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From the thirty-five second, funk-infused intro in her cover of Prince’s “Nothing Compare 2 U,” to the languorous string arrangements and unmistakable sultry vocals channeling Lena Horne in the eye of a hurricane on album closer “Stormy Weather,” Nikka Costa demonstrates on track after stunning track of her new album Nikka and Strings that, even when interpreting a song made famous by another artist, she is thrillingly and inescapably herself. Nikka and Strings is the latest milestone for an artist on a charmed and fascinating journey. As the daughter of legendary producer and arranger Don Costa, Nikka was born with music encoded in her DNA. Growing up around the likes of Frank Sinatra (her godfather), Paul Anka, and Sammy Davis Jr. (among many other musical luminaries), she was already a child star in Europe and had sung on the White House lawn with Sinatra before she was old enough to enroll in middle school. She recorded her first single, a Christmas duet with famed Hawaiian singer Don Ho, when she was just five years old. With the encouragement of her parents, she cut her eponymous debut album at eight, and her childhood in Los Angeles was punctuated by world travel and performances before enormous crowds. By just about any measure, it was an extraordinary way to come of age as both a woman and a musician.

From the thirty-five second, funk-infused intro in her cover of Prince’s “Nothing Compare 2 U,” to the languorous string arrangements and unmistakable sultry vocals channeling Lena Horne in the eye of a hurricane on album closer “Stormy Weather,” Nikka Costa demonstrates on track after stunning track of her new album Nikka and Strings that, even when interpreting a song made famous by another artist, she is thrillingly and inescapably herself. Nikka and Strings is the latest milestone for an artist on a charmed and fascinating journey. As the daughter of legendary producer and arranger Don Costa, Nikka was born with music encoded in her DNA. Growing up around the likes of Frank Sinatra (her godfather), Paul Anka, and Sammy Davis Jr. (among many other musical luminaries), she was already a child star in Europe and had sung on the White House lawn with Sinatra before she was old enough to enroll in middle school. She recorded her first single, a Christmas duet with famed Hawaiian singer Don Ho, when she was just five years old. With the encouragement of her parents, she cut her eponymous debut album at eight, and her childhood in Los Angeles was punctuated by world travel and performances before enormous crowds. By just about any measure, it was an extraordinary way to come of age as both a woman and a musician.

Judy Collins has inspired audiences with sublime vocals, boldly vulnerable songwriting, personal life triumphs, and a firm commitment to social activism. In the 1960s, she evoked both the idealism and steely determination of a generation united against social and environmental injustices. Five decades later, her luminescent presence shines brightly as new generations bask in the glow of her iconic 50-album body of work, and heed inspiration from her spiritual discipline to thrive in the music industry for half a century.

The award-winning singer-songwriter is esteemed for her imaginative interpretations of traditional and contemporary folk standards and her own poetically poignant original compositions. Her stunning rendition of Joni Mitchell's “Both Sides Now” from her landmark 1967 album, Wildflowers, has been entered into the Grammy Hall of Fame. Judy’s dreamy and sweetly intimate version of “Send in the Clowns,” a ballad written by Stephen Sondheim for the Broadway musical A Little Night Music,won "Song of the Year” at the 1975 Grammy Awards. She’s garnered several top-ten hits gold- and platinum-selling albums. Recently, contemporary and classic artists such as Rufus Wainwright, Shawn Colvin, Dolly Parton, Joan Baez, and Leonard Cohen honored her legacy with the album Born to the Breed: A Tribute to Judy Collins.

Judy Collins, now 77, is as creatively vigorous as ever, writing, touring worldwide, and nurturing fresh talent. She is a modern day Renaissance woman who is also an accomplished painter, filmmaker, record label head, musical mentor, and an in-demand keynote speaker for mental health and suicide prevention. She continues to create music of hope and healing that lights up the world and speaks to the heart.

Judy Collins has inspired audiences with sublime vocals, boldly vulnerable songwriting, personal life triumphs, and a firm commitment to social activism. In the 1960s, she evoked both the idealism and steely determination of a generation united against social and environmental injustices. Five decades later, her luminescent presence shines brightly as new generations bask in the glow of her iconic 50-album body of work, and heed inspiration from her spiritual discipline to thrive in the music industry for half a century.

The award-winning singer-songwriter is esteemed for her imaginative interpretations of traditional and contemporary folk standards and her own poetically poignant original compositions. Her stunning rendition of Joni Mitchell's “Both Sides Now” from her landmark 1967 album, Wildflowers, has been entered into the Grammy Hall of Fame. Judy’s dreamy and sweetly intimate version of “Send in the Clowns,” a ballad written by Stephen Sondheim for the Broadway musical A Little Night Music,won "Song of the Year” at the 1975 Grammy Awards. She’s garnered several top-ten hits gold- and platinum-selling albums. Recently, contemporary and classic artists such as Rufus Wainwright, Shawn Colvin, Dolly Parton, Joan Baez, and Leonard Cohen honored her legacy with the album Born to the Breed: A Tribute to Judy Collins.

Judy Collins, now 77, is as creatively vigorous as ever, writing, touring worldwide, and nurturing fresh talent. She is a modern day Renaissance woman who is also an accomplished painter, filmmaker, record label head, musical mentor, and an in-demand keynote speaker for mental health and suicide prevention. She continues to create music of hope and healing that lights up the world and speaks to the heart.

For these shows, Jake will be appearing solo, but will be inviting special guest artists to accompany him on different arrangements.

Over the course of the past 15 years, Jake Shimabukuro has challenged and changed all notions of what was possible with a ukulele. But on his latest album, "Trio," the acclaimed musician begins a bold and exciting new chapter in his already remarkable career.

Unlike previous releases on which Shimabukuro sometimes utilized studio musicians recording songs he’d already written, "Trio" is radically different: it’s a true band album. The only sounds on the record are performed by himself, bassist Nolan Verner and guitarist Dave Preston, and many of the songs were composed spontaneously in the studio. In this way, "Trio" lives up to its title as a fully immersive document of the sonic alchemy the three musicians achieve on stage.

“I really wanted to capture the sound that we make when we jam together,” Shimabukuro explains. “We get into this amazing improvisational zone at soundchecks: Nolan will play a cool bassline, and Dave will chime in with these incredible guitar parts. Then I’ ll come in right after and play melodies to what they’re doing. So I finally said, 'We should just go into the studio, hit ‘record’ and see what happens. It would be an experiment, but I had a feeling that great things would come from it.”

Music fans will no doubt hail Trio as a highwater mark for Shimabukuro, and the artist himself regards it as a personal best. “Beyond playing the ukulele, I’ve really tried to grow as a writer,” he says. "Spending time in Nashville and being around great songwriters has inspired and influenced me, and of course, working with Nolan and Dave has brought me to musical places I never thought possible. I’m so proud of the music we make together, and I can’t thank them, R.S. Field and Van Fletche

Sitting, eyes closed in the sunshine in Nashville’s Centennial Park in Spring 2017 on tour, KT Tunstall had an epiphany. It encompassed both her last album, ‘KIN’, that entered the UK top 10 in 2016, and her as-yet-unrecorded sixth studio album.

There were some things she knew instantly. That moving to Los Angeles, whence she had relocated from London in autumn 2014, had been a life-saving move. That she was now in the midst of a trilogy of records, the latest exciting chapter in a career fuelled by a rocket-powered lift- off with 2004’s ‘Eye To The Telescope’, her debut album which won the post- folkie from Scotland the Brit Award for Best British Female. That this trilogy would evoke, separately and in sequence, spirit, body and mind. That ‘KIN’ was already, happily, her spirit album.

Sitting, eyes closed in the sunshine in Nashville’s Centennial Park in Spring 2017 on tour, KT Tunstall had an epiphany. It encompassed both her last album, ‘KIN’, that entered the UK top 10 in 2016, and her as-yet-unrecorded sixth studio album.

There were some things she knew instantly. That moving to Los Angeles, whence she had relocated from London in autumn 2014, had been a life-saving move. That she was now in the midst of a trilogy of records, the latest exciting chapter in a career fuelled by a rocket-powered lift- off with 2004’s ‘Eye To The Telescope’, her debut album which won the post- folkie from Scotland the Brit Award for Best British Female. That this trilogy would evoke, separately and in sequence, spirit, body and mind. That ‘KIN’ was already, happily, her spirit album.