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Katie Bull


Conversations with the Jokers
Love Spook
Bull Fonda Duo
The Story, So Far


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"...a career that can only be described as singular... think of vocalist Katie Bull as a jazz prism, refracting musical light in endlessly unpredictably ways." Christopher Louden, JazzTimes Nov.1/11

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"..Bull gets it right...'it' being something wholly undefined and unconventional."
(Suzanne Lorge - The New York CIty Jazz Record (formerly AllAboutJazz-NY) Vox News Sept. 07)

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"Jazz vocalist Katie Bull just never lets you down with her insightful CD projects...She & the groups she puts together seem supreme......feelings range from positive tension, relaxation, expectancy, & fulfillment... ...fine treatment and vocalise...intimate interaction of folks & forces... ...a pleasurable musical journey..."
(George W. Carroll/The Musicians' Ombudsman)

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" ...a remarkable recording that celebrates the conceptual vision of two musicians who manage to work, and swing, together incredibly well..." NY-Press, July '05

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"...(a) prodigiously talented singer...Bull sings in a warm, smooth voice that will remind some of Sarah Vaughan and others, interestingly, of the young Chet Baker - at least until she starts to scat, at which point her rhythmic adventurousness and unusual syllabic choices make it clear that she is approaching this repertoire with an agenda all her own...a promising debut from a significant talent."
(Rick Anderson - AMG 2003)

Click here for more Conversations with the Jokers reviews

Katie Bull - Conversations with the Jokers
(Corn Hill Indie)
Outside of pianists, there are probably more female vocalists working in jazz then any other type of performer. But when counting the truly adventurous singers, that list becomes amazingly short. With Katie Bull's debut recording, Conversations with the Jokers on the Corn Hill Indie label, a new name can be added.

Even a passing glance at the histories of her outstanding sidemen - pianist Michael Jefry Stevens, bassist Joe Fonda and drummer Lou Grassi - will tell you that this is not your typical singer's trio accompaniment. With names like Anthony Braxton, Roswell Rudd, Makanda Ken McIntyre, Perry Robinson, Charles Gayle, Thomas Chapin, Sheila Jordan and Dave Douglas among their credits, these three men have worked with some of the most adventurous jazz artists of the past four decades.

And typical accompaniment is clearly not the desired result. One of the primary characteristics of the jazz avant-garde - the somewhat inaccurate description that serves as a catchall for those who have extended the jazz tradition over the past 40 years - is the group interplay that supersedes the standard soloist-over- rhythm-section of the mainstream jazz style.

On Conversations with the Jokers, that ensemble interplay is in full blossom, in keeping with the manner set forth by the peerless genius of the late Betty Carter. Like Betty, Katie approaches every song in a unique manner; sometimes deconstructed at the outset and stated later on; other times offered in snippets throughout the piece - but always tightly interwoven with the trio, and drawing every nuance from the lyrics.

As for her sound, a wisp of Ella Fitzgerald here, a hint of Sarah Vaughan there, a few drops of Jeanne Lee and even a smidgen of June Christy may come to mind, but Katie's sound is hers alone. The influence of her "jazz mothers" (as she calls them) Sheila Jordan and Jay Clayton, are there as well, in the great jazz tradition of providing a launching pad for her own singular explorations.

The excellent selection of material is culled from where the Great American Song Book interfaces with classic jazz repertoire. One exception is See Through You, a delightful original blues duet by Katie and Fonda, where her voice snakes sinuously in free time around Joe's rock-solid funky bass line.

Another duet by the pair - who sound like they've always played together - is a gently swinging version of the Van Heusen/Burke classic Like Someone in Love that closes the album. And the same songwriters' beautiful Moonlight Becomes You is given a lovely, straightforward treatment, adding Stevens' piano to the mix.

Stevens' exciting and darkly luminous piano style could be overpowering for most vocalists, but for Katie, he's an ideal choice. His abstract intro and edgy, jaggedly rhythmic thrust makes My Little Boat a most unusual bossa nova, providing a perfect setting for Katie's syncopated vocalizing.

And his fiery solo on the powerfully driven You're Everything sets the table for Katie's explosive vocal, spurred on by Grassi's fiercely swinging drums. Grassi also offers a master class in the slow boil, with layer upon layer of polyrhythms opening a steamy version of the Dietz/Schwartz standard You and the Night and the Music, with brilliant brushwork under the sizzling piano solo and vocal improvisation.

On Cole Porter's What Is This Thing Called Love? Katie exhibits her straight ahead jazz chops in a style that would make Ella smile. And her take on Eddie Jefferson's lyrics to Charlie Parker's be-bop anthem Now's the Time pays homage to both without even a whisper of obviousness.

Again taking an oft-played piece and making it all her own, Antonio Carlos Jobim's Wave creates a unique, highly evocative mood, with Katie's gently probing vocal over Fonda's suspended ostinato, only moving into the familiar samba on the bridge.

Rounding out the album are I Remember You, with its easy groove and dazzling interplay, and a breathtakingly beautiful rendition of I'm Glad There Is You.

This is not an album by a singer with rhythm accompaniment. It's ensemble music in its purest form, filled with extraordinary solos, incredible interaction, and amazing rapport by remarkable musicians who clearly delight in each other's company.

For Katie Bull, Conversations with the Jokers displays another side of this multi-faceted artist. As vocalist, she's performed with both Sheila Jordan and Jay Clayton, Kirk Nurock's Natural Sound, and noted composer Julius Eastman, among others. The daughter of Detroit-born jazz pianist and post-modern improvisational dancer/choreographer Richard Bull, and stepdaughter of the noted dancer/choreographer and dance anthropologist Cynthia Jean Cohen Bull (aka Cynthia Novack), Katie has also written, directed, produced and performed in numerous inter-arts performance works for her company, the Bull Family Orchestra. She is also an innovative vocal production coach, working with a physical approach to the spoken word.

Corn Hill Indie is distributed by North Country Cadence Bldg. Redwood, NY 13679
T: 315-287-2852 / F: 315-287-2860


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Katie Bull - Love Spook

Free spirited jazz vocalist Katie Bull expands the view of her distinctive talent on Love Spook, her second album for Corn Hill Indie. On her debut release, Conversations With The Jokers, Bull, who shows the tonal and rhythmic influences of musical matriarchs Jay Clayton and Sheila Jordan, exhibited a convincing ability to bring a fresh approach to her interpretations of classic material from the Great American Songbook, leading AllAboutJazz to predict that the young singer, would "be a force to be reckoned with in vocal jazz.” On Love Spook Bull, who shows an enormous amount of respect for both innovation and the tradition, demonstrates just how strong that force is on a program of a dozen songs about intimacy, loss, and discovery. The program is divided equally between uniquely personal originals and timeless standards she grew up loving and describes as “chambers of my own heart”.

The dichotomy of Bull’s style is evident in her choice to use two different rhythm sections, united by drummer Matt Wilson, whose desire to record some of the singer’s songs served as the impetus for the project. The trio with the piano/bass team of Frank Kimbrough and Martin Wind flows seamlessly in the proverbial pocket, while the other with her regular bandmates Michael Jefry Stevens and Joe Fonda always seem to take it slightly out - pushing at the edges of the same pocket. Bull’s voice blends beautifully with both as she bares her soul, singing with a sound that is simultaneously sensual and spiritual.

Love Spook opens with Wind’s ominous sounding bass line and Wilson’s rattling rim shots evincing the title track’s conveyance of the feelings of impending danger that can often accompany romantic connections. Bull’s powerful voice is full of a drama befitting her background in experimental theatre as she recites her enlightening lyric about a love lost and found, revealing her remarkable range as she plumbs the depths of her emotions with a fullbodied vibrato and then soars to her highest note as she sings the word sky.

Bull offers listeners some pleasant insights into her personality with the words to her vamp intro for My Favorite Things, singing about a “cherry tomato (that) explodes in my mouth” and “whole flocks of whales as they sing their way south” over Wilson’s staccato frame drum tapping before smoothly segueing into Oscar Hammerstein’s well known lyric. Kimbrough solos beautifully on Richard Rodgers familiar melody, displaying his own fully developed style before referencing McCoy Tyner’s stylings on the classic version with John Coltrane. Bull who has her own rhythmic way with words, also shows a strong affection for Betty Carter’s idiosyncratic interpretation of the song.

Strange, a second Bull original, demonstrates the singer’s philosophy that there can be a special beauty in the simplicity of some songs. The piece begins with her dueting with Wilson’s malleted tom toms, intoning a wordless reading of the melody before going into the lyric, which paints a flowing impressionistic picture of an experience using very few words

Bull slowly sings long legato lines on Lerner and Lane’s On A Clear Day, stretching out like the horizon depicted in the song’s lyrics. Pianist Michael Jefry Stevens the singer’s regular pianist, provides sensitive minimalist accompaniment, allowing her voice to shine in the sympathetic setting.

Deer Run’s words come from a skiing “lesson” Bull’s young daredevil daughter and son gave their mother when they were all just learning last year. Bull sees the sport as a metaphor for love. She says, “It’s fun and daring … Are you going to pull back? Are you going to let go? Are you willing to take the risk? Are you daring enough to risk falling?” Her fearless improvising here displays an almost acrobatic athleticism, screaming the words “it’s like flying” while Stevens, Wilson and Fonda (in particular, bowing below the bass’s bridge) offer some daring sounds of their own.

Leftover Blues is Bull’s sexy sounding silly inventory of an almost barren refrigerator. On this one the soulful singer shows when you look at the world with the right attitude, just about anything is worth singing about. Kimbrough, Wind and Wilson all get to dig in on this one, offering up some of the date’s best straight ahead playing.

Bull maintains her playful tongue in cheek attitude on I Only Have Eyes For You, affecting a coquettish tone on a bossa nova arrangement that features some outlandish scatting to Wilson’s dancing latin rhythms. Kimbrough shines as he shows himself to be equally skilled at comping and soloing and Wind supplies some superbly supportive bass work on this one.

There’s a touch of sadness in the beautiful warm sound of Bull’s voice on her respectful reading of the ballad I’ll Be Seeing You. The song’s melancholy mood, evident from the first notes of Kimbrough’s introductory chorus, is maintained throughout the performance, right up to the piano’s closing notes.

The date’s bright outlook returns on Michel Legrand’s Watch What Happens with Bull singing Normal Gimbel’s optimistic words with a happy spirit, at times reminiscent of Ella Fitzgerald in her scatting. Stevens and Fonda show that despite their earned reputations as leading members of the avant garde, that they are both capable of surefooted swinging.

Connection Rag is an absurdist piece with a Brechtian tone. The singer confesses to imagining herself dutifully reciting her words by rote while in the center of the circus like atmosphere that is conveyed by Wilson’s arsenal of percussive toys. Stevens and Fonda’s experimentalist background serve them well on this intentionally dissonant interpretation of the classic form.

Bull takes Surrey With The Fringe On The Top at a very slow tempo that brings out the romance in the words that is often lost as most singers race through the chord changes. The sound of Sarah Vaughn is present in her voice here, inspiring the trio to turn in a particularly moving performance, with Stevens remarkably like Bill Evans.

The concluding Ashokan Road was written by Bull with the words “something dies, something else is born” which she employed to explain to her daughter that she wasn’t killing some lavender when cutting back the plant. After the tragedy of 9/11 the lyric took on a new meaning that can be felt in this version. The song begins somberly with Fonda’s arco bass, but moves on to an optimistic tone with Stevens’ latin vamp before resolving in a pensive mood.

Katie Bull is a singer who is capable of creating the kind of music that has real meaning in today’s world. She has the courage to tackle the contradictions inherent in love and life and the talent that gives her the ability to sing old songs in new ways. Love Spook offers music that is full of fun and relevance. Its an important step on Katie Bull’s road to successfully sharing her considerable gift with a world she sees illuminated by the light of her own very creative insights.

Corn Hill Indie is distributed by North Country Cadence Bldg. Redwood, NY 13679
T: 315-287-2852 / F: 315-287-2860


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In the two years since she has begun recording, Katie Bull has proven herself to be "a force to be reckoned with in vocal jazz.” On her first two Corn Hill Indie albums, Conversations With The Jokers and Love Spook, Bull demonstrated a strong foundation in the music’s tradition, as well as the powerful will and desire to expand it, blending adventurous original material with her own uniquely personal interpretations of classics from the Great American Songbook. Now, on CUP OF JOE, NO BULL, she demonstrates the depth of her commitment to her artistic philosophy, baring her soul in an intimate musical conversation with bassist Joe Fonda, as she continues to combine her own compelling compositions with music from the standard jazz repertoire.

Fonda, best known for his work with Anthony Braxton and Bill Dixon, appeared on Bull’s two previous releases and shares the singer’s interdisciplinary approach to creativity and her forward looking view of jazz. On Conversations With The Jokers the bassist and vocalist recorded two duets – a straight ahead reading of Like Some One In Love and a daring spontaneously improvised collaboration they called See Through You. On this new date they continue exploring the vast potential first displayed on those two contrasting numbers. Expertly recorded by the late great engineer David Baker, CUP OF JOE, NO BULL is a disc of rare intimacy and sincerity.

The date begins appropriately with I Could Have Danced All Night, a fitting metaphor for the duo collaboration. Bull opens with a straightforward reading of the lyric to the Lerner and Lowe classic over Fonda’s melodic bass and follows with a distinctive scatted second chorus revealing the influence of the great Betty Carter. Fonda’s solo displays a beautiful tone and marvelous musicality that understandably inspires the singer’s creativity.

Fonda introduces Love Spook with a one minute twenty second virtuoso solo bass recital and smoothly segues into the ominous bass line of the Bull composition that was the title track of her previous disc. The song’s unabashedly sensual lyric takes on an even more intimate character in the duo setting and the singer reveals the full range of her voice, including a breathy tonality and a stratospheric reading the word “sky” that she transforms into a transcendental chant.

Antonio Carlos Jobim’s Quiet Night of Quiet Stars (Corcovado) is treated to a romantic reading revealing the emotional depth of Bull’s singing. Fonda’s full toned bass wraps the singer’s sweet intonation in a warm embrace that conjures up the image of two lovers gazing at the celestial beauty of the Brazilian night.

Shortcut Blues is a Bull original that shows her to be an excellent interpreter of the classic American idiom. The lyric, ostensibly about a highway traffic jam, is full of sexual double entendre displays the singer’s appealing sense of humor.

Bull and Fonda take Johnny Mercer and Jerome Kern’s I’m Old Fashioned at a breakneck tempo, demonstrating their technical facility with the standard jazz repertoire and a somewhat ambivalent attitude towards the title. These two may be old fashioned, but they are also modern and daring as their exciting finish shows.

Monkey Business is a Bull original in the form of a child’s song. She uses the simple line as a springboard for some of the album’s most daring free improvisation

Bull opens Bluebird of Happiness acappella, stretching out the words in long searching legato lines before Fonda joins her and the two go skipping along on their blissful quest. Fonda solos with confidence and Bull scats a chorus in a distinctive style reflecting the influence of her mentors Jay Clayton and Sheila Jordan.

When You Say You Will reveals Bull’s ability to make music out of real life situations. The lyric, improvised over Fonda’s original bass line, is constructed from kind of “interrogation” a lover might engage in when questioning a late returning partner.

Bull swings straight ahead on When I Fall In Love, singing the words with a believable sincerity that draws the listener into her world and brings the song to life.

Midnight Sun is one of the great Johnny Mercer’s most beautifully ornate lyrics. Bull takes her time with the words, clearly enunciating them in her most attractive voice, basking in their warmth as Fonda masterfully accompanies her, intoning the changes to the popular Sonny Burke-Lionel Hampton melody.

Bull’s Speak Louder is another original in which she transforms everyday conversation into song. The lyrics to this one come from a didactic discussion with a “little sister” in which she imparts the advice to go slow -- presumably in matters of the heart.

Since I Fell For You kicks off with a reading of the rarely performed verse about “when you just give love and never get love” before launching into the well known lyric. Fonda again reveals his affinity for the blues soulfully accompanying Bull as she delivers one of her most emotional performances of the date.

The date concludes with What A Wonderful World. Bull sings the ode to optimism with a reverential tone that is full of hope and conviction, emphasizing the songs positive message. Fonda, the perfect partner, hangs on her every note, providing the sympathetic support that is key to the success of the whole date.

The vocal-bass configuration is a rare and difficult setting for a singer to sustain for a whole album’s worth of material. On Cup Of Joe, No Bull Katie Bull and Joe Fonda show that they have the immense talent and vision it takes to make it work. Presenting a wide range of material with a variety of approaches these two creative spirits come together and make it seem natural.

Corn Hill Indie is distributed by North Country Cadence Bldg. Redwood, NY 13679
T: 315-287-2852 / F: 315-287-2860


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Katie Bull
The Story So Far
Corn Hill Indie 1004
Street Date November 1, 2007

Katie Bull, vocals, Frank Kimbrough, piano, Michael Jefry Stevens, piano, Joe Fonda, bass
Matt Wilson, drums, Harvey Sorgen, drums, Jeff Lederer, Saxophones, David CasT, Saxophones,
David Phelps, guitar

The Story So Far, the latest chapter in the exciting tale of multitalented vocalist/ lyricist/composer Katie Bull, chronicles the evolution of one of the most individual and exciting singers in music today - a truly unique artist whose widely acclaimed authoritative and attractive voice is but one component of her far reaching creative spirit. Exquisitely packaged, The Story So Far, includes a CD of Bull’s latest musical creations, an accompanying fourteen page booklet with artwork drawn from ancient story books and gothic fairy tales and lyrics to each of her original pieces, paired with a DVD with the Bull Family Orchestra, an inter-arts theatre ensemble, performing a freely structured improvisational ”happening” on a cobblestoned Soho street, that documents Bull’s role as a leading member of New York City’s downtown avant garde arts scene.

Bull is first and foremost a “jazz singer” and The Story So Far places her squarely in the forefront of the tradition of improvising vocalists that extends from Billie Holiday and Betty Carter to Sheila Jordan and Jay Clayton. Joined by a revolving cast of sympathetic players that includes pianists Frank Kimbrough and Michael Jefrey Stevens, bassist Joe Fonda, drummers Matt Wilson and Harvey Sorgen, saxophonists Jeff Lederer and David CasT and guitarist David Phelps, Bull demonstrates a free spirited approach to singing that winds her voice around the players’ music, making her colleagues more collaborators than mere accompanists.

The disc opens dramatically with Bull’s Which?, a raucous straight ahead romp through the standard AABA song form featuring Lederer’s tenor saxophone with the Kimbrough-Fonda-Wilson rhythms section. Katie proves that she can swing with the best of them in her commanding reading of her inquisitive lyric on the subject of dichotomous personalities and her cooing scatting on the piece’s appealing bridge. The music confirms her status as a talented composer and arranger – hearkening to the spirit of Charles Mingus with Lederer’s guttural sax leaping out of ensemble a la Eric Dolphy and Booker Ervin, while the band shouts out encouragement in a manner recalling the great bassist’s exhortations.

A Song For Hudson’s Heart smoothly segues in over the strangely soothing thunderous sound of Nick Brough’s ultra harmonizer, setting the scene for this beautiful lullaby. A duet with pianist Michael Jeffrey Stevens, the music is at times reminiscent of Thad Jones’ classic “A Child Is Born,” an appropriate setting for Bull’s tender recitation of a mother’s comforting words for her drowsy son.

Katie delivers a fresh, intimate reading of the classic of For All We Know, interacting with the trio of Stevens, Fonda and Sorgen in a daring fashion that recalls the remarkable rapport that Betty Carter developed with her bands. Bull’s reimagining of the standard demonstrates her status as a forward thinking traditionalist who is not afraid to take chances and move the music into the future.

Twisted, the popular Annie Ross/Wardell Gray page out of the Lambert, Hendricks and Ross songbook that was later revived by Joni Mitchell is given a clever treatment here, with Bull overdubbing her vocal in deference to the song lyric’s subject of dual personality. Bull and the band swing like mad here with Kimbrough and Lederer sharing solo space with the singer.

Bull’s original Half Full begins ominously with David CasT’s baritone sax and Joe Fonda’s bass setting the tone for the singer’s portentous reading of her mysterious imagistic lyric and her extraordinary ethereal scatting.

Next Generation’s Doodlin’
is Bull’s version of vocalese, a tribute to Annie Ross, whose original Doodlin’ is one of her all time favorite pieces. Like Hudson’s Heart, the lyrics tell a story inspired by one of Katie’s children – this one by her precocious daughter Hannajane. Like the wandering mind of a young child, the song is full of mood changes, moving from the silly to the serious and back at the jump of a hat.

Guitarist David Phelps joins Bull for an atmospheric duet on her Paleontology. The incongruously titled love song showcases the composer’s flair for metaphor, reflecting her insightful outlook into everyday occurrences. Phelps’ spare background creates an absorbing environment in which the beauty and expressiveness of Katie’s voice comes to the fore.

I Should Have Noticed brings back the Kimbrough-Fonda-Wilson trio with Lederer’s wailing soprano sax for a powerful piece that showcases the strength of Bull’s full bodied instrument. Her words recount the uncanny clarity with which previously overlooked details of a decaying romance are seen come to light in hindsight.

The Bull-Fonda Duo, previously heard on Katie’s release Cup Of Joe, No Bull, is heard again here on Go Ahead. The song, which the singer was prompted to compose by her experience of witnessing Donald Trump build along the Hudson River on New York City’s west side, blocking the beautiful view of the water for thousands of citizens, is another indication of Bull’s proclivity for addressing socio-political issues in her music.

Topanga Canyon is one of the date’s true high points. Inspired by the natural beauty of the Santa Monica Mountains’ peaceful oasis, it begins with Bull intoning a long low Ohm over Fonda’s bowed bass as a contrasting introduction to the memorable melody that she sings with joyous abandon. Stevens gets a chance to stretch with a powerful piano solo driven by Sorgen’s insistent rhythms before Bull’s vocal spirals out into space and returns to the opening Ohm.

Lederer begins Harry Warren’s There Will Never Be Another You with an inventive soprano solo that introduces Bull’s swinging interpretation of the classic that includes some impressive scatting and an imaginative dialogue with saxophonist, placing her squarely at the forefront of the lineage of creative vocalists.

Bull’s Jack is a new composition on which she recalls the sultry songbird stylings of singers like Peggy Lee and Anita O’Day. Cool and commanding, Katie moves freely between an earthy classic sound and spacey avant garde explorations, with CasT’s wailing tenor and Phelps’ fuzz toned guitar reinforcing the respective approaches.

The date’s regular program concludes with Wake Up Time, a message for America’s president sung, inspired by a New York Times article about a brain damaged GI returned from Iraq, in a theatrical style reminiscent of the work of Kurt Weill and Bertolt Brecht with CasT’s polka influenced baritone line creating the circus like atmosphere that is appropriate to the song’s ludicrous subject and Bull’s closing ranting chant of “no weapons of mass destruction.”

Four bonus tracks comprising Katie’s “Dream Cycle” end the disc. Accompanied by pianist Theo Hill and a string quartet arranged by Jeff Lederer, the suite offers a contrasting and complementary view to the songs of Bull’s waking life and sets up the listener for viewing the release’s accompanying DVD documenting a sixties styled happening enacted by the Bull Family Orchestra on the streets of Soho. The film by Peter Richards, who was once a dancer in Bull’s father company and has filmed Trisha Brown, Urban Bush Women and the Dance Theatre Workshop's many productions, was improvised guerilla style to cinematically capture the multimedia Downtown Happening that flowed out of the truncated tale written by Bull that gives the CD’s title, to the soundtrack of Bull singing Richard Rodgers’ “Lover” and “Some Enchanted Evening.”

The Story So Far is the newest installment in the ever growing body of work developed by Katie Bull during her years performing around New York. Jazz singer, avant garde vocalist, musician, dancer, story teller, actor and writer, Bull herself is an ever growing work in progress making an important statement on the arts scene that is informed by a philosophy best embodied by the words of the Reverend Dr. Martin Luther King’s Remaining Awake recited on the DVD and reprinted in the CD booklet: “We are tied together in the single garment of destiny, caught in an inescapable network of mutuality.” Katie Bull’s art is an important component in that network; beautiful fabric in the garment of destiny. She is a woman with a story to tell that reaches so far. Listen and watch her and she’ll take you to familiar places you’ve never been to before.

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Corn Hill Indie is distributed by North Country


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