Dear All About Jazz Readers,

If you're familiar with All About Jazz, you know that we've dedicated over two decades to supporting jazz as an art form, and more importantly, the creative musicians who make it. Our enduring commitment has made All About Jazz one of the most culturally important websites of its kind in the world reaching hundreds of thousands of readers every month. However, to expand our offerings and develop new means to foster jazz discovery we need your help.

You can become a sustaining member for a modest $20 and in return, we'll immediately hide those pesky Google ads PLUS deliver exclusive content and provide access to future articles for a full year! This combination will not only improve your AAJ experience, it will allow us to continue to rigorously build on the great work we first started in 1995. Read on to view our project ideas...

599

Jane Monheit: Finding the Way Back Home

Esther Berlanga-Ryan By

Sign in to view read count
Home is very much like our live show, and it is so real, more real than I have ever been. Ever.
Jane Monheit's voice is not a reflection of somebody else's talent: it is all on her. Home (Emarcy, 2010) is her new ticket to the legacy of the Great American Songbook, and her journey has been quite spectacular.

Singing the words or simply scatting, Monheit lays down the pattern for the true vocal jazz tradition with tunes like "This is Always" and "Isn't It a Lovely Day" for those who might have forgotten what romanticism sounded like, back in those days when music was written to thrill dreaming hearts.

Produced for the first time in its entirely by the Long Island-raised singer, the album also features guests including violinist Mark O'Connor), guitarist/vocalist John Pizzarelli, singer Peter Eldridge, trumpeter Joe Magnarelli and guitarist Frank Vignola, perfectly assembled in a project where Monheit's band—pianist Michael Kanan, bassist Neal Miner and drummer Rick Montalbano—and its music is meant to shine just as much as her voice.

Home is a sweet and spontaneous record; an album made to welcome Monheit back to the vocal jazz home where she rightfully belongs.

All About Jazz: The first time I heard your voice on the radio, the radio presenter was saying "This is Jane Monheit, who is not everybody's favorite." I turned the volume up and listened, and I remember wondering "Why isn't she?" Up until this day I still do not know why that radio person said that.

Jane Monheit: Well, everybody's got their opinion, especially people who have a certain position. There are an awful lot of people who feel that they can be judges of the music, but because they are not musicians themselves, us musicians don't really take their opinion seriously at all [Laughs]. We care much more about what our fellow musicians think about what we do, and what audiences think about what we do. Critics? Ah, well...not so much. We're kinda like "Whatever!" Unless, you know, it's one of the great, great critics who really, really understands music. But you know what, my song got played, so I win! [Laughs].

AAJ: So, it's been 10 years; do you ever think of those first days?

JM: Well, it's kinda just a blur. I mean, I remember the beginning very clearly, but then after that it was just crazy. I was on the road all the time, I was never home. Playing shows and doing press, and it was pure insanity. And then exactly three years ago I got pregnant, and that just calmed everything way down. I was like "Okay, we're doing this now for a minute," but I never stopped working. I worked through my whole pregnancy, and was back on the road when my son was three months old, but I had to slow it down because it was just seven years of absolutely nonstop insanity. It was awesome. You know, your 20s is the time to do that, it was perfect timing in my life. Everything started when I was 20, and then I got pregnant when I was 29. So it was just a good, solid time of hard core performing and promotion. And then I had to sort of make executive decisions, to take a little more time for family. To start one [laughs].

AAJ: Has it been an easy road?

JM: When you compare it to a whole lot of other stories, it's been easy. I've been very lucky. Of course I've dealt with critics that have said all kinds of things, and there's been so much garbage always about how I look, and that has always bothered me. But other than that, it's been amazing! I've been privileged to work with incredible musicians, I've been in the studio with amazing people, I've traveled all over the world, made the most beautiful venues on the planet, and I could not possibly be luckier. It's been truly amazing. And I got to do all of it with my husband; I mean, I travel the world with my family for a living.

AAJ: Let me go back to the way you look. I don't pay attention to things that have nothing to do with music, so I really don't know what's been said.

JM: Well, that's awesome[laughs]. That's the way it should be. I mean, it's one thing in pop music, where the image is a big, big part of the sale. I mean it's just part of the point. We love to look at the beautiful pop stars, to watch them dance. We love the entire package. It's what makes it fun; look at Lady Gaga,

I'm a huge fan. But what she's done visually is perhaps the strength of her career, and what made her who she is today, with these incredible visuals she provides us with. And I love her music, too. I am never at the gym without Gaga. But in jazz, I feel like that shouldn't necessarily be a part of the equation unless the artist really chooses for it to be. And in my case, that was really decided for me. Although how can't it be part of it when I think about it. When my first record came out I was 22—and I am a glamour girl. I love the makeup, and the dresses and the jewelry, the whole thing. I love that stuff.

So, of course, it was going to become a part of the whole thing. But it became way too important, to the point where everybody talked about it too much, and honestly the constant, and I mean constant criticism about it has just been ridiculous! I'm sorry, but I believe that I'm a good enough musician that does not matter whether I weight 100 pounds or 500. Of course, I've never weighted either one of those things, and never will, but you know what I mean. It's ridiculous how much that's come into play. And great reviewers and respected writers have open their pieces with "well, if Jane hadn't looked so fat, maybe I could have heard her music," and that kind of stuff. If I were a man, that wouldn't have been written; and if I would have been an instrumentalist, it wouldn't have been written either.

There's a lot of talk about it. You can type my name on Google and a lot of that stuff will come out. And you know what, honestly, it doesn't even bother me anymore. I think I got past the point when it was bothering me. I know a lot of women listen to my music, and I'm just like them. I am a different size every day. My closet probably has four sizes in it, you know what I mean? I'm just like the rest. I'm just like everybody else, and that's a cool thing. I like that about myself. I haven't succumbed to the industry standards of being just like impossible, miserable, starving all the time. I go to the gym almost every day and I eat really healthy, and I do those things so that I can a strong, healthy, happy mother. And honestly, no matter what size I am, and it changes all the time, I always feel amazing about myself. I really do. I'm a very confident person, for better or for worse, and I hope I can teach that to my son. I hope I can inspire as much confidence in him as my parents did in me, which doesn't look like it's going to be a problem, let me tell you [laughs].

Tags

Watch

comments powered by Disqus

Shop for Music

Start your music shopping from All About Jazz and you'll support us in the process. Learn how.

Catching Up With
Album Reviews
Interviews
Album Reviews
Interviews
Album Reviews
Live Reviews
Album Reviews
Live Reviews
Album Reviews
Read more articles
Songbook Sessions: Ella Fitzgerald

Songbook Sessions:...

Emerald City Records
2016

buy
The Songbook Sessions: Ella Fitzgerald

The Songbook...

Emerald City Records
2016

buy

Upcoming Shows

Date Detail Price
Jul9Tue
Jane Monheit
City Winery
Atlanta, GA
Jul10Wed
Jane Monheit
City Winery - Nashville
Nashville, TN
Jul11Thu
Jane Monheit
City Winery Boston
Boston, MA
Jul12Fri
Jane Monheit
Musical Instrument Museum
Phoenix, AZ
Sep19Thu
Jane Monheit
Iridium
New York, NY
Sep20Fri
Jane Monheit
Iridium
New York, NY
Sep20Fri
Jane Monheit
Iridium
New York, NY

Related Articles

Interviews
The Baylor Project: A Brand New Day
By K. Shackelford
May 24, 2019
Interviews
Moers Festival Interviews: Scatter The Atoms That Remain
By Martin Longley
May 23, 2019
Interviews
Dexter Payne: All Things, All Beings
By Chris M. Slawecki
May 20, 2019
Interviews
Moers Festival Interviews: Anguish
By Martin Longley
May 11, 2019
Interviews
Catherine Farhi: Finding Home in the New Morning
By Alexander Durie
May 1, 2019