" data-original-title="" title="">Leonard Bernstein, Kurt Weill and, to a lesser extent, Stephen Sondheim has frequently been putty in jazz musicians' and arrangers' hands, proving that malleability is a sine qua non for long-range success in writing; genius-level composing skills, of course, also tend to help.

While the actual act of interpreting the work of these three men is hardly original at this point, the fashion by which vocalist Deborah Shulman, trombonist Larry Zalkind and their talented compatriots dig into their music is wholly unique. They look at each of these fourteen selections as individual opportunities to honor each composer's original intention, while painting their own innovative brushstrokes atop these masterworks. While it would be easy to commit to a single strategy for a project like this, be it art song haughtiness, classical stringency or out-and-out nightclub jazz, Shulman and Zalkind take the high road, touching on everything but committing to no single avenue or approach. Zalkind's tone, honed through his work as the principal trombonist with the Utah Symphony, and Shulman's theatrical delivery hide no secrets about their respective stylistic comfort zones, but both artists prove to be just as malleable as the songs they interpret.

Four different arrangers were tapped for this project and each man brings something different to the table.