The following is an interview between jazz journalist Morgan Enos and pianist, vocalist and composer Kelly Green. Her new album, Seems, released 29 March, features flautist Elijah J. Thomas, bassist Luca Soul Rosenfeld, and drummer Evan Hyde, with several guest appearances by tenor saxophonist Rich Perry. Links to purchase the album, and to Green’s website, can be found at the bottom of this article.
On her new album, Kelly Green interpreted “World of My Own,” from the 1951 animated film Alice in Wonderland: a choice with many shades of meaning. The singer covered the Disney classic for its hopeful and nature-forward theme (and that it begs to be swung didn’t hurt).
Within the context of Seems, the album it occupies, “World of My Own” says a lot more. Augmented by an inspired ensemble, Green makes a grander point: jazz can act as a microcosmic model for broader human synergy and cooperation.
“As musicians, we are showcasing in real time what it means to really be in the moment with each other,” Green tells UK Jazz News, “which is something very unique about this style of music.”
In the press materials, she goes deeper: “I’ve come to realise that there is only one Spirit which is the common thread that binds each individualised soul to each other, stitching us together at the seams” – hence the pun in the title.
Whether via originals, like “What To Do,” or arrangements, like “Try Your Wings,” Green funnels her hopes and fears for our volatile world into evocative yet tradition-embracing jazz.
Read on for an interview with Green about the creative intent of Seems, and more.
UK Jazz News: How would you describe the chemistry between this ensemble?
Kelly Green: When you hear us play, I think you hear that we all are listening a lot, and we all really love and trust each other.
I had studied with [guest tenor saxophonist] Rich [Perry] at Jamey Aebersold’s workshop when I was a kid. And then, fast forward, I got to study with him at William Paterson [College], and I stayed in touch with him.
He’s one of my favourite tenor players. I wrote the song “Rich’s Stitches” for him, because he stitches through the chords and changes. You hear us supporting him, and his sound and energy. It really adds to the band.
We’re all there to help each other create something new and different every time we play a song. So, when you see us live, you’ll never hear the songs the same again. All the tapes that we have of the songs sound very different, which is really fun.
UKJN: You’re dealing with heavy topics on Seems. The way you describe it, jazz is the ultimate vehicle to distil global synergy into a musical interplay between four human beings. Is that what you’re going for?
KG: 1,000 percent. I think the improvisational element adds to the democratic element, where we’re all playing together. It’s not necessarily always about one person. It [also] happens in dance, that’s for sure.
We are always listening to each other and working toward a common goal in real time. And that’s something that is, like you said, a microcosm for a global kind of ideology.
Us human beings need to continue to realise and value our place in the natural world, and look to nature as an example of what we need to be doing.
“Even the tiniest bluebird has to leave its nest to fly”: that’s just one lyrical example in “Try Your Wings.” There are a lot of examples of that throughout the whole album: “I could listen to a babbling brook and hear a song I could understand.”
UKJN: Where and when did the original songs come from?
KG: I wrote “What To Do” four or five years ago. That one in particular is difficult to improvise over, and feel free over, because there’s a lot going on.
“Street Cleaning,” I wrote after a street cleaning car woke me up one morning; it had a mechanical groove. That one, I wrote just after [flautist] Elijah [J. Thomas] joined the group. I knew I wanted a tenor to play the counter line on that “Street Cleaning” vibe.
“Rich’s Stitches,” I wrote because we were and are doing a concert series here in our living room in Forest Hills, Queens, called Green Soul Studios. At that time, I was writing a new piece for each guest artist once a month, and that was the song I wrote for Rich.
UKJN: Where are you at regarding your ongoing evolution as a singer?
KG: Everything is never-ending. I continue to work on being free with the voice, while I’m still playing [piano] for myself.
I’m also looking forward to singing with different people. I really want to do more collaboration, find more guitarists and pianists to sing with, and not always accompany myself. Which I very much love doing as well, but I think it helps me grow a lot as a vocalist when I get to sing with others.
UKJN: How do you keep your voice in shape?
KG: I avoid talking in loud spaces. If I’m in a loud bar or something, I’ll just make sure that I’m real close to the person I’m talking to, or say, “Hey, let’s go away from this really loud speaker.”
When I’m on stage, if I can’t hear myself – which, surprisingly, is a lot; monitors aren’t loud enough – I’ll just remind myself, Look, it sounds fine. Don’t worry about it; don’t push yourself. I always make sure that I’m breathing from my diaphragm, and that I’m not pushing my actual vocal cords.
UKJN: I love that element of self-trust, singing on stage.
KG: Sometimes, I like to cup my hand in front, just to make sure I’m supporting a certain note, and I’m happy with my tone and everything. So I can hear myself.
