Female vocalist Miss Jack Davey (Briana Cartwright) and producer Brook D’Leau (Brook Davis) are the flamboyant twosome that is J*Davey. The signature sound that they create is an eclectic mix of neo-soul, new wave, funk, and hip-hop that defies the creative constraints of today’s narrowly defined musical categories. The rhythmically hypnotic electronic mélange that D’Leau brews is imbued with Jack’s haunting lyrical intrigue and addictively smooth sonic inventions. She was born in St. Louis, MO (August 18, 1981) into a Classical Jazz and Jazz Fusion environment that firmly grounded her in the history of Black Urban Music in the United States. Miss Jack’s earliest musical memories are of the joyous hours on end spent listening to the sounds of Miles, Monk, and Coltrane being blasted on her grandpa’s stereo. But by the time she was eight years old her relocation to Los Angeles, CA caused her to re-prioritize her musical interests. The strains of Hip Hop and R & B crept into her psyche and reorganized her musical understanding and appreciation while she was growing up in California’s San Fernando Valley. Miss Jack absorbed elements of World Music,Salsa, Reggae, Pop Rock, Heavy Metal, and even Kathleen Battle’s operatic explorations into her burgeoning style as she circumnavigated Hollywood’s music scene. This episode in her artistic development along with her meteoric performances as a featured member of a Hip Hop dance troupe, The Mini Brat Pack, in the early 1990s eventually led to her being signed to MCA Records as a member of an all-girl singing group, D.E.F. (Doin’ Everythang Funky) the following year. The commercially unsuccessful experience with the group lasted virtually throughout her high school career and the 1990s. The group’s music was never released to the public, however, the time spent in the studio and rehearsals allowed Miss Jack to hone her skills as a lyricist, poet, rapper, and singer. More importantly she was inspired to broaden her creative horizons by her exposure to a diverse variety of music, musicians, and music industry professionals. And as fate would have it the duo was introduced to each other by a mutual high school friend. And neither of them was ever the same thereafter. Soon after they met, Miss Jack’s evolution as a multimedia artiste began in earnest during her matriculation at Sarah Lawrence College in New York where she completed a Bachelor’s degree in Film and Creative Writing. Miss Jack also explored the fashion industry in New York City, designing and modeling daring New Age couture in avant-garde fashion magazines and shows while she was still a college coed. She manufactured her fashion forward sensibility there as a result. And it was against this backdrop that she and high school friend, Brook Davis, decided to meld their mutual musical identity. He was born into the music business in Los Angeles, CA ( date ). Brook’s father, Rondell, was a successful studio musician who encouraged his scion to experiment with the myriad musical instruments and devices that cluttered their household. Almost from the start the precocious prodigy gravitated to electronic keyboards and drum modules despite the fact that his dad was an accomplished electric bassist. As a child he constantly tinkered with interesting melodic and harmonic structures to create unique tracks that had an identity that stood apart from the music that he heard around him. Early on Brook’s musical tastes and compositions demonstrated an affinity for the bombastic electronica of protagonists like Prince, the Talking Heads, Radiohead, The Eurhythmics, and The Police - elements of which emerge throughout the surreal soundscapes that he creates today. While Jack surrendered to the call of her muse immediately, Brook was more hesitant. Early on he did not fully understand the power and appeal of his music and his creative process. As a result at first he eschewed the spotlight and the attendant trappings of the music business. His father’s experiences taught young Brook an appreciation for the behind the scenes machinations of the music biz – haggling with record company suits, negotiating with band members and promoters, supervising agents and business managers - but perhaps left him somewhat less enthralled with the rigors of takin’ it to the stage- i.e. dealing with the press and fans. However, through time and necessity, Brook evolved into a Producer/Performer Extraordinaire, a talented music business manager who is also a consummate master of moving the crowd through the savory stew of sound, soul, and syncopation. The twosome spent the early part of the new millennium collaborating with a variety of artists who shared their creative vision. Working and performing with other acts like Sa-Ra, The Roots, Marco Polo, 4 Hero, and J Dilla helped them to streamline their sound and find their audience. Musicians and music industry personnel quickly caught on and became instant fans. Most notable among them was none other Prince himself. J*Davey’s fortunes changed significantly in November 2007 when Prince invited them to open for him in Las Vegas at his 3121 Club. Soon thereafter they were signed by Warner Bros.’ Rock Division. In addition, in 2008 their seminal double disc debut independent release entitled “The Beauty in Distortion”/”The Land of the Lost” solidified their underground audience and catapulted them onto the worldwide music scene. European deejays and impresarios like Gilles Petersen, Benji B, and Berry King got wind of their game-changing sound and gave the group broad and important exposure on the continent. At first, Miss Jack’s mohawked coiffure and D’Leau’s zany stage-wear were the major attraction. They were as fun to watch as they were to listen to. While their unique look may have caused audience members to gawk at first, it was the music that made them stay and ignited them into a frenzy. Brook punctuates the tenuous balance of human spirituality and intellect with the atmospheric blessings of his keyboard creations. One does not listen to his music, instead you are completely and totally enveloped by its omnipresence. Harmonic convention, standardized rhythms, and straight-jacket song structure are unwelcome in this sonic ecosphere. At its core D’Leau’s perseverant pursuit of musical experimentation in rhythm, motion, and real time on record and on stage is nothing short of awe-inspiring. And seeing him work his magic live and in living color is a miraculous sight to behold. And Miss Jack’s slim, sexy, sinewy physique caresses lyrics and alternatively whispers, coos, yells and belts syllables that cut deep into one’s reverie like shards of broken glass. She uses her voice to pierce and slice away all vestiges of her listeners’ inattention and apathy. Miss Jack commands you to be in the moment with her, leaving one completely open and vulnerable to her musical whims. And once she lays your emotions bare, she vocally picks and prods until you succumb and submit to her will. J*Davey’s songs engulf the listener in a clarity of raw emotional energy and soul-stirring spiritual focus in a way that makes it immediately apparent that this music is completely unlike anything that you have ever heard before. The revolutionary sounds that Miss Jack Davey and Brook D’Leau make together is at all times personal, intimate, bold, and unapologetic. It is reflective of an infectious honesty and curiosity about life, love, and the people who share this existence with them. The creative journey that they have undertaken together has made music a calling for both Jack and Brook. And the voice that called them was the God of Music.