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"Jazz Monthly.com Feature Interview" Marilyn Scott
Interview By Baldwin "Smitty" Smith

marilyn scottJazz Monthly:   Well, I certainly am excited about my next guest here at JazzMonthly.com.  One of the most incredible singers on the planet, she has such a strong and enduring voice.  Her great new record is called Every Time We Say Goodbye.  It has a wealth of great musicians on this record and there’s so much history with these songs and I am just stoked that she has joined me here at JazzMonthly.com.  Please welcome the fascinating Ms. Marilyn Scott.  Marilyn, how are you?

Marilyn Scott (MS):  It’s good to be with you today, isn’t it?

Jazz Monthly:  Yeah.

MS:  Yeah, and you talk about a wealth of good music, the standards that are available to do, there’s just so many that you want to do because the music is so great and there’s so much of it, it’s hard to choose.

Jazz Monthly:  Yes.  Well, I think you made some great selections here, my goodness.  When I first heard “Every Time We Say Goodbye,” you could’ve just knocked me over with a feather.

MS:  Well, it’s a great song.  I love the sentiment of it and the idea to do it really sad and slow is, for me, I think it pretty much puts it in its place because it’s a sad story, you know?

Jazz Monthly:  Mm-hmm.  But the arrangements are just gorgeous.

MS:  Well, we didn’t get a chance to really figure out how to get in the tune and get out of the tune because we just pulled it off in about two and a half days.

Jazz Monthly: Wow.

MS:  And I don’t really recommend that, but on the other hand, we had the chance to do it that way and make a record, so we did.  But I think we found some ways to present the tune and obviously in a different light.

Jazz Monthly:  Yes, absolutely.

MS:  And atmosphere.

Jazz Monthly:  Well, you created such a wonderful mood with it and it’s just beautiful, yes.  How long did it take you to select the 10 tracks on this project?

MS:  It was asked to me that we just do tunes that were standards and that were of a medium to slow type vibe.  They really didn’t want to do anything too up.  Well, I kind of forced them with a few things, but that was what they wanted and of course this is a Japanese record label, Venus Records, and so that’s what we did and I just kept giving them lists until they said “Yeah, that’s the one.”

Jazz Monthly:  Wow, very cool.

MS:  They had a couple of requests, you know, “Cry Me A River” and—

Jazz Monthly:  Yes.

MS:  So, you know, of course, I’d do that any time.

Jazz Monthly:  Oh, absolutely.  And “I Love Paris.”  Wow, what a nice song.

MS:  Yeah, and Mitch Forman put a little chart together for me on that. Mitch also did “I’m in New York,” which I think came off fairly good, I really did.  I liked the vibe of that a lot and the changes that he kind of put behind it I think kind of made it feel really another kind of a very eerie, slow vibe.

Jazz Monthly:  Yeah, it’s a great vibe.  Have you and Mitch worked together very much?

MS:  We played now and then live together and we don’t do as much as we used to, but gigs are kind of more few and far between these days, but I just love his writing, his musicianship and the choices that he makes when he plays just what I feel, and so it’s always a pleasure to play with Mitch.  Yeah, he’s got a million ways that he likes to go and that really brings a big variety to what you’re trying to do at that moment.

Jazz Monthly:  Right and he’s such a great musician, wow.  Yeah, I was really impressed with his vibe on this project, I really was.  And talk to me about working with Willie Jones.

MS:  Willie.  It’s the first time we’d met and of course I know his reputation.  He’s a fine drummer and he notes the accent things and he’s so controlled, it’s really a pleasure.  I really had a great time with him.

Jazz Monthly:  Right, he has a unique rhythm.  I love that.

MS:  Mm-hmm.

Jazz Monthly:  I just fell in love with “Caravan.”  We’ve heard “Caravan” for years but your take on this song is so captivating.

MS:  Well, you know, again, I went to a great keyboard player and arranger, John Beasley, and said “I really would want to keep this in.”  He also did for me “East of the Sun. They didn’t include it on the CD, but it was up too, really, really up, and I loved it.


 
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