Libby York Interview

Jazz vocalist Libby York makes an auspicious BluJazz recording debut with her CD, "Sunday in New York." As Chicago jazz radio personality Neil Tesser says in his liner notes on the CD, "York finds the complicated emotional center of a lyric, and sets it out with disarming simplicity."

Gary Walker, the Music Director of WBGO, arguably the nation's foremost jazz station, remarked, "'Sunday in New York' or anytime, anywhere, Libby York's voice leads outstanding musicians on new paths through the jazz evergreens."

York's vocal presentation in "Sunday in New York" fits hand in glove with the superb trio of Renee Rosnes on piano, Todd Coolman on bass, and Billy Drummond on drums. In addition, there is a generous sprinkling of superb saxophone solos by Frank Wess, well-remembered as a featured soloist with Count Basie's "New Testament" band from 1953 to '54.

--------------------------------------------------------------

Rick Holland, JR247: Libby welcome to JR247, and thank-you for joining us. I’d like to start with asking you how you got involved with Jazz? What singers have had an impact on your style and conception? Why?

Libby York: Growing up in Chicago, the jazz singers I listened to were June Christy and the wonderful  singer Frank D'Rone. I'm not sure how, but in high school I got a copy of June Christy's "Something Cool' album and wore it out. I loved her attention to the lyrc, her simplicity,and that  crystyline  tone. Of couse, as a teenager in the early 60's we all listened to Johnny Mathis,who isn't given his due as the great singer he is.

JR247: What are the important things within music that are important to you? For example, some of us focus a lot of our attention on sound or groove?

LY: There are a few things important to me in presenting a song. I like to focus on the lyric and melody,even while making subtle chagnes to make it my own.To me,this is simply giving these wonderful songs their due. And yes, "it  dont mean a thing if it aint got that swing" so groove is essential. In the pocket.

JR247:Are there some Jazz musicians that inspire you in today’s scene?

LY: In today's scene, I love pianists Renee Rosnes and Bill Charlap,Russell Malone on guitar.And Kitty Margolis is a wonderfiul singer. When I met with her in San Francisco she gave me some interesting tips about placing the lyric in a bar for which it wasn't written...... I've been having fun improvising with that concept. I'm not much for scatting, nor do I enjoy listening to it ( except perhaps to Ella or Carmen.) But there are plenty of ways to improvise  and make a song your own vocally without scatting. I remember Abbey Lincoln, whom I  studied with in New York back in the 80's, saying "Why should I try to sound like a horn...they're tyring to sound like a me!"

JR247:Let’s shift to your latest release “Sunday in NY”. The recording has a great feel, and Frank Wess adds great color. Can you tell us your feelings about the project?

LY: ."Sunday in New York" (Blujazz) was a great recording experience..... on several dates in two cities. I had a sense that I really wanted to offer something of excellence as a follow up to my debut release "Blue Gardenia" (Southport) and I originally asked Renee Rosnes to  record just a few tunes with me. She became interested in seeing the project through and it took on a life of it's own with Renee as co-producer.Her  input was invaluable. I learned alot from her about hard work and dedication.

JR247: I enjoyed Renee’s playing on this disc, in fact the entire rhythm section. Did things “click” when all the musicians got together?

LY: The band really did click and I'm glad that's evident on the recording. I love Todd Coolman's bass playing....especially his solo on "Waltz for Debby." And to record with one of the greats like Frank Wess was an honor.

It's a bit of a paradox that jazz education has become such a booming field. I attended the last IAJE conference in NYC and it's great networking.  Given the state of the club scene and the music business in general however, my  question is "Where are all these young jazz musicians going to work?"

JR247: Changing the subject, tell us the unique challenges leading you own band?

LY: Being a female in the male dominated music business takes an interesting combination of skills,especially if you're leading the group. I find the best players know what it takes to be  excellent accompanists as well as self expressive musicians , short on attitude and ego. Life on the bandstand can be a kind of guerilla warfare sometimes and you have to be able to think on your feet,work together and have some fun! And I've learned that the more specific I am on how I want to present a song the easier it is for the band.

JR247:As an independent artist, what is it like producing your own recording projects?

LY: I'm in the beginning stages of creating my next recording project. Russell Malone will be involved on this one and I'm very excited about that.. There's alot of planning involved when you are calling all the shots, creatively, financially, etc. I've devoted the "News"page of my website LibbyYork.com to this topic

JR247: Changing the subject again, You have a great affinity for interpreting standards, and I imagine you have a deep repertoire. Do you find musicians still know a lot of these tunes, and give you the desired outcome when you play?

LY: My favorite musicians do know lots of tunes and they also read well ,so as long as I have charts they can play  anything. One of the things I love about the standard jazz repertoire is that the library is so rich there are always wonderful songs on my list yet to try.

JR247: Who are some of the players you work with locally and on the road?

LY: I've really been fortunate to have had some sterling musicians in my various groups. Lately I've been working in Chicago with Jeremy Kahn, piano, Rob Amster, bass (from Kurt Elling's group) and Greg Sergo on drums..... all wonderful players and people I love being with. I also enjoy working with Andy Brown on guitar. My last New York appearance was with Howard Alden ono guitar and  Frank Tate, bass. In LA, I had a ball working with  Frank Collette,piano, and the legendary Jack Sheldon on trumpet. Trumpeter  Carl Saunders was with us at The Vic in Santa Monica...he's another excellent player.

JR247:How do you see the State of Jazz in 2006? How do you feel it is changing, and how has have any of these changes affected your audience?

LY: .State of jazz in '06?.....it's complicated. There are terrific players and the audience who loves this music REALLY loves it. This music will always be around because of its intrinsic value.As far as the business of jazz, it's anyone's guess! Life on this planet is beset with so many pressing issues, I feel my task as an artist , in addition to expressing myself creatively, is to provide an uplifting, positive experience for the audience.

JR247:Are you teaching anywhere?

LY: I'm one of those musicians who learned the old fashioned way......on the bandstand. I do teach occasionally but feel I'm still very much in the learning process myself. One of my greatest learning experiences was singing the blues with Leonard Bernstein playing piano at a Key West dinner party!

JR247: What are some of your thoughts on Jazz education and it’s effectiveness?

LY: It's a bit of a paradox that jazz education has become such a booming field. I attended the last IAJE conference in NYC and it's great networking.  Given the state of the club scene and the music business in general however, my  question is "Where are all these young jazz musicians going to work?" My piano teacher Yehuda Guttman in Key West asked me early on if I wanted to be a musician"as a lifestyle." That's a choice that involves a willingness to live with uncertainty. Perhaps the academic aspect of jazz life provides more stability.

JR247:What are some of your goals in the next year or two?

LY: My goal in the next year or two is to complete my recording project and tour a bit to introduce it.  I want to sing in Europe as well, something I haven't yet done. And always the goal is to just keep working. I learn something from every performance. I'm blessed to have work I love which is endlessly fascinating and challenging.

JR247: Libby thanks for spending time with us and sharing some of your thoughts!!