NASHVILLE SCENE – Lunchtime Jazz

September 5th, 2009

TIME CHANGES EVERYTHING Review - by Michael McCall

Anna WIlson's languid, contemporary jazz stands out for two reasons:  her voice, with its sweet-yet-husky tone and elegant phrasing, and her original songs, as rich and stylish as the standards on which most other young jazz singers must rely.  On Wilson's recent album, Time Changes Everything, her songwriting is her ace in the hole, with tunes like "That's What Lovers Do" and the title cut sounding like timeless Cole Porter classics.  With help from her husband and producer, Monty Powell, Wilson is a good example of how nashville's focus on songcraft need not be limited to commercial country music.


April 15th, 2009

by Robert K. Oermann

ANNA WILSON/Time Changes Everything - Nashvillian Anna WIlson phrases beautifully on the title tune to her current CD.  The whole project spotlights her songwriting ability, since she purposefully crafted the tunes to sound as if they came from 'back in the day'.  She and her talented husband, Monty Powell, are the co-writers with Chuck Wicks of his new country single "All I Ever Wanted."  Which makes her jazz writing and singing somehow seem all the more groovy.

Anna Featured in “Luxury Las Vegas”

April 15th, 2009


Read about Gargiulo Vineyards and the song that their famous G Major 7 Cabernet inspired.  It is Anna's single from her "Time Changes Everything" CD called Drink It Up! READ MORE! about how 'Wine Changes Everything' too!

JAZZ TIMES – “Time Changes Everything”

May 1st, 2007


JAZZ TIMES - By Christopher Loudon

She’s got a voice like crème de cacao and an inner metronome that swings wildly from age to age. Indeed, judging from this sophomore effort, Pennsylvanian Anna Wilson has yet to meet a musical era she doesn’t like.

Winding her way through 13 original tunes—most built around optimistic sentiments of the look-for-the-silver-lining and love-gone-right variety—and one cover (a sly and slightly pouty reading of “Wedding Bell Blues,” Laura Nyro’s peppy homage to an overanxious bride-in-waiting)—Wilson suggests a hip Gen-Xer decked out in vintage couture. Though her postmodern sound is distinctly her own, she can evoke the 1930s (the zingy “Gonna Dance”), ’40s (the smoky “Fedora”) or ’50s (the creamy “Sentimental Sundays”) with uniform ease. Most remarkable, though, is Wilson’s ability, as a songwriter, to capture the past with such validity, never expressing a feeling that sounds forced or faux.