THERE SEEMS TO BE A PALPABLE RENAISSANCE OF JAZZ SINGERS THESE DAYS. MAYBE IT’S BECAUSE SO MANY WOMEN WERE COOPED UP FOR SO LONG, THEY JUST NEEDED TO BURST OUT. BUT WHATEVER THE CAUSE, SOME EXCELLENT NEW ARTISTS AND ALBUMS HAVE SURFACED, WITH THIS ONE BY ROBIN SIMONE DESERVING ATTENTION.
UNLIKE MANY OF TODAY’S ARTISTS THAT GET INSPIRED BY THE GREAT AMERICAN SONGBOOK, OR BOOMER MATERIAL, MS. SIMONE CAME UP WITH THE BRILLIANT IDEA OF MAKING AN ALBUM FROM THE GOLDEN DAYS OF HOLLYWOOD CINEMA. THE CLASSY ASPECT OF HER ROBIN SIMONE HOLLYWOOD ORCHESTRA ALBUM IS THAT THE MUSIC PLAYS OUT LIKE AN ACTUAL FILM, COMPLETE WITH OVERTURE, INTERMISSION AND CURTAIN CALL.
SHE RECENTLY PERFORMED THE MUSIC AT BEL AIR’S VIBRATO GRILL TO A PACKED HOUSE, AND IS RETURNING FOR AN ENCORE PERFORMANCE NOVEMBER 24.
WE RECENTLY HAD A CHANCE TO CATCH UP WITH HER BETWEEN SHOWS, AND FOUND HER TO BE AS ENTERTAINING AS A SATURDAY MATINEE DOUBLE FEATURE…
1) Why do you call the album “Robin Simone Hollywood Orchestra” and not “Robin
Simone WITH Hollywood Orchestra”?
I’m following in the great tradition of big bands that let us all know who the founder and
owner of the orchestra is. In Robin Simone Hollywood Orchestra (“RSHO”), I wanted to
create a big band that focuses on my deep love of the timeless music from Hollywood
films.
2) How did you come up with the concept of a “play” for an album?
I’ve had this lifelong devotion to the classics from theater and film, so I wanted to use
play and classic film transitions for my album, to help bring home its cinematic feeling to
my listeners. In those films, some theater concepts like overtures and intermissions
were used. Gone With The Wind is a good example of this; there’s an Overture at the
top of the film and an Intermission in the middle. Its producer, David O. Selznick, sent
theater managers instructions for projecting the movie; he wanted his masterpiece
presented in a certain fashion. You can find those instructions online; I always found
them fascinating. Another of my favorites, the That’s Entertainment film series, used
memorable overtures. You can often find me watching films of the Golden Age and
reveling in their artistry, especially those that have a joy and formality that I feel is
missing in much of today’s music.
3) Who were the screen singers that impressed you the most when you watched
movies?
Wow, great question! I love so many current screen singers. However, I’ve long been a
big TCM supporter, so many of the movie musicals they air, I adore. The singers that
impressed me most were Judy Garland, Fred Astaire, Gene Kelly, Lena Horne, Frank
Sinatra, Louis Armstrong, Barbra Streisand, and Ella Fitzgerald. Judy truly embodied
the Hollywood musical spirit with her strong, beautiful voice. Somewhere Over The
Rainbow, from The Wizard Of Oz, is quintessential Hollywood. Fred Astaire’s lyrical
interpretations made him beloved by many songwriters of the day; they wanted their
songs sung by him because he sang their words exactly the way they intended. I love
Fred singing Cole Porter’s All Of You from the film Silk Stockings as well as By Myself
from the film The Bandwagon. I’ve always felt that Gene Kelly had an optimistic,
breezy, and fun vocal appeal, which is displayed best in the songs Singin’ In The Rain
and I Got Rhythm. Lena Horne had both a regality and defiance about her. Listen to
Lena singing Lady Is A Tramp from the film Words and Music—she brings such sass!
Frank Sinatra already had a burgeoning career as a recording artist and performer
before he starred in MGM musicals. I loved his romantic phrasing in I Fall In Love Too
Easily from the film Anchors Aweigh, You’re Sensational from High Society, and Tender
Trap from the movie with the same title. Louis Armstrong was so unique as a singer—I
love him on Now You Has Jazz in the movie High Society, and I’ve always marveled at
his vocal harmonies. Barbra Streisand’s emotional and powerful rendition of People in
the movie Funny Girl is a timeless masterpiece. Ella Fitzgerald was in a few Hollywood
films. She sang so lovely in Pete Kelly’s Blues in the movie of the same title. She’s
tops in my book! All of these singers and so many more influenced me. I’m grateful that
I could learn from all of them.
4) Why did you want a big band album, and not a small group?
I’ve had backing quartets for many years and I love that ensemble vibe as well,
especially on intimate songs. I wanted to produce this big band album because I’ve
been yearning for that full, energetic sound that makes you get up and dance!
5) In a day of a surfeit of singers, how do you stand out?
Well, you see the real me when I perform, including my quirky personality in lyrics and
my vocal arrangements. Jazz welcomes so much flexibility and variety; it can be simple
or intricate, big or quiet, dark or uplifting. Right now, I’m gravitating to “big and uplifting”
as a vocalist and bandleader. Also, I’m the kind of artist who always feels best giving
more than receiving; I love creating extra gems to share with everyone. And then
there’s my elephant in the room—there aren’t many female big band leaders.
6) When you watch a singer, what do you look for?
I look for talent and authenticity. When their own personality shines through in
performances, it can be magic.
7) Do you have a pet peeve?
Yes, it’s when a singer sells themself more than the song—so much so that it becomes
about their performing, and the listener doesn’t experience the real intended story to be
told. Sometimes, less is more.
8) Is there something missing in today’s songwriters that the ones that you cover
had?
Sure. A lot of today’s songwriters have forgotten romance, in my opinion. Romance is
so lovely to explore in music, and the iconic songwriters of the past knew how to “fire
your heart” through their songs.
9) Your “tribute” at the end of the album has you letting loose a bit more. How was
that medley different from everything else?
Yes, thank you for noticing that. If any one track on the album is “me,” it’s my tribute to
Ella. It’s different than everything else, because I was more spontaneous, wrote more
lyrics, and had a chance to play musicologist. I chose several songs that have no
business whatsoever being together, but that actually blend together well in their
melodies, tempo, and ability to take on the same thread of high-energy joy I want to
share. I had a blast arranging vocals and recording that one, and I think it comes
across.
10) What was the biggest difference between the album and performing it live?
George, live performance is where I’m most at home, because I can connect with my
audience. I get to have fun with the crowd, and the improvisational opportunities appeal
to me. When I’m in the studio recording, I have to try to recreate that, which doesn’t
come as easily. But then I was so lucky to be in the studio with major pros I genuinely
like and admire, like Bill Appleberry and Stuart Schenk. And all the arranging work
before that with Charley Harrison, and finding “the zone” with all of my incredible
musicians—all those album-making steps were fantastic blessings.
11) What future goals do you have?
I look forward to working on my follow-up album. But first, I would love to tour with my
orchestra, spreading our energized Big Band storytelling all over the world.
12) What’s your favorite movie to watch over and over, and why?
Yummy! I have two. The first one, you’d never guess; it’s Jaws. It’s a constant favorite
of mine. I love the casting, the relationship between all three men on the boat and how
they finally start to work together. Spielberg’s camera and storytelling moves are so
impactful, it’s all fascinating to experience. The other is Singin’ In The Rain. It’s a
brilliant (and romantic) film with superlative musical numbers and big characters. Best
believe, I do a mean Lina Lamont impression.
13) What gives you the biggest joy?
Spreading happiness.
THE MELDING OF CINEMA AND SWING GOES BACK ALMOST 100 YEARS, AND MS. SIMONE KEEPS IT UP TO DATE ON THIS VISTAVISION COLLECTION OF TUNES. CHECK OUT THE ALBUM, AND BRING SOME POPCORN WHEN SHE SINGS NOVEMBER 24 AT VIBRATO.