Personnel: China Forbes, Timothy Nishimoto (vocals); Dan Faehnle (guitar, acoustic guitar, electric guitar, mandolin); Kazunori Asano (acoustic guitar, ukulele); Hiroshi Wada (slide guitar); Maureen Love (harp); Masumi Timson (koto); Paloma Griffin, Julie Coleman, Denise Huizenga (violin); Mara Lise Gearman, Tyler Neist, Joel Belgique, Charles Noble (viola); Dieter Ratzlaf, Pansy Change, Oreet Ranon, Heather Blackburn, Timothy Scott, Phil Hansen (cello); Norman Leyden (clarinet); Timothy Jensen (baritone saxophone); Robert Taylor (trumpet, trombone); Gavin Bondy (trumpet); Doug Peebles, Jason Stronquist (trombone); Thomas Lauderdale (piano); Osao Murata (organ); Douglas Edwards Smith (vibraphone, guiro, pandeiro, timbales, percussion); John Wager, Phil Baker (upright bass); Martin Zarzar (drums, timbales, percussion); Brian Davis (congas, percussion); Michael Spiro (congas); Derek Rieth (bongos, shekere, surdo, caxixi, percussion).

Additional personnel: The Harvey Rosencrantz Orchestra.

Audio Mixers: Joe Chiccarelli; Dave Friedlander.

Recording information: Kung Fu Bakery, Portland, OR (04/2001-06/2004); Tokyo, Japan (04/2001-06/2004).

Photographers: Thomas Lauderdale; Henry Ham; Amy Archer; George Calvo; Jonas Tauber.

Pink Martini brings new definition to the word "eclectic." Bridging ethnic divides, this ensemble creates music that draws from jazz, Afro-Cuban, Asian, classical, and both Western and Eastern European folk traditions.

In addition to a myriad of world-music influences, HANG ON LITTLE TOMATO, Pink Martini's sophomore effort, features a total of six different languages. For example, "Kikuchiyo to Mohshimasu" explores the music of Japan; to help add authenticity to this track, Pink Martini invited a Japanese slide guitarist to sit in with the band. The record's opener, "Let's Never Stop Falling in Love," is a salsa ballad that highlights China Forbes's sultry voice; here she sings in English, but the music is clearly based on Latin rhythms. Since almost every musical style seems to be fair game, the title track boldly borrows from swing-era jazz, with this clarinet ballad harking back to the Golden Age of Benny Goodman and Artie Shaw. Throughout the album, Pink Martini's musical director, Thomas Lauderdale, assembles a colorful and varied mix of tunes that are sure to please adventurous listeners.