Corrections or additions?

This article by Richard J. Skelly was prepared for the October 4,

2000 edition of U.S. 1 Newspaper. All rights reserved.

Dianne Reeves’ Moment

Vocalist Dianne Reeves has made her mark in the world

of jazz by blending pop, rock, and jazz standards into her own

original

singing style. While she considers herself a jazz singer first, Reeves

has caught the attention of music critics in recent years for the

way she seamlessly blends a tune from Sting into one popularized by

Cat Stevens into one popularized by Sarah Vaughan or Ella Fitzgerald.

What does Reeves say to the jazz purists who are out there, those

snooty critics who don’t know Joni Mitchell from Joan Armatrading,

both songwriters who are greatly admired by Reeves?

"One of the things that I do is I take the popular music of this

day and time that addresses who I am as a woman in this new

millennium.

I want to sing about things that I really know about, and jazz is

the music that is my foundation," says Reeves, who comes to

McCarter

Theater Friday, October 6. In the heyday of Ella Fitzgerald and Sarah

Vaughan, the latter a Newark born-and-bred singer who turned the jazz

world on its ear in the early 1950s, "they felt free to stretch

out and do things that were the popular music of the day. All of them

did it. And it’s the same thing with me. One of the things a jazz

singer did in those days was take the standards of the time and give

them a jazz sensibility."

After all, Reeves, 42, began her career as a vocalist by singing jazz

in Denver — not a town known for its jazz scene — at age 13,

encouraged by her uncle and her mother and father.

"There wasn’t a large or sizable scene there," she explains,

"but there was one, and the wonderful thing was there were a lot

of jazz musicians who came through Denver on their way to Los

Angeles."

"I worked a lot with Gene Harris and Blue Mitchell and then my

uncle, who was a great jazz bassist but was also with the Colorado

Symphony for 42 years. He gave me my jazz education. Later I worked

with Clark Terry as well," she adds. Reeves was raised by a mother

who worked as a nurse and a father who worked for the post office

in Denver. Both were very supportive of her earliest desire to become

a singer, she says.

Clark Terry, the St. Louis-born and bred trumpeter,

was also very supportive. Terry can safely take credit for discovering

Reeves’ genius — how she can wrap around a lyric and make it

completely

her own — because he first heard her sing in her teens.

"My high school jazz band won a competition and we ended up

playing

in Chicago at the Jazz Educators Convention and he took me under his

wing," she explains. Terry gave Reeves the chance to shine in

a variety of settings, always with great musicians, Reeves says.

"Every opportunity he had to take me out on the road and sing

at festivals, he did it. He gave me my first opportunity to sing with

a full orchestra as well as the chance to work with some great

musicians,

like Louie Bellson, Eddie `Lockjaw’ Davis, George Duvivier, Grady

Tate, Jimmy Rowles, Roland Hanna. He always surrounded me with the

best jazz musicians."

Attending the University of Colorado, Reeves studied voice, and while

the school had a jazz program, it was just starting out, she recalls.

In less than two years she left college and moved to Los Angeles to

start her career under her own name. There she could get some of the

lucrative studio work that is available to people with great voices.

"My uncle found out I could sing when I was 13," she recalls,

"he came to me with a big pile of records, including Billie

Holiday.

But the one that really got me excited was by Sarah Vaughan. She was

the voice that opened doors for me and inspired me."

Her current album, "In The Moment" (BlueNote Records), reminds

this writer of the late great Vaughan. "People say there are

echoes

of Sarah Vaughan in what I do, but I don’t really think so," she

argues, "I’m very flattered when people say that, but listening

to Carmen McRae, Ella Fitzgerald, Sarah, Betty Carter, the one thing

they all showed me is that one must have their own unique approach

and their own unique voice. That is what I’ve been working on all

my life."

"In The Moment" also showcases some of Reeves’ original

compositions,

inspired by her own experiences as an African-American woman in the

new millennium. When told she’s a gifted songwriter, the self-effacing

Reeves says it is not her primary focus.

"Writing songs is not something I do every day. I mean, I write

songs but I wouldn’t call myself a songwriter like I’d call myself

a singer," she explains. "I’m kind of casual about it. I find

things I want to address on my records but I’m not someone who writes

songs a lot. I like people who write in story form and ballads as

well as talk about specific events or places, people who lay pictures

into their lyrics." She says she admires "more folk-oriented

writers, people like Joan Armatrading or Joni Mitchell, their songs

are not in AA-BA format. The kinds of songs I like to write are more

free-form and they tell stories."

"I grew up listening to Motown music, so I like people like Marvin

Gaye, Aretha Franklin, and loved Gladys Knight. When fusion came on

the scene, I loved that, because to me that was the first kind of

world music, or musicians embracing each other with respect and a

desire to learn about different musics and different cultures,"

she explains. "I also loved Celia Cruz and a lot of different

types of Cuban and African music as well."

"In The Moment," her 10th album for BlueNote Records, was

recorded in a large studio before an audience of 300. At her shows

in jazz clubs and McCarter and NJPAC this month, it’s likely Reeves

and her band will improvise something, because although she will work

with a set list to get started, her real genius is as an improviser.

Asked about a first big break, she says "the biggest break of

my career with Palo Alto as well as with Blue Note has been that

they’ve

always given me total artistic freedom, and an opportunity to develop

and experiment and experience all those things that are in me so that

I could define the music for myself. That’s really the thing I

treasure

more than anything."

At McCarter Theatre and at NJPAC, Reeves’ band — "don’t call

them my backing band, they’re my band," she says — will

include

Otmaro Ruiz, piano and synthesizers; Reginald Veal, bass; Munyungo

Jackson, percussion, and Rocky Bryant, drums.

"Because jazz music has been my passport into many different

genres

of music and has been my passport to travel the world, I don’t believe

in categorizing music. There’s just so many possibilities out

there,"

she adds.

True to form for a world class vocalist who believes so much in the

power of composing things on the spur of the moment and being

spontaneously

creative, Reeves adds that "the audience should come out and be

themselves, and if the music feels good to them, then it’s wonderful.

I don’t expect them to be anything other than what they are, because

that’s all I’m gonna be. I really like to allow the moment to be what

it is for the night."

— Richard J. Skelly

Dianne Reeves, McCarter Theater, 91 University Place,

Princeton, 609-258-2787. $25 & $28. Friday, October 6, 8 p.m.

Also at the New Jersey Performing Arts Center, Newark,

888-GO-NJPAC,

Saturday, October 14, 8 p.m.


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