Although Kay’s early foray into showbiz did not result in a childhood career, she grew up singing with a mother who taught her the standards and appreciation for the singers of the 30s and 40s. However, when Kay started singing professionally, it was with a couple of progressive country/blues bands. Despite a songlist that included a lot if Willie, Waylon, and Patsy Cline, Kay always insisted in some Peggy, singing “Fever” as the two-steppers whirled by. She also acted in local plays and musicals (she was Janet in a production of “Rocky Horror.”), and performed (still) as a vocalist at the Cathedral of Light church. But it wasn’t until she began singing with Luana Stoutmeyer’s Center Stage Band that she was finally able to release her inner chanteuse and sing all the styles all the time – from the Stones to Streisand.

Kelly Durbin brings 30 years of performing experience to his teaching. He currently remains active as a jazz pianist performing at local and regional festivals and venues, often with international jazz artists. He was a long-time member of the Marchel Ivery Quintet, as well as ensembles led by bassist James Gilyard and saxophonist Wayne DeLano. Durbin directs the Jazz Ensemble at UTD and teaches classes in music theory, MIDI, jazz history and jazz keyboard. Kelly received his master of music degree from The University of North Texas and has enjoyed long tenures with the Marchel Ivery Quintet and the James Gilyard Ensemble. His professional credits include work with David "Fathead" Newman, James Clay, Chuck Rainey, Billy Hart, Cornell Dupree, Ed Soph, Lynn Seaton, Hank Crawford, Sebastian Whittaker and Roseanne Vitro.

Kyp Green is both a classical and jazz bassist and serves as a member of the Dallas Wind Symphony, East Texas Symphony, Waco Symphony, and the Dallas Jazz Orchestra. He has backed artists as diverse as Itzak Perlman and Pincas Zuckerman in the classical world as well as Yanni, the Moody Blues, Larry Gatlin, Steve Allen, and Phyllis Diller in the pop world. Over the years he has also been privileged to accompany many jazz greats such as Clark Terry, Doc Severinsen, Eddie Daniels, Al Grey, Red Holloway, Carl Fontana, and the Four Freshmen among many others.

With her satiny, three-octave voice, her sexy sense of humor and her trademark elbow-length gloves and beaded gowns that would fill Julie London with envy, Laura Ainsworth ushers audiences into her own enchanting world, a cocktail that combines the elegant retro style of lounge jazz chanteuses of the ‘40s and '50s with sophisticated modern musical twists. She's released three CDs and a best-of vinyl LP (and is currently recording her fourth) of her musical style that she calls "New Vintage." It’s an intoxicating blend of past and present that has attracted some of the top jazz players in Texas to her side, including longtime partner Brian Piper, one of the most sought-after pianists/arrangers in the Southwest. It’s also earned her critical raves and industry honors, including a profile in Downbeat magazine; performances at Manhattan’s famed Metropolitan Room, L.A.’s Whiskey A-Go-Go, resorts in India and Dubai, and Mike Huckabee’s national TV variety show on TBN; three Global Music Awards Bronze Medals; prominent places on popular compilation albums such as "Goa Chill-Out Zone" and "This Is Vintage Now, Vol. 2;" a Clousine Music Magazine “Best Jazz Album” award; multiple nominations in the Josie Music Awards and a number of nominations and wins in the Artists Music Guild Heritage Awards, including an unprecedented sweep of Album, Video and Female Vocalist of the Year for her third album, "New Vintage." Rave reviews in the Japanese jazz press led to her catalogue also being picked up for distribution across Japan.

Big band and lounge jazz are in Laura's DNA. Her late father, Bill Ainsworth, was a renowned sax and clarinet master, vocalist and arranger who played with Freddy Martin, Tex Beneke, Ernie Felice and other top bandleaders, and at age 17, was possibly the youngest member ever of the Tommy Dorsey Orchestra. As a young girl, Laura watched enraptured as her dad accompanied such idols as Ella Fitzgerald, Tony Bennett and Mel Torme, all of whom formed her musical style. Other major influences include Bea Wain, Keely Smith, Frank Sinatra, Julie London, the Mills Brothers, Lena Horne, Peggy Lee and Dinah Shore.

Jazz Inside magazine raved, "You can keep those pop divas, the only one for me is Laura Ainsworth... a wonderful modern interpreter of the Great American Songbook, as well as thoroughly modern styles." Robert Sutton of JazzCorner.com wrote that she "weaves past and present with stunning power." All About Jazz said, "Gifted with a sultry, swoon-inducing croon, Ainsworth can sing any words and command attention." Arnold Wayne Jones of the Dallas Voice wrote, "When Dallas lounge singer Laura Ainsworth releases an album…you have to sit at home imagining the tinkling of ice cubes in a highball (or, just as legitimately, make a cocktail yourself and create your own ambiance)…Her voice, a satiny ribbon that seems to flow as an uninterrupted river of downbeats, is rich and distinctive, but it’s her sense of humor that catches you note after note." And Kev Rowland of Gonzo Weekly said, “A voice and style that don't belong to this century, let alone this decade…Close your eyes, and drift into a different world.”

Laura has performed in a variety of venues, including jazz clubs, historic theaters, elegant showrooms, major corporate and convention shows, and two state galas at the Arkansas Governor's Mansion. Her albums have received worldwide airplay and she has appeared on various TV and radio programs, her own special on Dallas Comcast Cable, and a number of top lounge music podcasts, including "Lounging with Lombardi" in New York City and Buddies Lounge, where she was the first contemporary artist ever played or interviewed. She's also a favorite on the internationally-known "Cocktail Nation" podcast from Australia. Host Koop Kooper, dean of all things swank, has ranked her albums in his annual top 10 and said her of her second release, the film noir-inspired "Necessary Evil," "My goodness, it is brilliant."

“It took the world years to discover that the DFW Metroplex is home to lots of great jazz. But there’s a fast-rising new sub-genre of jazz – vintage revival (lounge, exotica, bachelor pad music of the ‘40s-‘60s) – and with the release of her third album, 'New Vintage,' and a best-of audiophile vinyl LP titled 'Top Shelf,' DFW vocalist Laura Ainsworth is already being recognized worldwide as a leader of the movement." - Downtown Business News, Dallas

LINNY NANCE is…

The youngest of 4 brothers,

He was born into a family rich in music: Trombone, acoustic bass, congas and drums. Taking up piano at 8 years old and trumpet at 11, MUSIC has always given Linny's creativity and passion a way around cerebral palsy.
"I thrive on what differences bring."

Linny began his professional career with Little Joe Blue; Since then, he has shared the stage and/or studio with Universal Music recording artist Lucky Peterson, Yarborough and Peoples, James Ingram (on a Patti LaBelle tour), Grammy nominated Breggett Rideau, blues artist Tutu Jones, Shanachie Entertainment recording artist Pamela Williams,Concord Records Artist Ashleigh Smith, Rendezvous recording artist Tom Braxton, Bernard Wright, Bobby Sparks and a variety of other talented acts. Linny has played all over Europe, Japan, Canada, and the Caribbean: his performance credits include the Montreux Jazz Festival, the Jazzhaus, the Montreal Jazz festival...
Linny stays very busy. He likes it that way.

As a professional musician, Linny Nance works out of his Dallas studio, writing, composing and producing for R&B groups, jazz, rap and gospel artists
Recently, Linny did showcased his talents in “The look of Love” & “Elixir”, albums of Shanachie Entertainment recording artist Saxtress Pamela Williams; also in “Darling Forever” JSP recording artist Tamara Peterson's first solo release.

Last but not least, Linny Nance leads his own band, Network.