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The
Great American Singer:
Stacey Kent
by Natasha Allen |
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Scanning the top ten lists of modern-day jazz chanteuses, you
will find the usual names like Diana Krall, Cassandra Wilson
and Jane Monheit. You will also find an up-and-coming name worth
remembering: Stacey Kent. Since 1997, this talented performer
has continually received accolades from the jazz world including
an award for Best Vocalist at the 1999 British Jazz Awards and Album
of the Month (for Close Your Eyes, 1997) from Jazzwise Magazine.
In addition, numerous appearances on Parkinson in the UK, CBS and
ABC here in the U.S., her own show on BBC Radio 3, and a role in
Ian McKellan's film Richard III have solidified Stacey Kent
in the collective consciousness of fans across the world.
Kent's intimate, relaxed phrasing has been compared to such notables
as Ella Fitzgerald and Billie Holiday. Drawing from the Great
American Songbook, her modern interpretations of songs by Ira
Gershwin, Jerome Kern and Henry Mancini have garnered appreciation
from a younger generation of fans unacquainted with the old standards.
Born and raised in New York, Kent's career began when, after completing
a degree in comparative literature at Sarah Lawrence, she decided
to take some time off and visit friends in England. While there,
she met musicians who were about to audition for London's Guildhall
School of Music and Drama. Impulsively, she decided to audition
herself. While attending Guildhall, she met saxophonist Jim Tomlinson,
whom she later married and made part of her band. So began a chapter
in musical history.
I caught up with Stacey towards the end of a successful run at New
York's Algonquin. Sounding obviously exhausted but enthusiastic,
she graciously agreed to a telephone interview.
WOMANROCK:
Stacey, is it true that you had no formal musical training prior
to auditioning at Guildhall?
STACEY:
Well, I got a degree in something else, but music has always been
a huge part of my life. I was always singing and playing music because
I was so impassioned by it. Even though I didn't study it, it was
always a part of my life. Once I graduated, that's when my life
took off musically but I'm glad that it worked out that way. I think
that it worked out better.
WOMANROCK:
Irving Berlin, Jerome Kern, Ira Gershwin - these are a few of the
composers in your repertoire. Why do the classics appeal to you?
STACEY:
These are just timeless, timeless songs. I can't tell you how many
times young fans have approached me and asked "Did you write these
songs?" But I try to make these songs sound personal and people
can relate to it because they are still very accessible. They are
so utterly contemporary. The songs become my story. The fans are
able to take them as a metaphor and make them their own.
WOMANROCK:
Many of the reviews compare you stylistically to Ella, Billie and
Mildred Bailey. Who are your musical influences?
STACEY:
It's funny that they do, but it makes sense. The people that have
influenced me the most in my formative years are Carole King and
Paul Simon. Paul has so much to do with what I do. I'm influenced
by all different genres of music.
WOMANROCK:
Jim Tomlinson, your husband and a well-respected musician in his
own right, accompanies you on your recording. How does that influence
you musically?
STACEY:
Huge part! He fuels me more than anything. We have tremendous musical
chemistry. It is an amazing thing and it inspires me daily. As a
bandleader, it is all a matter of finding the people you are can
bond with musically. This arrangement just gels. Jim is a huge part
of that. He is a supreme musician.
WOMANROCK:
Did the two of you have that immediately or did it develop?
STACEY:
It definitely developed over time but there was something there
immediately. Sparks flew. There was a tremendous understanding musically.
Even outside of jazz, our tastes are similar. Like last night's
performance was amazing. We were fueled by the house (audience),
the house was fueled by us, there was something tangible in the
room.
WOMANROCK:
Okay, Stacey, this is my last and most difficult question...What
is the future for women in jazz?
STACEY: Role of women in jazz, that's interesting. I only know my
own experience. I've been lucky to have acceptance from the jazz
world. It is a male dominated genre of music. But I have had a positive
experience. There are great female musicians out there. It can be
a positive place for women. Don't get me wrong, gender does not
fall away, it is prevalent and felt. But a good musician is a good
musician. It does sort of lose relevance. I see more and more women
as time goes on. Once upon a time, it was hard for women to be out
there. Nowadays, women can be on the road, have children, etc. It
can be a positive experience. Thank God, women are out there because
they provide balance to the whole thing. |
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_________________________________
For more information visit:
http://www.staceykent.com
or http://www.candidrecords.com |
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_________________________________
Natasha Allen, formerly with Essence magazine, is a freelance writer
and aspiring filmmaker living in New York. |
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