* Your musical inspirations?

The list would be long... from the BEATLES, VAUGHAN WILLIAMS, medieval music, to all form of ethnic expression. These are probably the main sources from which I learned most.

I have so many friends artists from all over the world who work on the traditional music idiom, do their best with their own sensitivity and talent, invent and renew all the time. I'm aware of their work and this is also a great inspiration for me.

After more than 30 years in the craft, I feel that my aim now is to build a link between baroque music and the blues [the essential styles that never failed to move me during all this time], all this blended with my own culture, which is French. I have a vague feeling, which I probably cannot explain that makes these two styles so close, with the energy, simplicity, evidence and truth.  Still working on the subject!

 * Favorite CD's, songs, or musicians?

The Beatles, The Watersons, Martin Carthy [I learned a lot from him], Vaughan Williams, Donovan [in his old days, except for "Sutras"], Jacques Brel, J. S. Bach, Biber, Chuck Berry, La Bergère, Georges Brassens, The Zombies

 * Has music helped you thru a difficult time in your life?

It probably did, but I must admit that music is as much a part of my life than the air that I breathe.  I am not able to consider it as a "special" element of my life, I just allow my soul and body to be open to it I guess I welcome it, without thinking twice, through hard times as well as good times.
When you think of Gabriel Yacoub, you think of the founder, voice and soul of the innovative French group Malicorne. Yacoub first came to the fore as the teenage back-up guitarist and singer with Brittany's pioneering Celtic harpist Alan Stivell in the early 1970s. Stivell's blend of rock and the old world inspired Yacoub to form a band that was soon to become a landmark in contemporary French music. Unearthing some of France's finest jewels from its own traditional music, Malicorne offered us their remarkable fresh approach, and succeeded in bringing this music into the limelight at a time when French ears were tuning in to the English speaking world for inspiration.

For ten years Malicorne revived the magic of what some today call "world music" by integrating currently popular instruments with crumhorns, bagpipes and hurdy-gurdies, with stunning vocal arrangements. They transformed well-chosen traditional and medieval ballads, through unusual and powerful voicings, into modern songs relevant to our times. Capturing the attention of the public and music professionals world-wide, they were awarded three gold records as well as the coveted Grand Prix de L'Acadamie du Disque Français.

Yet Yacoub did not stop there. With Malicorne at its height, he launched a solo career, and developed his own musical personality though still drawing on his traditional background. This time is also the beginning of Gabriel Yacoub's songwriting career.

His lyrics, melodies and superb arrangements reflect the immense experience of fourteen albums and countless influences until now. His work has been described as ...a labyrinth that reveals more beautiful landscapes at every turn.

In concert, Yacoub leads you on a graceful journey of magical melodies, singing and guitar arrangements, with stopovers for witty song introductions in both French and English. His solo tours have taken him to over 700 American, Canadian and European venues, a remarkable testimony to this musician's stage presence.


* Your musical inspirations? 


* Favorite CD's, songs, or musicians? 

Ritchie Blackmore

* Has music helped you thru a difficult time in your life?

My lust for groove has kept me in the right groove my whole life.

Jason "Hook" Grinstead, originally born and raised in Toronto Canada, took an early interest in music at age 6.

"My next door neighbor was forced to give me his KISS records because his mother was convinced they worshiped the devil". "If I had to designate a starting point, that would be it."." I listened to those records incessantly and would guess that is why I have always loved songs with driving guitar riffs and catchy choruses"

For most of Jason's younger years he wanted to be a drummer. "My parents have always supported my desire to be a musician. My mother had me in private violin and piano lessons when I was 6 years old. Shortly after discovering KISS, my father bought me a used Stewart 5 piece kit, and a couple of cheap electric guitars, which really helped me put my own bands together, because I owned most of the equipment"

At age 8 Jason was recruiting school friends to start bands, although they never quite shared the same amount of enthusiasm. When other kids were into playing Dungeon and Dragons or racing BMX bicycles Jason was logging long hours listening to Toronto's Rock radio station Q107. "I remember Q107 would have the top ten at ten. I would learn every song and every solo so I could play along with the radio program."
Back then the top ten had songs from bands like Coney Hatch, Kim Mitchell, Lee Aaron, and other popular American bands from Aerosmith to Van Halen.

After a slew of high school bands, Jason joined his first local club band "21 Gunns" and was thrust into the world of Canadian touring. "I'm glad I had a chance to finish school, because after my first 3 month road trip there was pretty much no turning back". "As a consummate collector, I still have pretty much every video, poster, ticket stub, from all those shows we played."

The group had talent and dedication that would eventually lead them to playing all original material for their shows (A rarity for Canadian bands at the time) "We were very much into writing songs when most bands were still playing covers"

The band worked diligently for several years and eventually landed a recording deal with Elektra out of New York "That was a highlight of my life, we were so driven and focused. I really thought I had made it. I was only 20 years old and really didn't have a clue as to how things could go wrong."

The band, now called "No Love Lost" flew to Los Angeles and recorded their album with producer Beau Hill. Shortly after the record was submitted, it was rejected, we were dropped and the whole thing was over. "It was devastating to go from hometown hero to hometown zero"

The group disbanded and Jason spent some time working on other projects. One of them was a collaboration with multi platinum Canadian artist Lee Aaron. Lee's producer John Albani (who had produced several demos for "No Love Lost") invited me into their sessions. The team wrote a couple of songs together. One of them ended up being the title track for Lee's 1994 release "Emotional Rain". "I was really hoping to be a part of her touring band at the time, but all I could think about was moving to Los Angeles."

Before Jason would relocate, he had the opportunity to join up with Canadian rockers The Killer Dwarfs for a brief summer tour. "I had a great time with those guys but I really had my heart set on being back in L.A."

Shortly After driving across country to Los Angeles, Jason was introduced to Mick Sweda (Bullet Boys' original guitarist) and joined his new solo project, Brain Stem Babies. "I had a lot of fun with Mick. We were playing a lot of fiery guitar stuff together when it may not have been considered cool, but we didn't care". After two years of playing mostly local shows, Jason left the group to pursue other interests.

1996 found Jason yearning to start an all original project so he approached old friend/producer Beau Hill to assist in forming and developing a brand new band. This arrangement would span from 1996 to 1999. "Basically we busted our asses for 3 years trying to get this band signed. We came pretty close with some of the majors, but couldn't get it done for some reason or another. It was always a bad timing thing."   The project was eventually shelved, but several of the recordings were later released Europe under the name MonkeyHead.

The year 2000 marked a change in decade and a new beginning for Jason. He received a phone call from Mick Sweda who was trying to find a replacement for his brief reunion with the Bullet Boys. "I knew it was something I wanted to do, I was exhausted with writing and recording demos, and really just wanted to leave town and travel" Traveling was exactly what was in the immediate plans for the Bullet Boys as they had booked a 2 month summer tour covering 39 American cities.

At almost the same time Jason was preparing to embark on his trip with the Bullet Boys he received a call from a friend (who had been playing with Mandy Moore) and was informed of her pursuit of a new guitar player. After a brief audition, Jason landed the gig. Luckily, most of Mandy's dates wouldn't start until after Jason's return.

For the next two years Jason juggled touring with both acts. Some Mandy Moore television appearances included the "Rosie O'Donnell show", "The View", "Regis and Kelly", MTV's "TRL", "The American Music Awards", "The Craig Kilborne show", Fox 's "Teenapolooza", "Farm Club" and "Mad TV".

In the fall months of 2002 Jason and the Bullet Boys wrote and recorded the bands 4th studio album "Sophie" (Produced by Andy Johns, released Dec 2003). Shortly after that Jason co-hosted an episode of MTV's "Becoming".

January 2003, Jason joined the Vince Neil (Motley Crue) band, and spent most of the year touring the states.

July 2004 Jason released his first solo effort "Safety Dunce" The EP won a Los Angeles Music Award for best instrumental Record

Shortly after the release of Safety Dunce, Jason joined the Hilary Duff group and is currently a part of Hilary's 2004-2005 "Most Wanted" tour.


* Your musical inspirations?  

Early on it was Guy Clark and Townes Van Zant, Jackson Browne and John Prine.  Now it’s everyone from Elvis Costello to Beck to Nick Drake

 * Favorite CD's, songs, or musicians?

There’s too many to mention.  I still listen to Neil Young’s “Harvest”,
which I first heard 30 something years ago.  It still sounds fantastic.  That and “Kind Of Blue”.
 * Has music helped you thru a difficult time in your life?

Music gets me through everyday.  Playing music in the difficult times in life is the best.  It pulls from the very heart of existence and fills you up with good stuff.

 * Your thoughts on the connection between music and healing--

 Music heals in the most fundamental way.  It gets to us in ways that we cannot put into words. Makes us smile, cry.  Just the other day I played for a dying relative.  She smiled.  How much better does it get?

Field of Crows is the latest song collection from a man who is living one of the most fascinating and beautiful artistic evolutions in American music.

During his 20-year career, Texas singer-songwriter Darden Smith has recorded in folk, country and pop settings. He has co-written songs with a British rocker, released 10 critically acclaimed albums, created works for dance theater, done symphonic collaborations and taught music to children. Darden Smith has made himself at home in studios in Manhattan, Nashville and London, as well as Austin. As this new CD shows, his style is always shifting, yet remains true to his roots.

As melodic a collection as he has ever recorded, Field of Crows shows Smith continuing to explore rhythms, sounds and lyric themes. As it has on all of his recent Dualtone albums, his work on the nylon-string guitar adds a distinctive texture to the music.  He plays more piano on this album than any of his previous collections. "I tend to write sitting at the piano, holding a guitar, and go back and forth between them.," he says. "Over the last 10 years, the keyboard has become more involved in how I hear songs."

Departing from the way he has recorded other albums, Smith cut Field Of Crows almost live in the studio with the band all in the same room collaborating. Co-produced with Stewart Lerman, the entire record was recorded and mixed over the course of three weeks in May 2005. Field of Crows is highlighted by contributions from drummer Sammy Merendino, multi-instrumentalist Steuart Smith, bassist Roscoe Beck, steel guitar and violinist David Mansfield, percussionist Jose Galeano and co-producer/guitarist Lerman.

"I've known these people a long time," comments Darden Smith. "They are my friends, which makes them better collaborators. I feel really blessed to be able to work with people I enjoy so much, who are also musicians of such a high caliber. They make me want rise to the moment."

The themes on Field Of Crows alternate between hope and despair, which Smith says is a reflection of our troubled times. Most of the songs came together over the past year, and were highly colored by the war in Iraq, the 2004 election, and the Tsunami in Southeast Asia.

"It always strikes me that in times like these, with all the craziness in the world, all the personal loss and tragedy, that hope holds a high value.  It means something when there seems to be so little of it. These days as well, it's obvious the world is pretty small and we're all joined. We need each other for the place to keep working, on a personal level and for the big picture. We crave connection. It calms us and can drive us mad at the same time. The songs on 'Field of Crows' are about our connection with others-- finding it, holding it, losing it, and the never ending desire for more."

The album's philosophical underpinning is the folk-pop title tune. Like a lonely scarecrow beset by flocks of crows, we must all stand and fight, even though it seems hopeless, Smith seems to be saying. The stately, inspirational piano ballad "Fight for Love" sings of peace and brotherhood. "Golden Age" sounds jaunty, but its lyric is a dark meditation on how much pain there is in this world.

There are further musical contrasts and shadings on Field of Crows. The bluesy "Spinning Wheel" is about uplifting love. Yet the dreamy soundscape of "Wide Open" backs a lyric of heartbreak. The airy, soaring "Talk Me Down" is comforting. But the whispered, folkie "All That I Wanted" is as downbeat as anything on the record. The coolly percussive "Mary" is a single father's conversation to his young daughter. On the other hand is the jazzy, smiling "It Takes Two." One key track is "Satisfied." The ballad's lyric speaks of true love residing in everyday reality while an eloquent acoustic guitar figure weaves a lovely spell.

Smith's wrote or co-wrote all the songs on Field of Crows. His co-writers include Gary Nicholson "Talk Me Down", "Mary", and "Anyway to Treat Your Lover", J.D. Martin "Satisfied" and Phil Roy "Fight For Love."

All in all, Field of Crows is a fine illustration of why a critic once dubbed Darden Smith, "a Texas Van Morrison."

That Field of Crows is another musical exploration will surprise few who have followed this restlessly creative spirit's career. Born in 1962, Darden Smith was raised in rural Brenham, Texas. He says that Leon Russell's Carney LP of 1972 was one of his earliest musical influences. When he was in the fifth grade, Smith's guitar teacher taught him the songs on Neil Young's Harvest and After the Gold Rush albums. She explained to the boy that Young was the composer of his songs.

"That was the first time it clicked to me that every song is written by somebody," Smith recalls. "I was already writing poetry at the time. She said, 'All it is, is just poems and melody.' That's all I needed to hear."

When he was in junior high, his family moved to suburban Houston. Culture shocked and out-of-place, the former farm boy sat in his room and wrote songs constantly from that point onward. Smith studied the structures of the songs of writers such as Guy Clark and Townes Van Zant and John Prine. He had his head spun around by Bob Dylan, The Allman Brothers and Jackson Browne. He began playing in clubs while still in high school. By the time he graduated from the University of Texas in Austin, Darden Smith was a fully realized talent and a regular on stages in the city's thriving nightclub scene.

The folk-flavored Native Soil appeared as his debut album in 1986. Fellow newcomers Lyle Lovett and Nanci Griffith provided harmony vocals. Signed by Epic Records, he issued Darden Smith in 1988. Produced by Asleep at the Wheel's Ray Benson, the collection spawned "Little Maggie" and "Day After Tomorrow" as country-chart singles.

At this point came the first of Smith's shifts in direction. A song publisher teamed him up with Boo Hewerdine of the British band The Bible. The songwriters couldn't have had more different backgrounds, but their collaborations resulted in the 1989 duet album Evidence.

"I pride myself in being a Texas singer-songwriter. It's who I am, and I will never get away from that. But that world was all I knew until I met Boo Hewerdine. I'd never created music outside of my little niche. But I was listening to things like Elvis Costello, Nick Lowe and The Pretenders. And the experience with Boo showed me that I could write music from a broader place than I had ever done before."

Following the critical acclaim of 'Evidence', the record company moved him over to its pop division, and onto Columbia Records, for 1990's Trouble No More and 1993's Little Victories, the latter of which produced the hit pop single, "Loving Arms." In keeping with the crazy logic of the record business, the label released him from his contract after this, his most successful album to date.

The next several years were hard ones in Smith's personal and professional life: "I was used to the major-label lifestyle and the ego-stroking that goes along with that," he observes. "Even if you're the most humble, modest guy in the world, it's hard not to believe some of it. Then you get off the major label, and you find out that not only are they not going to play your records, they're not going to return your call."  Compounding the professional setback was the ending of his marriage.

Out of that dark time came a sterling collection of folk-tinged pop called Deep Fantastic Blue in 1996. It was followed by Extra Extra in 2000. But by then, Darden Smith was disheartened, discouraged and contemplating getting out of the music business.

"It was a tough time," he recalls. "Then, in late 2000, I was having dinner with friends in New York. Sammy (Merendino) and Stewart (Lerman) suggested we should do one album more before I quit, but that we should do it only to have fun." At the time I didn't have a label, a manager or an agent. I started writing and recording purely out of the love of making music, and through that experience, fell back in love with the whole process."

Smith signed with Dualtone Records and turned in the brilliant and acclaimed Sunflower in 2002. Its songs "Perfect Moment" and "After All This Time" climbed the charts in the UK, with "After All This Time" reaching #3 on the BBC2. Stateside, he was embraced by the emerging Americana format. Darden Smith now views that record as another watershed, personally and stylistically.  

"Music should come from the heart," he says. "I had lost touch with that notion.  Sunflower brought it back."

 Sunflower included guest vocals by Patti Griffin and Kim Richey. Both Shawn Colvin and Richey contributed vocals to Circo, his moody, adventurous 2004 release. Field of Crows features guest vocalist Eliza Gylkison as well as the invaluable contributions of Steuart Smith, Merendino, Beck, Mansfield, Galeano and Lerman.

"I still like to explore musically," Darden Smith comments about his musical diversity. "Some people do their exploring with different styles before they ever start putting out records. I kind of did mine as I was making the records."

Records are just part of his musical wanderings. Beginning in 1989, Smith began composing music for experimental dance-theater works. Three full evening works followed, and in 1999 he was commissioned to create an orchestral work with the Austin Symphony Orchestra. The result was Grand Motion in 2000. He is currently working on a new theater piece.  A radio documentary on Texas songwriters that he is creating for the BBC2, "Songs From The Big Sky", will air March 2006. His ongoing  "Be an Artist" program puts him in workshops, helping children see that they are all born artists and that creativity is inside all of us.

About his extraordinary career, Darden Smith says, "I don't worry about a lot of the stuff I used to worry about. This is my 10th record and my 20th anniversary in this business, and I realize how fortunate I am to be able to make a living being a musician, doing what I love to do. Why fight it? This is who I am, so I'm just going to groove along and enjoy the ride. I feel great, better than ever. So here we go."


Musical inspirations

 Everything! Anything I hear, read, smell, see or do. Nothing is sacred...or safe!

Favourite CDs

changes all the time. Today its Turin Brakes, yesterday it was Iain Morrison, last month it was Eddi Reader, tomorrow it could be Pink.

Favourite songs

Again, that changes all the time too. But I always remember hearing ‘Nevertheless’ sung by Harry Nillson, that just kills me everytime. Then there’s KD Lang singing ‘Cryin’ - Shivers!

Favourite musicians

Anyone who can play guitar in time – ie, NOT me!

Music helped thru a difficult time in your life

Well, I’ve not had many difficult times, well, not those that were not caused by loving music that is! And yes, it always helps me, listening to it, writing it and singing it! Lucky gal!

"She is first and foremost, a stunningly brilliant singer, with a style which bobs around somewhere between the sweet, clear delicacy of Joni Mitchell and the tougher edges of Joan Armatrading."

"Carol Laula is arguably one of Scotland’s finest exports."

The Music Industry seems to be obsessed with categorizing artists these days, so if there were categories for "Wonderful Singers" or "Amazing Songwriters" that is where you would most likely find the music of Carol Laula.

Her rise from a young unknown to a household name in Scotland has been phenomenal. Carol first captured the attention of the media, when in 1990; her independent single, "Standing Proud" was chosen to represent Glasgow in its year of culture. Since then all five of her albums – "Still", "Precious Little Victories", "Naked", "First Disciple" and "To Let" – have been released to high critical acclaim, as well as propelling her to the forefront of the Scottish music industry.

Carol’s reputation has also grown internationally over the years. She was even invited to perform at New York’s famous Carnegie Hall alongside Mary Chapin Carpenter and Sarah McLachlan at the very first all female singer/songwriter concert.

Unlike many other performers, Laula has remained true to the raw gigging experience. She regularly invites her audience to make requests with an ease that would strike fear into the hearts of most seasoned musicians. As one popular Scottish journalist commented, "Carol’s live performances are not to be missed."

She has also won numerous awards for appearances at the acclaimed "Celtic Connections" festival, including "Best Performer" in 1995. "There’s nothing more disappointing than looking forward to seeing someone perform live and then they act all precious on stage, taking themselves terribly seriously. Sometimes you’d be as well to go home and listen to their album with a bottle of wine and, sadly, it’ll probably be better. That’s why I pride myself on making the live side of my work that little bit special."

After extensive touring of the U.K., Canada and the U.S. Carol took a well-earned break from the industry to study Politics and Sociology at University. When asked what she would do on completing her degree Carol’s answer was fairly typical – "I’ll be a more intelligent singer/songwriter!"

2004 sees Carol return with a new album "To Let," which shows a more acoustic side to her work. The album is a stripped-back affair, focusing on the amazing qualities of Carol’s voice.

 "Ultimately what I want to achieve is something much bigger and more exciting, but that’s not to say that I don’t like what I’ve done in the past. I see it as a natural progression; I just had to move on. It’s vitally important to me that I not only maintain the brilliant fans that I already have, but I attract many more along the way."

Those fortunate enough to have had a taste of Carol’s new album have noted its exceptional nature. From the wonderfully melodic "Home to Sister" to the sublime "Hallelujah", Carol has made the process of musical development seem effortless.

Incidentally, her music is most likely found in the "folk" section!!!!


1992Still (Acoustic Roots)
1994Precious Little Victories (Iona Records)
1995Naked (CL Productions)
2002First Disciple (Acoustic Roots)
2004To Let (Acoustic Roots)


Photo by Barbara Gentile

my favorite songwriters are one's who are able to make me feel like i'm
watching a movie when i'm listening to their songs. dylan, elvis
costello and patty griffin are definite staples. constant sources of
cinematic imagery they're able to tell great stories with their voices
as much as with their lyrics. i'm a sucker for a great pop song, but
paint me a picture with vocal cracks and whines, a little alliteration,
the turn and re-turn of a phrase and the feeling like i've been let in
on a secret and you'll break my heart...

Born and raised in Philadelphia, Bree learned to play guitar at 15. At 17 she moved to New York City to study theater at NYU with David Mamet's theater company. During her college years she began writing the songs that would eventually lead to her deal with trauma records in 1998.

In 1999, Bree released her debut album, A Cheap and Evil Girl. She garnered amazing national press (Rolling Stone, Spin, Entertainment Weekly, People, Teen People, TV Guide, Maxim, Ray Gun, Harper's Bazaar, Elle, USA Today) and found a wide, loyal audience. Her premiere single David Duchovny gained cult-like stature following national radio airplay, media coverage and an underground video of stars lip-syncing to the song. Brad Pitt, Rosie O'donnell, Gary Shandling, Whoopie Goldberg, Jeaneane Garafalo and all four members of KISS were among the dozens of celebs caught on tape.

Following this pop-culture phenomenon, the second single, America, was released. The subversive compliment to Duchovny, America deals with our media-obsessed culture, our apathy toward poverty and war, and our vicious need to consume - sentiments that continue to have significance today.

In May of 2001, following a major upheaval in the record industry, Bree and Trauma Records parted ways. She immediately began plans to release her next record - this time as an independent artist. In August 2002, her anticipated follow up record, More B.S. was released on her own label, Ahimsa Records (uh-HIM-suh).

Produced with her collaborator/guitarist Don DiLego (the same team as Bree's acclaimed debut album, A Cheap and Evil Girl, her album was again met with both critical and commercial acclaim.

For the last five years, Bree has traveled the states honing her distinctively charismatic performance style. She's played The Lilith Fair and MTV's Campus Invasion 2000 with Bush and Moby as well as colleges and clubs across the country. She has shared a bill with the likes of Duran Duran, Sugar Ray, Pat Benetar, Sophie B. Hawkins, Jeffrey Gaines, Shannon McNally, Dido, Graham Parker, and Everclear.

Bree has performed on "Regis & Kathie Lee" and had songs appear on "Dawson's Creek," "Charmed," "Party of Five", HBO's "G-Stringed Divas" and in several feature and indie films.

Her main musical and lyrical influences have been Elvis Costello, Bob Dylan, Patti Smith and Patty Griffin. Bree loves songwriters that are "gutsy and provocative." She can also bee caught singing along to Gillian Welch, Tori Amos, The Grateful Dead, Sinead O'Conner, Joni Mitchell, The White Stripes, Tom Petty, Paul Simon and Dave Attell (to name a few).

Bree is also a lover of film, which is often reflected in her cinematic writing style (see: The Ballad of Grim and Lily, The Cheap and Evil Girl and Faster, Faster). Among the films she lists as influences and favorites are: Alien, Aliens, T2, The Matrix, The Professional, Naked, Bound, The Grifters, and of course, This is Spinal Tap.

Perhaps most important to Bree is her role as an animal rights advocate. She has been a vegetarian for twelve years and is a proud member of PETA (People for the Ethical Treatment of Animals). She agrees with PETA's simple philosophy that "Animals are not ours to eat, wear, experiment on or use for entertainment".

"One of my goals as an artist is to bring attention to and speak for those who cannot speak for themselves. I would especially like to bring attention to the meat, poultry, fish, fur, leather and cosmetic industries. Unfortunately, large businesses in order to keep costs down treat animals as objects and commodities. For example, around the world family owned farms are being replaced with "factory" farms: warehouses where large numbers of animals are kept in crowded pens or restrictive stalls. Procedures such as de-horning, de-beaking, tail-docking, branding and castration are routinely performed without anesthesia. Often times, people unknowingly contribute to these inhumane practices of these businesses by purchasing fur, fast food and other animal products or products that have been tested on animals. I believe that if more people become educated about the process of living creatures being transformed into our food and clothing, there will be a demand for better treatment and more respect for the lives of these animals that are sacrificed for our comfort"

- Bree Sharp on factory farming and animal rights (for more information about how to help stop animal abuse and exploitations please visit and

While animal rights is her "pet" cause (groan), she is always thrilled to use her music to support other worthy causes. In the recent past, Bree has played benefit shows for the families of World Trade Center victims (the Concert for Courage in New York), The launch party for the new Women Who Rock magazine, which benefited breast cancer awareness groups and a benefit for Big Brothers/Big Sisters in New Paltz, NY.

Today, Bree still makes Manhattan her home, where she is currently working on songs for her third album. She has proven herself to be a dynamic singer and songwriter who loves to revel the twisted mix of heartbreak, fantasy and social commentary that has become her hallmark.

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