Elizabeth Shepherd
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Elizabeth Shepherd

Toronto, Ontario, Canada | INDIE | AFM

Toronto, Ontario, Canada | INDIE | AFM
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"#1 On ANTI HIT LIST"

In Toronto music circles, this pianist's imminent follow-up to the not-just-for-jazz-purists Start to Move qualifies as one of the season's most highly anticipated releases. For those of us who are coming to this music from a decidedly rock-ish perspective, this preview should effortlessly seduce anyone who's ever found themselves transported by, say, Steely Dan's "Home at Last" or Joni Mitchell's "The Hissing of Summer Lawns." - TORONTO STAR


"Disc of the week - NOW magazine"

It may not be immediately obvious from the engaging ebullience of Elizabeth Shepherd?fs performances, but making a boundary-testing album like Parkdale with producer Ben Lamdin (Nostalgia 77) is a very bold move for the rising Toronto artist. Someone with Shepherd?fs vocal talent could easily have knocked out a sweet set of romantic standards that would?fve sold loads to fans of Diana Krall and Sophie Millman. Instead, she has chosen to reveal more of what she can do as a songwriter and pianist.

Not unlike Joni Mitchell, Shepherd uses the constructs of jazz along with elements of the folk and soul traditions to build a contemporary sound all her own. The free-flowing openness of her improvisational exchanges with her talented sidemen ultimately turns Parkdale into a more adventurous jazz odyssey than anyone might?fve expected, and Lamdin does a superb job of documenting the action as it happens. Very impressive. - Now Magazine


"Elizabeth Shepherd releases new jazz CD"

Toronto jazz artist Elizabeth Shepherd's debut album was third most popular in a BBC Radio 1 poll by Gilles Peterson two years ago. She opens for Jamie Cullum at the Hollywood Bowl this summer. She has performed at Tokyo's Cotton Club.

"But I still live in a basement apartment in Parkdale and teach part-time," says the multi-talented 31-year-old.

It's a typically contradictory, rags-and-riches mix of a young artist on the rise. She is being showered with accolades and requests for concert dates, but is nowhere near ready to give up the simple life.

Her home neighbourhood since returning to Toronto four years ago inspired her second full-length album, Parkdale (Do Right! Music), which had its launch party at the Gladstone Hotel late last night.

Its 10 tracks are all original creations by Shepherd, her trio mates Scott Kemp (bass) and Colin Kingsmore (drums), as well as trumpeter William Sperandei and percussionist Roman Tome. (There's even a simple, soulful classical music-inspired acoustic-guitar cameo by Reg Schwager.)

The sound transcends standard jazz genres. "I like to get away from the standard chord progressions," Shepherd says. "The songs also have some complicated metres, not just the four-four or six-eight you usually hear."

The constants are Shepherd's creamy vocals and sure hands on the ivories – and her creative touch. She usually writes the lyrics and lays out the charts.

"The music is improvised, of course, but I work best when I can be creative within a defined framework," she explains.

Perhaps it's an eclectic background that helps Shepherd transcend any one particular style.

Born in Winnipeg, the artist moved around a lot while growing up, thanks to her parents, who are Salvation Army ministers. The family even spent time in France.

Shepherd had her first piano lesson at age 6. "Because that was the age my older brother started at, and it was only fair that I start at the same age." She picked up the E-flat tenor horn two years later.

She waffled between classical piano performance and doing something else right up to her first years at university. But then she dated a jazz guitar player, who opened her ears to a genre she had never considered before.

Shepherd was studying piano at McGill University in Montreal when she realized she needed to change direction. She credits the openness of her teacher, Kenneth Woodman, who had no connection to jazz.

"I confessed to him that my heart's not into it, that I want to explore something other than classical," Shepherd relates. "He said, `Go for it.' I loved his approach, full gusto. `What do we need to do? Let's get you started.'"

The piano student immersed herself in the masters – "I devoured the recordings of McCoy Tyner, Red Garland, Art Tatum, Oscar Peterson" – and found a jazz teacher.

"It's a misconception about jazz that that you just play," Shepherd says. "It's incredibly structured. There is all this technique that needs to be learned – it's like learning another language."

But as her final exam approached, Shepherd was still waffling.

It took a family tragedy to focus her resolve. In 2004, her brother, who is five years older, was in a car crash that broke his neck and left him a quadriplegic.

"Seeing my brother adapt and deal with his situation was an incredible inspiration. It forced me to take stock and investigate what I really wanted to do," Shepherd recalls.

"I came to the conclusion that I do want to perform and that, if it's fear that's holding me back, then that's not good enough."

She found courage to get up on stage at a jam night at Gate 403 on Roncesvalles Ave., making a fan of host Ron Davis, a jazz pianist. "He was incredibly supportive from that moment on and kept spreading the word," Shepherd says. "As long as you have someone like that, who is a spokesperson from within the community, it passes like word of mouth from one person to the next."

She had another lucky break during her second shift as a waitress at Le Saint Tropez on King St. W. when the place found itself in need of a last-minute replacement at the piano.

It was before the rush and there were only two or three tables of customers. Shepherd recalls: "I had plates in my hands, I put them down and sang a tune – "Bye Bye Blackbird" – they liked it and said, `You're hired.' That was the last time I waitressed. It was fantastic to just hone my skills."

It didn't take long for the pianist to hook up with bass player Kemp and drummer Kingsmore. "We've played together so much since that I feel like we're this amoeba, we move in one direction – one person will pull and the other will follow. It's this beautiful connection," Shepherd says.

The trio's first album, Start to Move, was nominated for a Juno, as well as being recognized by the BBC.

Audiences at jazz festivals in Saskatchewan, Manitoba, B.C. and in Holland will get a chance to hear how well this musical connection works in the coming months. Locally, the Elizabeth Shepherd Trio will be guests at the Elora Festival on July 24.

And then there's that golden gig, opening for Jamie Cullum at the Hollywood Bowl on Aug. 20.

It's all good for Shepherd, who is comfortable with her professional progress: "The way each phase has happened, I feel like I've been ready as it's come and there's something beautiful about that – about timing being beyond my control but being just perfect." - Toronto Star


"Shepherd finds sophomore success"

"Sophomore slump" is a myth. Its clearly a case of Sophomore success - Globe & Mail


"Glowing review of 'Heavy Falls the Night'"

ELIZABETH SHEPHERD
a new authority on breaking the bounds of jazz
By Andrew R. Mott

There are musicians that play their whole careers and never get a single Juno nomination. Elizabeth Shepherd, however, has put out two albums and received as many nods of consideration. Her third album, Heavy Falls The Night, deserves another and is her best effort as a Canadian musician. Breaking free from the boundaries of proving oneself as a legitimate jazz artist in the global community, Shepherd has single-handedly written a record that has something to say both instrumentally and lyrically. There is a common misconception as a result of her original band name, the Elizabeth Shepherd Trio, that Shepherd's music is a combined creative effort. In actuality, she arranges and produces everything herself. She's passionate about all aspects of the songs and would even "be beat boxing and saying, 'Can you replicate this?' to the drummer."

Despite whether the powers that be at the Junos agree or not, Shepherd feels that this is the work of which she can be most proud and is excited to continue exploring what it is she has to say and where her creative whims will take her. Shepherd describes her most recent effort as something that "straddles lines that are sort of nebulous, so it's not, you know, explicitly jazz or explicitly any one thing or another... I feel like these songs are the most representative of who I am and where I'm at musically." It's that validation of her previous efforts that has given her the confidence to move on and explore what she feels she always wanted to do in the first place.

The openness to see where her music can go has provided remix artists the chance to play with her tunes and give them alternate perspectives. Shepherd sees how there's great potential for Heavy Falls The Night to be a fresh source of inspiration and material for other artists and looks forward to hearing what the community can do with her recordings. The melodies, vocals, bass lines and drums are ripe for DJs to slice and build upon and it wouldn't be a surprise at all to hear Shepherd's voice being played to a demographic that most likely would not be exposed to her sound otherwise.

While already thinking about writing another album and pushing her career further forward, the next big challenge is envisioning all the options of performance of the material she has now. More than just drums, bass, keys and vocals, Heavy Falls The Night is a production played by a collection of about nine musicians that Shepherd sought through a keen ear and dedication to finding credits on liner notes. Adapting the record for the stage, without having all the musicians to tour with, is an onerous task. Shepherd takes this obstacle in stride and sees it as an opportunity to embrace that which will help her music evolve. She has two back-up vocalists, one who plays a number of different instruments and "is a great beat boxer," so the onstage configurations and live sound are constantly changing.

Her tour that she's in the midst of right now will mostly be the trio that she has toured her previous albums with, as it makes things simpler for travel and gives her greater opportunity to expose crowds to some of the older tunes that she still likes to play. Whether playing to 20,000 people at the Hollywood Bowl or to a hundred people in an intimate setting, Shepherd's just looking for a connection with the audience. And while she prefers the sound quality and closeness of small venues, as long as people are engaged in hearing the words and feeding back into the performance it doesn't matter where Shepherd performs; she just loves playing music for people. - Beat Route Magazine, May 2010


"CKUA's Monica Miller names 'Heavy Falls the Night' disc of the week..."


Latest review: "Captivating from start to finish."

Here's the latest review of Heavy Falls the Night. This flattering write-up comes from CKUA Radio, where my new album is the "CD of the week" this week.



CD: Heavy Falls The Night
Elizabeth Shepherd
Label: Do Right Music

Reviewed by Monica Miller,
Host of How I Hear It, CKUA Radio

CD of the week

Music quiz anyone?
She's a female vocalist who accompanies herself on the piano/keyboard.
Nina Simone? Shirley Horn?
Sorry. Still living.
Hmm…Who is Norah Jones? Regina Spektor?
Nope. She's Canadian.
Oh…Who is Diana Krall? Carol Welsman?
Nope. A little younger.
Who is Sarah Slean? Sarah McLachlan?
Nope. A little funkier.

Without a doubt, it's well-marked territory, this woman + singer + keyboard, but Toronto's Elizabeth Shepherd is one of those artists who manages to walk the fine line between something that is both familiar and yet completely original. A blend of funk, soul, and blues - all anchored in the fundamentals of jazz - Shepherd has just released her third recording; Heavy Falls The Night. Critics, hipsters and music aficionados from London to Tokyo have been spreading the word for a few years now, every since the 2006 release of her first recording - the JUNO nominated Start To Move. With 2008's Parkdale - also a JUNO nominee - she expanded her band from trio to quartet - and showed a maturity and assuredness that belied the mere 2 years since her debut.

With 2010, we see yet another leap in the musical evolution of Elizabeth Shepherd, back in fine form with her trio; a little funkier and completely captivating from start to finish. This collection of original tunes, (with the startling exception of a take on the Kenny Loggins / Anne Murray hit 'Danny's Song'), not to mention her very distinctive voice and soulful keyboard work, is hard to resist. And if you needed proof, let me add that from the time Heavy Falls The Night arrived in the CKUA library, it maintained a spot on our Top 30 chart for 12 consecutive weeks. With all of the new music coming in to the station each week, that is a rare occurrence indeed.

www.ckua.com
- CKUA, Alberta


"This April , 2010 EXCLAIM feature calls 'Heavy Falls the Night' "exceedingly textured ... showing complete confidence""

Review/feature in April issue of EXCLAIM!

Elizabeth Shepherd
Heavy Falls The Night
By Kevin Jones

Album number three generally marks the moment an artist attempts a more serious and measured approach to music making, and for new breed jazz talent Elizabeth Shepherd, this has meant less swinging soloist and more singer-songwriter. The subtle transformation is remarkably evident in new set Heavy Falls The Night, an exceedingly textured collection of story-driven tunes running the rhythmic gamut between thick and heady late night moods and high steppin' dance floor fillers. Showing complete confidence in her role as the record's lone producer, Shepherd enriches each cut with nuanced twists and enveloping layers, be they the snatching breaks and panning vocals of "The Taking" or the swooning harmonies and bird-like echoes of the album's title track. The unconventional string plucks and key combo on "One More Day" and hollowed-out percussion of "On The Sufficiency of Words" further diversify Shepherd's well-tailored compositions, while the tambourine-laced "Seven Bucks" provides some characteristic remix fodder. Through it all, the Juno-nominated singer and pianist's cool lyricism and impassioned delivery never tire, even when the words aren't her own, as is the case with her nostalgic Ann Murray/Loggins gem "Danny's Song," a perfect closer to a wholly satisfying album.

How would you describe what has made this album feel so different from the previous two?
I would say [the focus was] myself. That was really the big difference. I went to jazz school, and coming out of there I felt like I had to prove something. And I don't know if it's just getting older and feeling a little more settled in my own skin, but I felt that for this album it was more about just checking in with what I wanted to do musically. I also wanted to write more songs and stories about people, so that the song services the story, as opposed to a jazz tune that allows everyone to express themselves in a solo. I wasn't interested in solos; I wanted to let the song speak for itself.

Do you find that more traditional jazz doesn't really allow that?
A lot of jazz, unless it's vocal jazz, but even then [it] is really about the instruments and about allowing the instrumentalist to have a chance to express themselves musically. It's less about the song itself, whereas with singer-songwriters it's all about the song. So [I wanted to this to be] about the songs as these small, miniature blips in time that take you somewhere, and that's enough; it doesn't need to be anything more than that. It doesn't need everyone's two cents' worth, the bass solo... that just seems really formulaic after a while. (Do Right!) - EXCLAIM!


"This April , 2010 EXCLAIM feature calls 'Heavy Falls the Night' "exceedingly textured ... showing complete confidence""

Review/feature in April issue of EXCLAIM!

Elizabeth Shepherd
Heavy Falls The Night
By Kevin Jones

Album number three generally marks the moment an artist attempts a more serious and measured approach to music making, and for new breed jazz talent Elizabeth Shepherd, this has meant less swinging soloist and more singer-songwriter. The subtle transformation is remarkably evident in new set Heavy Falls The Night, an exceedingly textured collection of story-driven tunes running the rhythmic gamut between thick and heady late night moods and high steppin' dance floor fillers. Showing complete confidence in her role as the record's lone producer, Shepherd enriches each cut with nuanced twists and enveloping layers, be they the snatching breaks and panning vocals of "The Taking" or the swooning harmonies and bird-like echoes of the album's title track. The unconventional string plucks and key combo on "One More Day" and hollowed-out percussion of "On The Sufficiency of Words" further diversify Shepherd's well-tailored compositions, while the tambourine-laced "Seven Bucks" provides some characteristic remix fodder. Through it all, the Juno-nominated singer and pianist's cool lyricism and impassioned delivery never tire, even when the words aren't her own, as is the case with her nostalgic Ann Murray/Loggins gem "Danny's Song," a perfect closer to a wholly satisfying album.

How would you describe what has made this album feel so different from the previous two?
I would say [the focus was] myself. That was really the big difference. I went to jazz school, and coming out of there I felt like I had to prove something. And I don't know if it's just getting older and feeling a little more settled in my own skin, but I felt that for this album it was more about just checking in with what I wanted to do musically. I also wanted to write more songs and stories about people, so that the song services the story, as opposed to a jazz tune that allows everyone to express themselves in a solo. I wasn't interested in solos; I wanted to let the song speak for itself.

Do you find that more traditional jazz doesn't really allow that?
A lot of jazz, unless it's vocal jazz, but even then [it] is really about the instruments and about allowing the instrumentalist to have a chance to express themselves musically. It's less about the song itself, whereas with singer-songwriters it's all about the song. So [I wanted to this to be] about the songs as these small, miniature blips in time that take you somewhere, and that's enough; it doesn't need to be anything more than that. It doesn't need everyone's two cents' worth, the bass solo... that just seems really formulaic after a while. (Do Right!) - EXCLAIM!


"National Indie Mag STYLUS sings praise of 'Heavy Falls the Night' - April, 2010"

New Music Tuesday Review: Elizabeth Shepherd, Heavy Falls the Night

ELIZABETH SHEPHERD
Heavy Falls the Night
Elizabeth Shepherd manages to make music that’s eminently listenable without ever verging into easy-listening territory. Mixing pop sensibility in with strong jazz roots often leads to that land of watered-down sound, but Shepherd’s latest takes us along for the ride to a new, undiscovered country. Album opener “What Else” starts out percussive and bright, giving way to smooth vocal bridges. Title track “Heavy Falls the Night,” with it’s thrumming double bass, is a showcase for Shepherd’s vocal prowess—her voice is equally sure in a throaty, low register as it is scatting octaves higher. “High” loops vocals over electronics and compelling electric guitar, ending with Shepherd’s spritely piano. And then there’s her slowed-down, fresh take on the Anne Murray classic “Danny’s Song.” When she sings, “Even though we ain’t got money/I’m so in love with you honey,” it feels like the first time you ever heard that easy rhyme. The record is eclectic but completely cohesive. Spring’s arriving early in Winnipeg, and despite the title, this record is a perfect accompaniment for any and all seasonally-induced exuberance. Mark your calendars: Elizabeth Shepherd rolls into our town on Wednesday, May 26 at the Park Theatre. (Do Right Music, www.dorightmusic.com) Jenny Henkelman
Jenny on 16 Mar 2010 | REVIEWS | Comments (0) - STYLUS Magazine


"Ground Control Magazine loves 'Heavy Falls the Night' ..."

GROUND CONTROL MAGAZINE

ARTIST: Elizabeth Shepherd
DATE: 03-14-10
REVIEW BY: Bill Adams
ALBUM: Heavy Falls The Night
LABEL: Do Right! Music

How intoxicating is a singer who, from the moment she opens her mouth, can soothe rattled nerves with just the smooth, sweet and self-assured tone of her voice? Voices like that are a rare breed – Norah Jones has one, as do Kelli Dayton, Shara Nelson and Joss Stone, and Fiona Apple has been known to produce something comparable on occasion) – but it's clear that it's the only tone that Elizabeth Shepherd is able to make in Heavy Falls The Night. From the opening uptown jazz vibes rolled out by “What Else,” Shepherd holds listeners delicately in the palm of her hand as they hang on her every word and sigh.

That, in a word, is a potent effect.

Listeners will continue to hang on the singer's every word as the deep and heavy bass buoys the singer along through the title track and headlong into “Numbers” where the singer gets up and struts lackadaisical all the way through “Seven Bucks” and “One More Day.” In each case, the singer's own voice is most definitely her secret weapon and what gets these songs to stick in every ear they touch; while the bass and drum performances in songs like “What Else,” “A Song For Dinah Washington,” “On The Insufficiency Of Words” and the title track are sensual, beautiful things to behold, they'd be nothing without the singer's pristine voice – which is smooth as velvet and flows as easily as the finest cognac. It's as intoxicating and comforting as those things too.

As that incredibly deep and percussive standup bass joins with a hollowbody electric guitar to methodically massage the love and care that Shepherd puts into her re-imagining of Kenny Loggins' “Danny's Song” to close out the album, everyone has been well and truly sold; Elizabeth Shepherd has relaxed them into submission and they'll follow her anywhere. That's a fantastic position for any singer to be in, but it's made all the better by the fact that Heavy Falls The Night is obviously the work of a lifer; she won't be quitting soon. She has the sort of voice and presence that is unforgettable and, when she follows this album up, she's guaranteed to have some receptive, thirsty ears waiting for it.

http://groundcontrolmag.com/detail/3/1872/ - Ground Control Magazine


"Another superb collection of tunes from North Shore News - March, 2010"


"Shepherd brings more pop and soul into mix"

by John Goodman, North Shore News

Published: Friday, March 26, 2010
- Elizabeth Shepherd -- Heavy Falls the Night
(Do Right Music)
Rating: 9 (out of 10)

Another superb collection of tunes from Toronto's Elizabeth Shepherd. On Heavy Falls the Night, her third studio album, she seems to draw on soul and pop more than on previous efforts but those elements have always been part of her lexicon.
Shepherd's material comes out of a jazz framework however there is always a lot of other things going on as well. On the new disc her keyboards take on the characteristics of prepared piano, African percussion and other instruments all the while maintaining the strong groove that is always present throughout her work.
At times Shepherd's M.O. seems similar to Gil Scott-Heron's -- she sings her poetic manifestos over an impossibly tight band that is capable of following their leader wherever she wants to go. This time out that means we get references to the likes of Dinah Washington and Clifford Brown as well as Anne Murray, of all people. The closing, bluesy "after hours" cover of "Danny's Song" is a great reworking of Canadian pop. Essential music.
- North Shore News - Vancouver, BC


"Canada's leading newspaper picks 'Heavy Falls the Night' as Disc of the Week"

Disc of the Week: Heavy Falls the Night , by Elizabeth Shepherd


"The ABCs of catchy tunes with substance too"
by Robert Everett-Green

Heavy Falls the Night
Elizabeth Shepherd
Do Right! Music

A is for album; B, for better than ever; C, for catchy tunes that have substance too; D, for dodging away from jazz, without leaving it completely; E, for Elizabeth Shepherd, Toronto pianist, singer and songwriter; F, for fame, coming to her faster in remote places (London, Tokyo, Los Angeles) than at home; G, for the grooves that carry many of these tunes, muscled from string bass or chipped from the corners of the beat; H, for the terrific title song, about intimate disclosures that slip out late at night, while the mind’s breeze blows through a close cluster of backing voices; I, for It’s Coming, a tribute to one of Shepherd’s heroes (trumpeter Clifford Brown), edging along in 7/8 with a tasty Michael Davidson solo on vibraphone; J, for Joni Mitchell, whose Mingus-era tunes occasionally nip at the memory; K, for knowing how much is too much, shown here in both music and lyrics; L, for lovely, a pat but accurate way to describe Shepherd’s light flickering soprano; M, for Murray (Anne), whose seventies hit Danny’s Song comes in for a gentle cover that pulls Shepherd a little too close to Norah Jones; N, for Numbers, a classic contrast of dark (the bluesy verses) and light (the bright pop chorus buoyed by glockenspiel and sweet clear vocals); O, for One More Day, a crisp 5/4 number driven by a groove on the organ; P, for piano, supporting some tunes but largely absent from this disc; Q, for quizzical approach, in the lyrics for sure (this life being almost devoid of sure things) and in the music, which continually pulls at pop-song structures, and why not?; R, for rhythm, as in bright agile jazz rhythms, which animate most of these tunes; S, for Seven Bucks, a good Latin-flavoured song about homeless shelters and the close proximity of misfortune; T, for time signatures that often run to fractions you don’t much hear in pop music (eg. 11/8); U, for understated, a frequent attribute of a disc that more often runs cool than hot; V, for virtuoso, which Shepherd still is, though she’s brave enough to suppress that side to let something else come out; W, for What Else, a sweet song about helplessness, with an aptly irregular meter and a keening fall in the vocals; X, for the unknown element that several of these songs view with dread and wonder; Y, for the yes that Shepherd would like to say even when something deeper keeps pushing her toward no; and Z, for zenith, still to come for a musician who’s plainly on the move.

http://www.theglobeandmail...com/news/arts/disc-of-the-..week-heavy-falls-the-night/..article1501325/ - Globe and Mail


"Toronto's NOW Magazine gives Heavy Falls the Night 4 out of 5 stars"

..NOW MAGAZINE March 18, 2010

Elizabeth Shepherd
Heavy Falls The Night (Do Right)
NNNN (out of 5)

By Benjamin Boles

Toronto’s Elizabeth Shepherd moves further away from her jazz roots on her third studio album, coming up with a pop-influenced sound that could be her ticket to mainstream crossover in Canada. She’s already had plenty of success in Japan and Europe, but in her home country she’s always been more of a critical darling than a chart-topper.
Usually when artists go for a more radio-friendly approach, they’re accused of selling out, but when you’re writing feminist tributes in 11/8 time (The Taking), you can’t really be accused of playing it completely safe. Instead, this eclectic collection of tunes sounds more like Shepherd stepping out and forging an identity beyond the confines of her soul jazz beginnings. Hell, she even pulls off a cover of the Anne Murray hit Danny’s Song and still manages to sound cool.

Top track: The Taking

http://www.nowtoronto.com/music/discs.cfm?content=174104 - NOW Magazine, Toronto


Discography

- Heavy Falls the Night (2010)
- Parkdale (2008)
- Besides - B Sides and Remixes (2007)
- Start To Move (2006)

Photos

Bio

Elizabeth Shepherd is among Canada's most promising young talents and she has the widespread critical acclaim to prove it. The rave reviews for her first two studio albums as well as sold-out performances at prestigious venues like Tokyo’s Cotton Club, London's Jazz Café and the Hollywood Bowl have been extremely gratifying for Shepherd, but the Toronto-based singer/songwriter/pianist has never been content to rest on past achievements. Shepherd’s debut Start To Move (2006) and follow-up Parkdale (2008) were both JUNO nominated (*Canada's Grammy equivalent) and described as “pushing the boundaries of jazz”. With the release of her stunning third album 'Heavy Falls the Night', she pushes well past those boundaries to carve out her own niche of smart, sophisticated and adventurous music. It charted # 34 in Japan on national radio station J-Wave following the release there, and has garnered considerable attention back home, in Canada. Most recently, she was included in the long-list for the 2010 Polaris Prize, and was nominated for a Galaxie Rising Star award.

'Heavy Falls the Night' takes the listener on an unpredictable musical ride. It's hard to pick a favourite track from such an eclectic album; it could be the dancefloor ready Seven Bucks, co-produced by Japanese mixmaster DJ Mitsu The Beats (Dwele, Jose James), and inspired by an NFB documentary. Or it could be The Taking - Shepherd’s powerful tribute to the women who came before her, or maybe the supremely soulful reworking of Anne Murray's 70s soft-rock radio staple 'Danny's Song', one of the few secular songs that made it past the gatekeepers in Shepherd's Salvation Army childhood home.

Elizabeth's rhythmically intricate, groove-oriented tunes, sincere lyrics and distinct, soulful voice have earned her a worldwide following. Critics, hipsters and music aficionados from London to Tokyo have been spreading the word for a few years now, and will surely continue to embrace her music. But more importantly, with 'Heavy Falls the Night', Elizabeth Shepherd is reaching music lovers everywhere.