Coo-toned Susan Krebs wisps and breezes through some cleverly picked tunes with her team of Rich Eames/p, Jerry Kalaf/dr-vib, Domenic Genova/bs, Riner Scivally/g, Scott Breadman/perc and Rob Locart/tp or Doug Walter/tb. She sounds at home with Blossom Dearie’s sensuous “Inside A Silent Tear” and shows a bit of swagger with Kalaf’s vibes and Eames’ swing on “Can’t Get Out of This Mood”. 
The Latin read of “Stardust” is brilliant and she’s richly bohemian on “Who Knows Where The Time Goes”. California West Coast Cool’d voices and vibes.
Vocalist Lucy Yeghiazaryan teams up with co-singers Vanisha Gould and Richard Cortez for a mix of jazz and bohemia with a team of Eric Zolan/g, Dan Pappalardo/b, Kate Victor/cel and Ludovica Burtone/vi. Gould does most of the composing her, and the mix of strings and guitar make for a penetrating delivery by Yeghiazaryan on “The Game” and the waltzing parlor of Billie Holiday’s “My Man”. She is patient and world wise, with a dash of Carmen McRae on the lounge-ish Gypsy Feet” and carries the torch well on “Gone Again”. She purrs on her duet with Richard Cortez on “Nobody’s Heart (Belongs To Me)” and does some street preaching on “Trapped In This Room”. Long shadows of sound.
Classic sounding hot sonatas are performed by Champian Fulton at voice and piano, joined by trumpeter and flugelhorn man Stephen Fulton on a great mix of standards with a mix of originals. The two are cozy with Champain in full stride on “I Hadn’t Anyone Till You” while weary and laconic during “You’ve Changed”. The do a hoot with “I’m Forever Blowing Bubbles” and she gets sassy as all get out for “Blow Top Blues”. For the instrumentals, Stephen is muted and warm on “Satin Doll” open and illuminating on “Moon Glow” and the two take a trip to KC on the steady beat to the bar on “Pass The Hat”. Rent parties, anyone?
Lili Anel has a Phoebe Snowish soul and belt to her delivery, playing guitar and teaming up with a core unit of Jeffrey Blount/b, Dale Melton/p-key, Jonathan W. Whitney/dr and a rotating guest list. Her husky voice works well on the funky waltz of “Climb The Wall” and sounds nice and swampy on “Thin Line” and along with the STAXY horns on Supposed To Be”. On the other hand, her James Taylorish folk mood of “Number One” is an acoustic gem, and she goes troubadour’d well on “George Bailey’s Lament”. She turns well on the blue highway of “The Wrong Time” and shows she can have a good time during “Peace of Mind”. Bold strokes.