Archived · Jazz and Beyond · Jazz · 8 min read
Jane Irving's High 5
Jane Irving's High 5 "Whilst some singers make claim by including evergreens from the Great American Songbook in their repertoire, Irving is a jazz…
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High 5
“Whilst some singers make claim by including evergreens from the Great American Songbook in their repertoire, Irving is a jazz singer. Her scatting would be among the most sincere recorded in Australia since Kerrie Biddell as it has genuine instrumental purpose.” - ABC Limelight Magazine, May 2008
A pure individual and a real jazz singer, Jane has a willingness to explore a wide dynamic vocal range. This combined with her unique phrasing and rare ability to interpret a lyric has won her acclaim from audiences and respect from her fellow musicians.
Born in Sydney, March 11 1971, Jane began classical piano studies at six. Her first teacher, Jenny Rumsey, an extraordinarily encouraging and devoted influence, became the reason for Jane’s continued classical study to the age of eighteen. During this time Jane also entered vocal Eisteddfods and for her first singing performance, won third place. A seed was sewn. Then for the Higher School Certificate classical piano performance Jane was awarded third in the state.
Jane’s family were all music lovers but says “it wasn’t until my brother introduced me to the blues that I started trying new things on the piano. My ears really started to open up and then I heard Sarah Vaughan. She stirred so much inside me and was the reason I seriously started thinking about singing. Then I heard Carmen McRae, Betty Carter, Anita O’Day, Shirley Horn, Mark Murphy, Miles Davis, John Coltrane, Dexter Gordon, Thelonious Monk and so on. There are so many wonderful artists to draw information from and this was the very beginning of the journey to discover my new passion - the history, the roots and the meaning of jazz.”
With a solid musical foundation already behind her, twenty years ago, age 17, Jane got her first gig playing piano and singing two nights a week at an inner city hotel in Sydney. Although she continued to work in the piano/vocal environment for a few years, the voice was quickly becoming Jane’s instrument of choice. With just a microphone in front of her and a trio behind her, a newfound freedom was discovered and Jane formed her first quartet.
In 2000, Jane began studying with Kerrie Biddell and in 2001 recorded her second CD ‘Better than Anything’ - a jazz vocal showcase that received regular airplay and put Jane amongst the finest singers in her field.
While visiting New York in 2003, Jane studied with Sheila Jordan and Jay Clayton. She was asked to sing at the ‘Up over Jazz Café’ in Brooklyn and ‘Chez Suzette’ and ‘Swing 54’ in Manhattan. Befriending songwriter/lyricist Ray Passman Jane was later the appreciative recipient of some of his work for her to record.
Janes new recording entitled ‘Beams’ released late 2007 features Don Rader (trumpet and flugelhorn), Brendan Clarke and Ashley Turner (double bass), Michael Bartolomei and Matt McMahon (piano), James Waples (drums) and Fabian Hevia (percussion). This album, Jane says ” has been on the back burner for some time. I wanted to include some divergent material, strong enough to create a journey all on its own.”
“Ms Irving jumps/scats her vocal in a delectable fashion has a knack of getting your juices flowing on ballads she is like fine wine.” - In Tune, UK. September 2007
“For those of you who haven’t heard Jane Irving, she is the mistress of scat.” - Jazz Action Society, NSW. April 2008.
“I first heard Jane sing when we were both working with Evan Lohning’s jazz orchestra. I was impressed with her ‘feel’ for the tunes – just as people dug Miles Davis because of the way he interpreted his material and I’m very pleased with the results we achieved on Janes latest CD.” - Don Rader – the ex Woody Herman; Maynard Ferguson and Count Basie US trumpeter.
Jane says, “My ears have always been my primary learning tool over the years and so listening was how I developed the feel that I have for jazz – and it’s the feel that I always base my performance on.”
1. ANDY BEY – Wine Banc Sydney 2003
Andrew Dickeson drums - Carl Dewhurst guitar - Jonathan Zwartz bass
The soul in this man is remarkable. The first thing I remember was Andy’s presence as he took his place behind the piano. And at times, right before he began a new tune, you could hear a pin drop –he had the audience eating out of the palm of his hands. Something that stuck in my mind was the energy he created with really slow tempos – and his count ins! Andy’s voice, really his forte and something so unique, deeply purred through the tunes. It was a particularly intimate vibe at Wine Banc that night and I was sitting right behind Andy, watching his hands move across the piano. At one point he played a blues that he’d written, just him and the piano and it was so minimal and simple -this was a perfect example of having the ability to inspire the audience enough to fill in the musical gaps themselves.
2. EXPOSED BONE – Thredbo Jazz Festival May 08
Jeremy Borthwick trombone – Aaron Flower guitar – James Hauptman drums – Brendan Clarke bass.
Exposed Bone give me the horn! It’s been a while since I hollered like a Banshee at a gig and the combination of great harmonies, killer grooves and rhythms were irresistible. James Hauptman had such infectious energy at the drums and Jez Borthwicks tunes were just so full of life - I couldn’t sit still! On both the Friday and Saturday night’s over this weekend, I didn’t want to be anywhere else. KILLER!
3. JIMMY SOCTT – Iridium, New York City, 2003
Hilliard Greene Bass - Dwayne Broadnax Drums - Jon Regen Piano - T K Blue, Saxophone.
I didn’t know much about - ‘Little Jimmy’ Scott other than he was Billie Holiday’s favourite singer. I went to see him the night before I left New York and was feeling a bit of that happy sadness. Jimmy shuffled on stage and his small frame and unnaturally high, voice arrested me. With stretched-out vowels and melancholy intonations I found myself anticipating every move he made. His unique phrasing, central to his particular way of telling a story required just what the rhythm section gave him: space and elegance. The repertoire was pretty vast and aside from perfectly chosen jazz standards, Jimmy covered a bit of pop territory most notably with Princes ‘Nothing Compares 2U’ - which was done as a slow ballad and made all the more poignant because of it. Since that gig I’ve bought a couple of recordings and discovered just how gifted Jimmy is at reworking any tune and calling it his own.
4. MARK MURPHY – The Basement, Sydney 2004
Mike Nock, Felix Bloxam and Jonathan Zwartz.
I had been listening to various recordings of Mark’s for years - my favourite: ‘Kerouac – Then and Now’. To me, he is the quintessential storyteller. I was so excited to hear him for the first time, I could hardly contain myself. His voice had matured with caramel warmth and I wanted to jump inside those long deep cognac tones. I hung off his every phrase, movement, gesture and articulation. The range, the vocal punctuation, the acrobatics, the tone and then to top it all off he finished the gig with “Do Nothing Till You Hear from Me”, just him, singing and playing the piano. By then I was in tears. Mark swooped around the melodies and dazzled with his incredible way with a ballad. It was one of those moments that I just wanted to bottle.
5. DHAFER YOUSSEF – The Studio Sydney Opera House 2007
Jatinder Thakur and the Divine Shadows string quartet.
I had been a relatively new but completely devoted admirer of Dhafer’s and then I heard him live. This man can truly ‘sing’. His instrument like was like no other I’d heard – going from innocence, to daring to falsetto and back again. I had perpetual chills. And then he smiled! The energy he gave not only to the audience but to the rest of the musicians on stage was extraordinary. This incredibly spiritual and hypnotic performance was so full of passion, it was like nothing I’d ever witnessed. The sounds of Tunisia, India the Mediterranean were a very heady mix and I was transported, in time, place and spirit. The accompanying string quartet, weaving their way around incredibly complex arrangements - Jatinder, sitting cross legged before the tablas – Dhafer’s oud playing and voice – all combining different genres, was a spellbinding musical marathon. I was so spent after the performance, I couldn’t speak.
