Stacey Kent: Trans-atlantically Yours
AAJ: How are England's jazz clubs? One of the things that keeps a lot of young people away from jazz in New York is expensive cover charges and drink minimums.
SK: I think it's better over there. I find it pretty shocking, I mean, you get shows like last night [at the Hideaway] where it's two sets, but it's two separate shows, and you come in for one hour and that's it. Over there, you don't pay per show, you come in for the night. Also, the clubs in the States don't have student prices. That's awful. In England you have student deals. If you're a student you can get into Ronnie Scott's for five pounds, and there's no minimum.
AAJ: Can you talk a bit about the making of the new album?
SK: I loved making Dreamsville. It was a real challenge and yet a real delight. I was a little apprehensive about making a ballads album. I wondered, how are we going to keep people excited? We didn't want to drain ourselves with ballad after ballad. We took an extra day to make the record, so we could take breaks and go play ball or something. It turned out great, we had a great time. And people really like it too. A woman told me the other day she brought the disc into the labor room and had her baby to it. People say the greatest things. It's so meaningful to me that we can touch people's lives like that.
AAJ: Speaking of touching, there's Dave Frishberg's "You Are There," from your new album...
SK: That song blows me away. I can't even sing that song, it's too sad. The way I interpret it, it's this personfor me it's a womanwho loved somebody so much, and she doesn't miss the person because they're away, but because they've died. A lot of people might just think the person's away, but I think it's worse than that. I just can't stand it. It was hard to record it.
AAJ: Who are some of the other British musicians you admire?
SK: Britain is full of phenomenal musicians. I don't have a lot to do with the singers over there, because I don't deal with them on the gigs of course. But of course I know them, and especially since I have the radio show I hear a lot of them. You heard my pianist David Newton, who's just great, he's got everything. We feel the groove the same way. Sometimes we go out as a little chamber groupDave, Jim, and myself. And Dave is a one-man orchestra. He can be the whole rhythm section. His time is phenomenal. He's a joy to play with. Colin Oxley, the guitarist on my recordsoh my god. I love Colin more than just about anyone in the world. He gets me so excited. What an amazing groove. Beautiful soloist, and I think Colin's the greatest rhythm guitarist alive today.
AAJ: You have two radio shows on the BBC. What's that like?
SK: I love doing that. One just started in April and the other I've been doing for two years. I get to spin records and interview other musicians, people like Tony Bennett, Joshua Redman, Bela Fleck. Next week I get to interview Rosemary Clooney. It's a great opportunity for me, because I'm just a girl with big ears, and I love all sorts of music, and I get to share that. I think anybody's responsibility as an artist is to be focused on the things that you love. Not everybody's gonna have the same taste. And that's coolwe don't want a homogenous world. I want some people to love spaghetti and hate sushi, and love Bela Fleck and hate Warren Vache, you know what I mean?
Music, to me, is everything. Man makes music because man is compelled to make music. It makes us feel better. There's nothing that touches me more than when someone comes up after a show and says, "I had a terrible week, and you just made me feel so good." It's corny, maybe, but I feel touched by that, because that's the way I feel about music.
AAJ: You've talked about how when you were little, you used to sing Paul Gonsalves's tenor solos on Duke Ellington records, and you didn't know they were improvised solosyou just thought that was how the music went. What a great way to establish an immediate connection to the music, without getting caught up in the technical aspects.
SK: Yes! Nobody told me what the word "improvisation" meant. I just accepted it at face value. And I loved it. It was this great, spirited, frenzied music. Ella and Duke at The Cote D'Azur was the record. I knew every note, back to front. It taught me a really valuable lesson. If I had known what I was listening to I would have heard it differently.
AAJ: Sometimes one yearns for that, to go back to an "unspoiled" state, a totally fresh outlook.
SK: Isn't that weird? You want to go back to that spot that you can never go back to.
AAJ: You've also said that studying foreign languages is largely an "ear" thing, much in the way music is.
SK: Yeah. I studied French, Italian, and German. My German was never fluent, but I was reading Proust in French and that sort of thing. I was good. For me language and music were precisely the same game. Both came very naturally. I'm always fascinated by what makes one person a good singer, another a good impersonator, and so on. I often wonder how it is that Mother Nature gives us these different skills.
My mother taught literature, and she taught us to read aloud to each other, and that was a huge influence. As soon as we were able to read, she made us do the reading. So my sister would take a turn reading Dickens out loud, or whatever it wasthere was a lot of Dickensand then I would take a turn. We all learned the love and the art of telling stories with our own voices. And the way we each told them was so different. I think that's very telling in regard to what I do now. I'm telling stories that aren't mine, but they become mine.