killer, classic 'jam session' that it is: virtuosic spontaneity; a reprise of the music of remarkable composers, with in-the-moment verve and conviviality; tempered and 'cooked' by riveting lead vocalist Susan Krebs who is described as "a jazz singer steeped in experience with a "no fear" soul..." (All About Jazz).
But describing Susan Krebs solely as a "jazz Singer," is to miss what she is deep in her heart: "a song stylist." A vocalist assigned to this poetic realm, must be by definition, a fastidious interpreter of the lyric. Krebs is exceptional; she eschews no vocal challenge: demonstrating enviable pitch range, extraordinary intonation, and a finely tuned sense of vocal dynamics which she puts to good use over the course of eight highly entertaining music tracks.
Krebs lays certain claim to the title of 'stylist' on the opening track (Let's Call A Heart a Heart) composed by Johnny Burke & Arthur Johnston, with a buoyant, polished reading of the lyric that reflects a profound, human, passionate tenderness meant for the soundtrack of the 1936 musical comedy film "Pennies From Heaven." 
A multifaceted vocalist, Krebs straddles genres effortlessly, and convincingly. She moves gracefully between the emotive, well-crafted sensitivity of pianist/composer Jimmy Rowles (Looking Back); and the Sergio Mendes/Alan Bergman/Marilyn Bergman swaying bossa melody (So Many Stars), filled with so many dreams intensified by an evocative Rob Lockart soprano saxophone. Krebs then pivots deftly to nail Johnny Mercer and Michel Legrand's (Once Upon A Summertime), which she imbues with Legrand's haunting, yearning, sweep of nostalgia reminiscent in mood of his (Legrand's) classic "Windmills of Your Mind."
By its own volition, crazy-beautiful-magic always finds its way into the 'jam session.' When it surfaces, it is defining. That moment occurs in 'simple gifts,' against a tapestry of simplicity; woodwinds, percussion and piano, with Krebs decoding a biting, honest reading of (Throw It Away); composed by vocalist/activist/composer Abbey Lincoln, who was one of Krebs' seminal influences. Alike Lincoln, Krebs employs no heavy instrumentation to compete against the natural purity of her voice which flows from a limpid center and is expressed in terms of an intimate, earnest conversation that speaks from Krebs' heartbroken depths; attends the 'bluesy, lyrical' piano of Rich Eames and flows into the excruciating, draining sadness of J. Fred Coots and Sam M. Lewis' harrowing 1934  ballad (For All We Know).
"The SUSAN KREBS Chamber Band: "simple gifts" is an acknowledgement of the enduring tradition of the jam session; a root component;  a staple in the domain of jazz royalty. Many of these crème de la crème sessions go unrecorded, but anyone who had the good fortune to be present, never forgot the experience or the scene. Krebs though, demonstrates keen shrewdness in preserving the by-products of her 'jam sessions' and presenting them as simple gifts: remittances to simple folk in her favorite domain: the public domain. There is no escaping the magic embedded in these 'simple gifts,' as Krebs makes her songs personal, authentic and unforgettable.
No cuts, no splices, no dissolves; no flat histrionics; no off-key applause...all combine to mark the date as "S'wonderful! S’marvelous!"

INTERVIEW on release of Everything Must Change:
Susan Krebs: Actress, Activist, Jazz Musician and Gardener
An Artist in Every Sense of the Word --
JAZZ TIMES / H. Allen Williams
Jazz is so much more than improvisational music, it is a lifestyle and many times I find that jazz musicians are also socially conscience and activists, which lends itself to the thought process of being in the now, a core principal in jazz improvisation. Rooted in many principals of the arts - artist (in all sense of the word), Susan Krebs exhibits a particular understanding that jazz is about much more than complex structures and heady notes. It is a reason, a lifestyle, a language and an emotion, which Krebs certainly displays in her latest offering Everything Must Change. Quoting I Ching, “The Only Constant is Change,” truly is a proper descriptive for Krebs textural and inviting way of interpreting different tempos and moods with confident command and prowess. Krebs vocal style is decidedly modern, but comfortably assured and relaxed. Backed by an ensemble of seasoned veterans; Rich Eames (piano), Jerry Kalaf (drums), Ryan McGillicuddy (bass) and Chuck Manning (saxes), who offer rich imagination, fast instincts, assured and distinctive surrender to the moment of improvisation which are explored best in the Susan Krebs Band.
H. Allen Williams: Growing up on the east coast, how do you feel it has influenced the way you hear the jazz language, in comparison to the West Coast jazz scene you are a part of now?
Susan Krebs: Honestly, I’m not sure how or if it has influenced me one way or the other! I grew up in Baltimore and found my way to the recordings of Billie, Bessie, Memphis Minnie, Ella, Nina and Sarah in my teens, and I heard their call! Then while living in New York after college, I had the opportunity to hear many of the great ones - Duke, Carmen, Sheila Jordan, Count Basie, Mose - as well as the very fine unsung musicians at NY’s thriving venues for jazz -- such an education! I’ve lived in Los Angeles for over 35 years, gradually learning about the history of the vital West Coast jazz scene, which continues today, and taking inspiration from those who’ve been playing here for over 60 years as well as from the newest generation who are pushing the envelope - and everybody in between! There is a wealth of talent out here!
In this modern era of the internet, the world has become quite small -- we are one big neighborhood -- and I think that the music being made is much more globally influenced now than coast-ally so.
H. Allen Williams: How do you feel your stage experience influenced you as a jazz musician?
Susan Krebs: Well, I’m very comfortable on stage and therefore, on the bandstand as well. But the strongest stage influence on my work as a jazz musician is the over 30 years of improvisational theater work: individual expression in the moment in collaboration with the collective whole. I learned to be in a place of “Yes and...”!
H. Allen Williams: I noticed you call your ensemble, “Band” distinguish your choice and how it relates to the collaborative spirit of your latest release, Everything Must Change?
Susan Krebs: We are all dear friends and colleagues -- some are longtime collaborators -- and we’ve played together in different configurations over the years. The 5 of us who make up the Susan Krebs Band on our new recording have been playing all kinds of gigs for a couple of years - including my jazz salon, ThemeScene -- and we roll easily with each other! We just feel like a “band”, you know -- a “band o’ brothers and a sister”! Making the recording last summer was grand fun because we enjoy making music together - and the food was really good! Jazz Band Camp! My hope - my intent - is that we may continue as a working band.
H. Allen Williams: There are so many sides to your talent, which are so well rounded in the arts. Tell us more about Susan Krebs the actor?
Susan Krebs: I’ve been fortunate to be a working actor since my early days in New York in the 1970’s: TV Guest Spots (most recently “Mad Men”); TV and Radio Commercials; Animation; Film (i.e. “28 Days”); Theater work including my solo show “LUNAR”; the contemporary opera “String of Pearls” at the Weill Theater at Carnegie Hall; and years of Improvisational Theater work, both in the comedy short form with War Babies for 10 years, and 15 years of collectively exploring dreams, politics, myths, and personal stories through the long form with the all-women’s company, the Wims - some of the most satisfying and growth-producing work I’ve experienced.
H. Allen Williams: You seem to be quite interested in nature from aviary to gardening. Tell us how this influences the music you perform or how it might influence the way you interpret music?
Susan Krebs: I have been an “outdoors” person since I was very young. I also come from a long line of gardeners and I am myself a gardener. Working daily in my garden is the closest thing to a meditation for me -- short of making music. I am continually reminded of nature’s life cycle -- including my own! On my walks and hikes, the sights, sounds and smells of Nature compel me to be present - and quiet my mind. I am often moved to vocalize as I walk along - whether non-verbally or exploring a tune. These outings feed my muses!
H. Allen Williams: Your project Jazz Aviary was a mixed media presentation. What originally inspired this idea, and how did you incorporate other talents you have into this presentation?
Susan Krebs: Because I have spent much of my life outdoors, birds have always been a presence in my life. For example, being serenaded with birdsong as I garden is a grand pleasure! And on a full moon midnight, awakening to the mockingbird high on a wire just thrills me as he offers his extensive and adamant repertoire of birdsong! So, I think I had always been taking notice of the “avian musician”!
But in 2005, I wanted -- I needed -- a project that would transform my despair and anger over the continued abuse and gradual destruction of our environment - into a joyful concert celebration of the beauty and wonder that Nature arouses -- and birds seemed like Nature’s perfect representatives and guides! I spent months happily researching and gathering music and poetry about birds, basic ornithological facts (I confess I am more of a “poetic” than authentic birder!), and new studies about the only animals known to sing and to make - some would say “compose” - music: birds, humans, whales, dolphins and mice! I am fascinated by this provocative concept of a “universal music” shared by these creatures - a music made up of all the same and/or similar elements: scales, harmonies, rhythms, patterns, melodies, pitch etc.
So, the concert includes actual birdsong surrounding the audience, which the musicians mirror and transform into their own music. There are also beautiful visual projections throughout the concert and wide-ranging musical arrangements - from Hoagy to Vaughan Williams to Hank Williams to 17th C Catalonian Traditional! The concert arrived at its present form after many incarnations over the years as we created a structure -- within which we could jam with the material.
H. Allen Williams: What does the word jazz mean to you?
Susan Krebs: Oh my -- that’s difficult for me to try to articulate. It’s such a personal feeling, you know...and a lifestyle, for that matter!
Well OK, what comes to mind: the now expressed sonically - let’s leave it at that!
H. Allen Williams: If a room was filled with an audience that had never been to a jazz concert before, what message would you desire the listener to leave with after your performance. What would be the defining meaning you would want them to remember?
Susan Krebs: I would hope that we might have shared an authentic “heart/mind” connection, and be lifted by the underlying joy of the music and its immediacy and its intimacy - and its passionate demonstration of the “freedom of expression” that most Americans treasure.
H. Allen Williams: What does the future hold for Susan Krebs?
Susan Krebs: Let’s see: more work with the Susan Krebs Band; continuing to present my jazz salon series, ThemeScene, in theaters and living rooms, where we explore a chosen theme through music and song, spoken word and poetry; performing “Jazz Aviary,” especially as a fund-raiser for Green causes; beginning to work with a piano and horn trio; and forever growing in and practicing the Schubert Lied, “Du Bist die Ruh” (You Are Peace), which I offer publicly every now and again! AND, I hope to travel more! AmenAwomen!
Whew! Thank you for all your thoughtful and provocative questions, Mr. Williams!
H. Allen Williams: Thank you for taking the time with all of us Susan.
Sunday, June 17th, 2012 12:30 PM
C. Michael Bailey/All About Jazz
Track Review of "Up Jumped Spring"
Baltimore native cum Angelino Susan Krebs is not exactly a wallflower. She has been hiding in plain sight for the past twenty years, being a Jill-of-all-trades in the entertainment arena. She has an impressive onstage (off-Broadway) and television presence in commercials and appearances on programmed cable that include Shameless and Mad Men. She has also made it to the big screen on Million Dollar Baby (2004) and 28 Days (2000). It would be remiss not to mention that she also is a jazz singer, very much in the same way that Nancy King is a jazz singer...steeped in experience with a "no fear" soul.
Krebs has a couple of previous self-produced jazz releases to her credit—1999's Jazz Gardener and 2002's What Am I Here For?—both produced with the aid of her longtime support drummer/producer Jerry Kalaf, who also appears on Everything Must Change. The double-shot of experience and exuberance is what characterizes Krebs' art, and she spreads both liberally on Everything Must Change.
On the disc-opening "Up Jumped Spring" (most famously covered by trumpeter Freddie Hubbard), Krebs opens in a hip, contrapuntal duet with saxophonist Chuck Manning. The song transcends into a jazz waltz of the most traditional sort, supporting Krebs' splendid tone and timing. Sensibly paced and thoughtfully arranged, "Up Jumped Spring" serves as a golden example of Krebs' ability to interpret even the most out-of-the-way jazz adaptations. With Everything Must Change, Krebs ascends to a point of recognition, one richly deserved.
Thursday, June 7th, 2012 1:05 PM
JazzScene/Kyle O'Brien
There’s an immediate sense of fun on this pleasing vocal jazz disc. Krebs has an inviting voice, instantly obvious on the opener, a spry version of “Up Jumped Spring,” with Krebs trading licks with saxophonist Chuck Manning. 
She sings with a laid-back attitude, like on the sparse version of Kurt Weill’s “Lost in the Stars.” The fun continues with two Dave Frishberg tunes – “Wheelers & Dealers” and “Our Love Rolls On” – where she utilizes his witty lyrics to her advantage with a drawn-out delivery. Krebs is a fine talent, and the way she connects with the melodies makes this a winner.
Thursday, June 7th, 2012 1:02 PM
Constance Tucker/All About Vocals
Supported by her long-time collaborators Rich Eames on piano and Jerry Kalaf on drums, and featuring Ryan McGillicuddy on bass and Chuck Manning on saxophones, Everything Must Change is truly a jazz offering that stands out head and shoulders above the plethora of vocal jazz CDs.  Krebs embraces each tune with a keen sense of storytelling.  She does not settle for just hitting the right notes or singing in a pretty fashion.  Her interpretations truly push and pull each composition to its fullest potential engaging the listener’s to delve further into the message of change.
Freddy Hubbard’s “Up Jumped Spring” starts off the disc and immediately you know this is much more than a run of the mill vocal jazz CD.   Her ability to own the melody and convey the lyric with conviction and originality cements the notion you are witnessing a true song stylist. 
“What Is This Thing Called Love” allows the listener to glimpse Krebs in an introspective transition that aluminates with a sultry chanteuse afterglow.   
It was difficult to choose what cut represented Krebs the best, as each track had its own special fabric that weaves the entire release together with the one undeniable quality, Krebs vocals.  She makes it seem so simple, but in fact many vocalists fall short when it comes to delivering song lyrics that rely on the vocalist to give the lyric meaning.  Krebs is a gifted raconteur, and Everything Must Change is worth adding to your collection for a fresh take on classic opuses.
Monday, March 19th, 2012 11:24 AM
Joe Ross/
From Baltimore to Los Angeles, as an actor or singer, Susan Krebs - the self-professed "jazz gardener" - likes to dig, cultivate, grow, and flourish. Krebs' music wraps itself around the listener like a big hug. How can one not enjoy the whole grain, organic pleasure of jazz classics about spring, love, flowers, and stars? These are eight tunes that clearly provide considerable meaning, direction, and personal reflection for Krebs. They're the kind of songs that allow for plaintive, soothing contemplation. Whether a Cole Porter classic ("What Is This Thing Called Love?") or Billy Strayhorn tune ("A Flower is a Lovesome Thing"), the songs don't rush things. The creative, four-to-six minute arrangements allow for warm, expressive conversations between the vocalist and instrumentalists.
Krebs' earthy vocal presence is surrounded by the intimacy of her longtime collaborators, Rich Eames (piano) and Jerry Kalaf (drums). Together, they co-produced this project like their last - the enthusiastically received Jazz Aviary (2007). Ryan McGillicuddy (bass) and Chuck Manning (saxophones) round out the quintet for this current project. The closing feel-good single, "Are Ya Havin' Any Fun?" also taps Scott Breadman (percussion), Steve Huffsteter (trumpet), and Riner Scivally (guitar) for a carefully cultivated full combo sound.
In her interpretive cover of Bernard Ighner's "Everything Must Change" (featuring Chuck Manning's fine sax work), Krebs proclaims in song: "Rain comes from the clouds/Sun lights up the sky/And music...Sweet music/Oh music makes me cry." Thus, Krebs displays her love of good songs, as well as the emotional and symbiotic relationship that she intimately has with them. Throughout the entire set she exudes confidence, delivering the musical goods in a sturdy, self-assured, affable manner. She's a sincere singer whose ballads and sense of swing remind me of Shirley Horn. At the same time, think Sheila Jordan for the witty interpretation that Krebs and company provide in the joyously refreshing closing number.

Monday, March 19th, 2012 11:12 AM
Chris Spector/MidWest Record
Krebs has the latitude to make the music she wants to make and add her own special sauce as and when needed.  Here we have an intimate, gutsy jazz vocal date where she isn’t afraid not to hold back an emotion.  Making it seem like she’s doing what comes naturally, her latest is a side step away from her past outings and she once again shows that she can handle any facet of jazz singing.
Saturday, February 11th, 2012 3:30 PM
Brent Black/CriticalJazz.Com
Refreshing...A wonderfully eclectic release with an N.P.R vibe and a warm rich sound that works hand in glove with her vocals. A somewhat personal release which reflects upon some favorites of Krebs and the current social-political climate we live in today. Normally when an artist begins mixing social commentary with their music and especially jazz then my attention span and tolerance level are equivalent to the interest I have in an Obama press conference. The release works because it does not push a message but instead shines the spotlight on the music which Krebs delivers with a refreshing honesty and clearly shows her comfort zone as an artist.

Working with long time collaborators Rich Eames and Jerry Kalaf has a subtle chemistry that brings the music and vocals together in a nice working band setting. The joy of making music is nice. The joy of making good music is Susan Krebs. Everything Must Change opens with a spot on version of the Freddie/Hubbard/Abbey Lincoln tune "Up Jumped Spring." The Cole Porter classic "What Is This Thing Called Love" along with the Billy Strayhorn tune "A Flower Is A Lovesome Thing" showcase Krebs unique ability to reinvent a timeless standard without disrespecting the original or herself and this is the true sign of an artist. An intimate all most live studio sound seems to permeate this recording giving new meaning to the often tired critical term "organic." 

Having shifted a career away from stage, screen and television it would appear Krebs has made the correct career decision with pursuing singing as her vocation of choice. In her press release Krebs describes her musical odyssey as "the art of becoming" and given the 24/7 learning curve that is life she seems to be an artist blessed with a clear focus and understanding of how to best develop her talents. Krebs closes the release with her  feel good single "Are Ya Havin' Any Fun?" which she describes as her feel good single for challenging times. As a jazz vocalist Susan Krebs offers a nice vacation from the trials and tribulation of everyday life and Everything Must Change is well worth the trip!
Tuesday, August 30th, 2011 3:00 PM


In JAZZ AVIARY, Krebs has created a rare and mesmerizing
creative experience."  Don Heckman / INT’L REVIEW OF MUSIC
>> Read Review
Tuesday, August 30th, 2011 2:19 PM

Bob Gish/Jazz Improv

"There's just love and joy and gratitude for the inspiration which motivated this full-throated song fest...Krebs' interpretive passion, intelligence, and love for the project can be heard throughout."
>> Read Review
Tuesday, August 30th, 2011 2:00 PM

Christopher Louden, Vox / JAZZ TIMES

Actor and Vocalist Susan Krebs decided a few years ago to devote herself fully to singing, and the jazz world is better for it... Krebs' voice is rich and pure with an enticingly dusky patina. Blessedly free of affectation, she rivals Karrin Allyson and Diane Krall in her ability to climb inside a lyric and make it seem she's lived there all her life... Krebs so skillfully invades the likes of "Baltimore Oriole", "Skylark", "A Nightingale Sang in Berkeley Square", Lennon and McCarney's "Blackbird" and Abbey Lincoln's "Bird Alone" that the result is like a series of delicate yet masterfully constructed origami creatures.
>> Read Review
Tuesday, August 30th, 2011 1:17 PM

Jonathan Widran / All Music Guide

"Susan Krebs has nothing but fondness for our feathered friends - and expresses her joyous affection magnificently throughout this fascinating concept project...irresistible offerings from a formidable jazz artist...A lot of great jazz interpreters gather great songs together, but few do it as well and convincingly as Krebs. This is a treat for lovers of birds, jazz and music that makes the heart soar like "A Gaggle of Geese".
>> Read Review
Tuesday, August 30th, 2011 12:21 PM

Don Heckman / LA Times

"A fascinating musical presentation..." 
>> Read Review
Tuesday, August 30th, 2011 12:20 PM


"Vocalist Susan Krebs has conceived and performed a thoroughly unique show that is innovative, mind-stretching and simply beautiful!..."
This is an astounding production that must be experienced to be felt and understood. It is a multi-senses feast that you will long remember..."
"This was one of the most refreshing, interesting, stimulating shows I've ever attended. Krebs and her amazing musicians created something of singular beauty!"
>> Read Review
Tuesday, August 30th, 2011 12:19 PM
"Unique and wonderful!" JazzReview.Com
Tuesday, August 30th, 2011 12:15 PM
"Here's an alluring idea that succeeds in execution...A fresh idea, great theme, "Jazz Aviary" does not have a turkey in the lot." All About Jazz
Tuesday, July 26th, 2011 12:59 PM

Jay Collins / CADENCE

"Krebs manages to add her own style, particularly encouraged by the collaborative nature of the entire project... these performances are meaningful." 
>> Read Review
Tuesday, July 26th, 2011 12:58 PM

Dave Nathan / All Music Guide

Jazz Gardener (Sea Breeze Jazz 1999)  
"Categorizing Krebs’ voice is not easy... it is filled with emotion ranging from a deep, throaty hue to a girlish, higher-pitched tone... After she delivers a song, Krebs leaves nothing on the table."
>> Read Review