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New York Voices
By 1989 I had been working in New York for 13 years as a soloist. While developing myself as a singer from my early days in Indianapolis, one of my first experiences in Jazz was with a local trio led by Steve Rudolph. Steve introduced me to the Nancy Wilson/Cannonball Adderly album and my world was officially changed. I think I was 18. I began to dig into vocal jazz, studying Sarah Vaughn, Ella Fitzgerald, Carmen McRae, Dinah Washington, Billy Holiday, and Lambert, Hendricks and Ross. I particularly loved Lambert, Hendricks and Ross. John Hendricks’ lyrical adaptations of well known instrumental solos, his creative and often amusing lyric writing, and the tight, swinging harmonies of the group. So when an opportunity came my way to audition for a vocal jazz group, naturally my interest was peaked. But first, a little history of my work life up until then:
I had been in New York pounding the pavement for over a decade. I worked as a singing waitress. I worked in comedy clubs in between the comedians (Try following Larry David!). I had worked cruise ships, lounges, and Off-Broadway. My career was a patchwork quilt of gigs that could pay me a little something just to keep me going- or to at least keep me in the game. When I finally landed my first steady job in an Off-Broadway show (Beehive), I was elated. Yay! A steady job with a steady paycheck. And a steady amount of vocal damage, due to a lapse of voice study and technique. I had to quit and put my vocal health back together. After about a year, I was ready to re-enter the market. I had auditioned for and been cast in a Tom O’Horgan show that was headed for Broadway. The roles were demanding- both physically and mentally. And I was frankly, a bit concerned. Around that time, I got word that this new group had moved to the city from Ithaca, New York, where they had all gone to college, and where the group had formed. Darmon Meader, the group’s leader and primary arranger, wanted to turn the group into a professional entity and also wanted to move into the city. The rest of the group followed suit. At the time, the group was five voices- Darmon, Peter Eldridge (another writer and arranger), Kim Nazarian, Caprice Fox and Lori Lynn Bauers. By the time the group had moved to New York, Lori Lynn had decided not to join them and her chair became available. And so, they put the word out and somehow I found out about it. Having been a long time fan of Lambert, Hendricks and Ross, the Swingle Singers and the Paris Six, all vocal jazz groups, I thought that this might be a fun opportunity. I also thought that it would be a wise choice- vocally. To have the opportunity to blend instead of belting, and to work within a more intimate and tight knit vocal setting.
I remember walking over to the Ripley Greer rehearsal studio in my neighborhood where they were holding auditions. I climbed the stairs and heard the four singers working on “Lady Bird” the Tad Dameron composition. I remember thinking” “Man, they sound good. Can I even DO this? I don’t think I’m up to this… I didn’t go to college! I don’t have any formal musical training! I just have a good ear! This is not going to be the right fit. I’m not gonna embarrass myself!” As I got up to leave, the door to the studio opened and Darmon Meader stuck his head out and with a smile on his face asked “Are you Sara?” There was no turning back…
I entered the room to a warm reception from the other members of the group- Peter Eldridge, Kim Nazarian and Caprice Fox. They asked me what I wanted to sing. Peter was on Piano. I pulled out a few of the tunes that I had been performing for the past ten years and chose “I Thought About You”. The reception was incredibly positive and enthusiastic. They wanted to hear what I would sound like on “Lady Bird”. At that point, I was not about to pull any punches. I let them know that I had no formal training (musically, not vocally), that my reading chops left much to be desired and that I was basically using a different operating system than the rest of them. What I did bring to the table was a good ear and a pretty good talent for lyric writing. They taught me the alto part to Lady Bird, and off we flew. A few days later, Darmon called to offer me the chair. I asked him if he was sure. He said he was. And so, I had a choice to make. I could choose a show bound for Broadway where my voice would be asked to sing everything from coloratura soprano to high alto belting, or I could choose a quieter, more musical and vocally healthier option, where I could sing the music that I truly loved, but that had no immediate bookings or income opportunities. It was a no brainer. I happily and nervously said “Yes” to the group. And so began my four year stint with New York Voices. We rehearsed a LOT. We worked tirelessly on our blend and on our dynamics. Darmon’s arrangements were challenging to say the least, and pushed me in ways that I had never been musically pushed before. There were songs that he had written that needed some help lyrically, and having had some success with that, I was able to contribute in that way. Within the first year, we had signed with MaryAnn Topper as a manager who brought us to the attention of Larry Rosen and Dave Grusin, who had started GRP Records. They signed us almost immediately and we soon began preparing for our first studio album, simply titled “New York Voices”. The year was 1989. Contemporary Jazz was having its heyday and once the album was released, we found ourselves on the radio almost constantly. It was heady stuff. We were soon off on the road, traveling the country in a used motor home (or as we fondly called it, the “odor home”). We played every major club and a many minor ones across the country. Once we had developed our musical sea legs, we began working the George Wein Jazz Festivals, both in the states and in Europe. It was a busy schedule, both gigging and rehearsing, and left little time for anything else, including the weekend club dates that I had been doing since before I joined the group as a way to pay the rent. When we were off the road, I still needed to do those gigs- because in case you haven’t heard, there’s not a ton of money in jazz! And of course, that’s not why anyone would or should ever get into it. You do it for the love. But you also have to be aware of the expenses. We were five singers, three musicians, a road manager and a career manager, along with a lawyer and other various and sundried folks that kept the wheels spinning. Many mouths to feed.
After the first album, and the end of a successful tour, GRP of course wanted us to get started on the next one. Into the studio we went once again, while rehearsing on and off the road. After the release of the second album “Hearts of Fire”, we once again toured the United States and Europe, with several visits to Japan. We had incredibly receptive audiences and the group was hitting its stride. Why then, did I find myself looking at my watch one evening while on stage at the Osaka Blue Note? Uh oh…
I don’t know if it was the demanding and constant schedule, the lack of solo opportunity after having a career as a soloist or the small disagreements that all groups experience, but I was feeling burnt out. And I had just turned 40. It was time to take some serious stock of my life. I knew that if I was ever going to have any financial security, that I would probably have to shift gears. I loved the music, I loved the experiences that I had in the group and I was grateful for the opportunities that it presented. But at the same time, I knew that I needed to move on. I wanted my solo career back and there was no time for it as long as I was a member of the group. (Since then, the restrictions on the group have lessened, and I’m happy to see that each of the members now enjoy a well deserved solo career, along with the group demands.) After the second album tour wrapped up, I gave my notice and stayed with the group until they could find my replacement. They found a wonderful singer to fill my spot, Lauren Kinhan, a terrific singer/songwriter, who brought a whole new dimension to the group. I often think that things work out as they should and this is one such circumstance. About a year after I left, Caprice followed suit, and rather than replace the fifth voice again, NYV remained a foursome. They now have many albums to their name, along with a grammy 😉 We are still in touch and I was recently invited to their 30 year anniversary concert. What a complete blast from the past that was~ To be back in that sound. To remember the incredible gift of what great music can sound like and feel like and evoke in the listener is beyond just about anything I can express. In hindsight, having the opportunity to step outside of the group and to hear it as an audience member, while at the same hearing it as part of the group was something I won’t soon forget. The group remains a part of myself, whether inside of it or out.
