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Gracie Terzian: New Jazz Vocalist Makes Her Mark


NEW YORK — Romance is on Gracie Terzian’s mind, or at least in her songs. Her sinuously sensuous singing takes listeners through poetry and music to a world of love and heartbreak. The young, talented songstress and performer has made her mark in the world of jazz with her first EP (extended play recording), “Saints and Poets.” It quickly became the number 3 jazz album on iTunes and the number 23 jazz album on the Billboard jazz charts, and has garnered excellent reviews. Terzian wrote or co-wrote all six songs.


(read more in link below...)



Throw WAY Back Thursday: The Music And The Mob Of The Early 1900s


Almost 100 years before Steve Jobs, there was the radio that kept people entertained and in touch with the outside world. Ragtime and jazz artists were the new “buzz bands,” and the mob was trafficking an illegal substance called booze. It’s rare to discover one, let alone three emerging artists that together echo the 1920’s good ‘ole piano ragtime, the firey red-headed Siren and the Prohibition mobster. If you’re in the mood for some nostalgia with a completely modern-day spin, pour yourself a glass of Scotch and savor these three gems…




















Ukulele Magazine

Jazz Singer-Songwriter Gracie Terzian and Her Harp Ukulele Are Turning Heads


Not too long ago, 24-year-old jazz singer and songwriter Gracie Terzian was watching ukulele videos on YouTube when she saw “this crazy instrument.” The instrument in question was a harp ukulele, “a normal ukulele with an extra arm that holds bass harp strings,” Terzian explains. While the instrument’s appearance caught the young musician’s eye, it was the sound that convinced her to pool her savings to buy a limited-edition aNueNue tenor harp ukulele.


The harp ukulele’s rich tones and jazz voicings figure prominently on Terzian’s new debut EP, Saints and Poets. It showcases six challenging yet accessible original songs—all co-written by Terzian—conveyed in her cool, sophisticated alto, which barely contains the passions bubbling underneath. The EP was conceived as Terzian’s calling card to the New York jazz scene. It exceeded her wildest expectations, climbing the jazz charts of both Billboard and iTunes.


“I released it without a record label. It didn’t get any radio play. I don’t have a manager, and I didn’t hire a publicist until after it was released,” Terzian says, laughing. “So, yeah, it was definitely a surprise.”


Much like the harp guitar, the harp ukulele is experiencing a resurgence in popularity with young players like Terzian, long after its early- 20th-century heyday. The extra strings on Terzian’s spruce-top, mahogany-body instrument add a deep tone to the ukulele, she says, and can be plucked like bass notes. “The harp strings come in handy when you’re looking for color chords,” Terzian adds.


Show of Her Own


Growing up in northern Virginia, Terzian fell in love with the jazz albums her father played at home. “I can’t remember a time when I didn’t love music,” she says. She started dancing when she was four and was acting professionally by 12; soon, she was working in theater in Washington, DC, adding a bit of independent film and industrial work. She feels that her acting experience informs her singing: “Both are performance outlets.” Yet there is one crucial difference.


“When you’re an actor, you do what you’re told [and] you’re a small piece of the puzzle. When you’re a musician, you’re doing your own show, so you’re the director as well.”


While attending the University of Virginia in Charlottesville, Terzian played Eva Perón in a campus production of Evita, “a vocally demanding and emotionally powerful role,” she recalls. A stint singing with a UVA jazz combo proved equally challenging and stimulating.


“I started working on vocalese stuff, writing lyrics to famous jazz solos,” Terzian says. One of those solos was Miles Davis’ winding trumpet line on his recording of Wayne Shorter’s “Iris.” When vibraphonist Warren Wolf came to play with UVA’s big band, Terzian was invited to perform “Iris” with them.


Terzian would later take her “Iris” lyrics and apply them to a song on Saints and Poets, also called “Iris.” “It’s the same words with different chords and a different melody,” she says, “but it shares a similar spirit.”


As she completed her undergraduate work, Terzian was writing and amassing an impressive body of songs. Plans to record and release this material solidified when she started collaborating with her jazz piano teacher, Wells Hanley, who has worked with jazz heavyweights such as Chris Potter and Wynton Marsalis.


“We realized we made a good writing team,” she notes, and her piano class became a de facto songwriting class. She and Hanley continued to collaborate after Hanley left UVA to work closer to his home in Richmond.


As Terzian ramped up her songwriting, she also started “getting serious” about harp ukulele. After buying the aNueNue, she went about teaching herself how to play it. “I printed out a map of all the notes on the fretboard and memorized them,” she says. Comparing ukulele chords to piano chords, she started to find appropriate chord voicings on her uke’s fretboard. Inspired by this process, she devised her own tuning for jazz ukulele.


“I got so frustrated with the way ukulele was tuned for jazz chords that I started fiddling around with alternate tunings.” Wanting a low G flat in her chords, she tuned the G string down to a G flat. “I kept wanting E flats high on the neck as well, so I tuned the E to an E flat,” she says. “When I did that, it became a lot easier to find jazz harmonies in close proximity to one another on the fretboard.”


Terzian is documenting her new tuning with a library of flash cards, and she plans to put her system online, making it free for anybody to use.


“I’d like to say [devising the tuning] was calculated,” Terzian says, but admits the process was intuitive and open to chance.


Chance also intervened on a trip to New York City, where Terzian came down with a bad cold. Cooped up in a friend’s apartment, she started writing the words and the swaying, relaxed melody of a song that would become the Saints and Poets title track.


“I read plays for lyrical inspiration,” explains Terzian of the title. It’s a quote from Thornton Wilder’s Our Town: “Does anyone ever realize life while they live it? Saints and poets maybe.”


“I always loved that line,” Terzian says. “It’s been echoing in my head for a while.”


The dialog comes from a scene in the play where the character Emily returns from the dead to witness her life. The sounds and sensations overwhelm Emily; Terzian can relate.


“Sometimes it’s hard to take everything in. Life goes by so quickly, and I’m often overwhelmed by the beauty of things around me.”


Hearing It Out Loud


When the time came to track her debut EP, Terzian had already graduated from UVA and moved to New York. She returned to Richmond to record the sessions with Hanley, and after whittling down the song selection to six tunes, the pair entered Spacebomb Studios. Studio engineer Trey Pollard also played guitar on the album, along with drummer Brian Caputo and bass player Randall Pharr. Both Caputo and Pharr gigged extensively in Charlottesville, so Terzian was familiar and comfortable with their playing.


“We hadn’t played with each other before,” Terzian says. “We came together, had one rehearsal, and then we hit the studio.”


The resulting tunes are sexy, swinging, and buoyant, crackling with the energy of sympathetic musicians playing together in the same room.


“The recording is completely acoustic,” Terzian says. “There are no electronic instruments.”


Terzian’s harp ukulele, climbing, ringing, and ever-so-slightly dissonant, comes to the fore on “Love Rest.” The plaintive melody pirouettes as delicately as a madrigal, while Terzian’s breathy croon bids farewell to a past love and wishes him peace.


“I had only played [these songs] before with piano or ukulele and voice,” she says. “Hearing it in your head is not the same as hearing it out loud. I had no idea how they would sound with other instruments.”


Judging from the commercial and critical reception of Saints and Poets, she needn’t have worried. Noted jazz historian Terry Teachout, author of Pops: A Life of Louis Armstrong and Duke: A Life of Duke Ellington, calls Terzian a “deep-dyed romantic who tells her tales of modern love with quiet delicacy and an inborn musicality that’s impossible to overlook.” For a debut by a previously unknown performer, consisting of all original material, the collection of rave reviews is striking. In addition, her YouTube videos have helped to raise her profile—perhaps fitting for an artist whose own learning and discovery process was largely conducted online.


“I originally did Saints and Poets because Wells and I had written these songs and we thought, ‘Well, we’re not playing them. Why don’t we record them—and play them with other musicians?’ The whole point of the EP was to hear those songs come to life.”


Those songs and others are currently coming alive during Terzian’s rooftop residency at Bar Hugo in Soho, where she performs with her trio. Though the players assembled in New York City, they all come from back home.


“I’ve known the bass player Charlie Himel since I was little,” she says. “The drummer, Graham Doby, is from Charlottesville, and guitarist Brett Jones went to UVA. They call themselves the New Dominion Trio because they’re all from Virginia, the Old Dominion state, but now they live in New York.”


Onstage, Terzian plays her aNueNue, running a Fishman AG-UKE custom pickup into a DV Mark amp. She recently acquired a Konablaster electric tenor ukulele, which she plans to work into her gigs. Handcrafted from ash by luthier Bruce Herron, the Konablaster is patterned on a soprano model made for and designed with the late Allman Brothers bassist Allen Woody.


“It’s solid-body, and it has steel strings like a guitar,” she says. “It’s very cool.”


Although Terzian has folded a few jazz standards into her repertoire and hinted that she may even record a few in the future, she remains focused on creating her own new music—often highlighted, of course, by her inimitable jazz ukulele work. “I prefer doing original music over cover songs,” Terzian says. “My favorite part of the music-making process is writing.


“I love poetry and music, so putting the two together is awesome. It’s my life’s creative expression. As an actor, you’re telling another person’s story, which can be very fulfilling, but I want to tell my story, with my words. Music is the way I do it.”




On Tap Magazine

Review: Gracie Terzian at Twins Jazz, the Spellbinding Singer's Homecoming Show"


Many of the world's musicians have spent their lifetimes chasing one of the most elusive elements of music; Tone. Tone has been, in many ways, the singular and defining reason for a musician or group's success. Tone is also elusive and near-ethereal, but it's usually the way an artist endears herself to us. You know Miles from the muted trumpet, Bill Evans by the longing, lush harmonies. And it applies beyond music: If you prefer Haruki Murakami over Christopher Marlowe, it's because you're more stirred by his subtle surrealism and simple language than by Marlowe’s Elizabethan vernacular. It is then remarkable to see a musician who has already captured and begun perfecting a tone at only the outset of their career. DC had the fortune to experience such when Northern Virginia born, rising jazz vocalist Gracie Terzian gave quite the homecoming concert at Twins Jazz this past Wednesday. here is something very special about Gracie Terzian. She has the ability to take you back to an era where it would be ok to have a scotch on the rocks at two in the afternoon on a Tuesday. Her songs guide you and her voice is a smooth as the spirits in your glass.


Accompanied by a trio of robust players who also share ties to the region—guitarist Ian Dansey, bassist Charlie Himel, and drummer Graham Doby—Terzian delivered a mix of originals and beloved standards that showcased her enviable tone. Terzian's voice channels some of the distinctive qualities of two of jazz's greatest singers; there is the laid back, casual welcoming of Norah Jones, as best exemplified by her original "Saints & Poets," and the irreplaceable crisp warmness of the Queen of Jazz, Ella Fitzgerald. Ella, indeed, seems to live inside Terzian's voice, as few artists have been able to recapture defining vocal tonality and timbre like the Queen’s: and she had ample time to demonstrate it. Whether on her own numbers like "Love Rest," or on signature Ella standards like the Gershwins' "I've Got a Crush On You" or the Kern/Mercer tune "I'm Old Fashioned," it was inspiring to hear that tone reincarnate in 2015. Even more refreshing was to see it from such a young, promising artist. 


Beyond her invocations of Ella, Terzian proved herself to have a shrewd ear for selecting and performing what standards she did. The classics she chose seemed linked in many ways to her own originals--melodically, harmonically and even thematically. A singer performing their own compositions is indeed a rare thing in the history of jazz vocalists, yet Terzian more than proved herself as not only a brilliant interpreter of her own music but a decently crafty and classy wordsmith as well. The themes and images she plays and paints with across the six songs from her debut EP, Saints & Poets, revolve around duality, mystery, enchantment, the frustrations of infatuation, and classic romance. Complimenting these themes in her works were some numbers that allowed the enchantment in her words and her voice to cast an intoxicating spell. She showed her vulnerable side on Benny Golson's "Whisper Not," invoked her spell binding on Coleman and Leigh's "It's Witchcraft," and, at her most captivating, invoked idyllic romance on Youmans and Caesar's "Tea For Two." As one of the oldest songs in her book, it revealed Terzian’s aptitude as an interpreter, making the 1925 number it just as if she herself had written it in a DuPont cafe just last week.  


Terzian’s successful homecoming was elevated further by the efforts of her backing trio. Not enough jazz vocalists utilize the guitar-bass-drums accompaniment trio: Terzian is a refreshing reminder of what emotional and harmonic complexities are sometimes lost with a piano base. Ian Densey in particular —whose playing was occasionally too busy for the mood—brought the right amount of delicate harmonic play to the mix. And, in one of the night's most intimate and beautiful moments, Terzian and Densey on vocals and guitar alone delivered Kern and Mercer's "I'm Old Fashioned," impeccably and stunningly. Terzian even revealed herself to be a fair instrumentalist, adding her own delicate, musician's touch with a range of ukuleles to two numbers: her own "Love Rest" and Andre, Scwhandt, and Kahn's "Dream a Little Dream Of Me." 


Good jazz vocalists are a dime a dozen. Truly great vocalists, the ones who are able to actually impart their own distinctive imprint on the music, are quite difficult to find, and have been few and far between in the 100+ year history of the music. Those of us at the Twins this past Wednesday, even those locals who were there to cheer on a friend, knew that we were witnessing the rise of one of the future greats in jazz singing. The testimony to Terzian's eventual rank amongst the modern greats lies not in the words she writes or the repertoire she selects—both of which are laudable in their own right—but in the quality, timbre, and tone of her voice. DC has not heard a classic jazz singer like Terzian in quite some time; hopefully the rest of the jazz world will hear her too, soon.




Broke Ass Stuart

Win Gracie Terzian's debut EP "Saints and Poets"


There is something very special about Gracie Terzian. She has the ability to take you back to an era where it would be ok to have a scotch on the rocks at two in the afternoon on a Tuesday. Her songs guide you and her voice is a smooth as the spirits in your glass.


I was lucky enough to see Miss Terzian a few weeks at the amazing new jazz venue Club Bonafide. The space is wonderful because there is a rotating group of talent throughout the night, each spectacular in their own unique sounds.


Gracie stood out not only because of her fiery red locks but because she and her band have the essence of a something retro. She could be included on a Mad Mensoundtrack and no one would know the difference. This Virginia/DC native came to New York to leave her mark and has certainly done so with her “Saints and Poets” EP.The album she wrote and produced herself and even charted in the top three of Jazz albums on iTunes when it debuted in May.


As a songwriter she is both playful and sultry. Her lyrics have sophistication but are not lacking in humor or charm. Gracie is able to shape each song into something new but also familiar, creating the perfect balance of modern and vintage.  


Take a chance on the romance of jazz and give Gracie and her band a try. Pick up her album on iTunes, or giver her a listen on Spotify. But the best way to experience this delightful chanteuse is live. She shines with every soulful note that she hits with heart and precision.


She is currently in a residency with Bar Hugo and plays on Mondays (Starting back up October 5th) from 6pm-8pm. Nestled in Soho on Greenwich and Vandam the bar sits on the roof of the Hotel Hugo. As we are well in the mist of an Indian summer I can think of no better way than to spend the remainder of our long days with a cool breeze and some hot jazz.




Elmore Magazine

Live Show Reviews: Gracie Terzian and the New Dominion Trio


With the caressing breeze and warm sunset accompanying her, Gracie Terzian couldn’t have asked for a more intimate setting as she sang at Bar Hugo Rooftop with the New Dominion Trio. Terzian is a young jazz singer whose self-written debut EP, Saint and Poets, reached #3 on the iTunes Jazz albums chart, having debuted this May as a self-produced effort.


Reminiscent of Julie London in vocal quality and her sweet, sassy attitude, Terzian sings with confident and heartbroken conviction of her romances, channeling her private contemplation into a gently swung and flirtatious string of original songs.

Her songs carry sentiments of London’s “Sophisticated Lady” and “A Nightingale Can Sing The Blues,” presenting Terzian as the heartbroken but strong and independent lover as in “Iris” and “Sleepwalker.” Most impressive are Terzian’s original songs: she writes with modern originality, where her songs express complicated tales of heartbreak, but without cynicism, retaining the romantic love which is idealized in jazz. Notably, “Love Rest” and “Exit Strategy” standout from the album, along with “Sleepwalker,” with “Exit Strategy” reminding me of Esperanza Spalding’s carefree and fluttering singing style.


Gracie Terzian is a performer to be seen live; her songs are even better experienced in live performance than on CD as she adds elements of cheek and playfulness amidst her heavier love songs of deceit and pretense. Her voice is smooth, reassuring and pronounced, with well controlled use of vibrato.


I strongly urge you to listen to her EP and see her perform at Bar Hugo Rooftop most Mondays from 6-8pm, for an evening of unwinding with a view, cocktails, the drummer’s distinctive musical intuition and Terzian’s sweet vocals.




DC Magazine



It doesn't happen often, but when it does, the feeling is one of musical euphoria: the moment when a new singing voice enters your world.


Scores of listeners rae having a Gracie Terzian moment these days, as the DC native's new album, Saints and Poets, seeps into iPhone and cocktail-party playlists. Terzian's EP recently debuted at No. 23 on Billboard's Jazz Album chart and rose to No. 3 on the iTunes Jazz Album chart just one week after its release. The singer, whose local-theater credits include A Midsummer Night's Dream at the Shakespeare Theatre and The Widow Lincoln at Ford's Theatre, attributes part of the recording's success to the melding of classic and new. "I'm influenced by the great jazz artists before me, but I wanted a contemporary sound and production. I didn't want to sing jazz standards. I'm more interested in writing music for new generations."

Pens Eye View

Today's Feature: Gracie Terzian


There doesn’t seem to be much that jazz musician/actress/yogi Gracie Terzian isn’t exceptionally talented at – the singer/songwriter is channeling her creative skillset into stage performances and a jazz style that stands out in the storied genre. Gracie sums up her music best: “My sound gives listeners a hint of traditional jazz while also bringing a contemporary flavor to it. Even though I’ve been heavily influenced by all the great jazz music that has come before me, I’m not trying to imitate an older sound or mimic another artist. I’m really trying to write new music and new standards for contemporary jazz and reach a current audience.”


Terzian has seen her latest EP, a collection titled Saints and Poets, achieve great success on the Billboard Jazz charts – it’s a fresh take even jazz novices should give a listen to. Gracie says “The writing process was great. I co-wrote the music with Wells Hanley (who is a genius) in Richmond, Virginia. We tend to agree on musical choices so it made the writing process pretty fun and painless.” Click to to sample Saints and Poets, and learn more about this fast rising star…right after you finish reading all of the answers to the XXQs below.




Queens Ledger

Meet the new face of Queens' jazz scene


Gracie Terzian is an emerging jazz star who is known for her poetic lyrics and intense yet iridescent music. Originally from Northern Virginia, she made her way to New York City, specifically Astoria, and hasn’t looked back. On May 5, she released her debut album, 'Saints and Poets,' which charted at #23 on the Billboard jazz charts and became the #3 jazz album on iTunes. Terzian also currently has a weekly residence at Bar Hugo, at 525 Greenwich Street in Manhattan, on Mondays from 6 p.m. to 8 p.m.




Neon Jazz: KCXL (102.9 FM / 1140 AM)

Interview with Talented Jazz Singer Gracie Terzian




Ukulele Magazine

Get Happy (Sort of) with Gracie Terzian


Here at Ukulele headquarters, we’re hard at work on our Winter issue. One of the features in the pipeline is about Gracie Terzian, a sublime jazz singer who also plays the harp ukulele. To get a taste of her style, check out her blues-soaked version of Pharrell’s “Happy.”




ICON Magazine

Nick's Picks


With an abundance of charm, jazz-pop vocalist Gracie Terzian introduces herself as a reliably authentic chanteuse on her calling card EP, Saints and Poets. She’s a beguiling singer and modern song stylist with an astute sense of swing. Her six original songs (music co-written with pianist Wells Hanley) are lovingly recorded (and sonically terrific) and lean on bossa nova rhythms with a degree of sophistication reminiscent of Melody Gardot or Stacy Kent. All of the songs are keepers, but the winning title track is the standout. “Sleepwalker” and “Wait Silently” are delightfully effervescent, too, with attractive, bubbly guitar solos. Certain and self-assured, it’s not surprising Terzian is a YouTube sensation. Though she performs frequently in New York, she deserves a higher profile, so here’s looking forward to what she does next.





Gracie Terzian Enchants NYC's Rockwood Music Hall


Gracie Terzian is a jazz singer on the rise. Her recent release “Saints and Poets” charted at #23 on Billboard and #3 on iTunes. Needless to say, the room for her Rockwood Music Hall performance on Sunday (July 5) was bustling and full; friends, family, and fans poured in to catch a glimpse of Gracie and her astounding quartet.


The band was introduced before the opening number: James Wengrow on guitar, Graham Doby on drums, and Georgia Weber on bass. A gentle swing kicked off the set, as though the drummer’s brush strokes had conspired with the lazy afternoon sun – it was the title track from “Saints and Poets.”


Immediately, the room was seduced by a dazed and dreamy swing. The song’s casual and gracious melody wonderfully suited Gracie’s alluring vocal. Her voice has an effortless vibrato, calling to mind jazz greats Ella Fitzgerald or Sarah Vaughn, but with a signature precision that is distinctively her own.


The second number, “Sleepwalker,” had a loungey Bossa Nova type feel. Gracie stood firm in the helm, signaling when to start and when to stop, offering coy greetings to crowd members, all the while crooning out heartfelt lyrics: “I apologize if I come as a surprise, I like to go on journeys sometimes.” Like a wayward though well-meaning seductress she continued: “Don’t be so patient just run with me, have fun with me, I’ll give you presents and such.”


Her lyrics walk a fine line: displaying her sensitivity and willingness to be a good girl, while bemoaning her fleeting and ephemeral side.


Following the head of most every tune was a surprising and jaw-dropping solo from the bassist. Her fingers danced across the fret board, weaving in and out of the song’s chord structure; meanwhile her glasses balanced calmly on the end of her nose. It was as though the band had all mastered the art of making complex jazz appear easy and effortless.


The set continued on with more soothing and heart-opening numbers. In “Love Rest,” we saw the bassist make use of her bow, laying the foundation for a delicate and beautiful composition. We also were introduced to suave phrasings of the lead guitarist, whose melodies wonderfully danced on top of an intricate chord structure.


Most impressive however, are the songs themselves. The melodies retain a classic tinge while being infused with a modern 21st century touch. In every original song, the lyrics felt genuine and natural, despite being overlaid on momentous and complex jazz melodies. In “Wait Silently,” she intoned: “Not a whisper of despair, but love’s own prayer,” while in “Iris”: “Take my time, because to love can come quietly.” All of the compositions took turns unexpected and unpredictable, while retaining a natural structural flow.


In the final number, Gracie’s passion soared to an ever-greater height. She poured her heart out proclaiming, “Why can’t you love me like the other boys do, they stare at me while I stare at you.” She met her match: having to pay the cost for the longing she creates in others by overcoming a lover that creates longing in her. Reaching its climax, the band launched into double-time swing for a last-minute burst; it was as though the underbelly of this sun-drenched afternoon came raining down in a welled-up, sultry avalanche.


It all amounted to an afternoon at Rockwood Music Hall we won’t soon forget.





Gracie Terzian: Lightning in a Bottle


There was a construction crane over Gracie Terzian‘s head. But she didn’t seem stressed – and as it turned out, it didn’t fall, or drop a megaton load on her.


OK, it wasn’t directly over her head. Any angst she might have been feeling, swaying in front of her jazz quartet earlier this evening in the corner of the rooftop bar at the new Hotel Hugo on Greenwich Street just north of Spring, was probably coming from a much closer place. Looking south toward the financial district, the crane was in the background directly behind her. Metaphorically loaded New York image, perfectly crystallized, 2015.


Although she’s comfortable singing jazz standards, Terzian distinguishes herself by writing her own songs. Watching her, the restlessness was visceral, a carefully channeled intensity just waiting to bust out. And there was more than a hint that she would be more at home under lower lights, on a bigger stage. Granted, this was a night where just about everybody wanted out of their skin and into a walk-in fridge. “Waited twenty years before I could breathe,” she sang in her disarmingly straightforward, airconditioned alto – another perfectly extemporaneous, metaphorical moment.


Young jazz chanteuses tend to throw themselves in an audience’s direction, but not Terzian. She opened the night’s first set with her original Saints and Poets, a dare to anyone to match her individualism and willingness to go out on a limb. She gave the song a low-key allure, but left the door ajar for menace to enter the room, bending her blue notes with a nonchalance that could have gone totally Lynchian but didn’t. Much of her material was taken from her auspicious debut album, including Love Rest, where she deftly built a jazz waltz out of an oldschool soul vamp. And the cajolery in the casually cheery bossa-jazz number Sleepwalker had a dark undercurrent: “I sleepwalk, I apologize” – yikes!


Terzian’s band is the New Dominion, since everybody in the group hails from the Washington, DC area. Old Dominion, New Dominion, cute, huh? But cuteness doesn’t factor into Terzian’s songwriting or stage presence, or for that matter, the band. The rhythm section – bassist Charlie Himel and drummer Graham Doby – gave her a lithe, slinky backdrop and guitarist Brett Jones supplied every hip voicing in the book, shifting dynamically without any worry whether the extended family assembled on the banquette or the trio of soccer hooligans on the balcony were in on the magic the group were working to create. Terzian closed the set with Exit Strategy, its tense contemplation of a breakup channeled through brooding chromatics and unexpected key changes that flew off the page.


Terzian and the New Dominion continue their residency throughout the summer every Monday night starting at around 6:30 PM at Bar Hugo on the roof of the Hugo Hotel, 525 Greenwich Street just north of Spring, just a few blocks from either the C/E to Spring St. or the 1 to Houston. To call this place laid back is an understatement: there’s plenty of fancy food and drink available, or you can just chill and watch the clouds from the balcony.




The Jazz Music Blog

Emerging jazz artist, GRACIE TERZIAN - hits Billboard and the NYC music scene with new EP




Middle Tennessee Music

Listen: Saints and Poets by Gracie Terzian


Jazz-Pop vocalist, Gracie Terzian, is happy to announce the release of her debut EP, Saints and Poets. The EP makes its debut on Billboard, just one week after its release, and is also the #3 Jazz Album on iTunes. Terry Teachout, author of Pops: A Life of Louis Armstrong and Duke: A Life of Duke Ellington, also praises the artist saying that she is a “deep-dyed romantic who tells her tales of modern love with quiet delicacy and an inborn musicality that’s impossible to overlook.”




Vents Magazine

INTERVIEW: Gracie Terzian





Gracie Terzian - Saints and Poets


Vocal jazz in these times is often commercialized and distorted into something for the background, or into something more fitting of R&B. Gracie Terzian graces us with her take, a more classic ideal is displayed and a nod to several sub-genres, allowing the listener plenty of room for admiration.

Her beautifully delicate voice weaves through melodies in such a way that seems effortless. It's because of her talents, and because there's only two publicly available tracks, that today's featured track was such a difficult decisions. In the end, I think the title track is the most accurate Terzian representation.

Saints and Poets is a suave but intricate musical display. Its purpose is mainly to lift her voice, but you can tell the a capella track is an item of beauty. Pay mind to the swaying melody and the elegantly composed lyrics. By no means do I consider it perfect, but it's an original jazz piece with a lot of potential, if it gets the right air time.

If you wanna see how she becomes versatile while keeping the same carefree warmth, definitely check out the other single, Sleepwalker, on Soundcloud. It's got a bit of a bossa touch, and makes better use of her band's talents.


To debut a jazz EP with nothing but original compositions is admirable. She shows hard work, dedication, and amazing levels of creativity. Wells Hanley co-wrote the music and has a lot to do with the ease of listening as well. There's room for improvement, I suppose. I'd love to see her live, to see if the emotion ever reaches a higher peak, and I'd really love to see either a bigger band or a more well knit one backing her. The vocals on their own are enough to sell this album, the music is great enough to lift it that much higher, but with a little more help it could have been absolutely stunning. I also wish there were at least a couple of standards in there to lift the effort from EP to a more engaging full length.

These aren't complaints, it's how I see it. This album is just one step in a long and bright foreseeable future for Gracie, and I'm sure each step to follow will be that much better than the last. If you're curious to keep up with her, follow along on Facebook, Twitter, or Tumbler.




Revolution 360

People That Matter - Gracie Terzian


Release: NYC-based jazz singer-songwriter, Gracie Terzian, is pleased to release the title track from her debut EP, Saints and Poets, which she just released on May 5th, 2015. “Saints and Poets” refers to a line from Thornton Wilder’s Our Town:  “Does anyone ever realize life while they live it? Saints and Poets maybe.” Terzian makes her Billboard debut, with Saints and Poets hitting both the Traditional Jazz and Jazz Album charts.


Originally from Northern Virginia, Gracie Terzian has been writing music and performing professionally as an actor since the age of twelve. While attending the University of Virginia, Terzian began co-writing with her piano teacher, Wells Hanley (David Liebman, Chris Potter, Wynton Marsalis). Now based in NYC, Terzian continues to write and perform regularly while also building a strong YouTube presence that has garnered close to 100K views. Her unique instrument, the harp ukulele, sets her apart.


Originally from Northern Virginia, Gracie Terzian has been writing music and performing professionally as an actor since the age of twelve. While attending the University of Virginia, Terzian began co-writing with her piano teacher, Wells Hanley (David Liebman, Chris Potter, Wynton Marsalis). Now based in NYC, Terzian continues to write and perform regularly, while also building a strong YouTube presence that has garnered close to 100K views. Her unique instrument, the harp ukulele, sets her apart.

Saints and Poets available HERE





Jazz Artist Gracie Terzian Debuts SAINTS AND POETS; Plays This Weekend at Rockwood


Emerging, young jazz artist Gracie Terzian just released her debut EP, SAINTS AND POETS, on May 5th, featuring six original songs, written and performed by the artist. The EP debuted at #23 on Billboard's Jazz Album chart and at #3 on the iTunes Jazz Album chart just one week after its release.


Take a listen to Terzian's title track, "Saints and Poets", here!


Gracie is performing this Sunday, June 14, at Rockwood Music Hall, Stage 1, at 4pm. She also does a weekly residency at Bar Hugo, the popular rooftop bar on Hotel Hugo in West Chelsea, every Monday night, 6-8pm (Happy Hour is 5-7pm).


SAINTS AND POETS refers to a line from Thornton Wilder's Our Town: "Does anyone ever realize life while they live it? Saints and Poets maybe."

Originally from Northern Virginia, Gracie Terzian has been writing music and performing professionally as an actor since the age of twelve. While attending the University of Virginia, Terzian began co-writing with her piano teacher, Wells Hanley (David Liebman, Chris Potter, Wynton Marsalis). Now based in NYC, Terzian continues to write and perform regularly, while also building a strong YouTube presence that has garnered close to 100K views. Her unique instrument, the harp ukulele, sets her apart.


Track Listing






Vents Magazine

Emerging jazz artist, GRACIE TERZIAN Announce New EP




Virginia Muse

Gracie Terzian - Saints and Poets (2015)

This recommendation is very special to me. Because it comes deep from my heart, very sincere. From the very first time I listened to this album I ecstasized in the most positive way. “Saint & Poets” is the debut EP of Gracie Terzian. 


This explanation is mainly about the music and performance, not about the lyrics. That’s because English is not my native language, too often I miss the nuances.


Within this album, I experience a wonderful balance between the instruments themselves and the vocals. Everything is so cohesive that it sounds like a strong robust unity. Touched, I listen to one after another beautiful song, trying not to miss anything. I get more and more euphoric because I just can’t believe what I hear. Everything's own work and own creativity. I can’t understand this is a debut because it sounds so brilliant. This is really the best of the best!


It's so cool to me that any musical "ego tripping" and “bombast" is left out. Also in the way Gracie Terzian sings. Keeping it so “small” has the risk to make it feel over-cautious. But in this case the conviction and credibility have become 15 times bigger. Nowhere in her whole album she puts up an act. Everything is pure passion. 


The talent, the gift, it’s just all inside her. Her voice, her sound, her pronunciation. Calm, tranquility, control. Gracie Terzian just is jazz. Breathless I experience this musical love-journey. With an exceptional great talent and a unique and authentic album she tells the world what civilization sounds like. And I really feel privileged to experience musical happiness with Gracie Terzian’s music. Such a recommendation!!




The Beachcomber

Gracie Terzian - Saints and Poets


New York-based singer-musician-composer-actress Terzian has released a self-produced debut album. The multi-talented Terzian’s Web site is a full-service stop, from which you can even contact her about acting gigs. Hers is a cool, pleasantly breathy voice in a comforting mid-range. Her phrasings reinforce all that wisdom about the links between singing and acting. The six tracks skim lightly and wistfully over love, loss and sticking with it—as only a New York stage actress can tell you. Terzian’s spare sets are accompanied by bass, percussion, piano, and herself on jazz ukulele. Worth a listen.




BadWolf DC

DC Native, Jazz Singer and Harp Ukulele Player Gracie Terzian's debut EP Saints and Poets releases May 5





Cool Jazz Vibes, Gracie Terzian (CLAS ’13) Releases Debut EP “Saints and Poets”




Podcast: Hurry Up And Wait

“Saints and Poets” Singer/Actor Gracie Terzian


This week we’re thrilled to chat with the young and talented Gracie Terzian! Gracie is a New York-based actor and singer; her jazz EP “Saints and Poets” is available on iTunes starting May 5, and she can be seen performing at Bar Hugo on Monday nights in NYC. Gracie chats about working with KC as a child actor, earning her Equity card in the DC scene, finding herself as a musician and artist and… horrible Subway experiences. Be sure to check out her clip from “Saints and Poets” at the end of the episode!




Real Music Icons

Have You Ever Seen a Harp Ukulele?


Harp Ukulele? What is that?


Have you every seen one? I personally thought this was a very interesting instrument. I mean, who thinks of playing two different instruments at the same time, on one instrument? (Well, there is the drums as an exception,which I think could be tedious as well) I commend this artist because I’m sure learning this instrument took a lot of time and special concentration.


I’ve never seen this instrument until today, and apparently a Harp Ukulele has been in existence since the 1910’s.  The Harp guitar was so popular at this time that the harp ukulele was invented in hopes to gain popularity there as well.


Take a listen, she sounds jazzy. I felt a jazz feel from this specific piece of music she choice. I also feel as though she would be great as a broadway singer. Her voice has so much character to it, I was amazed when I heard this video. If I close my eyes and listen I feel like I’m back in the old days where everything was black and white. Ha, it’s amazing what music can do, so many different emotions to portray. What do you feel about her?




The Undiscovered



A whole different twist on this Top 40 juggernaut


If you have been around me the past few weeks when this song comes on the radio, TV, or at the bar, you know how sick and tired of it I am. Despite my commitment to avoid all “Happy” covers, when I saw the title of this video, I was intrigued and had to check it out.


Rather than perform a traditional, uplifting cover of Pharrell’s “Happy”, singer Gracie Terzian chooses to go in the opposite direction and perform a blues influenced version she titled, “Not Happy”. The result is pretty remarkable and provides for a much more intimate and meaningful version that hits a lot harder than the quirky original. Sure, some people may see this as depressing and may right it off as such, however, this version is real, raw, and, in my opinion, remarkable.


Do yourself a favor and check out more music from the talented Gracie Terzian over on herYouTube channel.




Uke Toob

Gracie Terzian - Love Rest





Girl with Great Vocals Plays the Harp Ukulele




Jack Smart Reviews

Smart Review: Birdland


And instead of solemn 16th-century requiems, we have Gracie Terzian and Wells Hanley’s smoky, cabaret-esque tunes, which allow each of the sisters a reflective moment in the spotlight. The glint in Pucci’s eye as she wails a second-act showstopper is equal parts menace and grace. Anrather, who grounds the almost-schizophrenic Annie with an exquisite melancholy, coos her ballad: “I’ve been told that love can come and go / so if it ever comes, let me know. / Until that time I’ll wait silently, / listening carefully, quietly.”




Ukulele Hunt

Gracie Terzian - Love Rest




Maryland Theatre Guide

Theatre Review: ‘Measure for Measure’ at Shakespeare Theatre Company


"Much of the sensual heat of the evening, however, comes from the ensemble–with special applause to Amber Mayberry and Gracie Terzian for their show-stopping “nuns-to-strippers” burlesque routine near the end of the pre-show cabaret..."




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