Max Hatt / Edda Glass have "an incomparable spook” (Nashville Scene) and a "unique sound" (Larry Groce, NPR Mountain Stage), that springs from the space between Glass's unmistakable voice and lyrics, Hatt's epic guitar landscapes, and their award-winning Jazz Americana compositions. Praised for her "impeccable vocal command" (PopMatters) and compared to a gamut of singers from Astrud Gilberto to Billie Holliday, Glass's voice is "one of a kind...in that you cannot confuse her with another artist" (New York Theatre Guide). Hatt's equally distinctive compositions are "direct...yet unexpected," says Wilco's Nels Cline, and together Max Hatt / Edda Glass create music that's "subtly poignant, elegantly funky, and haunting without trying to be." With a new album produced by Wilco's Pat Sansone, they've toured coast-to-coast from NYC’s Lincoln Center to NPR Mountain Stage and Sundance Film Fest, and been featured in press from the Huffington Post to Relix, Daytrotter, and Paste.

Hatt and Glass started playing together in Montana, where Hatt had a jazz trio and Glass had a knack for singing Brazilian Portuguese. Glass sat in on songs like "Girl from Ipanema" and they soon became the state's only Bossa Nova band, honing their original material on the side. On long drives between Bossa Nova gigs, Glass wrote lyrics to Hatt's solo guitar compositions: "Max's compositions are so cinematic," she recalls, "and you look out the window and it's like the camera's panning for you, over these enormous landscapes, and you start expecting something to happen— a story to begin." This highway collaboration took them all the way to New York City at Lincoln Center for the Performing Arts, where the two unknowns won the 2014 Grand Prize of the International Mountain Stage / NewSong Competition. Here their songs of migrating geese, dispossessed tribes, and love in the wheat fields also captured the attention of Pat Sansone. “I was mesmerized from the first moment I heard them," Sansone recalls. "They have the ability to create a deep sonic landscape with only voice and guitar, with songs that poses a mysterious and soulful magic."

Hatt grew up in the Chicago-land area, studied jazz guitar in the David Baker program at Indiana University, and has taken classes with Pat Metheny, Julian Lage, and Lee Retinour. The daughter of a jazz trombonist and a music aficionado, Glass is likewise steeped in jazz, and learned to sing in Portugues through obsessive teenage listening to an obscure Nara Leão album. With other influences ranging from Neil Young to J.D. Salinger, Homer, Jim Jarmusch, and Casablanca, the duo truly does create "a unique sound harmoniously forged from seemingly disparate elements," (Larry Groce of NPR Mountain Stage). They are still based in the west, in Santa Fe, NM, O'Keefe country, and home of the green chili.

-----------

Santa Fe-based Max Hatt / Edda Glass are the grand prize winners of the 2014 NewSong Music Competition, held at New York's Lincoln Center for the Performing Arts.

Recorded in April 2015 at Asheville, NC's Echo Mountain Recording and produced and mixed by Pat Sansone (Wilco, The Autumn Defense) and Josh Shapera, 'Ocean of Birds' features Max Hatt on guitars, Edda Glass on vocals, Clipper Anderson on upright bass, River Guerguerian on drums and percussion, and Pat Sansone on piano, organ and mellotron.

maxhatteddaglass.com 
newsongrecordings.com

OCEAN OF BIRDS
Released May 20, 2016

Max Hatt - guitarist, composer 
Edda Glass - vocalist, lyricist 
Clipper Anderson - upright bass 
River Guerguerian - drums, percussion

Pat Sansone - producer, mixer, musician 
Josh Shapera - producer, mixer, engineer 
Gar Ragland - executive producer, A&R 
Clay Miller - assistant engineer 
Julian Dreyer - assistant engineer

Max Hatt / Edda Glass - Oceans of Birds

The first single from the forthcoming debut album  'Oceans of Birds' from Sante Fe-based duo Max Hatt / Edda Glass. Produced and mixed by Pat Sansone (Wilco, The Autumn Defense).

Sansone was first introduced to Max Hatt / Edda Glass in the fall of 2014, at New York's Lincoln Center for the Performing Arts where they were competing in, and ultimately won, the international NewSong Showcase & Competition.

”I was mesmerized from the first moment I heard them," says Sansone of their cinematic Jazz-Americana music. "They have the ability to create a deep sonic landscape with only voice and guitar, with songs that posses a mysterious and soulful magic.”

As grand prize winners of the NewSong competition, the duo's prize included the recording of this album in April 2015 at Asheville, NC's Echo Mountain Recording Studios, with Sansone at the producer's helm.

The album, which will be released on May 20, features Max Hatt on guitars, Edda Glass on vocals, Clipper Anderson on upright bass, River Guerguerian on drums and percussion, and Pat Sansone on piano, organ and mellotron.

Pre-order, video and album exclusives available at the link above.

For media inquiries, please contact Louis D'Adamio, Mary Moyer or Carla Sacks at Sacks and Co.

louis.dadamio@sacksco.com
mary@sacksco.com
carla@sacksco.com

maxhatteddaglass.com 
newsong-music.com
newsongrecordings.com

Max Hatt - guitarist, composer 
Edda Glass - vocalist, lyricist 
Clipper Anderson - upright bass 
River Guerguerian - drums, percussion
Matt Smith - dobro
Jim Hoke - flute

Pat Sansone - producer, mixer, musician 
Josh Shapera - producer, mixer, engineer 
Gar Ragland - executive producer, A&R 
Clay Miller - assistant engineer 
Julian Dreyer - assistant engineer
Michael Hynes - mastering engineer

Pre-Order

Max Hatt  Edda Glass - Crossing Over

From the forthcoming debut album  'Ocean of Birds' from Sante Fe-based duo Max Hatt / Edda Glass. Produced and mixed by Pat Sansone (Wilco, The Autumn Defense).

Sansone was first introduced to Max Hatt / Edda Glass in the fall of 2014, at New York City's Lincoln Center for the Performing Arts where they were competing in, and ultimately won, the international NewSong Showcase & Competition.

”I was mesmerized from the first moment I heard them," says Sansone of their cinematic Jazz-Americana music. "They have the ability to create a deep sonic landscape with only voice and guitar, with songs that posses a mysterious and soulful magic.”

"Beautiful music that is subtly poignant, elegantly funky, and haunting without trying to be. Their songs are direct yet often take unexpected and colorful harmonic twists and turns, delighting the ear."
~ Nels Cline

As grand prize winners of the NewSong competition, the duo's prize included the recording of this debut album in April 2015 at Asheville, NC's Echo Mountain Recording Studios, with Sansone at the producer's helm.

The album, which will be released on May 20, features Max Hatt on guitars, Edda Glass on vocals, Clipper Anderson on upright bass, River Guerguerian on drums and percussion, and Pat Sansone on piano, organ and mellotron.

Pre-order available at the link above.

For media inquiries, please contact Louis D'Adamio, Mary Moyer or Carla Sacks at Sacks and Co.

louis.dadamio@sacksco.com
mary@sacksco.com
carla@sacksco.com

maxhatteddaglass.com 
newsong-music.com
newsongrecordings.com

Max Hatt - guitarist, composer 
Edda Glass - vocalist, lyricist 
Clipper Anderson - upright bass 
River Guerguerian - drums, percussion
Matt Smith - dobro
Jim Hoke - flute

Pat Sansone - producer, mixer, musician 
Josh Shapera - producer, mixer, engineer 
Gar Ragland - executive producer, A&R 
Clay Miller - assistant engineer 
Julian Dreyer - assistant engineer
Michael Hynes - mastering engineer

Max Hatt / Edda Glass - Wanted

Rachael Kilgour is a Minnesota-based songwriter and performing artist whose sincere, lyric-driven work has been called both brave and humane. The 2015 grand prize winner of the esteemed international NewSong Music Performance & Songwriting Competition, Kilgour has been featured at NYC’s Lincoln Center and by the ASCAP Music Cafe at the Sundance Film Festival. She was also a finalist in the 2015 Telluride Troubadour Contest. A versatile performer, Kilgour has shared stages with the likes of indie artists Haley Bonar & Jeremy Messersmith as well as folk legends Greg Brown, Cheryl Wheeler & Catie Curtis.

Kilgour married in her early twenties and devoted the rest of the decade to parenting her stepchild and building family and community. Her work from that time (Self-Titled 2008, Will You Marry Me? 2011, Whistleblower’s Manifesto 2013) chronicled her life as a young parent in a same-sex partnership and addressed sociopolitical issues from government corruption to income inequality to religious hypocrisy. Kilgour’s music career took a backseat during those years as she lived a slow, home-focused life.

In 2014, divorce brought an unwanted and excruciating end to her role as a member of her family. The sudden shift left her deep in grief. Kilgour spent many months processing with friends, family, and therapists and found solace in songwriting. Kilgour’s forthcoming album, Rabbit in the Road, was born out of that time: the love, loss, betrayal, disorientation and the profound sense of resilience that followed.

“While I have always felt a strong pull to address social injustices from the stage, this new collection of work requires something new of me,” Kilgour shared. “I feel called to use my platform to address emotion and grief and forgiveness in a way that is not often done in our culture.”

Though the album was instigated by a particular event in her life, each track explores a different aspect of Kilgour’s emotional journey. “I was taught from a young age that a person’s hurtful behavior is almost always a sign of inner pain and not a reflection of your self-worth. The second track on the album, ‘Deep Bruises’, was my attempt to put that belief into practice under the most difficult circumstances.”

Later, in “Ready Freddie”, Kilgour professes an unyielding confidence in her step-daughter as she steps into adolescence:

“I know you can take it
I believe that you will make it
On your own somehow
Maybe not right now
But I can see you’re almost ready
Do you think you’re ready Freddie?
Say it right out loud
You’re gonna make me proud”

In the title track, Kilgour examines the dualities of forgiveness. As is true of the album in its entirety, the detailed examination of Kilgour’s relationships and emotions is surprisingly universal:

“With your hands around his neck
You spared his misery
How swift you gave that rabbit
What you couldn’t give to me”

Rabbit in the Road, due out March 3rd, 2017 on NewSong Recordings, was produced by Catie Curtis with help from Crit Harmon, who engineered the album. The album was mixed by Gar Ragland at Echo Mountain Recording Studios in Asheville, NC. The album takes an intimate and often painful look at the failed marriage and loss of family. Kilgour’s writing and delivery cut deep, with resolute simplicity. Sorrow, rage, resilience and compassion exist side by side within a series of honest and memorable melodies. The collection of work stands tall on a foundation of vulnerability and opens the door to moments of profound connection.

Pre-order Rabbit in the Road.
newsongrecordings.com/album/rabbit-in-the-road

Publicist: Amanda Dissinger, Terrorbird 
amanda@terrorbird.com

Radio: Shannon Kurlander, Terrorbird
shannon@terrorbird.com

Licensing: Scott Cresto, Music Alternatives
scottc@musicalternatives.com

Rachael Kilgour Sites:
www.rachaelkilgour.com/
www.facebook.com/rachaelkilgourmusic
www.instagram.com/rachaelkilgourmusic/

Rabbit In The Road

You're Through

Ready Freddie

Break Wide Open

Up From Down

Mama

Rachael Kilgour is a Minnesota-based songwriter and performing artist whose sincere, lyric-driven work has been called both brave and humane. The 2015 grand prize winner of the esteemed international NewSong Music Performance & Songwriting Competition, Kilgour has been featured at NYC’s Lincoln Center and by the ASCAP Music Cafe at the Sundance Film Festival. She was also a finalist in the 2015 Telluride Troubadour Contest. A versatile performer, Kilgour has shared stages with the likes of indie artists Haley Bonar & Jeremy Messersmith as well as folk legends Greg Brown, Cheryl Wheeler & Catie Curtis.

Kilgour married in her early twenties and devoted the rest of the decade to parenting her stepchild and building family and community. Her work from that time (Self-Titled 2008, Will You Marry Me? 2011, Whistleblower’s Manifesto 2013) chronicled her life as a young parent in a same-sex partnership and addressed sociopolitical issues from government corruption to income inequality to religious hypocrisy. Kilgour’s music career took a backseat during those years as she lived a slow, home-focused life.

In 2014, divorce brought an unwanted and excruciating end to her role as a member of her family. The sudden shift left her deep in grief. Kilgour spent many months processing with friends, family, and therapists and found solace in songwriting. Kilgour’s forthcoming album, Rabbit in the Road, was born out of that time: the love, loss, betrayal, disorientation and the profound sense of resilience that followed.

“While I have always felt a strong pull to address social injustices from the stage, this new collection of work requires something new of me,” Kilgour shared. “I feel called to use my platform to address emotion and grief and forgiveness in a way that is not often done in our culture.”

Though the album was instigated by a particular event in her life, each track explores a different aspect of Kilgour’s emotional journey. “I was taught from a young age that a person’s hurtful behavior is almost always a sign of inner pain and not a reflection of your self-worth. The second track on the album, ‘Deep Bruises’, was my attempt to put that belief into practice under the most difficult circumstances.”

Later, in “Ready Freddie”, Kilgour professes an unyielding confidence in her step-daughter as she steps into adolescence:

“I know you can take it
I believe that you will make it
On your own somehow
Maybe not right now
But I can see you’re almost ready
Do you think you’re ready Freddie?
Say it right out loud
You’re gonna make me proud”

In the title track, Kilgour examines the dualities of forgiveness. As is true of the album in its entirety, the detailed examination of Kilgour’s relationships and emotions is surprisingly universal:

“With your hands around his neck
You spared his misery
How swift you gave that rabbit
What you couldn’t give to me”

Rabbit in the Road, due out March 3rd, 2017 on NewSong Recordings, was produced by Catie Curtis with help from Crit Harmon, who engineered the album. The album was mixed by Gar Ragland at Echo Mountain Recording Studios in Asheville, NC. The album takes an intimate and often painful look at the failed marriage and loss of family. Kilgour’s writing and delivery cut deep, with resolute simplicity. Sorrow, rage, resilience and compassion exist side by side within a series of honest and memorable melodies. The collection of work stands tall on a foundation of vulnerability and opens the door to moments of profound connection.

Pre-order Rabbit in the Road.
http://newsongrecordings.com/album/rabbit-in-the-road

Publicist: Amanda Dissinger, Terrorbird 
amanda@terrorbird.com

Radio: Shannon Kurlander, Terrorbird
shannon@terrorbird.com

Licensing: Scott Cresto, Music Alternatives
scottc@musicalternatives.com

Rachael Kilgour Sites:
http://www.rachaelkilgour.com/
https://www.facebook.com/rachaelkilgourmusic
https://www.instagram.com/rachaelkilgourmusic/

Rabbit in the Road

Deep Bruises

Still My Wife

Hit By A Bus

I Pray

“A mix of virtuoso musicianship and original songwriting that plays as well in a hipster coffeehouse as it does in a small town concert hall.”                         – Larry Groce, Mountain Stage

“Not just virtuoso musicianship but a feel for the human condition that is lacking in so much music these days....  Every triumph and every stark failure is right there in the open and each is as valid as the other in the grand scheme of life.”
 – Rick’s Place

 Every Tuesday evening since early 2013, Blue Yon- der, a trio of nationally-known musicians represent- ing diverse strands of Americana musical traditions, has given people in a small Charleston, WV, venue a soul-cleansing way to connect with themselves and each other.

With the upcoming June 2018 release of their new recording 'Rough and Ready Heart,' Blue Yonder plans to bring this same experience to new audiences in similarly intimate settings beyond their home state of West Virginia. 

Anchored in compelling grooves of classic country, rockabilly, swing and folk music, the band presents original songs about “living, loving and los- ing along life’s backroads and highways” that people from all walks of life can relate to.

“My songs tell stories that anyone who’s been in re- lationships or set out on a road trip can relate to, no matter where they come from,” says John Lilly, Blue Yonder’s national award-winning, and nationally traveled, performing songwriter. “It’s been great to be able to work in my home town with guys who ap- preciate playing mostly original music, and to share that music every week with our regulars, who keep coming back to hear new material.”

  Blue Yonder guitarist Robert Shafer, noting the many styles of Lilly’s songwriting, appreciates that “with Blue Yonder I can stretch out more than I can with most bands.” One of few to win the prestigious Win eld Walnut Valley national  at-picking contest more than once, Shafer is also known as a “spectacular rockabilly guitarist who also brings swing and bop in influences to his playing” (Washington Post).

Blue Yonder upright bass player and producer Will Carter, best known for founding the global summit of old-time musicians at the annual “Cli top” festival in WV, reports that for him “an evening with Blue Yonder is like telling tales around a camp re – the stories we tell take me out of my speci c situation and connect me, through shared experiences and emotions, with everyone in the room.”

Recorded at Echo Mountain Recording Studios in Asheville, NC, Rough and Ready Heart introduces listeners to charac- ters dealing with life and death, love and loss, memories and aspirations – with stories set to a pleasing arc of Amer- icana styles ranging from barn-burning rockers to gentle waltzes to mournful ballads to inspirational anthems. The band’s debut recording, Bittersweet Road, features all origi- nal songs and reached #2 on the Freeform American Roots radio chart in late 2013.

www.blueyonderhonkytonk.com 
www.newsongrecordings.com

 All songs written by John Lilly © 2018 Beverly Lane Publishing (BMI) Produced and mixed by Gar Ragland
Engineered by Clay Miller / Assistant Engineer – Dowell Gandy Mastered by Jim Demain, Yes Master Studios
Recorded at Echo Mountain Recording Studios; Asheville, NC Photos by Thomas Sayers Ellis
John Lilly – vocals and rhythm guitars (acoustic and electric) Robert Shafer – electric guitar
Will Carter – acoustic bass and harmony vocals
Russ Hicks – pedal steel guitar
Tony Creasman – drums and percussion John Cloyd Miller – harmony vocals
Gar Ragland – harmony vocals

Pre-order

Green Light

You Can't Get There From Here

a boutique record label, located in Asheville, North Carolina and associated with the international NewSong Music Performance & Songwriting Competition.

NewSong Recordings

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