Norwich jazz artist and New London music educator, Lisa Marien, performs at La Grua Center on Saturday, August 6. We interrupted her summer break to ask her a few questions about her life as a musician and her upcoming performance.
What first got you into music?
Music was always present in my home growing up. My mom sang to me and with me from a very young age, and since she and I lived with her parents much of my young life, I had access to albums of classic vocal and instrumental “standards” (long before I had any understanding of what that word meant). It didn’t hurt to grow up in the age of TV variety shows either, where in any given week I would hear talented singers from pop to Broadway to jazz. Being an only child, there was plenty of time to sing and explore music on my own as well, and I loved making up new lyrics to songs I already knew.
I was also led into music (and teaching young children) by my kindergarten teacher. In 1970 as I entered first grade, Rachel Leibert had noticed my interest/aptitude in music. She approached my mom and asked if she might give me lessons on the recorder, knowing our resources to pursue musical study were limited. Those weekly lessons over the next two years became the musical foundation and only formal training I had (save six pop organ lessons) prior to college. I carry her energy and spirit with me every day.
As to my foray into jazz vocals, I have to give all credit to my husband Steve. In 1984, we were newly dating and had gone to Misquamicut a few times so that Steve (who is an accomplished jazz saxophonist) could “sit in” with the house band at the Pleasant View House. One evening he suggested that I sit in too. Having most of my rep in the pop arena at the time, I said that I doubted that I knew anything that jazz singers sing. He encouraged me to look at the song list anyway, and there to my surprise I found the songs of my childhood – Misty, When Sunny Gets Blue, All of Me and so many more. It was then I learned what a “standard” was and safe to say, my jazz vocal career might not have happened without this event.
What are your favorite musical memories?
My “favorites” are those where authentic connection happened between two music makers, or between music maker and audience. Singing duets with my mom in the car, many solo and group worship experiences from childhood to present, crying along with my 4th grade chorus students as we sang a poignant lyric, presenting my 4th/5th grade a cappella group at a festival in Boston, singing with my daughter and her classmates behind Lou Gramm of Foreigner, joining Take 6 on stage for a song at The Garde and recording a solo jazz album are a few. But there are many, many more.
On August 6, you’re paying homage to two albums, one by Julie London and the other by Sarah Vaughan. Talk us through your creative process, and why these women and albums are part of your repertoire.
I had been listening to Sarah +2 on heavy rotation before (Music Matters Artistic Advisor) Christopher approached me to do this concert. I have long been an ardent Vaughan afficionado, and particularly love hearing her in small ensemble, where the unparalleled command of her instrument transforms the simplest of melodies into brilliance. I discovered another similar album by Vaughan entitled After Hours and am including a couple of cuts from that as well. Julie Is Her Name was one of those albums my mom played at home, and later I played by choice once I was old enough to do so. Her versions of those songs were the first I heard as a 8/9 year old. London’s vocal style is the opposite of Vaughan’s: a rich, sensuous voice presenting melodies with a matter-of-fact simplicity. Both artists used acoustic guitar and bass as accompaniment on these albums, so I thought the juxtaposition of the two vocal styles would be interesting to explore and I’m quite pleased with the way it is turning out.
In addition, La Grua is particularly suited acoustically to the intimate presentation that these arrangements require. The challenge (and great joy) has been finding the balance between paying homage to the original interpretations while embracing the living, breathing musicianship that myself, Fox and Lou bring to these songs in the present.
Speaking of repertoire, what’s your go-to song to sing?
In jazz, the standard Like Someone In Love is usually my first choice, followed by When Sunny Gets Blue. I also enjoy a good Dionne Warwick or Anita Baker tune for older pop, along with Desree’s You Gotta Be. The male/female duets of the late 70’s and early 80’s are favorites as well.
As an educator to the younger members of our community, what is one piece of advice you give your students most frequently?
That they should always be willing to take the risk to try something new, which requires both the students and myself to be OK with making mistakes. Whenever we approach a new song, game or activity, I always set them up for the process of learning like this. Me: This is the first time we’re putting this together. Is there a pretty good chance that we will make mistakes? (Students: yes!) Me: Is that Ok? (Students: yes!) Me: because we’re . . . (students: learning!) Me: Is there also a chance that it might go really well the very first time? (Students: yes!) Me: Ok, let’s do it!
