INTERVIEW Janice Borla Vocalist

Interview with Janice Borla student profile. When we began eighteen years Taken by Improv ago, our participants were mostly adult. In recent JB: I have always been more interested in jazz years, we have seen much more interest on the as an instrumental art form, and so I’ve gravi- JI: Tell us about your creation of the Janice part of high school – and even middle school - tated to the jazz vocalists who improvise. Earlier Borla Vocal Jazz Camp? How has it grown? students, which I think reflects the progress insti- on it was Ella, , Mel Torme, and How has it met, exceeded or fallen short of your tutional vocal jazz education has made in reach- Anita O’Day; then Mark Murphy, Al Jarreau, expectations? ing more students and in embracing the develop- Bobby McFerrin, Jay Clayton, Ursula Dudziak, ment of jazz improvisatory skills as a priority. It Judy Niemack. Not only are they great improvis- Janice Borla: The opportunity to create a work- also reflects a new generation of vocal jazz edu- ers, but they also tap into the instrumental jazz shop for jazz vocalists came for me in 1986, cators who themselves have jazz improvisatory repertoire itself. They have inspired me to follow when I was invited by the Saskatchewan School skills, and therefore encourage their own stu- that path, which in turn led to my delving deeper of the Arts to add a vocal component to its al- dents to seek further educational opportunities in into some of my favorite instrumental jazz im- ready existing instrumental jazz camp in Sas- that regard. Our growth has not been in the num- provisers – , , Bill katchewan, Canada. Within three years the en- ber of participants, but in the event itself. Over Evans, , Keith Jarrett, and Or- rollment had grown from 12 to nette Coleman. Now, I’m as 33, so I had to come up with a happy singing tunes without way to accommodate that many lyrics, functioning purely as a students. The result was the horn would. I’ve come to real- basic format that the camp still ize that I am really a “vocal follows today: a self-contained instrumentalist” – an instru- staff of faculty artists - three mentalist whose instrument is vocalists and eight additional my voice. Currently I am in- instrumentalists – accommodat- spired by the recordings of Joe ing up to three dozen partici- Lovano, John Abercrombie, pants with a weeklong curricu- John McLaughlin, John lum of workshop activities and Scofield, Dave Holland, Kenny nightly faculty performances, Werner, John Patitucci, Bill all tailored to the solo jazz Stewart, Dave Douglas, Chris vocalist. Realizing that it would Potter, and Scott Colley. work well here in the U.S., I presented the first camp under JI: Many believe that playing my own name here in 1989. At in clubs and learning on the that time high school and col- bandstand is an important way lege vocal jazz education was to develop one’s abilities as a focused on providing ensemble jazz artist. Could you talk experience, and I envisioned about the benefits and limita- the camp as a needed resource tions that the academic envi- for students to learn how to ronment provided for you in function as solo jazz vocalists, your earlier musical develop- with ample opportunity to ex- ment and aspirations? plore jazz improvisation. Part of its mission has always been JB: All of my musical training to “raise the bar” for aspiring was in the classical tradition: jazz vocalists - to regard them- first on keyboard, then as a selves as musicians willing to vocalist. While I grew up at a prepare and train and study and listen as any the years the nightly concerts have evolved into time when jazz was commonly heard in film other musician if they wish to engage in what is a full-scale concert series attended by the general scores and on television as well as recordings, I in essence an instrumental, improvisatory art public as well as camp participants. Each year didn’t really focus on singing jazz until after I’d form. We’ve enjoyed solid enrollment every our audience grows, as does community and finished school. That being said, there were as- year since. We limit our enrollment, to ensure civic support for the event. The Mayor of Naper- pects of my musical education that are crucial to that the student-instructor ratio remains low ville annually declares “Vocal Jazz Week” to my music now. I was fortunate to have access to enough for everyone to derive maximum benefit. coincide with the event. In 2003, its fifteenth excellent vocal training at an early age, so my Typically, we turn away students each year. The anniversary, it was honored with a featured on vocal technique is solid and automatic. I was present paradigm works so well that I’m not The News Hour with Jim Lehrer, broadcast na- also fortunate to study keyboard with a teacher really interested in expanding the enrollment. Its tionally on PBS. who stressed the study of harmony early on, so relatively small size promotes a tremendous my ears are totally accustomed to hearing chor- camaraderie among the students, who provide a JI: What jazz artists or recordings initially dal relationships – perhaps the most important lot of moral support for one another as they ex- sparked your interest in jazz, and how have you part of my preparation for jazz singing. Later, as periment with improvisation and new vocal ap- worked to incorporate those concepts into your a graduate student at the University of Illinois, I proaches. Over the years, I’ve seen a shift in our approach over the years? sang in a 12-voice touring chamber ensemble,

V7N1 Jazz Improv ®, REPRINTED WITH PERMISSION www.jazzimprov.com the “Ineluctable Modality,” that performed venturous and the harmonic progressions less that an artist must remain true to his/her own avant-garde “new music” by such contemporary formulaic. To some extent the title of the CD personal artistic vision regardless of the critical composers as Mauricio Kagel, Morgan Powell refers to my fondness for angular melodies. The outcome. Even highly-respected critics view the and Iannis Xenakis. I gained lots of experience material I selected for this project runs the gamut music through the lens of their own experiences singing with straight tone and a variety of impro- from the bop lines like Parker’s “Segment” and and tastes, while the creative artist is ever inter- visatory approaches, and I’ve retained a taste for Monk’s “Ask Me Now,” to Frank Foster’s sin- ested in stretching the range of vision for us all. I experimental music ever since. ewy “Simone,” Kenny Wheeler’s “Gentle released Agents of Change, an album with a Piece,” Jeff Beal’s “Jazz Habit,” as well as my decidedly instrumental, improvisatory bent at a JI: Could you share your experiences and com- own “Askew In the Cradle.” I think I’ve been time when jazz vocal releases, ostensibly mar- pare or contrast the leadership styles of several singing melodies like these for years, but the keted for mass appeal, remained largely en- of the artists with whom you worked – Clark shift here is that I realized that I love singing sconced in the vocalist-sings-standards approach Terry, Charlie Haden, Terry Gibbs? instrumental tunes without lyrics, and I decided and left improvisation to the instrumentalists. So to follow that impulse. So of the ten tracks, six I knew I was bucking the tide, and wasn’t sure JB: Actually, these are musicians with whom are sung as wordless vocals. Guitarist John anyone would “get” what I was doing, or care. I’ve worked during specific events, rather than Mclean, who also functioned as producer, took But I wanted to make this album purely as an being a “sideman” in their bands, so I can’t nec- the ball and ran with it. Knowing that I wished to artistic statement, a documentation of where I essarily address their leadership styles. That may participate as an equal member of the ensemble was musically at that point. So it was especially be one of the biggest disadvantages of being a rather than merely as a solo voice with accompa- gratifying to receive critical praise for the things vocalist: you aren’t as a rule hired by a leader as niment, he created several arrangements for the about my music that were most important to me. a side-person unless the gig calls specifically for project, including the opening track of “Alone In fact, jazz journalists with whom I discussed a vocalist. Consequently it’s a challenge to gain Together,” that embedded me more deeply into the album remarked that it was selected for re- the gigging experience that the average jazz the tunes than is customary for a typical vocal view in part because of its departure from the instrumentalist gets, the period of recording. Voice interacts in various ways with norm. For me, it was a “pure act,” a matter of “apprenticeship” that young players typically Art Davis’ trumpet or John’s guitar – unisons, having enough faith in my own artistic abilities spend working with an established leader. By counterpoint, improvised duets – with plenty of and instincts to just relax and do what felt right and large, a vocalist must lead his or her own blowing space throughout. Pianist Dan Haerle, for me. group in order to work. bassist Bob Bowman, and drummer Jack Mouse, who have played together as a trio for years JI: You’ve recorded for several labels, including JI: Could you cite one or more key understand- despite their geographic disparity, are all highly DMP and Sea Breeze. Could you discuss some ings that you walked away with, growth that you conversational players, making the entire project of the experiences that you have had in recording experienced, or dialogues that you had with mu- an interactive, collaborative affair. that have helped you develop your business acu- sicians like , Clark Terry, and Charlie men and understanding of human nature? Haden, that have impacted your own musician- JI: Your previous release, Agents of Change, ship? received critical acclaim. As accomplished musi- JB: I produced, financed, recorded and mixed cians, we know better than critics do when our every album I’ve released prior to “shopping” JB: One of my important encounters with a ma- music is at the level we want it to be or if it fell the project to record labels for distribution. jor jazz artist was performing on the same con- short. Considering that both compliments and While I have had very positive relationships with cert with Clark Terry in 1985. He asked me to criticism are, like perfume, better inhaled than DMP and Sea Breeze, I learned in both cases join him on “Mr. P.C.” and it was clear I was expected to scat some choruses of blues and trade lines with him. That’s when I realized that singing vocal standards in a swing style and “There are no shortcuts, no “fast track,” to becoming a creative calling myself a jazz singer did not necessarily constitute being a jazz singer. I realized the im- jazz artist. Do not chase what’s ‘popular’ nor be seduced by the portance of learning the instrumental repertoire tantalizing prospect of being ‘discovered’ and set on the road to and the improvisatory style. That night with Clark turned me around. A major factor has been stardom. Talent and desire are only starting points. Technical skill my 20-year relationship with my husband, jazz drummer Jack Mouse, with whom I’ve enjoyed a and knowledge are important assets, but so is one’s life very fruitful personal and professional relation- experience. A strong work ethic, consistency of effort, and ship. Jack’s a gifted player and a very creative musician, and the greatest “pair of ears” I know. bulldog tenacity give you staying power as a creative artist…” His knowledge of jazz is deep and comprehen- sive, and he provides his instrumental perspec- tive while encouraging me to stretch my musical swallowed, could you comment on the impact that making any kind of impact with one’s re- horizons. His dedication, work ethic and com- critics have on your music? lease is like trying to create the “perfect storm.” mitment to jazz as an art form are a daily inspira- Coordinating national and international retail tion. JB: Jazz critics – you love them, you hate them. distribution, radio airplay, and jazz journalist CD You love them when they praise your efforts; reviews in a synergistic effort is an extremely JI: Could you talk about your new CD, From you hate them when they don’t. Jazz history is tricky thing to pull off for most independent Every Angle, and some of the ideas that led to its filled with instances when the critics were labels, and ultimately requires the artist’s own creation? proven wrong. Most artists find it exasperating energy, resources and tenacity to be successful. I that they wield as much influence as they do, have been extremely fortunate with my last two JB: The album is actually a continuation of the because the American public has come to rely on CDs to be associated with the BluJazz label, direction in which I’ve been heading with my the opinions of the “experts” to determine artis- which has done an exceptional job of coordinat- two previous albums, Lunar Octave and Agents tic merit. We all know instances of mediocre ing distribution and promotion of my music. of Change. I want to use my voice as a true jazz talent being exalted and great talent being over- Business plan notwithstanding, this is a “people” instrument to explore instrumental jazz reper- looked because of critics’ artistic pronounce- business, wherein networking is still the most toire, wherein the melodies tend to be more ad- ments. That being said, I believe wholeheartedly (Continued on page 130)

Jazz Improv ®, P.O. Box 26770, Elkins Park, PA 19027 tel: 215-887-8808 fax: 215-887-8803 e-mail: [email protected] www.jazzimprov.com V7N1 129 effective means of procuring gigs, radio airplay, realized that if I was going to be a full partici- average jazz instrumentalist – many lacking any press coverage, and an audience base. An artist pant in this music, I could not do so without music literacy, an understanding of jazz har- must be willing to be involved in building his/ further preparation. I kept asking myself, “How mony and form, knowledge of the jazz tradition her audience base one listener at a time. does an instrumentalist become a jazz player?” I and its classic repertoire, let alone having any began to listen to the music as an instrumentalist knowledge of how to work with a rhythm section JI: Could you discuss your approach to lyric would, absorbing the instrumental repertoire and or how to improvise. But vocalists have to real- writing? What kinds of interplay between lyrics rhythmic vernacular, studying jazz harmony, ize that jazz is an instrumental idiom, and vocal- and music occur for you before a piece is com- learning the music of the jazz instrumental inno- ists are only welcome on the stand to the extent pleted? vators, transcribing and singing their solos - and that they can function effectively alongside their that’s how I learned to improvise. And now, in a instrumental counterparts. On the other hand, JB: First, I am mindful that adding a lyric at- “come full circle” sort of way, I’m utilizing my vocalists who can demonstrate that they have taches concrete meaning to music, which was own learning process to teach my students how “paid these dues” to gain such knowledge and conceived by the composer to be “abstract.” to build those same skills. Vocalists have pre- preparation will earn instrumentalists’ respect Therefore I am guided by respect for the com- cious few opportunities to interact with one an- and support, both invaluable commodities for poser’s original intent – insofar as I can discern other in a gigging environment. For me a real those seeking full-fledged membership in the what that might be without actually interviewing bonus of my vocal jazz camp has been the op- jazz community. Do not be discouraged about the composer – and the desire to create a text portunity it gives me each summer to work and how long it takes. To quote Bud Freeman., “Real that “informs” the music, focusing on some as- sing with a “who’s who” of contemporary im- talent takes a long time to mature, to learn how pect of its emotional content from the standpoint provising jazz vocalists: Sheila Jordan, Jay Clay- to bring what character you have into sound, into of how I feel when I sing it. Each lyric I’ve writ- ton, Judy Niemack, Janet Lawson, Karrin Aly- playing, and that takes a whole life.” ten has come from first practicing and singing son, Kitty Margolis, Judi Silvano, Suzanne the instrumental tune using neutral vocalization Pittson, Roseanna Vitro, and Madeline Eastman, JI: How do you stay balanced? sounds or “phonyms.” Usually there is some to date, all of whom have broadened my vision imagery that is suggested by the song’s title, or of what a creative jazz vocalist can be. Directing JB: I’m at a point in my life where I’m aware of by some unique aspect of its melodic movement, a college vocal jazz ensemble prompted me to the need to maintain good health via nutrition chord progression, and rhythmic style. Each of begin arranging. I sought charts that would ex- and exercise. My early training as a dancer has my lyrics has evolved in a little different way. pose my students to jazz repertoire rather than morphed into my present practice of yoga. It is The first lyric I wrote, to pianist ’ just vocal standards or pop tunes, that empha- without a doubt the single most important thing I “Five,” was inspired by the metric intricacies of sized the vernacular rhythmic style, and that do to remain healthy and manage stress. While the tune itself. Its tone was tongue-in-cheek and opened up for solo improvisation. I am also a the physical benefits are obvious – body align- literally flowed from the pen in a matter of a great admirer of the Vocal Summit projects of ment, balance, agility –more and more I find the couple of hours. It took much longer to complete Bobby McFerrin, Jay Clayton, and their collabo- meditative aspects of yoga to be just as crucial. lyrics for Evans’ “Remembering the Rain,” be- rators, and sought to create “head” charts that My best ideas about my music come to me when cause the text was about Bill’s legacy as an art- gave my students some contact with that highly I am practicing yoga. And its benefits spill over ist, and was rather like writing a Japanese haiku improvisatory manner of multi-voiced interac- into my singing: it helps me maintain a calm – very few notes and syllables per phrase, the tion. I think what’s most exciting about being center, stay grounded and remain in the moment entire text consisting of just eight lines. It took involved in vocal jazz education these days is when engaged in jazz improvisation. great effort to distill my feelings about Bill and that our future jazz audiences are coming from his music to a structure that concise. Peggy the middle school, high school, and college jazz JI: Could you share with us an idea or two, an Stern’s “The Aerie” was another lyric that al- programs that continue to proliferate. These inspiring quote, or some foundational under- most wrote itself – her sweeping melodic lines students are excited about the music and better standings by which you lead your life? suggesting the imagery of birds in flight. The prepared as musicians than ever before. The lyric I wrote for Joe Henderson’s “Black Narcis- future of this music depends on the continued JB: I find the Zen approach resonates, with its sus” was probably a stretch from what Joe may cultivation of an informed jazz audience. Not emphasis on essence, simplicity and nuance. have had in mind when he wrote the tune, but I every student is going to become a professional These are qualities I try to apply both to my was nonetheless thrilled when the Henderson jazz artist, but they can all take with them an singing and to my improvising. “Leap, and the estate approved them. I wish to emphasize once understanding of and appreciation for the art net will appear.” The fear of “making a mis- again, however, that by no means do I feel that form that will make them lifelong jazz enthusi- take,” of failure or rejection – fear of the un- there must be a text for me to perform a tune asts. known outcome – is perhaps the biggest chal- vocally. Some tunes just seem to work better in lenge in jazz singing. Confidence comes from their “abstract” state. The human voice is just as JI: What pitfalls must we be vigilant about en- knowledge, skill, and preparation, and once capable of expressing emotion, of communicat- countering or succumbing to in our lives as we achieved, it’s time to take the leap of faith to let ing thoughts and feelings, without words. pursue a life, career, and creativity in music? one’s intuitive, spontaneous self make the music. Success occurs when opportunity meets prepara- JI: How have your activities as an educator – JB: There are no shortcuts, no “fast track,” to tion. To quote Bill Evans, “Jazz is a process, not giving clinics, running a vocal jazz camp, and becoming a creative jazz artist. Do not chase a product.” Being a jazz artist is an ongoing being the Director of Vocal Jazz with the Jazz what’s “popular” nor be seduced by the tantaliz- evolutionary process, nurtured by continual lis- Studies Program at North Central College – ing prospect of being “discovered” and set on the tening, study, practice, and performance. And benefited or impeded your artistry? road to stardom. Talent and desire are only start- it’s not about singing the “perfect” solo or re- ing points. Technical skill and knowledge are cording the “perfect” track, but about the col- JB: My involvement in jazz education has, in important assets, but so is one’s life experience. laborative effort one makes with other jazz musi- retrospect, had a profound impact on the evolu- A strong work ethic, consistency of effort, and cians to make music together “in the moment.” tion and clarification of my own musical con- bulldog tenacity give you staying power as a Life is, after all, improvisation. cepts and style. Preparing and implementing a creative artist who’s in it for the long haul. Vo- college-level jazz history course, which I still calists in particular have a long road to travel to teach, drove home the fact that jazz is at its core become jazz artists. They encounter deeply en- an instrumental art form; that improvisation is trenched attitudes held by most jazz musicians what drives it; and that vocalists have for the about singers, who for decades came to the mu- most part been peripheral in its evolution. So I sic woefully unprepared when compared to the

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