Jane Kramer (abbreviated bio)

Lauded by UK music reviewer Three Chords and the Truth as sounding like she was “…born to gypsy poets and raised by Emmylou Harris,” Asheville, North Carolina-based songstress Jane Kramer has garnered international recognition for the sultry, heartrending originality of her vocals and for the heavy-hitting lyrical eloquence of her songwriting. With deep roots in the traditional music of her beloved Appalachia, Kramer’s songs are introspective and gritty. They sweep listeners down the gravel roads and southern coastal highways, midnight truck stops and lonely motel rooms of “hard learning” and lead home to the Blue Ridge Mountains with moving acceptance of our flawed human experience.

Following the February 2016 release of her second solo studio album Carnival of Hopes, Kramer has been playing listening rooms and festivals up and down the east coast, both solo wielding her guitar and backed by the world-class instrumentalists that comprise Asheville’s Free Planet Radio, Lyndsay Pruett of the Jon Stickley Trio and Billy Cardine of Acoustic Syndicate. Quoted as “…an artist on the rise” by acclaimed American songwriter Mary Gauthier, Jane Kramer has performed with such well-known artists as Amy Ray of the Indigo Girls, Appalachian troubadour Malcolm Holcombe, two-time Grammy award-winning bassist Eliot Wadopian, Leyla McCalla of The Carolina Chocolate Drops and Joan Osborne.



Press for Carnival of Hopes

Jane Kramer Makes a Full Voiced Return to Her Roots with Mountain-made Second Solo Album, Carnival of Hopes - Released Friday, Feb 26, 2016

ASHEVILLE, NC -- Vocalist and songwriter Jane Kramer independently released her gutsy and ambrosial second solo album entitled Carnival of Hopes on Friday, February 26, 2016. With deep ties to the area, Carnival of Hopes boasts a sparkling cast of Ashevillian producers and players. Kramer’s longtime friend Adam Johnson of Sound Lab Studios, whose portfolio of clients includes such names as Alison Krauss and Yo Yo Ma, produced and engineered the album. You can now pick it up at iTunes: https://itunes.apple.com/us/album/carnival-of-hopes/id1071615103

The ten-song album was recorded at the award-winning Sound Temple Studios in February of 2015, while she still lived on the other side of the country in Portland, Oregon. A few months later, after a four-year run spent writing and reflecting on the West Coast, Jane Kramer pulled up stakes and returned to Western North Carolina with a renewed energy to share her new music with the world. The sense of homecoming that rings through was a conscious effort, Kramer says. “I did that because Asheville is my dirt. It’s my home and my culture, musically and otherwise. I missed it and knew somewhere in my bones I would be coming back to stay soon,” she says.


Kramer is backed by Chris Rosser on piano and harmonium, Eliot Wadopian on upright bass and River Guerguerian on drums and percussion, the virtuoso trio that comprises Free Planet Radio, as well as master Georgia-based bluegrass musicians/ multi-instrumentalists, Pace Conner (steel string, high string and baritone guitars, ukulele, mandolin, and backing vocals) and Michael Evers (Dobro, banjo, mandolin, and backing vocals) who arranged the songs for recording and perform and tour with Kramer regularly. Virtuoso players, Nicky Sanders of Steep Canyon Rangers and Franklin Keel of Sirius B play orchestral fiddle and cello, respectively, on “Good Woman.” The New Orleans jazz-influenced “Why’d I Do That Blues,” features a horn section comprised of JP Furnas on trombone and Ben Hovey on trumpet.


She credits her songwriting hero and mentor, Mary Gauthier, with helping her reach for, and express, everything she hoped to communicate with the album. Carnival of Hopes aches and soars with her connections to Appalachian balladry, a force she first encountered at Warren Wilson College and honed while performing with the Asheville-based all-female trio, the Barrel House Mamas, who helped reintroduce Americana music to the Blue Ridge Mountains a decade ago. However, it is as a solo artist where the power of Kramer’s songwriting and world-class vocals truly shine. The songs on the album were all penned by Kramer with the exception of one cover, “Down South,” written by Tom Petty.”

Kind Words About Carnival of Hopes


“Pulling from her roots as a mountain-made musician, she zeroes in on Americana elements like folksy instrumentation while giving her lyrics center stage… Kramer’s voice is so smooth it melts into her own guitar-playing and violin overlays.” --Elmore Magazine’s Savannah Davanzo - WATCH World Premier of Music Video for “Carnival of Hopes.”

The Bluegrass Situation premiered a stream of the title track here.


“Kramer’s vocal glides between sorghum-sweet low notes and a breathy upper register, maintaining a wink the whole time. But even with its moments of levity and meet-cute two-steps, Carnival of Hopes is sincere.” --Mountain Xpress, Alli Marshall

“[Jane] embraces songwriting that runs through a gamut of emotions, with heartache, regret, fear, and hope resounding deeply in her lyrics, and each tune is delivered with a voice that only be described as one of the purest in modern Americana... Carnival of Hopes is a steady stream of beauty.” --Blue Ridge Outdoors, Dave Stallard


“... you can tell Kramer is having fun singing these songs and that feeling endearingly transcends to the listener. Kramer’s vocals are soulful and textured allowing for a range of emotions to illustrate each beautifully poetic song.” --That Music Mag, Jane Roser


“Jane Kramer says her new album Carnival of Hopes is about facing down inner demons while still clinging to ‘that tiny chirping of light in your bones that somehow keeps you tethered to keeping on.’ And if that sounds like the sort of perseverance Tom Petty writes about, well that might not be a coincidence… Jane Kramer Brings Appalachian Past Into Cover of Obscure Tom Petty Song” --Ray Padgett, Cover Me Songs premiered “Down South.” Stream it here.

“Jane Kramer is writing and playing classic folk with mountain influences, her strong voice lilting through honest expressions of life, love and the human condition.” --Asheville Citizen Times, Carol Rifkin

“Enchanting and accessible song-crafting; country, honky tonk, blues.” --Rapid River Magazine

“Well produced, highly melodic and beautifully accessible” --Northern Sky, Allan Wilkinson


“Like the title implies, Carnival of Hopes presents a festival of emotions from a woman who is cognizant of the fact that life isn’t all sunshine and rainbows, but one who embraces hope, knowing that through hardship often comes something of beauty.” --The Daily Country, Tara Joan


“...this album has the feel of a country record from the late 1980s, similar to Patty Loveless or Kathy Mattea.” --WNC Magazine, Tim W. Jackson


"Jane Kramer makes gorgeous music. With sensual magnetism in her voice, honesty in her lyrics and elegance in her melodies, her songs cast a wonderful spell. Give this record a listen; you will be taken on a lovely ride deep into the mystical world of an artist on the rise." --Mary Gauthier, American songwriter and performer

More Praise for Carnival of Hopes:

                “It takes no time at all to settle into this… From the count in at the beginning of Half Way Gone, a tasty slice of Western Swing packed with the sweeping fiddle runs courtesy of Nicky Sanders, the North Carolina songstress delivers ten original songs, whilst pointing out that her own carnival of hopes is ‘busted and hideous and rusty and somehow still brave and sparkly’, an image illustrated by the cover artwork, particularly the abandoned fairground ride.” --Northern Sky, Allan Wilkinson


“From the banjo-driven ‘My Dusty Wings’ to the surprising horn section in ‘Why’d I Do That Blues’ to the introspective title track, Kramer offers an impressive roster of songs with splendid vocals and personal lyrics.” --WNC Magazine, Tim W. Jackson

Kramer writes with an awareness of our (female) imperfections; realistically and refreshingly painting us as multi-faceted individuals who make mistakes, experience insecurities, regret and worry.” --The Daily Country, Tara Joan



“Scrumptious, Thoughtful and Deeply Personal Songs from The Blue Ridge Mountains.” --Rocking Magpie (UK)


Opening song Halfway Gone sets the scene with some lovely Western Swing fiddle and geetar plus a honey soaked voice straight out of Gone With The Wind.” --Rocking Magpie (UK)


“‘Good Woman’, on the other hand is a soft and breathy acoustic Folk song that the likes of Mary Gauthier or Nanci Griffith would be very proud of.” --Rocking Magpie (UK)


“Ms. Kramer is very articulate and imaginative; both of which come to fruition on ‘Truck Stop Stars’ and later ‘Highways, Rivers and Scars’; with each song telling timeless stories over sweet acoustic backing.” --Rocking Magpie (UK)


“Her honey-smoked voice is especially distinctive; in as much as I can’t really compare it to anyone else; and that’s meant as a huge compliment.” --Rocking Magpie (UK)


“This album, dear reader is what Roots Music is all about and I urge you to seek it out ASAP.” --Rocking Magpie (UK)

“Kramer is a brilliant lyricist; while much is made, understandably, of her vocal abilities Kramer is one of those songwriters who draws the listener into her stories with her lyrics. When paired with the unforgettable melodies that Kramer seems to effortlessly pluck out of the air to complete the picture, it makes for compelling listening. Even if you’ve never lived the life that Kramer explores in her songs, you’ll feel some affinity; the melodies alone are irresistible and there’s always that voice. While artists from Alison Krauss to Nanci Griffith have been mentioned in the past when Kramer’s vocals and songwriting have been considered, Kramer has a distinctive voice of her own. Hints of most of the major players in her field can filter through on occasions but for the most part those vocals are pure Kramer.” --Penny Black Music  (UK)

“There are times when Dolly Parton’s early work makes a fleeting appearance; songs like ‘Truth Tellin’ Eyes’ conjure up memories of some of Parton’s lesser known songs, and there are even touches of Parton in the vocals occasionally.” --Penny Black Music  (UK)

“... provides an ideal vehicle for her exquisitely expressive brand of music-making. The Appalachian balladeer reflects on the vagaries of the human condition with grace, honesty and charm in the process, serving up freshly minted creations such as ‘Good Woman,’ ‘Highways, Rivers & Scars’ and the brassy, jazz tinged ‘Why'd I Do That Blues’ for your listening pleasure.” --Torquay Herald Express (UK), Kevin Bryan  

“Carnival of Hopes is a wonderful folk record, one whose melodies are light-hearted and shows off the excellent musicianship featured on the record, and whose lyrics are deep, meaningful, and brutally honest. You’ll find fascinating stories/characters on this record, ones you’ll easily relate to. This is definitely a must-listen record.” --For The Country Record (UK)


“Songs that build around such emotions, use that folk setting to create the heart of the songs while the acoustic instruments entwine with the rhythm section and effective use of occasional jazzy brass (Why’d I Do That Blues). All of which makes for an interesting album that rewards a closer listen and suggest that Kramer is an artist who will steadily grow.” --Lonesome Highway (Ireland), Stephen Rapid

“Jane Kramer has a fine voice and writes interesting songs and this, the second album from the musician-social worker from North Carolina, is worth checking out. ‘Down South’ and ‘Carnival of Hopes’ are two particularly good songs on an album that features Nicky Sanders on orchestral fiddle and Franklin Keel on cello.” --Telegraph UK , Martin Chilton, Listed in Best Country Albums of 2016

“It opens with a warm acoustic riff, the amiable attitude of which arrests and reassures on the way to a volley of very vivid vocals in the verse. The style of the serenade is simultaneously solemn and sanguine as the earnest lyrics are recited in a remarkably resonant way. At the same time, the instrumentation stays sedate and soothing, maintaining a moving mood in the background.”  --Pure M Magazine (UK), Dave Simpson


“Stirring strings underscore the graceful guitars, which helps to emphasize the emotional ambience of the piece beneath the consistently captivating crooning. The volume and velocity increase around the two minute mark, just ahead of an absorbing instrumental salvo. Affecting strings drift delicately upon a bright beat from here, before one final riveting refrain brings things to a heartfelt finish. The result is a friendly country/folk affair that keeps compelling from commencement to conclusion.” --Pure M Magazine (UK), Dave Simpson

“In these torrid times a new year can indeed feel like a carnival of hopes. But North Carolina singer-songwriter Jane Kramer mixes sweet good feeling with bitter regret in this charming collection of string band Americana and tear-shaped memory.” --The Irish Times, Joe Breen


“A bright energy infuses the music, from the flying fiddle-fuelled western swing opener ‘Half Way Gone’, and though her tales have their share of colourful downsides, Kramer doesn’t languish in her blues. The playing features tasteful string band flourishes, not least that of fiddle player Nicky Sanders, but it is Kramer’s songs and her sensitive reading of them that makes this such a pleasure.” --The Irish Times, Joe Breen

“The record is knee deep in raw roots elegance with banjo and fiddle featuring prominently alongside an abundance of honest, thoughtful and reflective writing. The calling to return to Asheville is the theme for the record and the clear winner from this renewed inspiration is the listener who maybe is taking a chance on an unknown artist for the first time.” --Three Chords and the Truth (UK)


“... an earthy, worn and gritty take on real life. Devoid of any superficial elements, this is a straightforward hard-core dose of reality showcasing a lauded brand of American roots music.” --Three Chords and the Truth (UK)

“Fans of American roots music will absolutely connect with the music of Jane Kramer and CARNIVAL OF HOPES possesses a limitless appeal to sustain a lengthy presence in the accessible portion of many a record collection. Super sounds, meaningful themes and authentic vibes are all present to make this a record of great merit.” --Three Chords and the Truth (UK)



“I’ve got this feeling about 2016; any year that starts with an album as beautiful as Jane Kramer’s Carnival of Hopes can’t really go wrong. This is a stunningly good album where every detail is right; the arrangements are varied, the melodies are powerful and Jane’s vocal delivery moves effortlessly from pure and clear to cracking with emotion. As for the songs, they’re raw, honest, self-deprecating and poetic…”  --Music Riot, 5-Star Review (UK)


“The narrative of the album is one of moving forward, starting with lows and moving steadily along to the positive ending, taking in images of frontier life along the way with animals, fishing, maps, engines (and of course drinking) acting as metaphors throughout the superbly crafted and intensely personal lyrics. It may sound laid-back and almost casual at times, but these are the songs of a very gifted and honest writer.

‘Carnival of Hopes’ isn’t just a great Americana album, it’s a great album where the quality of the songwriting and performance transcend any concept of genre.” --Music Riot, 5-Star Review (UK)


"North Carolina singer-songwriter Kramer's second solo album delivers a feast of subtly memorable Americana which provides an ideal vehicle for her exquisitely expressive brand of music-making. The Appalachian balladeer reflects on the vagaries of the human condition with grace, honesty and charm in the process..." --Get West London, Kevin Bryan (UK)


Carnival of Hopes… delivers a feast of subtly memorable Americana which provides an ideal vehicle for her exquisitely expressive brand of music-making. The Appalachian balladeer reflects on the vagaries of the human condition with grace, honesty and charm in the process, serving up freshly minted creations such as ‘Good Woman,’ ‘Highways, Rivers & Scars’ and the brassy, jazz tinged ‘Why'd I Do That Blues’ for your listening pleasure.” --Messenger Newspapers, Kevin Bryan (UK)


“For those looking for something to fill the void left by the continued absence of any fresh material from Alison Krauss, Jane Kramer’s second solo album Carnival Of Hopes could be just the job.” --Get Ready to Rock, Pete Whalley


“Both celebratory and introspective, Kramer takes a good long look at her failures and fears on Carnival Of Hopes, stares them down and finds a core inner strength … and hope.  That self-examination is underpinned by some wonderful bluegrass and New Orleans influenced playing, and Kramer ’s own heaven, but earthy sent vocals.  --Get Ready to Rock, Pete Whalley

“personal emotions shared and understood” --FolkWords, Tom Franks (UK)


“If I were in the habit of awarding star-ratings for Americana albums then this one would get five, no question.” --FolkWords, Tom Franks (UK)

“The ‘voice’ is there once again, living her songs and breathing life into lyrics that demand and hold attention. The themes move from the highs to the lows of life with the smoothness of shadows on silk. Kramer has an enviable ability to reflect feelings that mean something to the artist in a way that makes them mean something to all of us. These are personal emotions shared and understood.” --FolkWords, Tom Franks (UK)


“On this outing Jane sounds really refreshing. Country, with a bluegrass feel, and more than a dash of homestyle Appalachia.” --Stewart Fenwick's Music Reviews from Country Music and Dance (Scotland)


“This is a really refreshing album. Great vocals, and superb arrangements. Already one of [2016]’s best albums, for sure.”  --Stewart Fenwick's Music Reviews from Country Music and Dance (Scotland)

“The choice to include the Tom Petty homage to the southern states ‘Down South’ is an apt move considering Jane’s own decision to return to her home state of North Carolina. The fit is seamless as either side of this pivotal number are songs brimming with emotions and forever exploring a variety of musical directions.” --Three Chords and the Truth (UK)


“In the second part of the record ‘Why I’d Do That Blues’ features a little brass and encompasses a sound as implied in the title. In an alternative roots direction, ‘My Dusty Wings’ brings the curtain down with an old time bluegrass feel and a sentiment that sometimes you need to dance away your problems. --Three Chords and the Truth (UK)


“‘Truck Stop Stars’ unveils deep inner thoughts from forever seeking your true destination. This is one of many songs on the record sung beautifully and impassionedly by Jane while retaining an aura of discovery upon each listen.” --Three Chords and the Truth (UK)


“On a record which maintains a high standard from start to finish, the first four tracks set the bar at the level required for a release of profound impact. ‘Half Way Gone’ wonderfully swings the album into motion with fiddle strongly driving this opening track which delightfully states that there ‘is not enough brown liquor in the whole state of Tennessee. ‘Carnival of Hopes’ has the potential to move the listener within a tune commendable in the way it weaves into your aural senses. ‘Your Ever Green Heart’ is another solid effort, but perhaps slightly overshadowed by the superior and hard hitting ‘Good Woman’ which makes the most enticing claim for being the stand out track, although this will rotate on each listen.” --Three Chords and the Truth (UK)


“The album’s two centrepieces, ‘Good Woman’ and ‘Carnival of Hopes’ are its two longest songs; they’re not long because of any self-indulgence, but because that’s how long they need to be to tell the story.” --Music Riot, 5-Star Review (UK)


Throughout the album, Jane Kramer uses a lyrical sleight of hand to almost constantly portray herself in a self-deprecatory and even self-denigrating light. The opener ‘Halfway Gone’ sets the tone with the line ‘I walk like a Clydesdale horse – I cuss and carry on’ and the album’s lyrics continue in the same vein until ‘Truth Tellin’ Eyes ’and ‘My Dusty Wings’ finally suggest an attempt at redemption and renewal.” --Music Riot, 5-Star Review (UK)

“Featuring a fine cover of Tom Petty's 'Down South' that features mandolin and draws out the song's 'Love Minus Zero' Dylan influence, again it's a collection of Americana with songs that both look inward and draw on her experiences as a social worker for lyrics that talk of both dark regret and, as the title suggests, the determination to keep on keeping on.” --Fatea Records (UK), Mike Davies

“The album's bookends set the musical landscape, opening with the uptempo western-swing of 'Half Way Gone' and closing on the self-examining jaunty bluegrass gospel of 'My Dusty Wings'. Naturally, given the milieu, there's songs variously involving hearts, bars, restless souls, the call of the road and the life of the travelling musician ('Truth Tellin' Eyes', 'Highways, Rivers & Scars' and 'Truck Stop Stars') while country roots are further emphasized in the Dolly Parton echoing title track, the banjo bubbling 'Your Ever-Green Heart' and slow waltzing confessional 'Good Woman'” --Fatea Records (UK), Mike Davies


“Kramer's carnival rides have an undeniably strong fairground attraction” --Fatea Records (UK), Mike Davies


Jane Kramer, Americana Songstress, The Long Story:

With her unforgettably sweet yet hauntingly emotive voice, her poignantly  poetic lyrics and timeless melodies, Asheville, NC-based artist Jane Kramer brings a fresh and distinctive take on the term singer / songwriter. Her soulful songs, drawing deeply from the roots of American folk tradition, are compelling stories—raw and honest—that are powerfully intimate and stay with you.

In love with words and with an arsenal of fraying notebooks full of poetry and melodies in her head, Jane wrote her first song at age seventeen and recorded her first full-length demo of 16 original songs at age nineteen. “I have always been fascinated with and deeply affected by the beauty and the heartbreak of our human experience,” Jane explains. “My songs are about living and loving in a complicated world as an imperfect being. I feel like I’ve succeeded if I can make a very personal experience translate as universally relateable.”

Jane was deeply influenced by the unforgettable voices and stylistic grace of such artists as Joni Mitchell, Stevie Nicks, Patty Griffin, Natalie Merchant, Guy Clark and Emmylou Harris. She also credits her grandfather, David Madison, a violin prodigy and first chair violinist in the Philadelphia Orchestra for 51 years as a driving force in her musical upbringing. Although he passed away when Jane was only twelve, she firmly remembers “…the powerful dedication, conviction and humility behind his playing; the way he’d call his violin his ‘fiddle’ even though he performed in a tuxedo with the orchestra and played Handel and Beethoven, and the way he built his life on and through music, with reverence and sacrifice, much discipline and great joy.” Jane channeled these influences and became her own best music teacher. One time hearing her chill-inducing, signature yodel-like flick between her lower register and bell-like falsetto will make you a believer. “I taught myself to do that listening to a very careful combination of Hank Williams Senior, Patsy Cline and Sinead O’Conner at around 16 years old,” she explains.

Born in Valley Forge, PA in 1980 to a musically inclined family, Jane will tell you very frankly “I’ve never had a singing lesson, but can’t remember back to a time when I wasn’t singing.” Jane’s mother Debbie sang to her constantly as a child. According to Jane, “Even though she, too, was completely untrained, she has such a sweet voice and a perfect ear. She can spontaneously harmonize with any tune she hears and taught me to sing harmonies by ear, listening to Bob Dylan and the Everly Brothers when she drove me to school every morning. She would challenge me to sing something other than the melody—like the instrumental parts or to harmonize over-top her harmony. It was the best music class ever.” Always in a hurry to catch up to her older sister Carrie who played the piano when they were young girls, Jane trained her ear by sitting down to pick out melodies on the keys with her right hand, and used her left hand to find and play the harmonies. In much the same way, she easily picked up the silver flute, taught herself to read music and played in a youth chamber ensemble. Jane’s father, David, a classically trained guitarist, always found time to practice guitar late at night after grueling days at the office, and gave Jane her first guitar at age seventeen along with showing her a few basic chord structures. Jane remarks that his reverence for and dedication to the music he plays continues to be deeply inspiring to her. While he may not be hitting the road with her any time soon, Jane insists, “He’s my favorite accompanist. We do a stellar version of Bonnie Raitt’s ‘Guilty’ that I aim to record with him someday.”

Jane attended college in Asheville, NC where she earned a degree in Social Work and became a founding member, songwriter, guitarist, flautist and anchor voice of The Barrel House Mamas, a regionally beloved female folk quartet from 2003 to 2009 who were regulars on the lineup at important music festivals and venues across the southeastern US. While on the road, Jane’s angelic voice and memorable songs garnered her attention from such names as Melissa Ferrick and acclaimed songwriter and performer, Malcolm Holcombe. At just nineteen years old, Jane was playing her guitar and singing on a street corner in Provincetown Cape Cod when a captivated Melissa Ferrick approached, sat and listened to four or five songs and then asked Jane personally to open for her in a Philadelphia performance. Several years later, Malcolm Holcombe overheard Jane rehearsing a cover of his song “A Far Cry from Here” backstage at a benefit concert they were both on the bill for, and approached her asking if she’d like to sing it with him in his set that day. Jane identifies this as a defining moment in her career, saying, “He is one of my songwriting heroes, and I hadn’t even meant for him to hear me—I was just messing around. What an honor. Then we got on stage and he didn’t sing a lick—just accompanied me with his killer finger-style guitar and I sang the whole tune. It was surreal and beautiful.”

Jane moved to Portland, Oregon from 2011-2015 where she spent time writing, performing and recording her debut solo release, Break and Bloom, which was recorded and engineered at New North Sound and mastered by Sound Lab Studios in Asheville, NC, and was released in July 2013.  The album is comprised of ten original songs and one cover—the riveting gospel tune, “How Far am I from Canaan”, and includes the sultry, summer night longing of classic country-influenced “Georgia” (accented with David Jacobs-Strain’s masterful slide guitar), as well as the spectacularly heartbreaking piano ballad “The Devil Don’t Want”. The redemptive, bittersweet and rebellious post-breakup anthem “Nobody’s Woman Tonight” will have everyone who has ever lost a love singing it’s refrain. In “Mourning Dove”, Jane reflects on a close friend’s suicide; a raw and moving re-interpretation of a song she had written for him years ago. While the songs are stylistically diverse, Jane's heartrending voice and performances tie them together into a beautiful expression of vulnerability and the heart's capacity for loss and healing.

Favoring simple, tasteful arrangements, pared-down production that allows the songs themselves and Jane’s spot-on vocals to shine, some of Portland’s most talented musicians back Jane’s beautifully unpretentious folk guitar lines. Featuring Sam Howard of the Ruth Moody Band on upright bass, Max Ribner on Flugel Horn, Tim Ribner on piano, Steve Foster on drums, to name a few), Break and Bloom serves as a stunning debut release from this promising artist who endears herself to us early on with eloquent honesty and songs that quickly begin to feel like old companions.

'Carnival of Hopes', Jane's sophomore solo release, was recorded at Sound Temple Studios in Asheville, NC, and engineered / produced by Adam Johnson of Soundlab Studios. It features the virtuoso Asheville players of Free Planet Radio, Nicky Sanders of Steep Canyon Rangers and master bluegrass multi-instrumentalists Pace Conner and Michael Evers and will be available via iTunes, CDbaby, Amazon, Spotify and in local record stores winter 2016. Carnival of Hopes marks Jane's return to Asheville and her beloved Blue Ridge Mountains that set the scene in so many of her songs.