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Meet Sarah V.

Meet Sarah V.
Tessa Souter and Andrea Wolper By

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Some people have 'work friends' or 'school friends'; I categorize my friends by which musician we were seeing when we met.
One of our youngest Super Fans yet, Sarah V might also be our most dedicated, attending over 200 concerts a year, and even moving to New York City to immerse herself more completely in the music scene. Like Super Fan "Jazz Judy" Balos, she likes to sit way up front—which, as you'll find out when you read on, comes with some degree of risk!

Tell us a bit about yourself.
I spent most of my life in Massachusetts, but finally moved to New York City about four years ago, mostly for the incredible live music scene. I work in print publishing, where I've done everything from proofreading to production to bookkeeping to IT. My other hobby is personal finance, in part because having your budget in order can make it possible to spend $4,000 a year on concert tickets without ruining your life. (I'm also just a spreadsheet nerd who likes that sort of thing.)

Wait! You moved to New York because of the music scene alone?
I've had family in and around New York most of my life, and it's great to be closer to them, but I wouldn't have moved here without the music factor. It wasn't until I started getting into the jazz scene that I really started to appreciate what the city had to offer. I started coming for weekends, then long weekends, then full weeks. The year before I moved here I managed to spend a total of six weeks in the city on visits to see concerts. I made a lot of good friends here. At some point I realized that coming to New York felt more like coming home, and going home felt a little empty. That was when I decided I should move here. By then, it was a surprise to absolutely nobody—responses when I announced it to my friends and family were along the lines of "It's about time!" and "Finally!" I'm single and childless, so while moving to another state was a pretty big deal, it was also fairly simple -all I needed was a job and an apartment and to get rid of half my stuff so I could fit into a tiny one-bedroom. I got rid of my books, but the music stayed!

What's your earliest memory of music?
I remember my father playing the piano at home. We had an old Steinway in the living room for as long as I can remember—I ended up taking lessons and, even though I wasn't terribly talented, I think it greatly enhanced my ability to appreciate more complex music later on. The piano is still one of my favorite instruments.

How old were you when you got your first record?
When I was seven years old, my older brother wanted to buy some music and, at the store, my mother let me pick out a 7" single because I had an orange plastic Fisher-Price record player meant to play children's audio books that played 7" records. Without knowing anything about it, I picked out "One More Night" by Phil Collins. It was a fairly strange thing for a little girl to obsessively listen to over and over on the most lo-fi device ever manufactured. I still remember the weird warbling effect it had—the records ran a touch slow, and the speed was inconsistent. I like to joke that my love of experimental and avant-garde music was triggered by that experience.

Was there one album or experience that was your doorway to jazz?
I don't know if it's normal to develop an appreciation for jazz near-instantaneously, but that is what happened to me. A friend of mine had told me to check out a couple of John Zorn recordings, but I hadn't really gotten into the jazzier side of his music yet. I went to see one of his early Masada marathons in 2006, which featured both classical/chamber music and jazz. I was initially interested in the chamber ensembles, but when I saw the Masada Quartet and Electric Masada, it was like someone flipped a switch in my brain and suddenly I understood (and loved) the concept of improvisation.

The first piece of that concert was a chamber music piece called "Kol Nidre" performed by a string orchestra. It was so stunning and dramatic (in a very understated way) that by the time the piece ended I was holding my breath and had a death grip on the arms of my chair, absolutely transfixed. When the piece ended you could hear a pin drop for several seconds, until Zorn broke the spell by turning around and gesturing as if to let us know it was OK to start the applause. I'll never forget that moment of hundreds of people stunned into silence by a single piece of music.


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