Catching Up With . . .
Catching Up with. . . Diane Schuur
By Scott Lewis

Feb 17, 2006

I have just signed for a Fed Ex package that I know contains the new CD release Schuur Fire from the "First Lady of Jazz" Diane Schuur. In her twenty-five year career, this two time GRAMMY Award-winner has collaborated with the likes of Doc Severinsen, Barry Manilow, and B. B. King. I race to get to my computer for a listen. I sit through the first few tracks and admit that I was not prepared for what I was hearing.

I am sure, as was the case for me; it will not be the first time that you have heard most of these songs. However, it will not take long for you to realize that you have never heard any of these songs this way. For her latest release, Schuur reaches into her musical soul and takes us island hopping in the Caribbean to bring us twelve memorable songs from the world of pop and jazz-all given a fresh spin with passionate and infectious Latin rhythms. Schuur Fire is greatly original and refreshing.

This collaboration with fiery GRAMMY Award-winning Latin Jazz ensemble Caribbean Jazz Project proves Diane's unparalleled versatility yet one more time. This CD showcases Diane putting her own spin on an eclectic array of songs including Duran Duran's "Ordinary World", Stevie Wonder's "As", Sinatra's "More Than you Know", and Ray Charles' "I Can't Stop Loving You."

A particular high point on the CD is track six. The aforementioned Stevie Wonder's "As" took me from behind my computer onto a Caribbean beach halfway between an open air bar and the Ocean. I am Terry McMillan's "Stella" dancing with my soon to be husband (his coming out seven years after our wedding however, would never be an issue). While I particularly enjoy this track, the entire CD provides a great escape.

I am delighted that I was able to catch up with Diane to discuss her unbelievable twenty-five year career, as I have been a fan for more than fifteen of them.

Born in Tacoma, Washington blind (due to premature birth and an alleged incubator accident), she grew up with her father playing piano and her mother playing the records of Ellington and Dinah Washington that introduced the vocalist to jazz.

Scott Lewis: Your first public performance was at nine years old. Tell me about that.

Diane Schuur: I performed at the Holiday Inn outside of Tacoma, Washington in a little town called fife. With a drummer and a pianist and there was no bass player on this particular gig I auditioned on a Saturday afternoon and got the audition. Then I started working at different clubs Elks Club, Lions Club and different places

From Diane's photo shoot for SCHUUR FIRE!

SL: By thirteen you had ten Dinah Washington records and credit her as one of your biggest inspirations. What was it about her music that touched a chord in you?

DS: Well she just seemed to be very exuberant, and her music was just timeless. She enunciated every word very sucincinctly; there was no mistaking what she was singing about. People have also said that about me so that has been very neat.

SL: 1971 was the year that you recorded your first record. The label was Decca, home to such famous names as Little Richard, The Everly Brothers, Roy Orbison, Ike and Tina Turner, The Rolling Stones, and Elvis. A woman with a talent like yours finding her start here is no surprise however; this single was a country song. How did this come about?

DS: Well, my dad wanted me to get into Country so, I was seventeen years old, so I said okay, I'll try it for a minute. I did, but my roots are based in jazz. I didn't stay there that long.

SL: Some four years later you are backstage at The Tonight Show auditioning for Doc Severinsen. How did you get this break, and what impact did it have on your career and its' direction?

DS: I auditioned for Doc first in Seattle after he and his band had performed at the Opera House and then they had me come to the Etc. Club in Los Angeles and audition. But Doc said that I wasn't ready for stardom at the time. I didn't understand what he meant at the time, but in hindsight, I understand what he meant now. I don't think I was ready at that particular time.

From Diane's photo shoot for SCHUUR FIRE!

SL: This led to you performing a gospel number at the Monterey Jazz Festival tell me about that.

DS: Tommy Newsome wrote a gospel suite which I improvised words to and I then performed again in 1979.

SL: This second performance at the festival is where Stan Getz heard you which led to you performing at the White House. This led to a record deal for you.

DS: Yes, Stan Getz signed me to a record deal and I guess I recorded twelve albums for them starting in '84.

SL: Since that time you have recorded more than fifteen albums. Included are collaborations with some of the greatest names in the music industry. Let's talk about a couple of these. Tell me about the experience of working with B. B. King.

DS: That came about through much talk with the record company and with European, they figured that this would be a good musical marriage for B. B. and myself and it turned out that way. It was Number One on the Billboard charts for at least a week or two.

SL: Thirty-One to be exact. You more recently collaborated with Barry Manilow on a CD of new material he wrote and produced for you. This must have been an incredible experience for you. What was it like to work with Barry?

DS: Well, he is a perfectionist, but he is also very genuine, and a lot of fun to work with.

SL: This Project was a unique experience in that you actually recorded the old fashioned way, in studio with a full orchestra. You don't see that done everyday. What was it like?

DS: It was wonderful; I mean the feeling of camaraderie was just great with all of us. It is something that I will never forget. I miss doing that; although the latest CD I did record a lot of it live with the band. I did that but then I went back the next day and recorded everything to track.

SL: And you said Barry was a perfectionist.

DS: Laughs

SL: Your latest Schuur Fire, takes us to the islands, with new spins on some Latin tunes, but most notably, you have taken familiar songs, not originally recorded for this genre, and made them your own. What was the inspiration for this project?

Diane with Ray Charles, Stevie Wonder and husband Rocket.

DS: Well, Oscar Castro-Neves is a wonderful Producer and a great arranger so he was very inspirational. Of course the songs themselves were inspirational. Reinterpreting Stevie Wonder's "As" and "I can't stop Loving You" and different tunes, like "Ordinary World" it was really neat to get to put a different spin on it. Especially with me not being Latin.

SL: How did The Caribbean Jazz Project get involved?

DS: Hal Gaba at Concord Records thought it would really be neat to do an album of Latin flavored tunes. Concord had released an album of Carmen McCrae doing those kind of tunes, and the company thought that it would be really cool if I could do that too, s that is how that happened.

SL: How did you select the songs for this project?

DS: I just wanted to select things that I half way knew and that I really liked.

SL: Which song are you proudest of the results?

DS: When I talked to Stevie Wonder he told me that he just loved my rendition of "As". Although it is really comparing apples to oranges, because I really love them all. I really do. I really have a heart felt sentiment about "So In Love" because I think about my husband. It was just a very special project for me to do. I am very glad that I did it.

SL: That's funny because in my article I site "As" is my favorite track on this CD. It was hard to pick one, but when I listen to this CD I am taken back to the movie "How Stella Got Her Groove Back." This is a movie that I do not know if you are familiar with?

DS: I have not seen that, no is it pretty good?

SL: Yes, It is a movie based on a novel written by Terry McMillan, loosely based on her experience going to the Caribbean and as a fortish woman, lonely and unhappy meets a young man who gives her purpose. It is a great love story.

DS: What is the Novel called?

SL: How Stella Got Her Groove Back, and when I listen to "As." I picture myself in the scene from that movie where she is halfway between an open air bar, and the Ocean, dancing with a gorgeous man, who makes her feel so alive.

DS: Oh that is so neat!

SL: You have said that this is one off the most interesting, fun and creative projects you've ever done. What made this project different?

DS: Oh, the music and the rhythm!

SL: The musical journey of Diane Schuur is an always changing, always exciting ride. Where will you take us next?

DS: I have an album coming out in the next few months that was done in the UK last summer, it is called Live at Ronny Scotts, and then there is another project that is coming out that I did with Maynard Ferguson that I actually did in '98.

In a time that the term Diva is thrown around on every one with a single hit, like Britney Spears, you owe it to yourself to experience a true diva like Diane Schuur. This artist has earned the title like Judy, Liza, Cher, and Bette. Great production and great PR do not a Diva Make. Grab a copy of Schuur Fire, you will be glad that you did!

You can e-mail Scott Lewis here



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