BIOGRAPHY
AWARDS & REVIEWS
THE BAND
LYRICS & GUITAR TUNINGS
RECIPES

'DECEMBER IN VT' REVIEWS:     

“There is not a false note to be found on this album; every cut is a treasure.” -ChristmasReviews.com

"Standout singer-songwriter Diane Zeigler seriously upped the ante with the release of "December in Vermont," a beautifully subdued and distinctive collection that delves deeply into the spirit of the season with mesmerizing results." -Times Argus (VT)

"This is the Christmas Collection so many performers strive for but fall short.  Diane Zeigler just raised the bar. Beautiful vocals, and songs brought to new life with fresh, inventive arrangments.   I love this record." -Songwriter Bill Morrissey

"When I hear Diane Zeigler's voice, I'm left immobilized; moved beyond words by the simple beauty of it. Her flawless musicianship, songwriting and interpretation round out an already perfect package. "December in Vermont" is without a doubt going to be the soundtrack to my Christmas 2004. And probably all the ones that follow." -Lydia Hutchinson, Performing Songwriter Magazine, Nashville, TN

"This CD is the best Christmas album I've ever heard. I love it and I find myself playing it at times when I want to quiet the noise, and touch the timeless hope of light in the midst of darkness. Except for one beautiful original song, the collection is comprised entirely of carols, the words to which were chosen very carefully from countless versions and variations. And the arrangements were put together so tenderly by Zig and her husband Geoff, that they evoke the depth of centuries past without trying to live in anything but the present. I think you would have to hear it to understand fully what I mean. " -Songwriter Dave Crossland, www.davecrossland.com

"I've purchased a few copies of December In Vermont, one for myself and the rest for gifts. I've been a fan of yours for a number of years now, and really love your music, both recorded and live. But I have to tell you, December in Vermont is FANTASTIC! I've probably listened to it 50 times by now. I love the arrangements, the choice of songs and in particular, the vocals." -Steve Bullock

"We played "December in Vermont" for the first time last night, and we were spellbound! The singing is wonderful, and the
arrangements are works of art. If your goal was to restore some of the dignity to this highly commercialized time of year, you We will play it all through this season and hopefully for many years to come. I just wanted you to know that it's been a very long time since we received as much gratitude and positive feedback for a Christmas gift as we've had from the five copies of "December in Vermont" that we gave to family and friends. Everyone loved it! In two cases, I received ecstatic emails from people who were playing thedisc as they wrote and "just had to let (me) know" how much they were enjoying it! I think that every recipient commented that the music captured (and/or retrieved) the "true meaning of Christmas." Would that our Christmas shopping could always be this successful and economical! We certainly plan to buy several more copies next year." -Jackie & Jim LaClair

"I had to write to you. I just finished listening to your new CD, December in Vermont for the first time and it is just absolutely wonderful. I had heard bits and pieces of it, but this is the first time I've had the chance to listen straight through, it just flows so beautifully. I do a folk show on WGDR, "Acoustic Harmony" and I will be featuring your CD this afternoon/evening on my show (4:30 - 7:30pm). I had not planned on doing a Christmas show this year and tonight won't entirely be that, but after listening to your CD, it has changed the plans for tonight's show! I did hear you on WDEV yesterday and I hope that sometime soon (after our studio renovations are complete) that you would consider coming on my show, to talk about your music, play a few songs, whatever you want, our new air studio will be much more "artist friendly" and we'll be able to do much more professional stuff without utilizing the performance studio. Anyway, you've got a standing invitation for anytime you can make it, my show is on alternating Saturdays, 4:30 - 7:30pm. I know it's short notice, but I hope you might get a chance to tune in this afternoon for a bit, as I said, Christmas in December will be getting a lot of airplay! Thanks for such a great album!" -Mark Michaelis, Host, Acoustic Harmony, WGDR - 91.1 FM

"Just received "December In Vermont" and I must tell you it's an amazing disc! Hasn't left my CD player since I first cracked it open." Thanks, Randy Santoro

"This Christmas CD is so beautiful. I played it over and over throughout the past weeks. It's subtle "whispers" were almost haunting. I believe it's my favorite so far. I look forward to many more beautiful CD's. I'm sure I speak for many fans. Thanks for bringing beautiful music into my life." Diane Turner

Several days ago, I dig out this box, put five CD's -- including yours -- into my CD player, and hit the "shuffle play" button. Before any of your tracks happen to play, I go upstairs for some reason or another. When I return to the main floor, I find my wife standing near the CD player on the verge of tears. And the reason? Your renditon of "Lulajze, Jezuniu" is playing. my wife, you see is Polish. She was, in fact, born, raised and lived half her life in Poland, having emigrated to the USA in the 70's. Your lovely rendering of this treasured lullaby really took her back. In my experience, it's pretty hard for an artist to come up with arrangements and renderings of these familiar songs without either being boring ("same old, same old") or, in an effort to avoid this problem, going so far to the other extreme as to go "over the top". Your treatments, however, nicely avoid these "twin perils", and I am finding them to be quite delightful and refreshing. In addition, your liner notes are absolutely delicious! They convey a lot of very interesting and valuable information, in a way that shows great respect for your material and, indirectly, your listeners. Kudo's on all counts!. - Bill from VA

"Truly the most beautiful Christmas album I have ever heard. Diane's rich, haunting voice brings you to a deep spiritual place that we all long for in the harried Christmas season. Buy this album. Buy it for your friends and family. You will come back to it again and again, year after year." -ITUNES Customer Reviews

“There is not a false note to be found on this album; every cut is a treasure.” -ChristmasReviews.com

"Absolutely fantastic! If you like Christmas music without that traditional sound, this cd is a must have. The track that sticks out the most for me is #5 a medley of carols. It's just awesome. Diane Zeigler gives us something to treasure with this cd"- CDBABY CUSTOMER REVIEW

"This is now my third Christmas season with your "December in Vermont" album and I just can't get enough of it! I played it in August this year! It's my favorite non-classical Christmas album, not only for your voice and your playing, but for the small details. I can tell you put a lot of thought and effort into these arrangements and these recordings; you pick some of the most beautiful carols from the past 400 years." -Tim from Alabama

CHRISTMASREVIEWS.COM: DECEMBER IN VERMONT
Diane Zeigler's December in Vermont is a magnificent holiday gift for those who favor acoustic folk music with verve and guts, highlighted by a husky voice of crystal. Given my musical preferences, Zeigler ("Zig") manages to push all the right buttons. This is one holiday album that will undoubtedly deck my halls frequently this Christmas season.

The song selection is beyond reproach. The 14 tracks, including one well-executed medley, encompass the well familiar ("Do You Hear What I Hear," "Joy to the World"), less familiar gems ("The Cherry Tree Carol," "Lo, How a Rose E'er Blooming"), and one Zig original (the title track "December in Vermont"). Perhaps because I love New England in general, and Vermont in particular, the title track has a special pull. The lyrics are sweetly made ("Where would you rather see snow on the evergreen, softly and tenderly falling down?...Ever returning to December in Vermont"), and the homey melody immediately seems like an old friend.

Although the song selection is superb, Zig's voice is even better. Its rich alto exudes warm and earthy intonations. Nothing brash or brassy here; it's a cozy and comfortable blanket on a cold winter's night. The instrumentation is the simplistic and folksy call of strings (guitar, bass, mandolin, dobro, lap steel), keyboard, and percussion. This light accompaniment elevates the pristine quality of Zig's pure voice. David Crossland brings the softest touch to the subtle vocal harmonies.

I love this album from stem to stern. The medley (We Three Kings*O Come O Come Emmanuel*God Rest Ye Merry Gentlemen* Riu Riu Chiu) is especially exciting. It's beautifully constructed and executed with a haunting, almost mystical, quality. The various internal numbers flow effortlessly from one to the next. The rhythmic finish ("Riu Riu Chiu") features excellent harmonies (including Geoff Sather's deep bass) and a lively, driving beat. As the piece fades, Zig interweaves lines from the earlier medley components. Excellent!

Other excellent selections include "Lo, How a Rose E'er Blooming," one of my all-time favorite carols. Zig's treatment is creative, emotive, and very personal. "It Came Upon a Midnight Clear" opens with a little-known verse, giving an old chestnut a refreshing twist. When Zig nails the first note of "Joy to the World," it is like dropping a pearl onto velvet--such splendor! To be honest, there is not a false note to be found on this album; every cut is a treasure. The album closes with the gorgeous Polish carol "Lulajze, Jezuniu" ("Lullaby, Jesus")(the underlying story, as related by the liner notes, will bring tears to your eyes).

Diane Zeigler is an outstanding folk talent, and her December in Vermont will certainly be one of my "Top Picks" this year. Thanks, Zig, for the superb jaunt to New England!

--Carol Swanson back to 'Dec in VT' Reviews

DIANE ZEIGLER FOR THE HOLIDAYS
December 17, 2004
By Jim Lowe Times Argus Staff

Diane Zeigler's voice is reminiscent of the crystal-voiced folkies of the '60s, but her musical approach – though decidedly folk – takes on the rhythmic freedom of jazz. The Montpelier singer-songwriter has just released a classy Christmas album of her very personal takes on some traditional carols. Still, one of the most striking songs is her own "December in Vermont," a gentle and heartfelt paean to the spiritual value of her chosen home. The instrumental accompaniment, as in the entire album, is particularly imaginative and attractive. Here it is provided by Zeigler on guitar, with Geoff Sather, her husband, on bass, second guitar and harmony, Adam Frehm on dobro, and David Crossland on harmony.

Zeigler's imaginative and expressively played guitar arrangement is what makes her light ethereal version of "O Come All Ye Faithful" so beautiful and touching. It is the rhythmic variation in her singing of her "Medley: We Three Kings of Orient Are – O Come, O Come, Emmanuel – God Rest Ye Merry Gentlemen – Riu Riu Chiu" so delightfully spicy, and the final Spanish carol hits with a joyful rush. Perhaps most personal and touching of these popular carols is Zeigler's gentle storytelling in "It Came Upon a Midnight Clear."

If there is any criticism of this fine album, it is that much of it is missing the vocal colors Zeigler employs in her decidedly unique version of "Joy to the World." Still, her voice is consistently beautiful.

Another special moment is Zeigler's tender telling of the almost feminist "Cherry Tree Carol." But most beautiful, undoubtedly, is the closing Polish carol, "Lulajze, Jezuniu (Lullaby, Jesus)," with an incredible tale behind it. Zeigler delivers it, accompanying herself on guitar, with heartfelt warmth.

back to 'Dec in VT' Reviews        

IT WAS THE YEAR OF THE WOMAN
By Tom Huntington, Times Argus Arts Correspondent

The Green Mountain State is blessed with a multitude of talented musicians and singers, and 2004 was a bountiful year for central Vermont-produced CDs, which served up a musical feast of flavors ranging from folk and jazz to rock and soul...While Green Mountain state-produced Christmas albums are few and far between, standout Montpelier singer-songwriter Diane Zeigler seriously upped the ante earlier this month with the release of "December in Vermont," a beautifully subdued and distinctive collection of familiar – and not-so-familiar – selections that delves deeply into the spirit of the season with mesmerizing results. Adam Frehm's subtle dobro work on a handful of tunes adds a rootsy touch to the stripped-down disc, including the poignant Zeigler-penned titled track that, like the rest of the CD, will likely be treasured during the holiday season for many years to come. back to 'Dec in VT' Reviews        

DECEMBER IN VERMONT
12/04 St. Albans Messenger (VT)

For those of you who have either seen Diane Zeigler live in concert or own one of her three previous CDs, I need not expound of the fact that she is one of the Green Mountain State's National Treasures. She possesses an elegant artistry laced with poise and self-confidence.

December in Vermont, a seasonal tribute to the Christmas holiday, is a tasty addition to the Zeigler catalog. Diane has chosen some of the best traditional and modern carols, as well as her beautiful title song for this reverent and yet buoyant set of holiday music. The CD is laced with a few of the holiday's less heard gems. Once In David's Royal City", "Lo, How A Rose E're Blooming and The Cherry Tree Carol are but three that grace the wonderful tribute to the birthday of the King of Kings.

Following Diane's folk roots, the instrumentation is almost completely acoustic, save the appearance of an organ on It Came Upon A Midnight Clear. Diane and husband Geoff Sather play most guitars and basses. Augmentation comes from Adam Frehm, dobro, lap steel and mandolin, Mary Jane Reynolds, Keyboards with David Crossland and Gregory Douglass joining Diane and Geoff on vocal harmonies. The vocals are beautifully recorded and harmonies are complex, tight and lush.

The CD was recorded by Geoff Sather and Diane at their new ProTools studio in Montpelier. They can be very proud of the two projects of which they have artistic control over. Both this and Diane's last CD [Paintbrush] are rich and warm without a trace of digital harshness. Alan Stockwell of the Stockwell Brothers mixed and mastered the disc at Sounddesign Studios in Brattleboro, VT. Adam Frehm's tracks were over-dubbed at his studio in Essex Junction.

This is one of the best Christmas CD's you will find for holiday season 2004, an album that will be in my disc player long past Christmas.

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(released 2002, produced by Diane Zeigler & Geoff Sather)           Back to top

"Diane Zeigler has one of the clearest, most vividly gorgeous voices on the contemporary acoustic music scene.   With Paintbrush, Zeigler makes a firm commitment to continuing her legacy of beautifully written tunes sung in that crystal clear voice.  Paintbrush is a wonderful addition to Diane Zeigler's musical catalog. There's a song here for everyone who celebrates life and music created by one of New England's finest artists. And the sound of Zeigler's voice will linger long after the CD has ended. This is music to be played well into the summer night and beyond.   It is something to be treasured."  -The Music Matters

"Diane Zeigler doesn't just write songs. She breathes life into them and then puts you right in the middle. You don't just listen to Diane's songs -- you experience them. "  -Indie-Music.com     READ MORE

" Paintbrush' is an unassuming yet hugely impressive album, and should be on the list for all fans of acoustic singer/songwriters." Fish Records Catalog, U.K. 

"In the over-saturated world of singer-songwriters, Diane Zeigler is a diamond in the not-so-rough...she is one of the most promising voices in the new-folk movement. 'Paintbrush' provides yet another example of Zeigler’s expansive skill. A very impressive album. " -Ethan Covey, Seven Days

"This is Zeigler's strongest work to date, and that's saying a lot." -Steve Netsky, Rounder Records

"With the release of her third album, Paintbrush, the Vermont-based songstress shows that she's here to stay.  Showcasing Zeigler's songwriting talents with eight original tunes, Paintbrush reveals her mastery of interpretation with unique renditions of the Dave Carter-penned "Gentle Soldier of My Soul" and the traditional tune "Wild Mountain Thyme".  - Dirty Linen

She might not be sizable in stature, but Montpelier's Diane Zeigler is a genuine giant among Vermont singer-songwriters. Her third album, released last month, is a striking collection of country-tinged torch and twang that features a full band sound behind Zeigler's powerfully crystalline voice. Decidedly upbeat and earthy, the album also offers some gentle laments as only she can deliver them."    Burlington Free Press Best of 2002 List

'Paintbrush' is a heart-wise and musically vibrant new CD" - Scott Alarik, Boston Globe

"This is a good example of how incredibly fine an independent project can be ... from the songwriting to the arranging to the recording to the artwork, this is an album Zeigler should be very proud of."  -Walt Graham WSHU-FM (CT)

"Diane Zeigler's 'Paintbrush' is simply beautiful music-making." -  Times Argus 

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'THESE ARE THE ROOTS' REVIEWS:

"Zeigler almost never fails to find striking words and honest music with which to express herself  .This is one of the most satisfying records of the year." -Peter Hanson, Metroland Magazine (NY) 

"The criminally under-recorded Zeigler enriches the contemporay folk tradition by synchronizing guileless vocals and expert instrumental accompaniment - a true singer and songwriter. She manages to elevate the humble yet celebratory virtues of her family , reinventing what could be cliche into near-holy, sincere homilies. The new CD showcases all the pretensionless talent which is Diane Zeigler ; Shyness, Spiritualuality and Ardor in equal measure." -Dave Leonatti, WUIS (IL) 

"Sting of the Honeybee" was an excellent CD, but this one blows even that away!" -Steve Jerret, KOPN (MO) 

"Diane Zeigler is one of the best-kept secrets in the world of contemporary folk. She has an achingly beautiful voice and she writes incredible songs. Diane is a great talent, and you simply must own all of her albums before you can call your collection complete. Her CD "These Are The Roots"was the "Messages" album of the year for 2000."  - Stu Weaver, WFCF-FM (FL)

"STING OF THE HONEYBEE was great. THESE ARE THE ROOTS is better. This is an artist...whose depth of perspective and emotion is razor-sharp. Diane's beautiful lyrics, along with her distinctive guitar sound and of course, that ever-expressive voice, combine for one of the finest collections in recent memory. The years she took off to become a mother have given her new insights on life and music, and those of us who listen are better off for it." --Kent Anderson, KCSC ( OK) 

"It is nice to find a songwriter who writes songs that reflect the concerns and joys of every day life. By combining superb songwriting skill with alluring melodies and beautiful vocals, this Cd is a must be heard effort for all music enthusiasts". -Dan Alloway, KTEP (TX) 

"The first three songs tell you everything you need to know about Diane Zeigler's latest recording. In an industry rife with hype, she cuts through the clutter with stunning simplicity. Don't expect to find her vision on the surface. " These Are The Roots" taps into a deeper well. --Bob Allen, WIAA (MI) 

"Tender subjects are delivered cliche-free; tough themes are handled with delicacy and grace. The voice? Lovely as ever....No wonder we're playing this one in "heavy" rotation!" -Marilyn Rae Bayer, WUMB (MA) 

"An undeniably sweet and pretty voice is what really sets this disc apart. .Zeigler's voice has an indefinable quality that simply makes it special...believe me when I say that Zeigler has the right stuff." -The Burlington Free Press (VT) 

"Distinguishing oneself within the crowded field of folk-pop composers is no easy feat these days, but Diane Zeigler is not your average songwriter. Zeigler constructs graceful vignettes that exude a spirit of resolve and affirmation, in a voice that's as resonant and beautiful as the Vermont countryside in which she was raised." - Performing Songwriter Magazine 

"Her songwriting is as sharp as ever. The songs cover tender and emotive subjects and she handles them all with tact and elegance, she manages to steer clear of well worn cliches - resulting in fresh, thought provoking and often disarming songs. [This CD] is a stylish and classy collection from start to finish, and one that has much to offer fans of acoustic singer songwriters." -Fish Records Catalog (England) 

"Diane Zeigler's new CD 'These Are the Roots' is an appealing and articulate album by a talented singer-songwriter whose music can range from introspective to tunefully bouncy. The original material is uniformly high in quality, and the CD's production is a model of the right way to do a record like this -- with arrangements that widen the appeal of the songs, without undermining them. The playing by all the musicians is the model of restraint and good taste, adding just the right ingredients without distracting from the songs. Sonically, the album is a class act." -George Graham, WVIA-FM (PA)

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'STING OF THE HONEYBEE' REVIEWS:

"She has a gift for penning reflective personal anthems that turn hard truths to life-affirming purpose….The lilting folk-pop melodies are graceful, spacious and memorable; the lyrics intelligent, image-rich but never forced, wise and heartfelt.  This could be a star-maker debut."       --Boston Globe

"…contemporary folk music at its best."    --Chicago Tribune

"Over the past few years, I have been introduced to the music of hundreds of songwriters. Few have impressed me more, however, than the haunting lyrics, captivating melodies, and crystalline voice of New England's Diane Zeigler.
- Performing Songwriter Magazine

"Zeigler's songs are full of life, knowledge and disarming depth." --Boston Herald

"Her work brims with originality…Zeigler stands out among her contemporaries for the poet-turned-songstress within her."     --Portsmouth Herald

"A superb lyricist with talent to spare…Diane Zeigler has come up with an impressive major-label debut here…."    
Indie File, Charlotte, NC

"A significant new songwriter."    --Sing Out

"Her voice remains steadily angelic, and her soft riffs are as haunting as the ghostly imagery in her songs."   
Boston Phoenix

"You may be taken by surprise when the power and urgncy of an extended metaphor rises out of a pretty, lilting vocal, evincing a sort of wise innocence."  -Acoustic Musician

"… up-tempo, spiritual meditations sung in a voice well suited to acoustic accompaniment - soft, uplifting, yet capable of a sharp sting."    -Acoustic Guitar

"Take this one with you on your next road trip.  You could listen to this well-produced album over and over, wear it out and buy another for the trip home."--Victory Music Review"

Her songs are honestly written short stories sung with strong, clean tones." --Burlington Free Press

”This is a beautiful record of spare, tuneful music that reverberates long after the album's ended."  -Scope

"Sting of The Honeybee is a stunning debut album that showcases her thoughtful and touching songs, herbeautiful and eloquent voice, and a certain quality that makes you instantly like her music."    --Album Network

"Don’t miss this newcomer from New England…[she] writes songs with haunting perfection." --Denver Post

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PLATTSBURGH -- Vermonter Diane Zeigler crosses Lake Champlain for her Plattsburgh debut at the Palmer Street Coffeehouse Friday.

Zeigler, the winner of six national song-writing awards, is one of the most sought-after singer-songwriters in New England -- but not without having paid a price.

"I annihilated my career by having children," said Zeigler, who lives in Montpelier. "Now, I can leave without the intense guilt I would feel when they were babies. I have been dipping my toe in the waters of touring within the last year or two. The water is getting deeper. As with every professional woman who has kids, it's a matter of juggling."

Nell, 9, and Jaimen, 7, have no interest in their mother's concerts. If they do accompany Zeigler and her husband/bassist/co-producer Geoff Sather, they watch Harry Potter DVDs in the green room on her laptop.

When she had her children, Zeigler abandoned her music career and devoted herself to her daughter and son. Slowly, her career is re-emerging from the groundwork she laid 20 years ago.

Supportive friends in Montpelier allow Zeigler and Sather to leave their children and travel near or to Alaska.

"What I'm doing in the folk business is what I'm doing in my community. Folk music stays alive because the folks at the coffeehouse work together to create an opportunity for people who fly under the radar. I'm grateful for that. I couldn't do that if I didn't have a great community in my hometown to allow me to do that. It takes a village."

Zeigler is about to go to work on her fifth album, scheduled for a summer release, in her home recording studio.

"I do all the tracking at home. I mix in a professional studio, Sound Design in Brattleboro."

Though it's easier to record at home instead of transporting two babies and schlepping back and forth to a studio, it's not without its risks, despite her technological aptitude and weird obsessiveness in terms of learning software.

"I have gray hair now. I cannot count the number of times my husband laid down the perfect guitar part, and I would delete it. We survived it and stayed married. Now, I know what I'm doing. When we recorded December in Vermont' (2004), it was absolutely easy for me to do from a technological viewpoint. I'm not anxious at all."

Whether she performs solo or with her husband and Adam Frehm (dobro and lap steel), Zeigler writes about what she knows; her experiences as a woman, wife, mother, sister, daughter and Vermonter.

"I was raised Catholic and have a lot of mixed feelings about that experience. I have a song that even my parents love, "Heaven's Only Daughter.' It's about Mary, the blessed virgin. It's about her and her unhonored recognized role as being Jesus' mother in guiding this boy into being a good man and leader."

Another song is inspired by her son's Little League trials and tribulations and about how hard it is to be a little boy.

"I find my songs have matured as I have. The subject matter I'm exploring in my song writing is from my own experience but not so personal that other people can't relate to it. I'm a middle-aged suburban mom writing about her personal experience -- hopefully in an artistic and universal way." back to top

Sometimes musicians make choices that lead them off the typical career track. Sometimes it works out. Sometimes it doesn't. Sometimes it doesn't matter.

When singer-songwriter Diane Zeigler found out she was pregnant, just after the release of her 1995 debut album, "The Sting of the Bee," on Rounder Records, her career track and the critical praise for her album didn't matter. She just put her career on hold and went home to Vermont to raise her family.

Ten years later she's back, as back as one can be and still take care of two children 10 and under.

"Over the last five years, I've been slowly coming back to the music biz," Miss Zeigler says. "I'm just touring a lot more than I have. I've been dipping my toe in the pond, so to speak, and now I'm up to my ankles."

Her expanding tour schedule brings her to the Washington area this weekend, playing four shows in three days. She has a house concert in Manassas on Saturday and two in Washington on Sunday, including one in the thriving "Live at the Deej" series.

On Monday, she brings her clear, beautiful, expressive voice to the Kennedy Center's Millennium Stage for a free performance.

Her return brings her back from both a physical and an emotional distance. From 1995 to 1999 she stayed completely away from touring and performing - though not from songwriting.

In 1999, one of her new songs won first prize in the songwriting competition at the famous Kerrville Folk Festival in Texas. Later that year she put together and self-released her second album, "These are the Roots," and exceeded the expectations of her first. Two more albums of touching, honest, uplifting songs followed over the next few years along with her slow return to touring.

Despite the effort needed to rebuild her career, Miss Zeigler has never second-guessed her choice.

"It was crystal clear to me," she says. "I don't know that it was entirely about being pregnant and having a child. I felt like I was standing on the
precipice of my future when I signed with Rounder. I saw my life plan. I saw how I was going to live for the next 10 years."

After putting her two children through their first years in school, Miss Zeigler took another look at her career. "I felt that I still had more that I
wanted to say and more that I wanted to do," she says.

She didn't have to start from scratch. The Internet has allowed her to keep in touch with her fan base. She released her last album, a Christmas album entitled "December in Vermont," in November 2004, and it sold 3,000 copies in the first month - from only an e-mail to her fans. back to top

I have no idea what I was doing the first time I listened to Diane Zeigler's Paintbrush. From the opening notes of "Ride That Rail," I was lost in fascination with the lovely view offered by her sweet, calm voice and the friendly exchanges of the instruments. A bright spring day of an album, Paintbrush presents odes to loves of all sorts, offered on light, open musical themes.

Zeigler's music has an optimism that wisely steers her work away from the maudlin, even when dealing with painful subjects. "Ride That Rail" is a farewell to a dear one caught in addiction, and in other hands would become a condemnation. Here it is a prayer for the future, a statement of faith in the one currently struggling. "Prickly Pine" may be a bluesy, lowkey mother's lament to her seduced daughter, but the last verse suggests that the wayward girl may be getting some joy out of her unapproved union.

It's always nice to hear a songwriter acknowledge that life is more than romantic relationships. The linked songs "Kathleen" and "It Grew in Front of Me" honor the bonds of family and the sometimes strained relationships of siblings. "It Grew in Front of Me," a younger sister's recounting of an older sister's blossoming romance, is one of the most powerful songs on the album. The inclusion of a high child's voice singing the last chorus disrupts the subtle poetry of the story, and may be the one real flaw in the album.

The romantic songs that are on the album manage to share a feeling of real caring rather than the obsessive desperation evident in so many "love" songs. "With My Eyes Closed" captures a heart rejoicing in love without fear of loss. "Indian Paintbrush" holds the sweet excitement of future romance not yet discovered. One of the most poetic songs on the album, "Say It Ain't So," blends a traditional romance tale with a love for hometown, and leaves both love stories unresolved and leaning towards tragic.

Though Paintbrush certainly has its own sound, great variety of influences play throughout the album. "Ride That Rail" has a slight taste of zydeco, followed soon by the bluegrass feel of "Indian Paintbrush." Whether it's the bright romance of "With My Eyes Closed" or the careful sorrow of "It Grew in Front of Me," Zeigler works her musical influences into a gentle acoustic style that softens grief and turns joy into something piercing.

Paintbrush dissolves on the ear and bubbles through the brain, leaving the heart relaxed and calm. It's one of those albums that can change the mood of an entire day before it's halfway done, and still sound fresh on its third play. back to top

Paintbrush is Zeigler's third recording. Her first recording, Sting Of The Honeybee, found on the Rounder/Philo label, was recorded in 1995. After a break of several years to raise a family, she made a wonderful self-recorded "comeback" CD - These Are The Roots. With Paintbrush, Zeigler makes a firm commitment to continuing her legacy of beautifully written tunes sung in that crystal clear voice.

Ride That Rail opens the recording. It's a rollicking, upbeat tune about a normally downbeat situation - a man who is deep in the bottle and battling his way back. Zeigler infuses the song with great hope and encouragement. She is ably supported by T-Bone Wolk on accordian, who provides a whole carnival's worth of sound, with husband Geoff Sather on bass, Carter Stowell on drums, and Gregory Douglass on backing vocals.

Indian Paintbrush is a lovely tune about how the natural world brings up thoughts of the one we love. It's brought to life by the inspired fiddle playing of Sarah Blair. This song was written by Zeigler's husband Geoff Sather.

A mother's love for her child is beautifully expressed in the ballad The Well. With Zeigler accompanying her pure vocal on guitar, it is simple and lovely. This is Zeigler at her best.

Zeigler closes the recording with the traditional tune, Wild Mountain Thyme, accompanying herself on guitar with Adam Frehm lending a hand on dobro. The song celebrates love in the natural world, which fits into the theme of the CD, and with the beauty and clarity of Zeigler's voice.

Paintbrush is a wonderful addition to Diane Zeigler's musical catalog. There's a song here for everyone who celebrates life and music created by one of New England's finest artists. And the sound of Zeigler's voice will linger long after the CD has ended. This is music to be played well into the summer night and beyond. It is something to be treasured.

Copyright 2003, Peterborough Folk Music Society and Roberta B. Schwartz. back to top

Diane Zeigler doesn't just write songs. She breathes life into them and then puts you right in the middle.
How does she do this? To start, Diane's slightly smoky soprano voice conveys strength yet is never forceful. It's always just right.

The overall tone of her 11-song CD "Paintbrush" is vibrant and alive with excellent instrumentation, good melodies and harmonies. Lyrics are sometimes hard-hitting and brutally honest but always couched in tenderness and quiet strength.

As noted, as talented as Diane is, she doesn't do this totally alone. Some of the most notable contributions come from Gregory Douglass' and Patty Casey's support vocals, Geoff Sather and Adam Frem on slide guitar/dobro and Chuck Eller on piano. Diane herself plays a beautifully understated acoustic guitar.

The styles are varied, ranging from the Cajun/ folk on the opening "Ride that Rail" (with T-Bone Wolk on accordion) to the Celtic flavor of "Indian Paintbrush" to country/bluegrass/Appalachian/little-bit-o-blues "Prickly Pine" and "Say it isn't So."

The CD's best tunes seem to be the most rootsy ones. "Prickly Pine" utilizes a haunting melody taken to another level with perfect spacing between Geoff's slide and Chuck's piano (the latter sounding a lot like Bruce Hornsby). Another similar tune has a bit more of a bluegrass flavor. "Say It Isn't So" features Adam's dobro and the best harmonies on the CD from Patty and Geoff. (Could Patty get a solo next time?) Beau Stapleton adds some well-played mandolin chops to add richness to the song.

And speaking of instruments, Diane plays a rich and sweet acoustic guitar on "The Well," a stripped down, sparse arrangement with only Diane's instrument and her pretty voice.

Diane's lyrics need mentioning here, too. Remember the reference to "hard-hitting?" Well, "It Grew in Front of Me," is about watching a sister care for a dying husband. Sad enough, right? Wait...

"She was the first one to walk, the first one to drive
The first kid in college, the first as a bride
The first one to know the hard road of a wife
when you walk your true love to the end of his life."

The same gentleness that cradles those words is also the essence of a beautiful love song called "With My Eyes Closed:"

"...I could trace every line on your face
With my eyes closed
'cause I can see the shape of what can't be replaced
even with my eyes closed
and I never would have guessed
that Providence would be so kind
But I will always bless the day you showed up here
And struck me blind."

You don't just listen to Diane's songs -- you experience them.

Diane Zeigler is one of the shining stars of the contemporary acoustic music circuit. She first appeared on the scene in 1995 with a recording called Sting Of The Honeybee on Rounder Records. She quickly generated a buzz that only a lucky few have known. She became a favorite performer at festivals and concert venues alike. And as quickly as her star rose, and at the top of her game, she disappeared, choosing to devote herself to her husband and growing family. These Are The Roots is Diane Zeigler's triumphant return to the recording studio, and to live performances. It has been well worth the wait.

Zeigler possesses a lovely, bell-like voice that shimmers and shines. It is a beautiful instrument. Her songwriting skills match the quality of her voice-rich, descriptive and filled with deep emotion.

"What You've Always Known" opens the recording. It's a song of faith and support for a partner who is weary and somewhat troubled:

If you just raise your voice to the highest star
On the wings of the words that can fly that far
You could see straight into the deepest dark
And you would find what you've always known

With Zeigler on your side, how can you lose?

These Are The Roots describes that place we all call home in a new and meaningful way. Zeigler manages to capture the push/pull of the place where we have our roots. Zeigler's guitar is front and center, and her nimble playing is captivating. Able support is provided by husband Geoff Sather on bass, Dean Sharp on drums, Josh Colow on electric guitars and Barry Stockwell on harmony vocals.

One of the recording's best cuts is "I Know My Baby's Cry." It perfectly describes the songwriter's two roles-that of a mother of young children and that of a performer who belongs to the open road-and how her family remains at the heart of all she does.

The song "Forgiveness" is desert island material. It's so simple and lovely that you would hate to leave it behind.

Dean Sharp's drums, Zeigler's poetic lyrics and T-Bone Wolk's accordion lend some mystery and grace to "This Too Shall Pass."

"You Were Welcome Here" is a gentle song with a powerful message of memory and love. It tells the story of a woman who gave up her child for adoption when she was more or less a child herself. With Zeigler's gorgeous, simple vocal and guitar, the poignancy of the tune comes through:

Sometimes at night when the wind is right
It can haunt my memory still
It happens every December
I think it always will

Listening to Diane Zeigler is one of life's pleasures. These Are The Roots is a beautifully realized work from one of the most talented singer-songwriters New England has produced. Let's hope that she continues to tend to her music as well as her family, and continues to produce the kind of music represented here-pure, moving and simply beautiful.

-Roberta B. Schwartz back to top

This Montpelier musician has taken some detours in her career, but every fork in the road leads to the stage. The first surprise came in 1995 when, after the release of her debut album, "Sting of the Honeybee," she became pregnant with her first child.   Giving birth was not on the CD release tour's agenda, and Rounder, her newfound record company was not happy with this career development. "Sting" was receiving national acclaim on the folk scene, a place Zeigler compares to "living in a ghetto" because of the remote odds of reaching the mainstream and achieving Dylan-status as a household name.

Despite some success, she still chose to pull out of race, dropping her Rounder contract to devote herself to her biggest fan, her new daughter. "I went through a very surprising change," Zeigler, now 36, remembers. "I became so in love with mothering that I just did an about-face and started thinking I'm never going to do music ever again."

Zeigler canceled an extensive tour with folk singer Bill Morrissey and stopped giving live performances to promote her record. She brought her career to a screeching to a halt and emerged seemingly without a trace of whiplash.  "It would have been that much harder to start a family later on," Zeigler maintains, "I was ready to set out and push that record and start the wheel in motion to move my career to the next level. It would have made even less sense because I would have been more invested in it." Admitting she possesses a strict black-and-white view of life, Zeigler did not pick up the guitar again until after her second child was born in 1999. By then, she'd gotten mothering down and started to miss the sound of her own singing voice. "As hard as I've tried to walk away from music because it's a hard lifestyle," Zeigler says. "It's part of why I'm on the planet, so I've got to find a way to make it work."

With encouragement from her husband, bassist Geoff Sather, she eased back onto the scene, winning three music awards her first year back including the New Folk Winner award at the Kerrville Folk Festival in Texas.   Zeigler credits Sather with providing musical guidance and inspiration, revealing: "A lot of times I'll just be playing, and I know if he looks up it's something worth working on." The two musicians met at the 1990 Sugarbush Folk Festival in Warren, where Zeigler took home first prize for songwriting. Although he lost to the pretty, 25-year-old lyricist with the sultry voice, he scored points with her in the end. "I was smitten," Zeigler admits, "Very much so. I think he was, too." …

Returning to music without a record label in 1999, Zeigler self-produced her second CD, "These Are the Roots," with the help from
grants, including $4,500 from the Vermont Arts Council.  "It was a huge financial risk," she admits, "I had to learn how to release to radio, and I developed a lot of independent relationships with folk deejays around the country. (Self-producing) was a very empowering experience because I took back the reins of control so to speak. It's been pretty exhausting. Physically it's taken a toll."

Critics hailed the new album. New York's Metroland Magazine called it "one of the most satisfying records of the year," but one week after its release, Zeigler injured her guitar-strumming hand while planting a perennial bed out in her garden.
…The repetitive motion injury, a form of tendonitis at the base of the thumb, she suspects was brought on by guitar playing, something she'd only just began again after her three-year break from performing. "I think it's really hard to be a musician and a parent," she says. "Your body can only handle so much of your hands banging against an instrument!"

After putting her musical tour on hold and trying six months of acupuncture and other homeopathic cures without success, Zeigler finally had surgery in December and has nearly recovered full use of her wrist.  Sitting out on the sun-drenched deck of her home earlier this month, Zeigler chatters energetically, her face free of makeup and full of smiles. Her second time around the folk scene, she is moving at a more cautious pace.  "Now that (this injury) is behind me, it's just a question of finding the right balance so my body doesn't become a hazard to my music career."   She points out a nearby pot of seedlings, planted by her own two hands, "a sign that hope springs eternal," and brags about a peanut butter sandwich she made for her daughter that morning, the first she's made in a long time without a splint supporting her wrist.

"This is not a flash-in-the-pan industry that I'm in," Zeigler says. "There are people that have long careers who are not young and beautiful, and they're still playing in folk clubs. That's all I want." back to top

The material here is uniformly strong.  But the standout stunner is "You Were Welcome Here," a heart-wrenching song written from the point of view of a birth mother singing to the grown up son she gave up for adoption years before.  Zeigler sings it beautifully, accompanied by her acoustic guitar.

Other highlights include "The Legend Of Enoch Arden," in which Zeigler re-tells the story in Tennyson’s poem along with the childhood memory of being read the poem by her own mother, and  "These Are The Roots," in which Zeigler reflects on her small town upbringing, on growing up and wanting to get out of town, and of then realizing that it's the roots of her hometown that help keep her grounded.

Zeigler and her studio musicians to a great job of framing each song with just the right arrangement.  Settings variously range from solo guitar to five piece bands featuring such musicians as co-producers Josh Colow on guitar and Geoff Sather on bass, as well as Artie Traum, T-bone Wolk, and Dean Sharp.

It's been five years since Diane's excellent album "Sting Of The Honeybee" on Philo - in the intervening time she has raised her young family and written and recorded the fourteen songs on this disc.  Her songwriting is as sharp as ever, mainly drawing from her own life experiences, she creates vivid slices of real life that have great character and are easy to relate to.  The songs cover tender and emotive subjects and she handles them all with tact and elegance, she manages to steer clear of well worn cliches - resulting in fresh, thought provoking and often disarming songs. 

Diane's voice is distinctive, clear and expressive, and it works perfectly with the predominantly acoustic accompaniment and allows the strong melodies of the tracks to shine through.  There's lots of subtlety in depth to the music - it is acoustic guitar based, but there are some tremendous elements, such as the accordian and pump organ adding depth to some of the songs.  After many repeated plays, it's difficult to pick highlights from this disc - it's a stylish and classy collection from start to finish, and one that has much to offer fans of acoustic singer songwriters. back to top

Although this album was released last year, promotion was delayed by several months owing to Zeigler developing repetitive motion injury at the base of her thumb. Fortunately following surgery she has recovered from this injury, which rendered her unable to play guitar, but it is not the first time she has taken a break from her career as a singer-songwriter.

Indeed, the injury may well have been caused by a resumption of guitar playing after a three-year break to raise two children. No sooner had her debut album Sting of the Honeybee been released on the Rounder label, she discovered that she was pregnant with her first child. To the dismay of Rounder, Zeigler decided that motherhood came first. That was in 1995.

Now, having picked up the musical reins once more, she has taken more control into her own hands, both co-producing and self-financing These Are The Roots. Zeigler has a lovely voice, with a slightly haunting quality to it, not unlike Shawn Colvin. Like Colvin, she uses imagery in her lyrics but it is less dark, and like her music, generally, simpler.

By-and-large this is acoustic folk music consisting of Zeigler and her guitar, though complemented with sympathetic playing by, amongst others, husband Geoff Sather on bass, Josh Colow on electic guitars, and T-Bone Wolk on organ and accordion. Drawing on her life and relationships, both ups and downs, for inspiration, thoughts on motherhood are offered in I Know My Baby's Cry, while marriage is the subject of Holy Ground.

While Zeigler sounds at peace with herself - she is a long way from the angst-ridden confessional school of song-writing - she eschews easy sentimentality. There are bad times as well as good, and there are some wise words on dealing with the former in This Too Shall Pass and Forgiveness.

Another theme is knowing where you belong, explored in the title track. This moves along nicely, with an infectious upbeat chorus: 'These are the roots that keep my feet on the ground/These are the ones that I need to slow me down/This is the place that I call the holy land/It's calling me back with the words and the ways I understand'.

Zeigler is an intelligent, sensitive writer. One of the most interesting songs is In Defence of Eve. Not a feminist rant, but a subtle suggestion that Eve was 'just a wife who wanted more'. Another unusual song is The Legend of Enoch Arden, a clever reworking of a poem by Tennyson.

Perhaps the most moving song, however, is You Were Welcome Here. Written from the point of view of a mother who gave up a child for adoption, it is filled with the pain of knowing that the now fully grown child will believe he was unwanted.

These are well-crafted songs, set to gentle, melodic music and well served by clear sound quality and sensitive, balanced production. Thoughtful and personal without being navel gazing, this is a fine album. back to top

For five years she has been sorely absent while tending to her new flock.  But in 1999, she added songwriting awards to her already impressive folk pedigree.  Having won props from the prestigious Kerrville Folk Festival in Texas and the Rocky Mountain Folks Festival of Colorado, their total is now six awards of one kind or another.  I never knew folkies could be so competitive.

Their new album is entitled "These are the Roots" and is put out independently (in the spirit of this past holiday - God Bless America) Where one once she was controlled by Rounder Records group, of Boston powerhouse for folk, bluegrass and other roots-oriented music, this album was made possible in part with support from the Heyman Music Foundation and the Vermont Arts Council.  I can honestly say your tax dollars were not wasted on this album, people.

Zeigler has found the Internet is a valuable tool for helping her promote and distribute her  music herself.   By using the web, she doesn't have to fall under the record company's demands for a hectic  and demanding touring scheduling.  (Although with two youngsters in the house touring with we seem like a piece of cake.)  With the web, she can balance a music career and motherhood, maintaining control for family life and career, to the benefit of both.

An undeniably sweet and pretty voice is what really sets this disc apart from others I have reviewed in the past months.  While the tone is soft and never overbearing, Zeigler's voice has an indefinable quality that simply makes it special.  Alison Krauss comes to mind at first but mostly for the ease of delivery.  For the quality of the voice, a case could be made for  Lisa Loeb comparison but less cutesy and less feigned.

Another difference is the music within.  While undeniably folk, it's not so sickeningly pious or traditional that it makes one lose their lunch.  The music is a more contemporary take on the genre - songs that could be twisted and turned to work for top ten country artist as well as popular singers.

While "The Winter  Sun" is slower and pretty, the proceeding title track moves along at a nice mid-tempo and rootsy base as does "By Your Name."

"I Know My Baby's Cry" is the only overtly maternal song on the album, and while Zeigler's proud of her child peering abilities, she doesn't sicken one with a forced and militant pro-mama stand.  However, "In Defense Of Eve" will keep her in good standing with the feminist movement. "Holy Ground," her ode to her marriage day, doesn't sicken one with too much sentimentality either.  "In The Name Of Love" will not be confused with U2's "Pride".

In that quiet way in which similar vocalizes, I found the background musician sometimes got left out of the mix a bit.  Electric guitar adding touches to the basic formula of acoustic guitar, bass and drums gets a little too quiet for my taste, but it does add to the soft texture of the album as a whole.  Bruce Stockwell helps out a bunch on banjo with "The Legend Of Enoch Arden," a clever story within a story about Zeigler's childhood fascination with a poem by Tennyson.

The album does maintain a constancy of sonic quality throughout that gets a little redundant after a bit, but that is less a concern due to the quality of the voice and songwriting.  Those who know me know a usually will not grab a folk, AAA core adult contemporary listening album as my first choice off the old CD rack so believe me when I say Zeigler has the right stuff.  Quiet and pretty but not to overly sanctimonious.  It's a nice combination for less-than-fans of folk music.  For those who live and die by it, this should be a winner.

For more information, logon and visit www.dianezeigler.com.  Zeigler will perform at select cities around the country, but she makes hometown appearance at City Hall in September.

In August, she appears on the Capitol steps, and later that same day, she will perform at a little-known hole in the wall club called The Kennedy Center.  As we say in Vermont, "nawt too bahd." back to top

In 1995, the hottest songwriter on the local scene seemed to be Diane Zeigler.  Her debut Philo CD, "Sting of the Honeybee," displayed a voice both whisper-pretty and emotionally dynamic, and folk-pop songs with memorable melodies and smart lyrics.

Just as her star was rising, Zeigler became pregnant. She decided family came first, retiring to her native Vermont with her husband, Geoffry Sather. She assumed her career was over.

"After our first daughter, Nell, was born, I loved not having to write and put all my creative energy into her," she said. "After our son, Jaimen, was born last May, I started writing again, and it felt like finding a long-lost friend."

Zeigler has no idea how far her music can take her, only that she has never felt such a passion for it.

"I feel like I'm on fire now, letting go of all the fears and baggage I had as a performer. I swore I wouldn't go on and on writing songs about how great it is to be a mom, but I guess I have to get it out of my system. And there really aren't a lot of songs about what it's really like being a day-to-day parent, the times you find yourself on your knees, saying, `Please, just let me get through this afternoon."'  Zeigler makes her "comeback" at Club Passim April 9. back to top
 

Given the sharpness of her performance; it is hard to imagine that Zeigler did not even open her guitar case during the two-year period.

In addition to the now familiar songs from her 1995 release "Sting of the Honeybee", Zeigler wove in a handful of new compositions while also drawing on her earliest work released on cassette only and now out of print.

Openly touched by the outpouring of affection of her local fan base, she contrasted the generally serious tone of her music with humorous quips about life as a mom and the difficulty of writing love songs.

"Leap of Faith" opened the show, and the incisive lyrics seemed particularly appropriate given Zeigler's leave of absence: "You can revel in your finest moments/but you're still sitting on fences; they say you'll never fail if you have never moved."

"Holy Ground", one of her new songs, bore remarkable testimony to the strength represented by marital union. "I Know My Baby's Cry" drew nods of affirmation by both moms and dads in the crowd, showing that Zeigler's exceptional songwriting gift has emerged not only unscathed but enhanced by her new life experience.

Zeigler is transparent in sharing where her inspirations come from, whether the songs gets its start at the hairdresser's ("Widow's Peak") or it centers on a family member, such as the tune written for her dad on Father's Day or "Kathleen" for her younger sister.  "The Well," written for her two young children, spoke of her sometimes overwhelming feeling of a bottomless place where the line between joy and helplessness can be very fine.

The second set brought "With My Eyes Closed", "Legend of Enoch Arden", and "The Winter Sun", written just three weeks ago.  Preceeding the encore "Rock of Ages", Zeigler finished the set with "You Will Get Your Due" - and when it comes to her prospects for long term success, there can be little doubt about that.

While one can imagine her music being latched onto by a producer who would add more instrumentation and deliver a more pop molded product, Zeigler will have none of that.  "It's really important to let songs speak for themselves, not to adorn them too much," she said after the concert. back to top

Diane Zeigler's friends and fellow musicians couldn't believe what she was doing back in 1995. After 10 years of struggling to get her songs heard in the competitive world of singer-songwriters in Boston, Zeigler, a Burlington native, was finally getting some recognition. She had built up a loyal following, won a slew of songwriting contests, received critical praise and recorded her debut album, "Sting of the Honeybee" on folk's prestigious Rounder records.

But she refused to tour the coffeehouse circuit so critical to success as a folk musician.

And Zeigler didn't just refuse to tour, she stopped performing and writing. For the next tow and a half years, she wouldn't even touch her guitar - it was a Sabbatical that lasted until the spring of 1998.

This was no crisis of artistic vision or bout of writer's block - Zeigler was pregnant. The prospect of motherhood filled her with both indescribable joy and apprehension of what it would mean for her growing career. But being a mom was not something she would compromise - of this she had no doubt.

"It was very clear about what I wanted to do," said Zeigler. "I told Rounder I will not tour. There was an aspect of that whole gypsy life I resisted."

Zeigler soon became enveloped in her life as mother in the Montpelier home she shares wit her husband, musician Geoff Sather, actually enjoying the period of not writing or performing. In two years, she would have a second child.

She never worried that a lack of tour support left "Sting of the Honeybee", a critically praised work, with unimpressive sales.

"It's a record I'm really proud of, but it just never got the recognition I think it deserved," said Zeigler.  An unusually assured debut, "Sting", like any successful singer-songwriter's work, focuses on Zeigler's voice with all frills relegated to the background. Her vocals are sweet and breathy without sacrificing strength or a directness that leads the listener to believe she just may mean what she's singing. Bolstered by the simple thrum of acoustic guitar, Zeigler's songs lend themselves seamlessly to splashes of banjo, electric guitar and country harmonies.

"If you turn on any folk album, you're going to hear a range of styles. It's a whole musical palette," said Zeigler. "That's why I love this form. You can go anywhere."

"For me, folk is about words, not just music," she added. “Folk songs endure because they speak to the heart. For me it's just so much more nourishing than anything I could hear on top-40 radio."

Zeigler writes songs of self-doubt and newfound confidence, ponders the intricacies of love and tells tales of childhood and friendship while avoiding overt sentimentality and self-reverence. She even takes time to look at the world around her without getting too preachy or obscure.

They tell of the lives here in the ground
And the granite all comes from the same town
And here among the rubble
Old Barre stakes its claim
In the Rock of the Ages
They know a quiet fame

 Zeigler enjoyed her departure from the music world until last year, when two phone calls requesting a performance struck her as the proper opportunities to step back into the spotlight.  "It was starting to look like it was OK to have a life outside of my kids, that it wouldn't make me a bad mother, " said Zeigler. "It was great. I just up and started writing again. It was like a long-lost friend."

 Her musical inspiration, Zeigler said, has now gone full circle, and she's performing and writing with a n ease and joy she hasn't felt in a long time. It's no longer about trying to create a presence and name for herself, she said, all she wants is to enjoy music. Her prolonged vacation from performing is something she doesn't regret at all.

 "Writing comes and goes in cycles anyway," said Zeigler. "You go through periods when you're prolific, and periods when you're just soaking things up."

 A music career will not be easy, she knows. Now she faces the dilemma of making a career in music without sacrificing her family life. For the time being, she will concentrate on doing weekend touring, and reestablishing her presence in the northeast.

 New songs have come easily and she's eager to introduce them to people, but wants to get a touring career off the ground before recording again. She wants to avoid putting her record company in the same position it was in four years ago - financing an album the artist was unable to support by touring . back to top
 

"Do things in your life that keep routine in it and keep your head straight and your feet on the ground.  That's what's most important,"  says Rounder/Philo recording artist Diane Zeigler.  "There is a lot of adoration in this business and there is also a lot of criticism.  It is important not to get wrapped up in either and try to keep your focus on yourself, your music, and your goals."

Easily said and perhaps easily done, given the results this impressive singer-songwriter has achieved in a relatively sort career.  In a mere five years, Diane Zeigler moved from the supportive comfort of small-town community in upstate Vermont, joined the ranks of Boston's hotly competitive acoustic music scene, and secured a multi-album recording contract wit hone of the industry's most visible singer-songwriter labels.

As her debut recording and rising status attests, this artist has a determination, spark and attitude that remains inspirational.  Affable and humble, with a maturity that belies her physical youth, Zeigler plies this most difficult trade with grace and a healthy dose of philosophical balance.

"I approach music as something that I love to do.  It's what drove me to do this in the first place; this love.  And all I can do is take the point of view that says, 'These are my talents and this is what I have to bring to the table.  Here it is, do wit hit what you want," she explains.  "I couldn't feel more confident about my new songs.  I feel it is the beset work of my life and if it doesn't appear that way to the critics, then that's OK, because I am proud of it."

Rightfully so.  Her debut, "Sting of the Honeybee" finds this resolute songwriter addressing topics as boldly personal as death, spirituality, domestic abuse, love, and self-discovery with a candor and forthright honesty that is as emotionally stirring as it is universal.   Whether angrily attacking the unjust hierarchy of the workplace ("Cog in the Wheel"), describing the hollow fear of a surviving spouse ("Widow's Peak"), boosting the morale of a hopeless artist ("You Will Get Your Due"), or extolling the determined ways of an Atalantic fisherman ("One Who Got Away"), Diane's songs move with a lyrical punch that exhibits a wisdom and strength well beyond her years.  Perhaps best summed up in the two opening cuts, "Leap of Faith" and "Walk on Water", this songwriter threads songs with a deep spiritual constant that offers optimism and encouragement for any and all.  Even a cover of James Taylor's "Millworker" fits nicely in this reflective tapestry.

Country, soft-rock, and acoustic folk carry the songs that are immediately appealing and melodic.  Produced by venerable folkie, Artie Traum, the majority of the tunes are supported by a full bank, backup singers, tasteful instrumental flourishes, and display Diane's delicate vocal delivery with lasting effect.

Despite the lofty tone of her tittles and songs, Zeigler's lyrics never stray into self-serving navel-gazing, or worse, preachy sentiments.  Rather, they move comfortably within the confines of one woman's view and hence, favor warmth and inspiration.  Although seemingly easy, this single aspect illustrates a process that requires considerable emotional homework.  Rather, they move comfortably within the confines of one woman's view and hence, favor warmth and inspiration.  Although seemingly easy, this single aspect illustrates a process that requires considerable emotional homework.

"It is something that I continually wrestle with in this business,"  she confides.  "One one hand you have this intensely personal stuff that you create from experience in a place so far removed from the studio and the stage and yet, on the other hand you have this forum for delivering these songs that is the exact opposite.  The hardest part of this is reconciling these two extremes.  But then again," she quickly chimes in, "I have to do it.  It is a decision that rings on a very deep, personal level.  I have to do this to feel like I can contribute something as a human being."

As if a strong commitment wasn't enough, this young idealist has faced considerable personal challenges as well.  When she was 19, a close older brother succumbed to an untimely illness.  Later, while continuing college in Vermont, she managed to raise enough money to leave school and become the director of a 60-child orphanage deep in the Venezuelan jungle, hoping the change the world.  Life-hardened and culture-shocked beyond her wildest plans, Diane learned to cope with upheaval and change in a way that ultimately made her the person and writer she's become.

"I came out of those two experiences very positively," she recalls.  "They forced me to think of life in much different terms and I became a better writer because of it.  They didn't change what was lacking in my music, because musically my sense of melody is very simple, but it forced me to write songs and play more.  I developed a singleness of mind that really saw no other option but to write better."

The obvious and often prevalent connection between crisis and creativity does not elude Zeigler.  "I don't wear these things on my shoulder," she quickly admits, "but I do believe that these events helped shape me as a writer.  She adds, " You can't let yourself be driven by negative things or put too much faith in that idea.  It is mistake to get wrapped up in that, because it becomes a snowball when you have to have tragedy to create, so you make your own tragedy.  That is abusive."

As one of five children from a close-knit, relatively non-musical family, Diane admits to being a "child of the 70s" with "standard" influences, including James Taylor, Jackson Browne, Dan Fogelberg, and, yes, Barry Manilow ("I can't deny it," she laughs, "that music is just part of what I heard so it counts as something that shaped my sense of music").  However it was one of her brother's guitars that ultimately snagged her interest.  Kept under lock and key, Diane found a way to use that guitar to teach herself to rudimentary chords of her favorite songs.

Looking back at her progress in a field that eliminates many, Diane recalls her decision to become a performing singer-songwriter, "I can remember when I decided to do this.  I had spent much of my life dreaming about how I wanted to be a songwriter, but I was always too lazy to do it," she admits.  "Until things changed in my life to a point where I had to follow this dream - I just had to.  It was really incredible," she exclaims.  "I just threw myself into music and the guitar with almost obsessive force, practicing five, six, seven hours a day for six months until I mastered it.  Maybe it was coming back from Venezuela, or my brother dying, or maybe it was falling in love with my husband.  Whatever it was, I wish I knew how to harness that energy again, " she laughs, pausing, "I'd try and win the lottery or something."