During the Jim Crow Era, the practice of the Colored Waiting Room was a custom that segregated black passengers from the general population as they waited to board various modes of public transportation. They represented in the public sphere a space of containment and even the presumption of contamination. Yet on the flip side, it was also a place where one was free to be one's self, where one could express things beyond the scrutiny of a broader, suspicious, though voraciously consuming public. It is clearly ironic that black citizens who were "fixin' to get up" or travel to their various destinations would be forced to launch from spaces of restriction. But they made these rooms something else: they became places pregnant with possibilities. Indeed, they were transformed into something akin to what the poet Elizabeth Alexander has called the “black interior” or “dream space.” For her, this is “the great hopeful space of African American creativity. . . . [one] outside of the parameters of how we are seen in this culture . . . .The black interior’ is not an inscrutable zone, nor colonial fantasy. Rather, I see it as an inner space in which black artists have found selves that go far, far beyond the limited expectations and definitions of what black is, isn't or should be.” This CD takes place in a nightclub called "The Colored Waiting Room." The music here, like any identity in the original Colored Waiting Rooms, is not restricted and refuses to pin itself down to a specific genre. Each song’s message of life, love, desire, and joy are the result of providing talented individuals from different backgrounds and musical dispositions material through which they could dream, interpret, and execute. Step into the experience of the Colored Waiting Room. Enjoy and imagine together with us.