Written by Charles Waring Friday, 20 April 2012 06:08 ... · Written by Charles Waring Friday, 20 April 2012 06:08 ... Massimo Farao is a swinging Italian pianist I have been working

A NIGHT IN NEW YORK

Written by Charles WaringFriday, 20 April 2012 06:08 - Last Updated Wednesday, 16 May 2012 07:53

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A NIGHT IN NEW YORK


Up-and-coming Big Apple-based English jazz chanteuse, SALLY NIGHT, talks to SJFabout her new album, 'Love For Sale.'

In the jazz world, singers are traditionally judged on their ability to interpret what are called'standards,' those enduring and immortal songs that comprise the so-called 'Great AmericanSongbook' and whose authors include such illustrious tunesmiths as Rodgers & Hart, ColePorter, the Gershwin brothers, Jerome Kern, and Jimmy Van Heusen. Those writers and theirsongs are to jazz what Mozart, Beethoven and Brahms are to classical music: essential andsacred masterworks of the idiom.

But while jazz standards and how they are interpreted can help distinguish an ordinary singerfrom a very good one, they can also seem to some people as dull, restrictive, and formulaic. It'strue that songs like Cole Porter's 'Love For Sale' for example – which has been recorded byeveryone from jazz icons Ella Fitzgerald and Tony Bennett to pop acts Simply Red and ElvisCostello – have been done to death but they undoubtedly have an evergreen quality aboutthem: the lyrics never lose their relevance and the melodies are timeless in their appeal. Andevery so often, a singer comes along who puts a fresh new spin on old standards and makesthen sound like they were written only recently – such a singer is SALLY NIGHT, an expatriateBrit who relocated to New York to further her career as a jazz singer.

Following a promising debut CD, 2007's 'Phases Of Love,' Ms. Night returns with animpressive sophomore album, ' Love

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For Sale,' for the Japanese Venus label. Comprising 17 tracks, it was recorded in NYC's Avatar studiosand finds the singer tackling such classics as 'Black Coffee,' 'The Lady Is A Tramp,''Embraceable You' and many others. It also features an original composition, 'Why Don't YouMeet Me Downtown,' as well as a bossa nova medley. SJF's Charles Waring recently caught upwith the singer, who talks in depth about 'Love For Sale' as well as her influences and describes what life is like for a singer in the jazz capital of theworld...

What's the background story behind your new album, 'Love For Sale.'

I was asked by Venus Records, Japan, to record an album of standards as they loved my firstalbum 'Phases of Love.' I wanted to record an album of beautiful songs which represents mycurrent live shows, that would appeal not only to the Japanese jazz fans but would be equallypleasing to music lovers worldwide whether they listen to jazz usually or not.

How does it compare with what you've done before?

Since my first album 'Phases Of Love' I have not recorded a 'jazz standards' album. I haverecently recorded an orchestral album of my original co-compositions 'Cosmopolitan' andvarious EPs of my original songs; a tribute EP to Peggy Lee and an album of forgotten showtunes, so I wanted to record a selection of songs from some of my favourite composers but withsome simple, fresh, arrangements that really respect the melody and tell the stories throughtheir verses as well.

How has it been received so far?

It has drawn great reviews from Japan, many well-known musicians and music industryspecialists in the USA as well as music lovers all over the world who don't necessarily listen to

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jazz.

Tell us about the three musicians that played with you on the album. What qualities dothey have that you admire?

Massimo Farao is a swinging Italian pianist I have been working with on and off for severalyears in Europe in the style of Wynton Kelly. We performed together with the great BobbyDurham for 2 years in Europe. He has great sensitivity and not only accompanies really well butplays some beautiful solos. He accompanies many of the American jazz artists touring in Italysuch as: Benny Golson, Archie Shepp, Hal Singer, Clifford Jordan, Nat Adderley, Clark Terry,Jimmy Cobb, Albert 'Tootie' Heath, Ray Brown, Ron Carter, Buster Williams, Red Holloway &others ...

Greg Hutchinson is a fabulously talented and musical drummer who I have listened to live withsome of the world's great touring musicians. He loves to accompany singers and is incrediblysensitive and intuitive and is a great friend and advisor to me. He tours with Joshua Redman,Dianne Reeves, Dee Dee Bridgewater and has worked in the past with an amazing list of greatsfrom Ray Brown, Betty Carter, Oscar Peterson, Benny Green, Roy Hargrove, Jimmy Smith,Christian McBride and others.

Tyler Mitchell is a swinging cool bassist who I have been rehearsing and performing with for thelast year. We often work on new songs and ideas as a duo and share a great love for straightahead jazz and beautiful songs. He has accompanied greats such as Jon Hendricks, AnnieRoss, Shirley Horn, Arthur Taylor, Steve Grossman and Sun Ra.

You have one of your own songs on the album, 'Why Don't You Meet Me Downtown' –what was the inspiration behind it?

I fell in love with New York when I spent my first whole month there 3 years ago and I wasvisiting an artist friend and staying with her at her apartment Midtown on the West Side. Everytime I went out to listen to music or meet other musicians I used to take the C or E trainDowntown to meet them ... and we would go visit places, listen to music and they would showme around as I really did not know New York at all... so it's really my first impressions of NewYork in a fun, groovy, blues with an NY twist!

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You recorded the CD at Avatar Studios in New York. What was that experience like?

Avatar was a studio I had heard about for years and seen mentioned on so many recordings Ilove. I had visited it on two occasions when friends invited me down to their recording sessions.So it was a dream for me to record there. I hoped for some point in the future perhaps in acouple of years but I was delighted to record this album there so soon with a wonderful Grammyaward recording engineer friend of mine Todd Whitelock. The studios were all hand-built fromwood planking and have such warmth, they are filled with history and echoes of the manyfabulous artists that have recorded there and the staff and equipment were just great.

What motivated your choice of songs for the album? Do any of the songs hold anyspecial significance?

All the songs on this album represent a style of songwriting, melody and storytelling I findinspiring and sincere; exactly what I try to accomplish when I compose my own songs. I love

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and admire Benny Golson's work, he is one of the few living legends still performing andrecording from what I consider the golden era and his 'Whisper Not' is a tune we rarely hearsung so that was one I had to record. I also have a great attraction for the blues so 'BlackCoffee' was a song I have heard and loved for so many years I couldn't resist it. 'My FunnyValentine,' 'Love For Sale,' 'I Thought About You' all have verses that are rarely sung. All thesongs on the album simply have lyrics and imagery that touch and move me.

How did your deal with Venus Records come about?

I was invited down to Avatar to listen to Dezron Douglas' recording session. He is a great friendand a rising double bassist and recording his first album as a leader. Mr. Hara the owner ofVenus Records had flown over from Japan to produce the recording with Todd Barkan. Theywere on a break and Mr. Hara started talking with me and asking me about my work. Once hearrived back in Japan he listened to my recordings, which he really enjoyed. We exchanged afew emails and he asked me to record and produce a new album for him. A few more emailswent back and forth and we set a date. I spent a couple of months rehearsing, preparing andworking on arrangement ideas for each song and then we went into the studio and recorded itover a weekend.

You're originally from the UK so why did you re-locate to the New York? (and how do theUS and UK jazz scenes compare?). How are you accepted on the New York jazz scene?

I grew up in England but have spent half my life in France. I originally started performing jazz forfun in France eight years ago and then people started booking me. For several years peoplesuch as Freddy Cole (Nat King Cole's brother) and Bruce Lundvall (Blue Note/EMI) as well asmany US musicians visiting Europe listened to me and told me I should move to New York/USAas no one was really doing what I do there. After struggling for several years in and aroundEurope I decided it was time to follow their advice and check out what was happening in NewYork. I have been lucky enough to spend a lot of time in New York this last year studyingcomposing, making guest appearances with some of the New York scene's finest musiciansand I consider I am very blessed as I have been warmly welcomed and have received help,advice and encouragement from many of the musicians and music industry people I have met:they have really made me feel a part of their family and scene in a very short time. It's a toughand competitive scene but despite that everyone has been very kind. Unfortunately this had notgenerally been my experience in Europe, with the exception of a few musicians and industrypeople I met and worked with.

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At what age did you show an interest in music?

Very early. Singing was my first love. At home from the moment I could talk, I used to singeverywhere and all the time, then voice training started in church, then in schools, choirs, choralgroups, light opera/operetta groups and a National Opera group. I dabbled in variousinstruments from the age of 11 such as the cornet, the guitar, the violin and then finally thepiano... but I have never really felt at ease playing instruments ... my voice is my trueinstrument.

What attracted you to jazz?

I started singing, performing and recording jazz only eight years ago, as I had originally trainedas a classical singer, singing opera. However I had grown up listening and hearing jazz at homethrough my parents who were always singing and both had beautiful voices. I have always lovedthe rhythm, harmony, humour and story telling jazz represents.

In terms of influences, which singers and musicians have had a big effect on your ownstyle? (and why?)

The singers that have influenced me are Ella Fitzgerald, Sarah Vaughan, Anita O'Day, CarmenMcRae, Shirley Horn, Peggy Lee, Blossom Dearie, Dean Martin and Freddy Cole. As formusicians, well, the list is so long I don't know where to begin ... all the greats... but directly andrecently my composing has been influenced firstly by Bobby Durham who helped me in myperformance style and also inspired me to write my first song 'Supa Doopa' Blues and thensince Bobby passed Marcus Miller has become a great friend and mentor to me.

Did you have any other ambitions besides being a musician?

Not really. Everything else I have been involved in or with in my life other than music justhappened by chance and satisfied my curiosity and need to be creative temporarily. Makingmusic and making people happy through my music as well as helping children discover andstudy music has always given me such joy, balance and strength. I find it both rewarding and

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necessary.

At what age did you begin performing professionally?

I first went on tour when I was 12 years old, when I went to France with a Choral Group ... bythe time I had reached 18 years old I needed a break from classical music and the classicalmusic world that did not suit my character or give me the creative liberty I was seeking. Idecided to travel and ended up being distracted by various activities and work opportunities.After 10 years away from music I realised I was really missing it, so I started singing andstudying jazz in a very informal way.

The jazz world is still something of an all-male preserve. What difficulties do you facebeing a female jazz singer in the music business?

I consider most industries are male dominated so it is something I take in my stride. The musicindustry and jazz musicians can be tough toward singers as they don't always consider them asmusicians, so there are often many jokes and comments flying around. However the moment

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they start to play with you and realise you are really a musician and you can compose too theyrespect and accept you.

What's next in the pipeline after this album?

My 'things to do lists' are always very long and diverse...I'm a Virgo so lists are part of mylife. Other than developing my live show presence I'm hoping to find a label to release myorchestral album soon which is based on a theatrical musical I have written and would like todevelop. I also have quite a few songs I need to finish composing and quite a few recordingprojects I would like to develop, especially one which includes a number of my original bluescompositions.

Do you have any unfulfilled ambitions musically? (is there anyone you'd like tocollaborate or record with?)

That's quite a question as this is a long list too. I just hope I will live long enough to fulfil most ofit. To name but a few, I would like to collaborate/record with: Marcus Miller, Kenny Barron,Monty Alexander, Charlie Hayden, John Clayton, Bobby Hutcherson, Wynton Marsalis, HerlinRiley, George Benson, Russell Malone, Willie Jones III ... and the list goes on!

SALLY NIGHT'S NEW ALBUM 'LOVE FOR SALE' IS OUT NOW ON VENUS RECORDS.

CHECK OUT HER WEBSITE: www.sallynight.com

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http://www.sallynight.com

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Written by Charles Waring Friday, 20 April 2012 06:08 ... · Written by Charles Waring Friday, 20 April 2012 06:08 ... Massimo Farao is a swinging Italian pianist I have been working