Juliann Kuchocki
Juliann Kuchocki discusses her heartfelt collaboration with jazz legend Gene DiNovi, bringing his timeless compositions to life and preserving his extraordinary musical legacy for future generations.
1. Kuchocki Sings DiNovi: But Only for You grew out of your personal friendship and artistic collaboration with the legendary Gene DiNovi. How did your relationship first develop, and what inspired you to transform his remarkable songbook into this recording project?
Gene and I first played together in 2016. I met him through a client called Ray that I used to personal train. Ray knew I was a “jazzer” and show producer and insisted I see Gene DiNovi at the Old Mill Inn Toronto. So, I did in 2015.
I was blown away at the history, talent and humble delivery of the magnificent information he was educating us with for every song he played. Gene DiNovi is a real life, walking jazz encyclopedia – no AI required with this legendary jazz musician and historian. He remembers everyone he played with, not just the jazz legends we all know that he’s worked with like Dizzy Gillespie, Lena Horne, Peggy Lee, Carmen McRae, Nancy Wilson, Tony Bennett, Frank Sinatra to name a few, but every side man and woman too.
I asked Gene to play the South Coast Jazz Festival. I am founding director of the event and he was a perfect fit. Gene hired Neil Swainson and then surprised me by giving me a song to sing with them, without even hearing me sing. He wanted to do it at the festival. So in between running around producing the event, I also ended up performing on stage with Gene and Neil. Gene gave me “Boy Do I Have A Surprise For You”. And added “Once I Met A Day”
I still don’t know how he knew at that point, that I could sing these tunes with the quality of legends he had worked with before. Maybe just from speaking with me and knowing I ran a jazz festival and sang. I actually don’t know how or why he decided this but who am I to question it? Challenge accepted🎶When a living Legend asks you to join him on stage you do it… It doesn’t matter if you’re exhausted or busy producing and running the show.
We did end up meeting prior to the show when Gene invited me to lunch and drove me down the street in his convertible Jag to a restaurant close to where he lives in Toronto. We had a beautiful lunch. He opened and closed the car door for me and I felt like I was experiencing an elegant scene out of a movie or a day back when chivalry was the normal standard. He was delight. We ended the day in his three story high home studio where Gene and his wonderful wife Deirdre reside. We continued with our visit and ran through many songs he had floating around his studio. He was very patient because sight singing is definitely not my strength but regardless, it was an incredible memorable experience seeing all of the songs and the history in his studio. And the stories…what a thrill just to be hanging with the Gene, taking in his historical jazz stories.
The live performance ended up going surprisingly well at Port Dover Arena despite the record 40 degrees Celsius heat wave we had (without the Humidex). We had an Industrial sized air conditioner for the arena but it stopped for a while until I decided I’d pull the lever to try and get it back up. So, I was automatically warmed up with adrenaline, plus heat and humidity.
David Sanborn was playing that day too and his fingers were sliding off his saxophone. People were drenched. Gene and Neil performed flawlessly as they tend to do:)
After that show, Gene physically mailed me 8 more hand written charts that he said he would love to hear me sing.
Forward a few years, we also hired him for the TV edition of the festival I shot during Covid when I produced a big screen quality, live off the floor festival. It was recognized by writer Charu Suri (more about her later). Charu was writing for the Wall Street Journal and acknowledged the festival I founded as one of the top international festivals to watch. We were the only festival in Canada to make the list. That article helped me to receive a $100,000 grant to produce more content and Gene, Neil and I also ended up played together for that recording too. Unfortunately, I wasn’t satisfied with my performance on that recording so, I had to cut myself and I landed on the cutting room floor. Gene and Neil made it into the TV Show as a duo.
After the TV Show, we were going into Canterbury Music Studio in Toronto. Given how small our band was with just the two of us at the time, we decided to begin as we were still permitted. We completed two songs and then the world stopped and the studio was forced to close.
We tried getting content via zoom, practicing songs and also doing interviews with Dini Petty for a future documentary, but it just wasn’t up to the same standard of the other footage we had so we didn’t use it.
Gene essentially retired from playing after years off with the pandemic and life around the planet began again and the project was put to the side.
In late 2025 I decided, as Elvis said it was really “now or never”. Here I was sitting on these gorgeous tunes that an iconic jazz legend asked me to sing – it was time to fulfill Genes ask to hear me sing the other 8 songs he personally mailed to me.
Back to the writer from the Wall Street Journal. First of all, I should probably mention that I didn’t even open that email at first because I thought it was it spam lol. Boy, am I glad I went back and took another look. Charu Suri and I ended up on the telephone for part of the interview for the Wall Street Journal. After the interview she mentioned that she was a musician. I didn’t think much of it until she sent me some of her music after the article came out. Within the first bar, literally the first bar of hearing the Raga Jazz music, my heart dropped into my stomach, and I knew that it was my destiny to know and work with this woman. Quite a long and extended story, but to make it short, she ended up coming down and performing in the festival for the 10th anniversary of South Coast Jazz festival and we also ended up putting some footage from a show we captured of her music into the TV show.
So when it came time to complete Genes and I’s album, I was hoping to somehow, have her be a part of it. She only had one weekend available in March 2026 and that’s when we decided to get together and try and navigate through the charts with the rest of the band we rounded up for that window of time we had. I rounded up Canadian superstars Drew Jurecka, Mark Kelso, Neil Swainson and Rob Pitlch.
In a weekend, we managed to lay down many bed tracks and workshop the material. Charu was extremely busy because she had just been nominated for three Grammys and she was quite consumed with other duties, but she did end up on the album with a tune that her and I wrote when we were developing Genes material. Charu and I were very moved by Genes songs and we wrote one together out of that inspiration. It is a bonus track on the album track number 11 “Waltz Of The Heart.
Charu and I wrote our parts in about 15 to 20 minutes and we weren’t even together. She laid down the music by the time I came out of the sauna after the session when we were back at the hotel. I couldn’t believe it. I went into the lobby. I listened to the music and laid down lyrics and Waltz Of The Heart, which is exactly what Genes music is, was born.
The serendipity and the alignment of two countries, genres and cultures was meant to be, and the project has turned out to be more than I could have ever expected.
Gene has had an opportunity to listen to the recording. He listened to the whole album with me, Neil Swainson and Rob Piltch and he actually thanked me. It was so incredibly surreal to have Gene sitting across the table thanking me. Gene gave me this opportunity and I was so excited to be asked to sing it..pure joy to watch him enjoy his songs come to life. I’ll never forget those moments. I have to admit Genes positive reaction was a huge relief as well! We really had a lot to navigate to get to the finish line but, seven plus years and four studios later “Kuchocki Sings to DiNovi But Only For You” is out into the universe and it features some of his classic songbook and a few new tracks including a never before recorded or released tune by Gene and his iconic friend Peggy Lee. How blessed am I to sing it. I’m eternally grateful to be the first. I’m sure I won’t be the last. And that is my wish, that Genes music can still carry on for generations to come for everyone to enjoy.
2. What began in 2019 eventually became a seven-year journey, interrupted by the pandemic and Gene DiNovi’s withdrawal from performing. What were the biggest challenges you faced in keeping the project alive, and what motivated you to see it through?
Part of this is answered above. It was also very difficult trying to work remotely during the pandemic. Dini Petty and I were going to host another TV Edition so we did some interviews with Gene via zoom. He and I also tried to run tunes he had sent to me but with the internet delay etc it wasn’t the quality we wanted to present. If someday we can get funding or an executive producer to help complete a documentary, we certainly have enough footage to put something together and we could insert a bit of that on-line experience as the entire world would understand and it is part of the journey to how we ended up getting to where we are today. We have ample coverage and Gene being 98 releasing new music with me is a wonderful story in itself. The fact that one of the co- writers is his pal Peggy Lee takes it to a whole new level. I’d love to find partners to develop a full documentary. The man has had such an impact on the jazz genre itself. He was one of the musicians inventing bebop, playing in the clubs with Dizzy Gillespie at age 15 on 52 street. Gene is Canadian too. We have two countries who now more than ever, could use a feel good story of unity and historical significance. This could be it. And Gene deserves to be better know for his important contribution litteraly helping shape the Jazz genre.
It wasn’t until well after Covid that I finally decided that this perpetual desire to complete Gene and I’s project was now a must do. So I rounded up some of Canada’s best piano players that were available on our reserved studio dates. We ended up getting Brian Dickinson, Adrean Farrugia, Nancy Walker, Ewen Farncombe to come into the studio to finish the album. A fitting elite group to be able to also tribute Gene on our project, which obviously, everyone was more than honoured to be a part of. We called our producer-musician friend Roberto Occhipinti to listen in on the piano sessions as well. Mark Kelso and Rob Piltch also gave myself and our engineer Julian Decorte valued input. Canterbury Music Studio had to close its doors so Julian organized Noble and Union and his home studios to finish the project. It was a labour of love from the whole band. A once in a lifetime honour for all of us.
3. The album features the previously unreleased title composition But Only for You, co-written by Gene DiNovi and Peggy Lee. What was your reaction when you first discovered this extraordinary piece, and what does it mean to finally share it with the world?
When Gene first told me about this tune he presented it respectfully and quite nonchalant. He is not a man with an ego. He was very casual about it as Peggy Lee was a friend of his. For me, I’m thinking to myself… are you kidding me… you haven’t recorded this yet and you’d like me to sing this..?!
Of course, I was honoured and thrilled. It only took me 7 years to actually do it! Yikes… I mean we can blame covid for three years of that but, the rest is on me. One day I just woke up really unsatisfied with being behind the computer too much and decided it was time to get back some balance and get back behind the microphone to fill my soul. What better music to do that will than the music of Gene DiNovi.
4. Gene DiNovi collaborated with celebrated lyricists such as Johnny Mercer, Spence Maxwell, Tony Velona, Gary Michael Dault, and Mary Ann Maurer. How did you approach interpreting these different compositions while preserving Genes distinctive musical identity?
No pressure right! Oh my goodness. Yes, it was daunting and a treasured gift at the same time. I did a lot of listening to Genes music and to the artists that he had worked with in the past. On the songs that I was going to be covering, I wanted to be familiar with the original versions but, also stay away from exactly what had already been done.
At the same time, of course I wanted to stay true to what was handwritten on the charts for much of it.
Once I learned what was on the page, I did eventually decide to take a little bit of liberty, especially with additional verses, etc., and on some of the tunes of course there were no other references so for the case of the Peggy Lee tune, I listen to a bunch of Peggy Lee music. She of course crosses genres and had so many different flavours to her sound and delivery depending on the project she was working on.
She had a lot of flair and personality and so I decided to go with that theme and approach because given the lyrics that she wrote for “But Only For You”, they are cute and fun. Given the multiple modulations in the song, there was room to unleash some playfulness. What a responsibility and life changing honour to interpret never before released Peggy Lee’s lyrics. Wow just wow.. I did not take the opportunity lightly.
There were many directions we could’ve gone and I’m sure in years to come, the songs will be covered in lots of different ways. However, I was most definitely looking for the balance for the first versions of the 4 new songs I had the opportunity to bring to the world first. The concentration was to be true to what was on the page and Genes intention, while still making them my own. Also of course, all recorded in real time – no click track so we could stay in the moment with the band who also, definitely played a part in this historical work and being able to execute my vision for the overall production of the album.
5. Your international career spans singing, songwriting, dance, acting, and choreography. How have these different artistic disciplines influenced your approach to vocal interpretation, storytelling, and emotional expression throughout this album?
Having a lifetime of different disciplines is a true gift. It was a lot to keep up – especially for my parents! I drove them up the wall singing commercials at the dinner table I could hear in the living room. I sang every tv theme, ALL musical shows Donny and Marie, Barbara Mandrell and the Mandrell sisters, Hee Haw, Lawrence Welk, Grand Ole Opry, Solid Gold, Soul Train, American Bandstand, the Circus, I was even on Big Top Talent with Oopsy the Clown out of Kitchener with a number choreographed in the backyard on the grass! lol. I knew all the songs and still to this day, have all of my mother’s records and old school, still wonderfully sounding Philips stereo. A reel to reel too as my Grandpa played banjo on the radio and he’s on those reels. At age 6 I knew all the words to Anne Murray, Barry Manilow, Donna Summer and oh so much disco. Bill Haley and the Comets. I remember seeing the album cover and thinking well that’s a huge violin…I had no idea what an upright bass was and it didn’t matter. My mom, God rest her soul knew who I was and she helped shaped me, believed in me and sacrificed huge, for me to get to where I went. Thankfully, she lived to see at least part of my success. I have more to show you mom! I’m not done yet!
My whole family put up with me
creating shows at family gatherings-making my cousins act sing and dance. I choreographing routines at recess from grade 3 in school, opened the fridge like the price is right ladies.. My parents had to do something with me!
When you have different interests that allow you to grow as a human vessel and let out your purpose to the world, it’s not work. I’ve never swayed from what knew I should be doing. The only struggle has always been when I can’t exercise and share who I really am. Whether that be from car accidents or having to work out of my field after a large part of my career was shut down for over a decade. Even when I’ve had to take non artistic jobs to pay bills, I’ve always kept music, theatre, arts and entertainment as a joyful and therapeutic outlet. I have to. They are my main power sources that allow me to serve my purpose. My deep wish is to continue to do it as a living full time.
Look how important music is and what music does for memory. Emotions triggered by music can put people with serious Alzheimer’s and dementia who aren’t even moving in their chair to having them literally wake up and start talking and remembering everything right after hearing the music. I personally find this miraculous and feel it should be studied further. It’s an energy and it’s personal and different for every individual.
I did contact one of the lyricists, incredible writer Gary Michael Dault because we had to organize song rights that weren’t available to the public. It was a treat to speak with him regarding his tunes on the album.
My process was different for each and every song. It was an interesting journey.
With this project, I also had to get back in shape with my soprano voice, which I had been avoiding for years singing lower register jazz, blues, country, r&b, & rock.
I found that Genes writing almost leaned toward my musical theatre voice for some of the compositions and at first, I approached them a little bigger and then decided it’s not the way that I wanted to go. I had to reel it back in quite a bit to stay true to the Jazz genre and collection of songs Gene wrote to keep them all relevant to each other so they could work with the overall feel of the album.
It’s definitely been a ride singing lots of different types of music. When I was living in Boston and I was going to the Boston Conservatory of music, I was approached to be an opera singer there by former professor Mark Peirson. I was touring with Joseph and the amazing Technicolor Dreamcoat with Donny Osmond and of course I wasn’t able to leave that show. I was under contract.
Soprano operatic type of singing is what came very naturally. I worked hard to be able to become more of a commercial and Jazz and blues and even pop and rock singer because I loved it all and wanted to do it all. It would be interesting to finally do a classical piece for real. Maybe that will be next while my voice still allows. I still have one or two arias in my repertoire.
All of the training I’ve had came into play for this album. Sorting what to use where was the most frustrating. I was nowhere near ready to record final vocals in the bed tracks sessions. That would have come in handy to save time and money but, I was working with availability of other players and studio time and getting the project back up and running was the priority. With Broken Compass, my “angry jazz” album, I produced the music first as well. So that order was doable. Maybe the next recording will be live off the floor to approach differently. Regardless of the different processes, I am grateful for this music and blessed with how we all came together.
Now it’s celebration time. I’m not the kind of person that saturates my concert presence but I do like to have a variety of repertoire when I do perform. Genes music covers a lot. It’s quite a ride to control and exercise restraint to deliver the musical genius of Gene DiNovi.
The process was at first exciting, then difficult and frustrating and then eventually, richly rewarding and emotional and spiritual bliss to sing.
I am always my own worst critic and that can be painful for myself and everyone around me, but I am getting better with this, the more albums that I have under my belt.
I’m very satisfied with how the album has turned out. I am proud of it and it is an absolute joy to sing.
Music has delivered some of the finest pleasure I’ve ever had in my life. Music is what moved me as a dancer and it’s what moves me as a singer. Music heals me, being able to create it and even have it be a method of therapy. I also use it to clean or set the tone for dinner, meditation or romance. It’s works for everything. Music and nature. My top two recommendations for the world to enjoy more of. And nature is also explored and celebrated through the lyrical writing on new recording.
The timing of this album couldn’t be better. Just getting back to the beauty that is possible between every human, and the basics in life of love for life, love for oneself and love for the planet.
IE Love Can Do Anything.. “It makes friends out of strangers, it makes safe human dangers, it can mend a world apart.. just let it get into your heart”
Come on world. We CAN do it. And now more than ever as a human race this is something we need to be focussing on. Genes music is more relevant than ever. It’s always been timeless, but it is actually critically relevant and delivers healing attributes for this exact time we are all living in.
6. With Kuchocki Sings DiNovi: But Only for You scheduled for release on November 6, 2026, what do you most hope listeners will discover about Gene DiNovi’s musical legacy, and what would you like this recording to represent for future generations?
It’s a dream to have at least Canada and the USA, (especially now in our political place in history), know who Gene DiNovi is, and celebrate a new work together by an American-Canadian Gene DiNovi and his Iconic American singer pal Peggy Lee “But Only For You”
The whole world knowing him would be nice, Usually, music has to go over to Asia or Europe before it makes it back to Canada anyhow it seems so.. hey – there hope for the whole world to hear his music yet. This of course includes the new generations to come who can help keep this important jazz genre alive.
It would be wonderful to be able to use all of our footage we’ve captured over the years and compile it with other Gene fans who have documentation and put it all together on TV VOD with his own special. It is my great wish to be a producer on this project, but I cannot fund this alone. I may use my granting skills to try and find a path forward on that. But an international partnership with partners from the US or other Jazz fans and preservation partners would also be welcomed. I’m all ears for whoever is “hearing my noise:)” And thank you, so very much for listening.