By Dee Dee McNeil
March 1, 2026
The Month of March is widely known as a time to celebrate women for their achievements and to advocate for gender equality. My column this month celebrates female musicians and vocalists, many who represent the crème de la crème of excellence in entertainment. JILL SCOTT is back with an album after a decade. ALFIE JACKSON is a 21-year old jazz singer with a debut album. She’s currently attending the New School in NYC and studying at Conservatorium Van Amsterdam, while residing on a houseboat in the Netherlands. ERICA VON KLEIST is a master of woodwind instruments, a composer, an educator and on this recording, she celebrates the piccolo. AUBREY JOHNSON has perfect pitch and is known in her musical community as the soprano vocalist to call for the most daunting and intricate projects. CHENXI PAN is a storyteller. She has a pleasing tone and has composed all thirteen songs on her debut album. She is pure artistry and a vocalist, arranger, composer to watch. JULIE BENKO celebrates the music and traditions of New Orleans. KAREN STACHEL, NORBERT STACHEL & LEHCATS (with Giovanni Hidalgo) features the awesome flautist and composer, Karen Stachel, along with her life partner (Norbert Stachel) on a “Live” album of original music. Russian vocalist, ANNA KOLCHINA features a dozen standard songs from the American Songbook, dueting with a number of well respected guitarists. Her voice is butter!
JILL SCOTT – “TO WHOM THIS MAY CONCERN” – Blues Babe, Human Re Sources & The Orchard.
Jill Scott continues to mix genres, using her incredible creativity to combine, poetry, rap, R&B and Jazz on this newly released album titled “To Whom This May Concern.” Jill opens with a poem that asserts her freedom, her womanhood, her higher self. She says she’s standing on faith during this production and beyond. This is Scott’s first full-length record release in a decade.
The vocalist/poet follows her original poem with a song called “Be Great” featuring Trombone Shorty. It continues to affirm the poet and lyricist’s strength and tenacity. Jill Scott has co-written this original song that states, “I’m gonna go ‘head and be great! Why not?”
Jill Scott – Be Great feat Trombone Shorty (Official Lyric Video)
These song lyrics continue with the theme of uplifting and invigorating the listener with love. On “My Beautiful People” she uses background vocals to repeat the song title. Her message is clear, positive and culturally rich. Her poem, “Offadaback” thanks a long list of ancestors, some you may recognize.
The questions in her songs are meant to tickle the brain. When she sings, “You do the Math – You do the Math,” she is asking us for answers to life equations. Her poetry stimulates the senses and her vocals are beautiful.
Some of the content contains curse words and racist statements that disappoint me. I’ve always been a big Jill Scott fan. So, after so much positivity, songs like “Pay U on Tuesday” burned like a red-hot pepper on my tongue. This song had me runnin’ for water to douse the flames of fiery words that burned my brain.
Then, in the next breath, she sang one of my favorites called, “Liftin’ Me Up” with a track that skips along, free as a child at play. Once again, the lyrics strongly elevate.
Jill Scott features “Too Short” on a tune called “BPOTY” that celebrates the seedy livelihoods of pimps and whores. BPOTY stands for ‘Biggest Pimp of the Year’ that Jill relates to as the pharmaceutical industry and sometimes preachers.
I’m glad that she had youtube’s available that print her poems on screen. That way, you won’t miss any messages or the duality of her meanings. Jill Scott’s lyrics, words, thoughts, opinions, challenge and spur the listener to think, think, think! This is a mixture of jazz, R&B, hip hop and soulful grooves, along with lyrics that stimulate and scratch at truth, however painful or beautiful.
JILL SCOTT BANDMATES & CONTRIBUTORS: Jill Scott, vocals; Myles Sweeney, Mr. Groove & Chuck Harmony, piano; Erskine Hawkins, piano/arrangements; Eric Wortham, keyboards; Adam Blackstone, music director/keyboards/strings/wind instrument/arrangements; Andre Harris, Vincent “VT” Tolan & Khari Mateen, arrangements/bass guitar; Paul “DW” Wright, bass guitar; Randy Bowland, guitar; Hairston Bradley, Brian Frasier Moore, Riley Geare, Terance Vaughn & Aaron Draper, drums; Monsieur Dominique Thomas, percussion; Michael Burton & Tim Green, saxophone; Ayo Brame & BK Jackson, tenor saxophone; Dan Oestreicher, baritone saxophone; Wilbert Williams, Trombone Shorty & Melvin Jones, trombone; Richard Benitez III & Melvin Jones, trumpet; Matthew Banner & Dontae Winslow, tuba; Jamar Jones, music arrangement/strings; Tyries Rolf, strings; JID, Tierra Whack & Ab-Soul, lead vocals; Jett Roberts, Lizzy Komba, The Shindellas & Claude Kelly, background vocals; Too Short, lead rap vocals; Maha Adachi Earth, spoken word. ARRANGERS: Kev Choice, Om’Mas Keith (drum machine & drums); Erskine Hawkins, Adam Blackstone, Vincent “VT” Tolan & Khari Mateen, Jamar Jones.
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ALFIE JACKSON SEXTET – “THE PEACOCKS” – JackOJazz Records
Alfie Jackson, voice/guitar; Sam Roberson, guitar; Daniel Ellis Perez, acoustic & electric bass; Wanye Williams, vibraphone; Chase Wilkins, drums; Leo Milano, tenor saxophone. SPECIAL GUEST: Michael Jackson, tenor saxophone.
I used to love hearing Flora Purim sing “500 Miles High.” I was wondering, when I perused the album cover of Alfie Jackson, how this vocalist (barely out of her teens) was going to interpret a chick Corea song. She did not disappoint. Her soprano vocals and modern band approach to this song add youthful energy and intent.
The next familiar tune she sings is “Nature Boy.” After her lyrical presentation, she scats through the tune with freedom and zest. A true scat singer completely changes the song melody, like a horn player would. Also, the young vocalist must learn to let the song breathe. She doesn’t have to fill up every space to be a jazz vocalist. Still, the potential and talent is there, shimmering on the horizon.
Jackson is based in New York now, although her birth city is Chicago, Illinois. Her song choices for this debut album are challenging, like John Coltrane’s “After the Rain” and “Inner Urge” by Joe Henderson. Henderson’s tune is a lesson in letting the song breathe. As she sings along with the melody, this should be a roadmap for learning to leave quiet space. It allows the music to exhale and to ‘swing.’
On “Insensitive” she once again fills every space, nook and cranny of the music with her scatting and legato voicings over every note and every chord. Questionably, it’s a little insensitive.
Her original song, “I Deserve This” shows another side of the vocalist, quite ‘Pop-pish.’ Her voice is featured with guitar accompaniment. It’s a tune she penned while still in high school. This is followed by the beautiful ballad, “My One and Only Love.” Now I see that her style, even in the pop genre, is to sing legato over every chord.
The drummer, Chase Wilkins, opens Cedar Walton’s tune “Ugetsu.” When Alfie Jackson enters, she sings unison with the saxophone. They blend well together. The group is tight and the young musicians sound seasoned and serious. I love the fact that they throw in a serious blues tune, with the guitar solo down and dirty in the best kind of way. The band is made up of several students from Chicago High School for the Arts and most friends of Alfie.
A student at the New School in NYC, Alfie Jackson is currently studying at Conservatorium Van Amsterdam, while residing on a houseboat in the Netherlands.
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ERICA VON KLEIST – “PICC POCKET” – Independent Label
Erica von Kleist, piccolo; Yago Vazquez, piano; Noriko Ueda, bass; Anton Kot, drums; John Ellis, tenor saxophone; Jennifer Krupa, trombone.
“I always tell my students to lean into the thing that sets them apart. In taking my own advice, I decided to make an album featuring an instrument that has never really gotten its due. Both feared and beloved, the piccolo is a rare but powerful voice on the bandstand and it’s an honor to give her the spotlight she finally deserves,” Erica von Kleist asserts in her liner notes.
This female woodwind player and composer is pulling the piccolo flute off the sidelines of jazz. She offers this sweet whistle sound on six compositions the piccolo player has written. The first reminds me a little bit of “Comin’ Home Baby” a song made hugely popular by Herbie Mann in the 1960s. Erica’s tune is called “We Know How to Picc ‘Em.”
Jazz history offers few examples of the piccolo flute as a starring and leading character of jazz ensembles. Back in the 1950’s, pianist Buddy Collette surprised jazz aficionados with his “Swinging Shepherds” recording. But few others have spotlighted the piccolo as a lead voice in jazz.
On a tune von Kleist calls “Let Me Picc Your Brain” she adds Latin flavor to her arrangement. Mid-way through, with just Noriko Ueda on bass and Erica on piccolo they make a stunning duo.
Erica von Kleist is a multi-instrumentalist, an educator and composer who began her career as a saxophonist and flautist on the New York City jazz scene. She was born and raised in Connecticut and arrived in NYC to study at the famed Julliard School in 2004. There, she earned her bachelor’s degree in jazz. After graduating, Erica spent the next decade touring, recording with various artists and as part of the Afro-Latin Jazz Orchestra, the Jazz at Lincoln Center Orchestra and many other notable jazz ensembles.
She’s been a teacher for over twenty years. von Kleist even wrote a jazz theory workbook geared towards middle school and high school students for music programs worldwide. It’s called “A Cool Approach to Jazz Theory.” Erica is a faculty member for Carnegie Hall’s NYO Jazz Program.
This talented woman has quite a sense of humor. In 2020 she co-produced an award-winning musical comedy film titled, “Your Musical is Cancelled: the Musical!” Now she’s back in the Big Apple, taking a big bite out of it by developing her work as a one-woman jazz comedy writer and performer. This year, she intends to bring her New York based band to Montana for a performance and a jazz comedy workshop. You get a taste of her tongue in cheek comedic character when you read the titles of her six songs on this album.
The whipped cream on top of this musical sundae is her latest release, this album “Picc Pocket.”
On a tune she calls, “Picc Up Lines” Erica features John Ellis on a sparkling tenor saxophone solo and the talented Anton Ket on drums adds spunk and energy to the arrangement.
She also features a couple of female bandmates that I’d like to mention. Jennifer Krupa plays a mean trombone and is a special guest on this project. She is featured on another original by Erica von Kleist called “Bone 2 Picc.” The contrast between piccolo and trombone is brilliant and beautiful.
Krupa has performed with renowned jazz musicians including the Marsalis brothers (Wynton and Branford). She also played with the late great Nancy Wilson and has been a member of the United States Navy Band Commodores Jazz Ensemble since 2004. As a faculty member at The Julliard School, her work includes guest conductor roles and presentations at major conferences.
Another female player on von Kleist’s production is bassist Noriko Ueda. She is a Japanese composer, arranger and bass player. Born March 14, 1972 in Hyogo Prefecture, she is classically trained and proficient in both acoustic and electric bass. She’s also studied classical voice and was a member of the all-woman big band “DIVA Jazz Orchestra.” In fact, she has been a mainstay in several groups including the jazz supergroup “Artemis” who was signed to the BlueNote label in 2020. They released three albums and won Downbeat’s Jazz Group of the Year Award in both 2023 And 2024. Just before these winnings, Noriko won the third Annual BMI Foundation Charlie Parker Jazz Composition Prize in 2002. Noriko Ueda makes a brilliant, improvised bass statement on the final tune of Erica von Kleist’s album called “Picc a Peck.”
This is an album of strength and beauty, featuring an instrument we usually think of as delicate and rarely think of as a featured jazz solo instrument. Erica von Kleist will probably change your mind after you hear this splendid album.
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CHENXI PAN – “THIS VERY MOMENT” – Origin Records
Chenxi Pan, vocals/composer; Shaonan ‘Trigger’ Su, piano; George Grydkovets, guitar; Nicolas Bond, bass; Anders Julsgaard, drums; Peyton Cook, violin’ Julie Kim, cello; Nathan Nakadegawa-Lee, tenor saxophone/clarinet.
Chenxi Pan is a storyteller. She has a pleasing tone and has composed all thirteen songs on this album. Her vocals are tenor saxophone-smooth. In fact, on the first song “Hymn for the Spring” she and sax man, Nathan Nakadegawa-Lee blend sweetly, like chocolate and caramel. The bluesy guitar of George Rykova adds another texture to the arrangement.
Born and raised in China, Chenxi Pan changed her path of study from literature to music, choosing to pursue jazz in New York City at the New School. Her writing paints pictures of change, growth, promise. Some of her lyrics reflect a search through endless sadness to find love. The melodic and mysterious first tune is beautifully played by Nakadegawa-Lee’s tenor saxophone. This is modern jazz with a contemporary twist.
Pan’s composing is quite beautiful and intricate. Along with her talented group of musicians, they balance intimacy with sensitive collective interplay. One of the things that I like about Pan’s writing is that she lets the music breathe. Her vocals are thoughtful and carefully placed. They don’t have to fill up every space, like clutter or hoarding. She is precise and sensitive.
An example of her thoughtful placement of melody and tempo is demonstrated on a tune called “At Dusk.” She sings without words. A bird, sitting on the stage like a tree limb, reaching her audience with her silky tone.
I heard great beauty in her composition called “Clarity.” What a wonderful melody that she sings with the emotion and simplicity of production, accompanied perfectly by Shaonan ‘Trigger’ Su at the piano.
Another absolutely beautiful composition is “If Only for a Moment” where she sings and directs her string section with one tender, arm movement. Once again her unpredictable melodic changes flow like honey to the spoon. The lyrics are poignant! Thoughtful. This could become a standard.
“If only for a moment, the noise in my head winds down. The silence will be crystal clear, so will my heart. … If only for a moment, all the anger will turn into peace. The history will be forgiven. So will my own existence. If only for a moment … my laughter will be diamonds and my tears strings of pearls,” she sings.
This is pure artistry. She is a poet, a songwriter, an arranger, a composer, a revolutionary on many levels. This is an artist to watch, to follow, to support. Chenxi Pan blew me away!
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AUBREY JOHNSON – “THE LIVELY AIR” – Greenleaf Music
Aubrey Johnson, vocals/composer; Tomoko Omura, violin; Chris McCarthy, piano/Fender Rhodes; Jay Sawyer, drums; Matt Aronoff, bass; Alex Lore, bass clarinet/alto & tenor saxophone/flute.
Through a Chamber Music America-supported mentorship with Billy Childs and an artist residency at MacDowell, Johnson honed her unique approach to writing long-form pieces that take the listener on emotional and drama-packed journeys. She opens with an original she has titled simply, “Hope.”
This album is a mixture of Johnson’s original compositions and some of her favorite works by artists like Joni Mitchell and Kurt Elling.
I found her singing a jazz song on youtube. It was the popular “I Wish I Knew” composition, where her pianist gave the tune a little swing groove. Aubrey showed that she has perfect pitch, by beginning the song a ’Capella, singing the verse competently without accompaniment. However, even after listening to this ‘live’ performance, I would not necessarily box her into the jazz market.
On her latest release, her interpretation of Joni Mitchell’s “Help Me” suits her soprano tone and style. She adds background vocals to the arrangement, which softens the production. Aubrey Johnson has one of those ‘cut-through’ tones to her voice, with a range that enjoys playing in the upper register. On “Help Me” she and Tomoko Omura (on violin) sound playful and well-matched in tone and texture. They improvise, exuding happiness at the fade of this tune. Chris McCarthy lends a quiet solo piano part towards the song’s end.
This is followed by Johnson’s composition “Don’t Be Afraid” with a melody that dips and dives. Add challenging intervals and high notes tumbling over each other to define Aubrey Johnson’s composer skills. Also, Johnson enjoys scat-singing over the musical chords. She is known throughout the music scene as ‘the vocalist to call’ for the most daunting and intricate projects.
This is quite evident on her very classical rendition of “Chorinho” that is sung wordlessly, with her voice dancing like a piccolo above the piano execution of McCarthy. This is followed by the bass of Matt Aronoff, who opens the Kurt Elling tune called “The Waking.” They present a duo presentation of voice and bass that is quite unique.
Aubrey Johnson’s crystal-clear, soprano range and vocal agility highlight her rare and individual style. Her voice also easily lends itself to pop and chamber music.
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JULIE BENKO – “EUPHONIC GUMBO” – Clubb44 Records
Vocalist, Julie Benko is often referred to by friends and family as a nice Jewish girl from Connecticut. So how did she wind up in love with the music, the spirit, the ghosts, the happiness and joy radiating from New Orleans culture?
“’Euphonic Gumbo’ is my love letter to the Crescent City. We stirred in a little of everything; the syncopated strut of early jazz, the spice of a Cajun fiddle, the echo of folk ballads, Jelly Roll Morton’s ‘Spanish tinge’ and of course, nods to the great piano ‘professors’ famous for making the ivories dance. It’s music that honors both life and death, mischief and memory, Disney dreams and Longfellow laments,” states Julie Benko poetically in her liner notes.
You will hear all of that and more on this vibrant album that celebrates New Orleans tradition. Benko, along with her pianist, arranger and spouse, Jason Yeager, have been presenting an annual Mardi Gras concert at Birdland for the past three years. This was an offshoot of her love for New Orleans, Louisiana culture and infectious music
As a Broadway star vocalist, Julie Benko had her big breakout during a role as ‘Funny Girl.’ This January, she returned to Broadway as part of the cast of ‘Ragtime.’
Opening this album with a “Down in New Orleans Medley,” she sets the stage for what is to come. The wonderful, rich arrangements place us right in the heart of Bourbon Street, with great horn lines and the infectious rhythms provided by drummer Jay Sawyer. I love the addition of a whistler to the production.
Track #2 is titled “Ticklin’ Time” and incorporates the familiar “Let the Good Times Roll” into their arrangement. Benko vocally reaches for trumpet tones and high notes during this presentation.
On Track #3, she reaches into her vocal bag of tricks to pull out a tune that sounds quite Irish, although it’s rooted in the Southern United States, called a folk ballad. Somehow, the composer names have been misappropriated with time, so this tune is public domain.
John Manzari enters with his busy tap shoes making their own exciting rhythms on “Funky Fete.” Background voices chant and add to the band’s energy. This production may entice you to sing along.
Perhaps the vocalist herself summed this album up the best, writing on her album jacket, “This album is a celebration, a second line, a reverent revelry. A party, plain and simple.”
JULIE BENKO BAND: Julie Benko, vocals; Jason Yeager, piano/Hammond Organ/celeste/ arrangements; John Manzari, tap dance/vocals; Justin Poindexter, guitar/banjo; Sasha Papernik, accordion; Jay Sawyer, drums; Michael O’Brien, acoustic & electric bass; Jim Caruso, announcer; Andy Warren, trumpet/flugelhorn; Linus Wyrsch, clarinet/tenor saxophone; Evan Arntzen, tenor saxophone; Ron Wilkins, trombone. Gabe Terraciano, violin.
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KAREN STACHEL & NORBERT STACHEL & LEHCATS (with Giovanni Hidalgo) – Purple Room Productions
Karen Stachel, flute/alto flute/piccolo/ vocals/composer; Norbert Stachel, soprano & tenor saxophone/flute/alto flute/composer; Giovanni Hidalgo, percussion; Matt Clark, acoustic & electric bass; Daniel Gonzalez, drums.
If you reverse the spelling of this group name, (LEHCATS) you come up with Karen and Norbert’s last name, Stachel. The couple has been making great jazz for decades. In 1996, Karen Anderson married multi-instrumentalist, Norbert Stachel. Her Christmas CD titled “And Of The Son” was released in 1999, using her married name of Karen Stachel. Many of the songs on this album featured Karen playing solo.
Karen is a classically studied flautist who has been performing jazz (America’s only original classical music) for a number of years. She blends her classical background into the jazz genre seamlessly. She formed the Karen Anderson Jazztet in 1991. They were a San Francisco, Northern California quartet using various musicians during performances and recordings. Those musicians included both John Schott and John Ellis on guitar, Trevor Dunn and Geoff Brennan on electric bass, Muziki Roberson on piano, Michael Barry as their drummer, with John T. Sherman playing acoustic bass, percussion and Rainstick, and Joe Fajen adding Djembe to the mix. With these talented musicians, Karen’s first recording was released in 1993, titled “In The Name of the Father” under her maiden name of Anderson. I loved her interpretation of “Gentle Rain” played beautifully on her flute.
Their latest release, featuring stellar musicians as part of their LEHCATS lineup is a sweet blend of contemporary, Latin & straight-ahead jazz, R&B, Funk and just plain soulful music! They open with a Karen Stachel original composition called “Step On It.”
On a song that Norbert has penned called “Sunshine” Karen shows off her vocal skills. Every song, every performance, is fueled by improvisation and a deep connection with their ‘live’ audiences. On this album, you will hear elements of Latin jazz influence, Afro-Cuban excitement, Middle Eastern cultural influences and funky American contemporary jazz arrangements.
Norbert Stachel is a multi-instrumentalist who shows his dynamic skills on soprano and tenor saxophone, flute, and alto flute. Giovanni Hidalgo brings his brilliant percussion magic to their stage and is their special guest on this recording. Born November 22, 1963 in San Juan, Puerto Rico, Hidalgo is an Award-winning Latin jazz percussionist. He’s praised as one of the greatest conga players in the world. You will enjoy his speed, his deliberate precision and innovation on the conga drums. Hidalgo brings Afro-Caribbean rhythms to these Stachel original songs. He has worked with such prominent jazz artists as Dizzy Gillespie and Eddie Palmieri. He was a core member of Gillespie’s United Nations Orchestra. In 1992, he co-won the Grammy Award for Best Global Music Album alongside Mickey Hart and other percussion masters. He brings percussive energy to every song performed. On the ninth track, “Afrobaldi,” Giovanni Hidalgo is brilliantly featured.
This is a double set album, captured on two discs. These songs, and the talented musicians who play them, will have you moving and grooving from beginning to end. Every original composition on this album was composed by one of the Stachels. When they join forces, Norbert on his saxophone and Karen on her flute, like on the tune “Upper West Side Story,” you hear how naturally and harmoniously they blend. Dan Feiszli’s electric bass closes out the first disc, strumming energy and excitement into a tune called “Power Tap.” It’s the first number I heard that opened the door to Fusion jazz. This is a historic album release. It is guaranteed to bring any listener hours of pleasure.
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ANNA KOLCHINA – “REACH FOR TOMORROW” – OA2 Records
Anna Kolchina, vocals; Paul Bolenback, Peter Bernstein, Ilya Lushtak, Romero Lubambo, Russell Malone, & Yotam Silberstein, guitars.
Anna Kolchina’s album is a collection of moments that represent chapters of her life. It’s a duet album, featuring various guitar accompaniments, from six different musicians, recorded over a period of five years.
Anna was born in the Soviet Union, eighteen hours outside of Moscow. She attended the music conservatory in St. Petersburg. In Italy, she met Sheila Jordan who encouraged her to pack up her voice and move to New York. She arrived on the East Coast in 2017. The result is this third album, “Reach for Tomorrow.”
Kolchina opens with an old and lovely song from the American Songbook, “Dancing in the Dark.” The vocalist begins this song without accompaniment, her voice sounding angelic and pure. She garners all my attention. Ilya Lushtak joins her on guitar after the opening introductory verse. This is music that’s warm and tender. It’s soulful, in a way that touches my heart with its honest, simplistic artistry. Anna Kolchina’s voice is hypnotic, and she makes me feel comfortable. They recorded this old standard in July 15, 2021.
Kolchina sings songs we know and love. On “Who Can I Turn To?” she features Peter Bernstein. He also accompanies her on “Invitation” and “All or Nothing at All.”
“New York City is a place where you can become friends with your heroes. I feel incredibly grateful and humbled to have recorded this album with musicians I once could not even have dreamed of working with. Collaborating with these remarkable artists, each of whom brings their own voice and energy, was a true gift,” Anna writes in her liner notes about these wonderful guitarists.
Each musician brings their own talent and personality to these songs. On What Now My Love?” and “So Many Stars” Romero Lubambo pulls rich harmonic rhythms from his guitar strings and adds a Latin touch to both arrangements in an understated way. Lubambo’s guitar solo is brilliant during the Sergio Mendes composition, with incredible lyrics by Alan & Marilyn Bergman. Anna delivers the words with emotional purpose and believability.
Russell Malone brings the blues alive on “Vacation from the Blues.” Anna and Russell recorded this one back in August of 2023. Since blues is one of the basic roots of jazz, I was happy to see that Anna included this Johnny Mandel and Arthur Hamilton tune in her repertoire.
On the old jazz standard, “Wrap your Troubles in Dreams,” plucked from 1931 when Bing Crosby recorded this hit record. Kolchina is joined by Paul Bollenback on guitar. They took to the studio in 2024 to record this tune. I used to hear my grandmother sing this one in her kitchen. It brought back warm memories. Bollenback also accompanies Anna on “Whistling Away the Dark” a Mancini and Mercer song that was new to my ears. Kolchina closes this album on a high note with the title tune, “Reach for Tomorrow” dueting with guitarist, Yotam Silberstein.
This is an album of wonderful music that features master guitarists and the impressive vocals of Anna Kolchina.
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