AS SONNY ROLLINS ONCE SAID, THE BEST THING ABOUT “JAZZ” IS THAT IT’S NOT AS MUCH A NOUN AS A VERB.
WHAT HE MEANS IS THAT JAZZ IS AN APPROACH TO MUSIC; YOU “JAZZ IT UP”, SO TO SPEAK, SO IT DOESN’T REALLY MATTER WHAT THE SONG IS, BUT WHAT YOU DO WITH THAT.
VOCALIST/ARRANGER STACI GRIESBACH HAS BEEN BUILDING A CAREER OUT OF BUILDING BRIDGES BETWEEN JAZZ AND COUNTRY/WESTERN MUSIC. OH, IT’S BEEN DONE BEFORE BACK IN THE SWING ERA WITH BOB WILLS AND THE TEXAS PLAYBOYS, BUT GRIESBACH IS TAKING THE GENRE ON IT’S OWN TERMS.
HER PREVIOUS ALBUM EXPLORED THE PATSY CLINE SONGBOOK, WHICH HAS HAD IT’S ALLURE WITH JAZZ VOCALISTS BEFORE. BUT NO ONE, AND I MEAN NO ONE, HAS EVER TRIED TO CROSS THE JAZZ TRACKS AND DELVE INTO THE MATERIAL MADE FAMOUS BY GEORGE JONES. ARE YOU KIDDING?!?
HER RECENT ALBUM MY GEORGE JONES SONGBOOK BRINGS TOGETHER GRIESBACH AND A BONA FIDE TEAM OF POST BOP JAZZERS LIKE BOB SHEPPARD, OTMAR RUIZ AND TAMIR HENDELMAN HAVING THEM HOP INTO THE OLD PICKUP AND TAKING ON CLASSIC TEAR IN BEER TUNES LIKE “SHE STILL THINKS I CARE”. HEY, IT WORKS!
WE RECENTLY HAD AN OPPORTUNITY TO CATCH UP WITH MS. GRIESBACH, WHO SHARED HER VISION OF HAVING A REUNION OF SWINGING MUSICAL COUSINS.
YOU’VE NOW RELEASED TWO ‘JAZZ’ ALBUMS OF SONGS ASSOCIATED WITH COUNTRY AND WESTERN, FIRST PATSY CLINE, AND NOW GEORGE JONES. DID YOU LIVE IN A ‘BI-CULTURAL’ FAMILY THAT PLAYED BOTH STYLES OF MUSIC?
- I was raised on a working farm in rural Wisconsin, where the soundtrack was predominantly country music. That said, my Mom always played a fair share of rock and roll and on Sundays, there was great programming that ranged from big band swing and the Glenn Miller Orchestra to the polka music she turned on when preparing Sunday brunch after church. It was school that offered me a glimpse into jazz, from vocal swing choir to playing in the jazz band with my saxophone and piano, which introduced me to Ella Fitzgerald’s “Misty” along with other standards.
WHAT IS YOUR ALLURE TO JAZZ, AND HOW IS IT DIFFERENT THAN YOUR ATTRACTION TO COUNTRY MUSIC?
- I like the conversation that happens in jazz, especially among the musicians. I also like how freeing the music is, with the opportunity to play around within the structure of the tune. Life can sometimes feel overwhelmingly structured, and so jazz is teaching me how to try to let go of some of that and relax into what comes. It’s definitely a process, and one I’m enjoying and hope to continue to grow from as a human and a singer.
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“Life can sometimes feel overwhelmingly structured, and so jazz is teaching me how to try to let go of some of that and relax into what comes”
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I’M SURE YOU KNOW ABOUT BUDDY RICH’S FAMOUS QUOTE WHEN ASKED ABOUT ANY ALLERGIES AND HE ANSWERED ‘COUNTRY MUSIC’. WHY DO YOU THINK THERE’S A LOOKING DOWN THE NOSE AT C&W FROM SOME ARTISTS
- The great songwriter Harlan Howard may have put it best when he said that country music is “three chords and the truth.” There’s a simplicity about classic country music that makes it really approachable. I also feel there’s an honesty and relate-ability in the lyrics with country songs that allow for connecting on a wider level. While Jazz can possess a simplicity on some levels, it definitely is more of a complicated art form. Jazz paints with a wider canvas, more colors and maybe even colors outside the lines. My hope is to bridge that gap however I may by showcasing this other Songbook in a way that might have jazzers look at country music and its songwriting community in a new way, while also possibly bringing over some fans of country music to explore jazz. Just like jazz has looked to R&B and rap, I think there’s opportunity for the jazz community to find new fans and perhaps a broader audience.
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“Jazz paints with a wider canvas, more colors and maybe even colors outside the lines”
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YET OTHER BONA FIDE JAZZERS LIKE SONNY ROLLINS (WITH WAY OUT WEST), BENNY CARTER (“COW COW BOOGIE”) OR BILL FRISELL (NASHVILLE) FIND A CONNECTION WITH COUNTRY
- Don’t forget John Scofield. Ray Charles. Also, there are many vocalists who have included Willie Nelson’s “Crazy” on their albums. I think there is less separation between the two genres when you get down to brass tacks. When we hear music that is different, there could be a rush to judge versus stepping back and appreciating it from a different lens. This is why I personally love traveling to foreign lands. When I get off a plane in a different world, where no one speaks English, and I’m immersed in a new culture, this is an opportunity to grow, to be exposed, and to enjoy what life is truly about – celebrating creation of all types. So, yeah, I dig and respect those who have swam these waters before me, and I look to continue to be inspired and learn from them.
BOTH JAZZ AND COUNTRY AT THEIR BEST HAVE SWING, AND THEY TELL A STORY, GOING ALL THE WAY BACK TO BOB WILLS. DO YOU HAVE A “GUILTY PLEASURE” IN COUNTRY MUSIC?
- Bob Wills and the Texas Playboys. I have a lot of thoughts about Texas, especially on recent news. But no one can stop their toes from tapping when you put on Bob Wills. I’m not sure I would ever call it a “guilty pleasure” – just pure and honest comfort and joy.
OF ALL THE “SONGBOOKS” TO COVER, GEORGE JONES’ IS AN INTERESTING PICK, AS HE DIDN’T COMPOSE MANY OF HIS BEST KNOWN TUNES. WHAT WAS THE ATTRACTION AND CHALLENGE OF HIS MUSIC?
- George Jones’ music was some of the most celebrated in my house. He’s probably my father’s favorite music performer of all time, so I listened to his voice a lot growing up. His compositions on the album include co-writes on “Take Me,” “Tender Years” and “Why Baby Why,” which was his first chart single. I’ve read his autobiography, the biographies, watched countless hours of interviews and footage from his hosted TV program on TNN, and through it all, I learned more about who the man was at the center of the George Jones that made all the headlines. While in many ways he was a simple man, he seemed to struggle with the act of becoming himself and showing himself in his pure form. Truthfully, the decision for my first male country music icon was between George Jones and Merle Haggard, which is a famous argument you can have in any country music circle. My heart swoons for the sound of Merle Haggard’s voice, but George was first on the scene. Maybe that’s a hint to what’s coming next from me.
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“no one can stop their toes from tapping when you put on Bob Wills”
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FOR AN ALBUM ASSOCIATED WITH COUNTRY MUSIC, THERE IS VERY LITTEL FIDDLE OR STEEL GUITAR. WAS THAT A CONSCIOUS DECISION?
- Stuart Duncan and Rich Hinman top the list of players for both of those instruments, and I’m still pinching myself they’ve played on my albums. In “The Grand Tour,” I knew I wanted pedal steel there and the juxtaposition with Jeremy Siskind’s piano gives exactly the nice feel I was looking for with the performance. I can always use more of both of these, and this record ended up being more saxophone and piano-heavy, which makes sense as those are the two instruments I played growing up and still work on.
YOU HAVE LIVED IN LA, WHICH IS KNOWN MORE AS A “POP” AND “ROCK” TOWN. WHERE WOULD YOU GO TO HEAR COUNTRY MUSIC, SINCE YOU’RE TOO YOUNG FOR THE DAYS OF THE OLD PALOMINO?
- I actually was raised in the midwest and didn’t move to California until after college. That said, when I first moved here, I definitely put on my boots and went dancing at Cowboy Country. I also won a few free pints of beer at the acoustic nights at the Cowboy Palace Saloon where I’d bring my guitar and sing. You’re more likely to catch me at one of the jazz clubs, and I absolutely love going to the Hollywood Bowl – arguably the best and most engaging music venue in the world.
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“The joy about working on this different songbook is that it’s fresh material for many of my colleagues who have been trained in jazz”
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YOUR ALBUM INCLUDES SOME OF LA’S FINEST JAZZERS LIKE TAMIR HENDLEMAN, KEVIN AXT, BOB SHEPPARD, RAHSAAN BARBER, JEREMY SISKIND, JOE BAGG, ETC. DID ANYONE RAISE THEIR EYEBROWS OVER THE SONG SELECTION?
- Great question. The joy about working on this different songbook is that it’s fresh material for many of my colleagues who have been trained in jazz. To me, that presents an opportunity, because I may come in with a specific thought in mind, and they may hear something differently because it’s the first time they’re listening to the song. Personally, I find it’s a great way to collaborate. Rahsaan grew up in Nashville, so he had a bit more of an idea of Jones’ catalog, which was also nice.
YOUR VOICE SOUNDS BROADWAY TRAINED, AND YOU RESIST FROM THE CLICHE’D C&W GROWLS AND TWANGS. WAS THAT ALSO A COSCIOUS DECISION?
- I’ll take that as a complement! I performed as a Singer/Dancer at my University throughout my college experience, and we covered everything from pop and rock to film and television soundtracks, and we also did a lot of Broadway. That would be a dream! Maybe I’ll have to think about a musical that convenes jazz and country music, I could see a love story in that! I believe we are a product of all of our experiences, so my hope is to allow for all of those colors to show and appreciate them all, as that’s what makes me ME.
YOU DID A “SEX CHANGE” ON “SHE STILL THINKS I CARE; HOW DO YOU THINK THE ROLE REVERSAL WORKED?
- You’ll hear a gender role change on a few tunes on the album, also including “The Grand Tour”. For “She Thinks I Still Care”, I think it’s absolutely natural! It allowed me to show a little bit of sass and throw down with the band who are just swinging on that one.
IT SOUNDS LIKE WHAT UNITES JAZZ AND COUNTRY ON THIS ALBUM IS BLUES AND GOSPEL
- Well, now you’re getting to the foundations of American music. For that, I am no historian nor am I an ethnomusicologist, but I will say that I sure enjoyed Ken Burns’ recent work that dives deep into the roots of some of our cherished American music styles. The African American culture created, brought and influenced so much of the foundation of the music we listen to today, and I hope we continue to cherish our foundations while we explore new opportunities for collaboration.
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“I literally could not sing the song through without breaking down for several weeks”
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WHICH SONG WAS THE MOST FUN TO RE-ARRANGE AND TWEAK?
- Each song has its magic for me, but the first one we tackled was “He Stopped Loving Her Today,” arguably the saddest song on the album and one that Jones was most lauded for in his career. Written by Bobby Braddock and Curly Putman, Jones took home several awards for his performance on this tune. When I first sat down with Jeremy Siskind to discuss the arrangement, we knew we wanted to bring out that sadness and really drive home the melancholy feeling told in the story of the song. We had one working session, and Jeremy presented this arrangement that had me in tears. I literally could not sing the song through without breaking down for several weeks.
ARE YOU GETTING ANY COUNTRY FANS TO THE JAZZ VENUES?
- This is the hope! And, I think the answer is yes! Rolling Stone Country debuted my first single off my Patsy Cline album. CMT, No Depression, Bluegrass Station and RFD TV have all covered my work. So, my hope is to celebrate the two genres together and build bridges. I believe music has the power to do that and more.
WHAT ARE YOUR NEXT GOALS?
- Well, in addition to continuing to walk this path of country-meets-jazz, I also have a custom line called Songbook Singles™ which right now celebrates some of the songs from the traditional Great American Songbook, which is what brought me into loving jazz from the get-go! So, my hope is to continue growing as an artist, finding the confidence in my voice and allowing the jazz format to continue to help me let go and let God, which I think might be the more spiritual purpose behind all of this.
YOU SOUND PRETTY ECLECTIC IN YOUR LIFE. WHAT’S THE BEST ADVICE SOMEONE GAVE YOU?
- “Just be yourself,” advice given to me from my Mom.
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“I learned more about who the man was at the center of the George Jones that made all the headlines”
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GIVE ME THREE BOOKS YOU THINK EVERYONE SHOULD READ
- Top of the list is The Four Agreements by Don Miguel Ruiz. I read or listen to the audible version of this book every year, and each year, there are nuances that hit me in a different way. The concepts seem so simple, but when you reflect on it and sit with yourself and your thoughts, it’s amazing the realizations that can come to you. The other two would be The Power of Now by Eckhart Tolle and Rising Strong by Brene Brown. Both were read years ago on different yoga retreats and go deeply into this human condition we experience here on earth. Malcom Gladwell, Deepak Chopra also sit on my bookshelf, right next to all the music autobiographies and music history books. A perfect marriage, in my opinion.
WHAT PERSON LIVING OR DEAD WOULD YOU LIKE TO SPEND AN EVENING WITH AND PICK HIS/HER BRAIN? WHY?
- Ella Fitzgerald. She’s been a guiding light in my jazz journey, and I studied her recordings intensely for a centennial celebration I did a few years ago for her. Her spirit, her musicality, her story is all so inspiring. In fact, I’d love to take a lesson with Ella and Patsy, and wouldn’t it be something to have them both in the same room!
WHO WOULD YOU PAY $1000 TO SEE PERFORM AND WHY?
- That’s a good question. There are two billings that come to mind. The first would be Ella Fitzgerald’s birthday concert in Rome which generated the Ella in Rome album. Man, was she having fun that night! To be in the audience would have been such an experience. The other billing is a night at the Hollywood Bowl featuring Patsy Cline, George Jones, and Johnny Cash all on one ticket. And, in 1962, would have been cool to sit at the Bowl back then, I think.
WHAT GIVES YOU THE MOST JOY?
- Connecting with other people on a meaningful and authentic level.
WHAT DO YOU WANT PEOPLE TO SAY AT YOUR FUNERAL?
- Wow, that’s a question! Well, first, I’d want there to be live music, champagne and joy. While there are a lot of ups and downs through life, physically and in mind, I’ve always tried to put my “all” into anything I do. My Dad always taught me that “if you’re going to do it, do it,” meaning to me, put everything you have into how you show up. I think that’s my mantra in life. Trust the process. Show up fully, create with my heart and love every minute.
IF YOU’VE BEEN THE TYPE TO NEVER DARKEN THE DOORS OF A HONKY TONK, OR THINK THAT COUNTRY MUSIC IS BENEATH YOUR EPICUREAN ENDEAVORS, GIVE A LISTEN TO STACI GRIESBACH. SHE’LL OPEN THE DOORS OF A WORLD THAT YOU MAY HAVE NEVER DESIRED, BUT ONCE SHE LETS YOU IN, YOU MIGHT NOT WANT TO LEAVE.