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Yesterday I had the priviledge of doing a lecture at Temple University for Harrison Ridley III's African American studies class. It was a wonderful experience and I'm glad I had an opportunity to talk to the students. The topic of discussion was my career and what are/were some of the advantages/disadvantages of being an African American woman in the (Jazz) music business. Well before I could even address that question...a student asked me why I decided to become a Jazz singer. Of course that was after the smooth Jazz versus Traditional Jazz debate. In looking back I could have easily become an R&B singer because I do sing R&B. I worked with and continue to work with Dexter Wansel of Phila. International Records one of the most amazing producers, musicians, arrangers I've ever met. I did background vocals on Phyliss Hyman's (who it turns out was a relative) last project, Billy Paul and Lou Rawls. When people hear me sing R&B or Pop they're surprised and inevitably ask "Why are you singing Jazz? Well, I chose to sing Jazz for a number of reasons. The more obvious is I love how it sounds. It swings...it soothes...it moves me to think and create. (Remember Jazz at one time was dance music, I still dance to it) The less obvious is longevity (career life) and the preservation of a tradition, an artform. I've been listening to this music for a very long time...since I was at least 11...OK I was kind of deep for an 11 year old but I've always been an adult of sorts. I started listening to Nina Simone and Sarah Vaughan...Nat "King" Cole, Lee Morgan. I dug this music as a kid and knew that I was listening to something special. As I moved into my teen years, I didn't move away from the music but explored it more deeply along with James Brown, Chaka and all of those 70's groups . Leon Thomas, Pharoah Saunders, Rashaan Roland Kirk, Trane, Miles...this was some special stuff. I knew it in my spirit. The first time I heard Sarah Vaughan sing I was speechless...the song haunted me. So much so that I went on to record it twenty plus years later. "The Nearness of You" Billie Holiday's Lady In Satin. Mournful but painfully beautiful. I thought of all that these musicians suffered just to be able to record and sing and blow and play and travel and be heard...I imagined what it must have been like on the road...on the chittlin circuit...finding a place to eat or sleep...I thought about the Cotton Club and good enough to play in but not good enough to play in. Fast forward to my early thirties when I began to sing. I got my one take philosophy from the legends. All of the songs on my CD's with the exception of "In A Sentimental Mood" were recorded live and done in one take) ...I heard that Trane and Monk tried to do it in one take because they felt the music lost something the more retakes you did. The songs I sing have beautiful long lasting lyrics that speak to who I am as a person. Music you can laugh to, live to make love to. Lyrics that allow me to connect with an audience on many levels no matter what the age range. Beautiful lines and melodies...not flash in the pan. Not too many young people are singing Jazz these days or even thinking of singing Jazz these days. How sad is that?! Are we witnessing the slow death of an artform. For me each note that Billie sang had a drop of blood attached to it...each note that Lester blew...had a piece of his soul attached to it. How can we not preserve this legacy created by my ancestors...my people. There is a whole demographic of folks growing up believing that Smooth Jazz is true Jazz!! The legacy that was left for us is fading into obscurity. Look at the Blues!! That's where my story starts. A torch bearer. That's how I describe myself. I carry the torch for all of those who made it possible for my Black behind to get up on a stage in a sequined gown with a mic in my hand and sing anything. I do it for the ancestors to say...Thank You...I remember...Thank you...I won't forget ...I won't let them forget. So in answer to the question...That's why I sing Traditional Jazz.
2:29 AM
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