Jazz vocalists have struggled through the years to make room for their contributions to the art of improvisation that appear effortless. Their voices are their instrument, an instrument that has to compete with tenor saxophones, drum kits or trumpets; an instrument whose strength rests in the necessity humanity has to communicate with others.
To Faith Gibson, vocal jazz has been a gift that life and time laid at her door step a few years ago, transforming her into a new, more confident and brilliantly delicate vocalist; whose voice became the instrument she chose to utilize to communicate to the world around her.
This Pennsylvania native moved to Germany 25 years ago, created a family and in the middle of a very busy life, searched for the kind of music she could sing for others. Jazz was the answer, and Gibson released her first studio album in 2004, You don't know me (Juke Joint, 2004). That was the beginning of a fabulous adventure that has taken her to several different stages in Europe, and has allowed her to record a second, much awaited, album in Berlin in April, 2009, to be released in June.
Big Moon(Capricopia, 2009) is a compilation of songs following the tradition of The Great American Songbook and its ever-enchanting romanticism, melancholy and always hopeful yearning for love. Songs by Christopher Morse, David Gill, Emmanuel Hérault, Duke Ellington and Gibson herself, fill this album with the kind of beauty that can only be expected from those who understand what music is all about. And Gibson tenderly gathers their words and cradles them in her fragile voice, as if singing was nothing but a natural breathing exercise to her.
All about Jazz: Who is Faith Gibson, as a jazz vocalist?
Faith Gibson: She's still a youngster; the kind of kid who's thirsting for knowledge and experience and can't wait to go to school every day and learn something new.
AAJ: And as a woman?
FG: The woman is a late bloomer in her 40s in the process of turning her life inside out.
AAJ: And as a songwriter?
FG: Maybe you could say the songwriter is a self-involved teenager, trying to express herself.
AAJ: Tell us about your writing process.
FG: First of all, the songs I write are for me and about me although I do hope other people will take my songs and sing them. I see myself mainly as a lyricist, since I've been writing all my life and the written word means a lot to me. And yet, most of the time when I write a song, the words come to me along with a melody. For example, the verse of "What Women Want" began as a conversation in my head, but a sung conversation.
AAJ: What is the main difference between your first album, You don't know me and Big Moon?
FG: I think the main difference is that You don't know me was a very spontaneous project, while for Big Moon I let the ideas develop slowly, wrote and compiled the songs over the course of a year and also the music was actually arranged and rehearsed before recording. The songs with the trio on You don't know me were rehearsed and recorded in one evening in a home studio and many are first (or only) takes. For Big Moon, we rehearsed two days and recorded two days in one of the finest studios in Germany.
AAJ: What can you say about Big Moon that you would never want us to know?
FG: Lots. Like, one of the best songs on the album was one I really hesitated doing. Like, I was in tears the evening after the first day in the studio. But, now I've told you those things without the whys and wherefores and still have plenty of things I won't tell.
AAJ: Tell us about the recording of Big Moon in Berlin.
FG: I stayed in a little apartment in Berlin and got on the tram every morning to go to rehearsals or the studio and it was a lovely time because spring was just arriving. I arrived in town with my shawl and gloves and was able to shed them and my coat by the time the week was over. The sun shone every day, too.
The studio is spread out over an entire floor of a beautiful old building. The rooms are all connected by double glass doors or windows and there is lots of natural light coming in the big windows in each room. And across the hall is a very cozy, big kitchen for relaxing in. After two days recording and then the mixing sessions with wonderful and skilled Rainer Robbenwho made me feel very much at easeI felt quite at home.
As for the actual recording, once I got over the jitters and almost got used to closing myself into the vocal booth, it was great fun. Not that I'm claustrophobic, but being behind glass and communicating with some of the band via mirrors and the microphone is something I'm not used to. The first day was also a little tough because we recorded about 10 songs!
AAJ: Tell us about the musicians.
FG: Needless to say, they are the best. Wolfgang Koehler was recommended to me a few years ago by the jazz singer Silvia Droste when I told her I had been performing in Berlin but hadn't found my ideal band. So, I've worked with him and with Lars Guehlcke, the bassist, before. Wolfgang is professor of jazz piano at the Hanns Eisler Music Academy in Berlin and, of course, very well-known throughout Germany as a pianist, arranger and composer, having played with many groupsincluding his own formation with saxophonist Allan Praskinbig bands, etc., and recording many CDs as a leader and sideman. But, besides his prodigious abilities and talent, what impresses me about him is his generosity, modesty, his willingness to work with me (a songwriter who can't write chords) and the great care he took in every detail.
I let him put the rest of the band togetherLars, Felix, Jo and Gregoire are people he's worked with countless times beforeand that was a good idea. Absolute professionals, highly talented and experienced, who have made their mark on the jazz world and it was a huge privilege for me to get to know them and I really look forward to working more with themand they say they're looking forward to it, too.
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 meand 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.
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 friendand 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 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. 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.