NOISE: Lady Sings The Blues

Grammy-nominated Diane Schuur sings with a voice of experience. Performing since the age of 9, and ostensibly introduced to the world by Dizzy Gillespie at the 1979 Monterey Jazz Festival, Schuur has been both adored by fans and dismissed by critics. With a 3 1/2-octave range, though, there is no question she commands a room. Her latest album, Midnight, was the brainchild of Barry Manilow, who approached Schuur with the desire to create a suite specifically for her.

How was working with Barry Manilow and Eddie Arkin different than past albums?

Well, Barry Manilow is a vocalist as well as a good musician, and I really hadn't had that in producers—well, I take that back. When I did a country record in '71 with the late Jimmy Wakely [45 rpm single "Dear Mommy and Daddy"/"The Sun Is Shining" Decca], he was a singer as well, so that was an exception. Other than that, Barry was the other person that I've worked with who was also a singer. And it was advantageous.

How so? What does a vocalist bring to the table that an ordinary producer may not?

Well, they understand the dynamics of vocalizing, basically.

On this album, Manilow's song-writing team created 13 numbers. What are the differences between performing new material vs. standards like "Just One Of Those Things" or "It Had To Be You"?

Well, they weren't covers. The only one that I did that was kind of a cover was "When October Goes," because Barry had recorded it. But that's the only one.

But was there a different approach you take, mentally maybe, to come into the song?

Well, it's new material. There's a lot of learning and processing to do with that. It's different than doing covers.

How is it different?

It's just a process, you know. I don't know how to explain it. It's just new stuff, and that's basically it.

Do you feel you have more freedom with it as opposed to some standards where you've got the ghosts of Sarah Vaughn and Ella listening in?

I think a person can interpret basically anything if they want to, regardless of whether it's a standard or an original. A person needs to put their own spin on it, regardless of who's recorded it before. That's what makes it unique. I hope that makes sense.

What's the story behind Dizzy Gillespie discovering you?

I'm not sure if "discovered" is the right word.

Well, yes, obviously you were performing before that. At the age of 9 was your first performance?

Right. He took the time to acknowledge and try to ... 'cause I had auditioned to do the, from what I recollect, the Monterey Festival. It wasn't really certain whether I was actually going to do a gig until he heard me. It was a kind of touch-and-go kind of thing. And then with his help and encouragement, I was put in one of the slots to perform.

So he was at the audition?

Well, he would have had to be at the audition if he was going to—

I wasn't sure if they tape you for that or—

No.

I have no knowledge of how the audition process works for those festivals.

No, there was no taping, as far as I know. It was done live. I didn't present a tape.

And he was just blown away.

I guess so, because I did the festival.

Critics and fans seem divided on you. They all agree you're talented but some question whether you're a "true" jazz singer. Do you have a response to that?

I don't. I really don't have a response to that.

Have you heard that criticism before?

I don't really pay attention to that.

You don't read the press?

I read the press but I don't intellectualize about that kind of stuff. That's their opinion and that's OK. I just do what I do and hopefully people enjoy it.

It sounds like there's quite a story behind "Life Is Good" on Midnight.

Oh yeah! As far as my own story?

Yeah.

Yeah, it basically talks about people who have recovered from addictions, alcoholism and the like, basically a song of hope.

So you've had some personal experience with addictions?

Yeah, I've had some. Yeah, I have.

Alcohol addiction? Drug addiction?

Yeah, uh huh.

And how did you overcome those?

I don't think I'd better go into a lot of detail on that. Let's just say I hit rock bottom and reached out for help, and that's basically how people start the recovery process, is when they realize they're powerless over alcohol or drugs or whatever, you know what I mean? I just have to be kind of careful.

And hitting bottom is different for every person.

Hitting bottom is hitting bottom. At least it was for me. And I realized, once I did hit rock-bottom, that where I was what some people would call the jumping-off place, and I knew that style of life, if you will, had to stop if I was going to continue to live. Otherwise, I don't think I would have lived that much longer had I continued.

Was this mixed in with some neck surgery you were having done?

No, no. The neck surgery had nothing to do with it. I've been in recovery for nearly 15 years.

Congratulations, that's impressive.

Thanks. It's a one day at a time thing. No, the neck surgery was something that I had to have done because it was affecting the quality of my life. And it didn't feel good to stay as I was so I went and had the surgery, and I feel a lot better.

I don't know anything about it, other than that it was a serious operation.

It was performed through the front. My vocal chords and esophagus were moved to one side, and there was a chance it could've adversely affected my singing voice.

What was the motivation for the operation?

Pain.

That'll do it.

Yeah, I think that's a good motivation.