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Faith Gibson: Shooting for the Big Moon

By Published: June 10, 2009
AAJ: What's music to Faith Gibson?

FG: Oh, wow. It's what's always running through my head; it's more than I can put into words. It's always been there, even when all else has failed me.

AAJ: What is jazz to you?

FG: I have sung so many other styles of music in my life: hymns and gospel, choral music, folk music, pop music, songs from musicals and opera. I never chose jazz, it chose me—and it took its time about it. I didn't have to learn to sing jazz; any workshops or lessons I took only confirmed that the jazz singer had been slumbering inside of me all along. Jazz is the most personal and most pliable form of music I know. I came from everything before it and everything after it comes from it, too, and it is still going strong because it allows a musician to make any song her own song.

Faith Gibson

AAJ: Tell us about Christopher Morse.

FG: I met Chris on MySpace, which is one of the platforms he uses as a songwriter to seek out singers and musicians to offer his material to. That was about two years ago and today he is my best friend—and I and my kids actually visited him and his wife in Brooklyn last year.

What drew me first were his lyrics. They were the kind I've always admired and hoped to write: witty, sometimes poignant, and sometimes ironic in the tradition of the best writers of our American Songbook. And, the words and the melody work together so well.

Through him, I also befriended the other songwriters on this album, although I already knew Sophie. I really wanted to sing a few of these songs and one of my own, so I got together with a wonderful pianist named Henning Wolter last year and we recorded some duets and I posted them on my MySpace page. The huge positive response I got to those tunes encouraged me to make the album.

Big Moon is, I have to say, almost as much Chris' album as it is mine and not only because four-and-a-half of the songs on it are his. He has done so much for me as a songwriter and he has accompanied me and helped me through the entire process. He also shows a lot of trust in me to let me be the first to showcase his work.

AAJ: Tell us about the songs you wrote for this album.

FG: "No Time for the Blues" is first whole song (words and music) I ever wrote and bewails the life of a modern-day working mother; a life which allows us little time to really sit down in that rocking chair and wallow in our blues. Also, since I am an optimist, one simple thing of beauty can lift my spirits.

I didn't have a melody for "Between the Lines," so asked Chris to see what he could do with it. He said the string of metaphors in the first stanza just knocked him out. He found them strong, vivid and true and that he had to find a melody that was worthy of them. I think he did.

The next is "What Women Want" and although it is a song that "came to me" almost fully formed, I hesitated to include it on the album, thinking people might consider the sentiment old-fashioned or even whiney. But so many of my (female) friends adore it and find it is still true today and expresses how they feel: here it is, ladies.

The immediate impetus for writing "Be a Man, Baby" was spending time with a friend who may or may not have been romantically interested in me, but always talked about himself and never really listened to what I had to say. That squelched any interest I might otherwise have had in him.

AAJ: And the ones you didn't.

FG: "Scratch It" is one of Chris's kitchen sink songs...he says some of his best ideas come to him while washing the dishes. He also told me that Judy Holliday

said the theme line in a movie he saw when he was a kid. The song is really about supporting the person you love no matter what they need to do.

"Diamond Edge" is one of the songs that first drew me to Chris's music, but I found its sarcasm might not suit me. But, don't we all feel like this sometimes? It's not necessarily an anti-love song, it's an anti-gushing-about-love song. True love, really living a life together, is more about flu shots and rubber gloves than it is about moonbeams.

I sent my brother the final mix of "Big Moon" and he claims it's his theme song. Chris says the song is about the hardest part of love: not finding someone who loves you but finding a way to open up and let yourself love and be loved. He told me he spent hours trying to find the right adjective for the moon: every type of moon had already been used in a song. In a fit of frustration, he yelled, "Aw get outta here, ya big moon!" Kaboom!

Chris told me it took him 25 years to write "That's Right, It Was You," from his breakup with his first wife in 1974 until an evening talking to a friend about her breakup in 1999, when the words "that's right, it was you" came to him. The song isn't about getting dumped, it's about grief. No matter how you lose someone, you just can't convince yourself that the person who means so much to you isn't going to be there anymore.

Dave Gill is a successful jazz songwriter in the UK and his songs have been sung by greats there like Liane Carroll. He's also a jazz singer himself and a professor of linguistics. "I Think Somebody Loves Me" may be the first song ever that doesn't say "I feel good" but the grammatically correct "I feel well"! Or did Dave need that to rhyme with "the world can go to hell"? I think both.

He and I both attended the Fionna Duncan Vocal Jazz Workshops in Scotland, though sadly not at the same time, so we both know Sophie Bancroft, who teaches at those workshops and gives private lessons in addition to being a highly successful singer-songwriter. One day he put a demo of Sophie Bancroft singing their "Too Darn Blue" on his page and I flipped. I agree with Chris who told me: "I love it. The melody is just as sinewy and bluesy and original as it can be, and the lyric is packed with memorable turns of phrase "the up-you songs," "the blue of the name in your fading tattoo," and lots more. The moment I heard it, I envied Dave and Sophie for having written it.

Chris actually discovered "Darling," the song by Emmanuel Hérault, on MySpace and pointed it out to me. I do not speak French very well, but it is simply one of the most beautiful songs I ever heard, both mournful and joyful.

I heard Patti Austin

Patti Austin
Patti Austin
sing "Love You Madly" with the Lewis Cowdrey at their concert of Ellington songs in Cologne in December and I fell in love with it immediately. Why haven't more people recorded it? I first heard "Reaching for the Moon" last year when I heard it sung by Holly Cole
Holly Cole
Holly Cole
. Now, how could Irving Berlin have known in 1930 how I would be feeling on a night in June in 2008? That is why we call them standards: they are timeless and universal.

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