Kendra Shank: Afterglow - Restored & Remastered [24/96 DOWNLOAD]

[24/96 DL] Kendra Shank: Afterglow - Restored & Remastered

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AVAILABLE NOVEMBER 20, 2026 - BANDCAMP EXCLUSIVE. Kendra Shank’s intimate 1994 debut, 'Afterglow', has been carefully restored and remastered for this high-resolution 24-bit/96kHz digital reissue. Discovered by Shirley Horn and co-produced by Larry Willis, this intimate, understated session features Shank alongside Larry's quartet and saxophone icon Gary Bartz. The original two-track analog master tapes survived the devastating 2007 Mapleshade Studio fire and have been meticulously restored and remastered by renowned engineer Paul Gold, with Kendra's direct personal involvement. This magnificent new transfer unlocks an astonishingly lifelike layer of warmth, breathiness, and micro-detail in Kendra's caressing voice.

Part Number: MSR-010-info

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Mapleshade Records - Kendra Shank with the Larry Willis Quartet

AVAILABLE NOVEMBER 20, 2026 - BANDCAMP EXCLUSIVE

https://mapleshaderecordings.bandcamp.com/album/afterglow-restored-remastered

Afterglow is Kendra Shank’s stunning 1994 debut album, recorded after legendary vocalist and pianist Shirley Horn discovered the singer-guitarist while on tour in Seattle. Praised for its intense emotional depth, the session features Horn and pianist Larry Willis as co-producers, with Willis acting as accompanist alongside his stellar quartet and guest saxophonist Gary Bartz. Shirley praised “Kendra’s duet with Larry took my breath away.”

The session remained one of Willis' absolute favorite Mapleshade releases. Reflecting on the project, he noted: "Kendra's performance was way beyond my expectations. Her song selection was surprisingly different, yet tasteful. The forethought Kendra put into her album was unexpectedly mature for a young singer."

Afterglow gives listeners a front-row seat to a wonderfully intimate, understated set by a gifted young singer. Hailed by Stereophile as the work of "the finest jazz vocalist I've heard in years," the album features Shank backed by the world-class accompaniment of the Larry Willis Quartet—featuring bassist Steve Novosel and a stellar rotation of drummers including Steve Williams, Steve Berrios, and Paul Murphy—plus saxophone icon Gary Bartz sitting in on a pair of tracks.

Originally captured live to two-track analog tape at Mapleshade Studio using a purist layout of minimal miking with no mixing board, EQ, or compression, this high-resolution 24-bit/96kHz digital reissue unleashes newfound clarity and presence from Shank's fabulous debut. Thankfully, the original analog master tapes survived the devastating 2007 Mapleshade Studio fire. They have been meticulously restored and remastered by renowned engineer Paul Gold at Salt Mastering with Kendra's direct personal involvement. This magnificent new 24/96 transfer unlocks astonishingly lifelike depth, breathiness, and micro-detail in Kendra's caressing voice.

Performers

Kendra Shank, vocals & guitar

Larry Willis, piano

Gary Bartz, alto sax *

Steve Novosel, bass

Steve Williams, drums

Steve Berrios, drums**, percussion & congas

Paul Murphy, drums ***

Track Listing

1. Almost Blue (E.Costello)

2. Photograph (R.Gilbert/A.Jobim)

3. Tes Yeux Bémol (D.Allary/H.Renaud)
duet: Shank and Willis

4. Paris Bossa* (K.Shank)

5. There's Never Been A Day* (R.Dorough)

6. Afterglow *** (C.Coates)

7. Devil My Care ** (T.Kirk/R.Dorough)

8. I Have The Feeling I've Been Here Before ** (A.Bergman/M.Bergman/R. Kellaway)

9. Left Alone (B.Holiday/M.Waldron)

Total Time = 49:17

Production Credits

Recorded at the Mapleshade Beechwood Studio, July 5/6, 1992

Producers Larry Willis & Shirley Horn

Recorded by Pierre Sprey

Mastered by Paul Gold, Salt Mastering

Cover photo by Mel P. Curtis

Piano: Steinway Model 0 restored and tuned by Potomac Keyboards

24-bit, 96 kHz A/D transfer using a Telefunken M15 deck and Prism AD2 converter.

More Info

https://kendrashank.com/

https://www.facebook.com/kendrashank.music

https://www.discogs.com/artist/773358-Kendra-Shank

Review of the original CD by Stereophile

Kendra Shank's Afterglow is the real deal „— an outstanding debut by the finest jazz vocalist I've heard in years. Shirley Horn co-produces, and it's easy to see what she likes in Shank; the tunes range from Elvis Costello's Almost Blue to the ineffable sadness of Allary's and Renaud's Tes Yeux Bemol „— all rendered with sensitivity abetted by technique. This subtle recording complements Shank's strengths: it's understated and evocative. A real winner. - QuarterNotes by Wes Phillips, June 1995

Review of the original CD by Fi

New Female Vocalists feature by Gene Seymour: Only one album so far, Afterglow [Mapleshade]. But the Seattle-based Shank is already showing the kind of contemplative, penetrating emotional power that, given time and a broader range of material, may win her a devoted following of romantics. Like Cole and Shirley Horn, Shank is a diligent, imaginative product of the Less-Is-More School of Balladry. Her version of Bob Dorough's Devil May Care suggests that she can swing when she chooses to. She should do more of this kind of stuff when she records again. (Soon, one hopes.)

A Sonic Sidebar by Fred Kaplan: The best of the bunch, sonically, is Kendra Shank [Mapleshade 02132]. This is the only record where the singer seems to be right there in front of you, where you not only hear her voice but sense her entire body. The players in the band are also in the room, way back there, their notes and overtones mingling with the air around them. There's an intimacy, a liveness, that none of the other discs — that few jazz vocal records in the past couple of decades — begin to approach. And it was recorded with no artificial reverb or EQ-ing in the slightest. Let that be the lesson. - March 1996

Review of the original CD by Jazziz

Co-producer Shirley Horn's touch is evident throughout Afterglow (Mapleshade), the debut release by the resonant young singer and guitarist Kendra Shank. The arrangements are sparse and understated, shimmering with a luminous aura across all nine of the album's tracks. On Afterglow, Shank's luxurious voice and pliant guitar are accompanied by pianist and co-producer Larry Willis and his quartet, plus a special guest appearance by alto saxophonist Gary Bartz on the singer's own composition, Paris Bossa, and the Bob Donough song There's Never Been a Day. A second Donough tune, Devil May Care (Shank toured the West Coast with the singer-pianist back in 1991), carries a light bop flavor, propelled by Willis' fluid, easy-going piano. The disc opens with a moody and mournful Elvis Costello ballad, Almost Blue, influenced by the late trumpeter Chet Baker's interpretation, and closes with an affectionate nod to Billie Holiday, whose lyrics to Left Alone caress a subtle melody written by Lady Day's last accompanist, pianist Mal Waldron. - Wayne Saroyan, April 1995

Review of the original CD by New York Newsday

Shank, a lapsed folkie from Seattle who now pledges allegiance to Billie Holiday and Shirley Horn, has the goods to go as far as her talent and imagination can take her. Blessed with intonation that can both pierce glass and caress your most vulnerable places, Shank also has an inner sense of narrative logic and a delicate, intimate relationship with rhythms, whether they pulse softly with a bossa lilt or shamble with all the indolence the blues will allow.

Along with such basic equipment, Shank is pensive, warm and unafraid to put her feelings out in front of her. She brings understated passion to all the shades of blue represented on this debut disc. She takes complete charge of Almost Blue, the Elvis Costello dirge made famous as a penultimate valedictory by the late Chet Baker. She brings deserved prominence to a little-known ballad by Bob Dorough, There's Never Been a Day, which includes a tangy, juicy sax obligato by Gary Bartz.

The liner notes quote Shank's introduction to Holiday's music: "The moment I heard her, I said, 'That's it!'" Don't be surprised if, someday soon, you have a similar reaction to Shank. - Gene Seymour, October 9, 1994

Review of the original CD by HiFi+

Singer-guitarist Kendra Shank has had a lengthy apprenticeship, much of it in France (she considers Paris her second home), and has recently performed at jazz festivals and clubs around the world. Shirley Horne introduced her to Mapleshade and I'm glad she did because this is a lovely set. Mostly because she has a warm, very pure voice with plenty of expression, but also because she's sensitively backed by some fine musicians including Larry Willis (piano) and Gary Bartz (Alto sax). To add icing to what's already a pretty rich cake, Kendra clearly has an ear for a good song since the numbers here include songs by Elvis Costello, Jobim and Holiday alongside a single composition of her own, the snappy 'Paris Bossa' which holds its own in pretty distinguished company. She sounds particularly beguiling whilst singing in French as she does in 'Tes Yeaux Bernol' where she's sensitively accompanied by Willis. And to top it all Mapleshade have delivered another excellent, open, recording. Staging is excellent with plenty of depth and the whole thing is simply unfussy and natural. What are you waiting for? - Dennis Davis

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