The month of September is Women in Jazz, so I'm doing jazz there in September. I'm in for the duration.
Too often, the opportunity knocks, but by the time you push back the chain, push back the bolt, unhook the two locks and shut off the burglar alarm, it's too late.
There was a subtlety about Peggy Lee. It was powerful. There was a valuable use of space. Everything was not cluttered. Her voice was out front and was the key instrument.
I choose things by how they resonate in my heart.
It seems that jazz is more cerebral and more mathematical in a sense.
I say what's in my heart, and I do it in my concerts.
You know, I'm pretty much an open book.
I don't think I was considered to be a cabaret singer because I didn't have patter that was written.
Possibly, I should have been a jazz singer from the beginning.
I think the challenges for me was to go into the studio with these incredible jazz players and come up to their level of excellence. That's always a challenge.
I was kind of known as a ballad singer. People would send ballads. Some of them would go over my shoulder and float off the top of my head, and I just didn't feel anything. Then I would hear a song that would absolutely shake me.
I've got my whole life. There's a lifetime of experience, a lifetime of experiencing the road and the music and different players. It makes me a richer human being. I have a greater source of information to tap into, a wealth of life.
I'm not stopping. My dream has come true, and I'm staying.
When I sang that song, I felt it was almost as if some force had moved into my body. Things like that have only happened to me singing jazz. It doesn't happen when singing pop. I get so deeply into the music, it feels like I've become someone else.
I recorded my first jazz record in the '70s.
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