Home » Member Page
Sara Leib
Effervescent modern jazz vocalist.
About Me
Nearly all of the dozen songs on Sara Leib’s remarkable Secret Love—from Rodgers and
Hammerstein’s “It Might As Well Be Spring” to Bob Dylan’s “Make You Feel My Love”—
qualify as standards, yet the Los Angeles jazz singer does quite un-standard, wonderfully
refreshing things with every number she wraps her glowing, frequently cheery mezzo-
soprano tones around. While transforming the tunes with amazing new twists of time and
tempo, Leib uncannily cuts to the emotional cores of the composers’ original lyrics.
Leib “reinterprets the template of the standard into something that seasoned jazz
enthusiasts and crossover fans from the Norah Jones camp will both be blown away by,”
Jamie Rattner wrote in Performer magazine of the singer’s acclaimed self-released debut
CD, 2003’s It’s Not the Moon.
She takes her unique way with American popular songs steps further on the highly
anticipated Secret Love on Origin Records. Produced by Matt Pierson, whose extensive
credits include work with Brad Mehldau, Jane Monheit, and Joshua Redman, the album was
recorded in New York City with some of the most consistently creative and in-demand
young instrumentalists in the world of jazz: alternating pianists Taylor Eigsti and Aaron
Parks, bassist Harish Raghavan, and drummer Eric Harland. Dayna Stephens blows tenor
saxophone on four selections, and Richie Barshay adds hand percussion, including tablas,
to five.
Leib’s friend Eigsti was the catalyst for bringing Pierson and the others to the project. “I
gave them a wish list of my dream band and they made good,” she says of the pianist and
the producer. “It was important to me to pick a rhythm section that was happy playing
together and that had worked together before and were really comfortable with one
another. I was really lucky that they all said yes.”
Many of the songs on Secret Love are rendered in uncommon time signatures. “It Might As
Well Be Spring” is performed in 11/4 or, as Leib explains it, “a measure of six and then a
measure of five.” Leib ends the tune most cleverly with a quote from Fran Landesman and
Tommy Wolf’s “Spring Can Really Hang You Up the Most.” Cole Porter’s “Night and Day,”
she says, switches from 6/4 to 5/4 every eight bars. Porter’s “Ev’ry Time We Say Goodbye”
can be counted in three or in six. “So This Is Love” was written by Al Hoffman was a waltz
for the Disney classic Cinderella, but Leib and company take it as a samba.
“The song is about absolute happiness,” the singer says of “So This Is Love.” “It’s very
much about the beginning of love when everything the partner does is so amazing and
wonderful. It didn’t sound completely happy to me as a waltz.”
“The Thrill Is Gone,” by Lew Brown and Ray Henderson, is performed in 4/4 with an Afro
12/8 feel. Leib’s treatment was inspired by her friend Kate McGarry.
“It’s such a sad song, and I hadn’t understood it to be quite as sad until I heard Kate’s
arrangement of it,” Leib says. “I thought, ‘Sad. I can do sad!’ I wanted the pain to come in
waves, as things generally do when one realizes, ‘Oh, I’m in a relationship that’s not gonna
work.’”
Both Morey Churchill’s “Someday My Prince Will Come” from Snow White and the Seven
Dwarfs and Sammy Fain and Paul Francis Webster’s “Secret Love” alternate between 7/4
and 4/4 time signatures. Ben Harper’s “With My Own Two Hands,” Dylan’s oft-covered
“Make You Feel My Love,” the Jonathan Richards–Sara Leib original “The Way You Behold,”
Ann Ronell’s “Willow Weep for Me,” and the Everly Brothers’ classic “All I Have to Do Is
Dream,” penned by Lucy Simon and Boudleaux Bryant, are served up in 4/4.
Leib wrote lyrics to the ballad “The Way You Behold’ after her friend, bassist Jonathan
Richards, had composed it as an instrumental, much as she had Gerry Mulligan’s “Night
Lights,” which she retitled “It’s Not the Moon,” for her previous CD. And she’s known “All I
Have to Do Is Dream” since infancy, when her mother used to sing it to her.
All of the arrangements on Secret Love were written by Leib, save for the title track, which
was arranged by two friends from her days at the New England Conservatory: pianist Jed
Wilson and vocalist Heather Masse, now a member of the Wailin’ Jennys. As for the title
track, Leib explains that the reason she loves the arrangement is because “it’s quite
thoughtful. And instead of reharmonizing it, it’s rather deharmonized, which makes it
sound more pop-y.
Of her own arrangements, Leib says, “I never really set out to go, like, ‘I’m gonna make this
more complex,’ but in order to learn jazz, we all have to do a great deal of imitations of
what other people do—listening to Ella, listening to Sarah Vaughan, listening to Carmen
McRae, listening to Blossom Dearie—and the way they phrase things and arrange things. I
started to think that if I’m gonna do a song, I should do it in a way that’s a little bit
original, ’cause otherwise what’s the point? I might as well just sit at home and put on an
Ella record.
“I don’t think the idea necessarily is to make something more complex,” she continues,
“like putting something in an odd time signature just for the sake of putting something in
an odd time signature, but coming up with some sort of theme or some way that I think
might reflect the meaning of the lyrics in a different way, either more true, less true, more
sarcastic, reinterpreted. That’s the main idea behind some of the arrangements.”
Sara Leib was born on December 21, 1981, in Los Angeles and raised there by her furniture
designer father and social worker mother. Her older brother played trumpet, which
inspired her years later to mimic the instrument’s tone during wordless choruses in live
performance and on her first CD, although she doesn’t do it on Secret Love.
During her high school junior and senior years at Hamilton Music Academy in Los Angeles,
she sang in the jazz choir and listened to vocal versions of Miles Davis and John Coltrane
songs recorded by the New York Voices. She began to memorize solos by those and other
jazz instrumentalists before learning to transcribe them onto paper.
“I didn’t start writing them until I went to music school,” says Leib, who holds a B.M. in Jazz
Performance with a Concentration in Music in Education from the New England
Conservatory and an M.M. in Jazz from the University of Southern California (USC). “My ears
had to get better and faster. Now I love transcribing. It’s like a dorky, fun thing to do. I
make all my students do it.”
Leib was invited during her senior year to join the Grammy High School Jazz Choir. Her
rendition of the Quincy Jones–Siedah Garrett tune “We B. Dooinit” on a CD by the student
group helped her land a scholarship to the Berklee College of Music. After two years at
Berklee, she transferred to the New England Conservatory, where her instructors included
saxophonists Jerry Bergonzi and Steve Lacy and vocalist Dominique Eade.
“She was the first person with whom things started to click and make sense,” Leib says of
Eade. “She was also a wonderful role model in that she has amazing technique. She’s a
great writer, and a wonderful improviser. Her ears are as wide as the ocean. She not only
has the ability to do something well but also to teach you how to do it.”
Leib, who taught technique, improvisation, and private voice lessons at USC while working
on her master’s degree, has performed and taught throughout the world, including Japan,
South Africa, Guatemala, New Zealand, Nepal, China, and Greece. One of her most
memorable experiences was performing with pianist Art Lande at Dazzle Jazz Club in
Denver.
She recalls Paul McCandless, the saxophonist on the Denver date, telling her, “Sometimes
playing with Art is like riding a bucking horse. You did very well. You didn’t fall off.”
Currently, at the Los Angeles Music Academy College of Music in Pasadena, Leib gives
private voice lessons and teaches classes in improvisation, singing for instrumentalists,
and chart writing. She also has a teaching studio in her Los Angeles home and offers free
online advice through her website singingtv.com. In addition, she curates the music at The
Tar Pit, a Los Angeles bar and restaurant where she sometimes sings herself.
Leib’s credentials are an indication that she knows the art of jazz singing inside and out,
but the proof is in her performances. The dozen on Secret Love stand out as being among
the most original and satisfying to have been captured on disc in recent memory. • - Lee
Hildebrand