Sarah Collyer's High Five

Historical article recovered from a Wayback capture dated 2018-02-24.

Sarah Collyer has been warned. Love gets messy when you skew its rhythms and pluck at its raw emotions. But given the Sarah Collyer treatment - everything has the potential to become a jazz song. The sumptuous songstress has released her debut album Yesterday’s Blues, showcasing her sassy originals, her lush take on jazz standards, and most surprising of all - her transformations of songs by Blondie and Paul Kelly - sounding like they were born to be swung. Slinky and seductive, Yesterday’s Blues has been described as “perfect red wine music”.

With a luxurious voice and elegant approach to music, Sarah Collyer has been influenced by jazz greats like Nina Simone and Miles Davis, but finds inspiration in contemporary artists like Melody Gardot, Diana Krall, and even Tom Waits. Born in Brisbane, Australia, she studied classical and jazz voice at James Cook University and the Queensland Conservatorium, discovering early that jazz was the genre for her.

“My voice just seemed to feel more at home singing jazz than anything else. It just feels natural and really resonates with me. I don’t think I had much control over that!”

After a three-year stint living in Melbourne, working as a pastry chef and gigging, she returned to Brisbane to completely immerse herself in music, teaching singing by day and singing jazz gigs by night. In 2009 she released her debut EP “This Way” - a piano-driven collection of her jazz/adult contemporary originals - drawing much acclaim. The title track was shortlisted for a QSong Award; the song “I Wait” was selected for a national “Sounds Like Cafe” compilation; and the full EP has been receiving radio airplay around the country.

Since the EP’s release, Sarah has been performing regularly, most notably with a tour of Japan in 2010, singing with a jazz band in Kobe, Osaka and Kyoto. On home soil in Australia, she has performed at the Brisbane Powerhouse, the Noosa Jazz Festival, the Valley Jazz Festival, Warwick Jumpers and Jazz and the Gold Coast Arts Centre. In 2011 she held a residency at Brisbane’s iconic Cloudland lounge bar, and performed regularly at the Brisbane Jazz Club.

1. CASSANDRA WILSON - North Sea Jazz Festival, Rotterdam 2008.

My all time favourite vocalist is Cassandra Wilson. In 2008 I was lucky enough to see her perform at the North Sea Jazz Festival in Rotterdam. There were so many amazing artists on the line up that year, it was hard to choose between them all, but I decided the only artist that I definitely had to see, was Cassandra Wilson. By the time I got in the door the set had already started, but still I was happy to get a seat right at the very front of the auditorium. It was completely surreal to be there. Cassandra Wilson’s voice so deep and rich was like hot caramel – filling the auditorium as each song flowed seamlessly into the next with so little effort. Wilson’s approach felt incredibly natural and at ease, yet her presence filled the room. The whole ensemble oozed a similar, natural poise. The insanely talented young Jonathan Batiste at the piano mesmerized the audience with his classical stylings, tasteful accompaniment and killer solos. Lekan Babaloa added cheeky and inventive percussion - filling each moment with just that added extra sparkle on top of the ever solid groove laid down by Herlin Riley on kit. Reginald Veal on Bass and Musical Director Marvin Sewell on guitar completed the band and added to the joyful and playful vibe of the set.

I am forever drawn to deep rich female voices. Perhaps it is my early introduction to the music of Nina Simone - I’m not sure. Cassandra Wilson’s voice is it for me. It’s warm, deep and so velvety it’s almost tangible. No one phrases like Cassandra Wilson. Her ability to stretch and delay and anticipate is phenomenal – but she is also the queen of understatement. I love that she never goes off on a “chop fest” display of her vocal abilities – no need to sing the highest notes, the longest, and loudest. She just weaves a beautiful melody – and it’s sublime, refreshing and very inspirational.

2. HERBIE HANCOCK – QPAC Concert Hall Brisbane

Back in 2005 or 2006 I was fortunate to get free tickets to see Herbie Hancock perform at the QPAC concert Hall. I was there to do a review of the concert for 4mbs radio in Brisbane. Supported by his super talented band of Nathan East on bass, Lionel Loueke on guitar and Vinnie Colaiuta on drums, and supplemented by the Queensland Symphony Orchestra - conducted be the Internationally acclaimed Robert Sadin, the concert was absolutely brilliant – it was very clear to me that I was in the presence of Jazz nobility. I was very happy to witness this!

Before attending the concert, I wasn’t sure that I really wanted to hear Herbie with the QSO, and I did wish that it were just he and his band. However, from the moment Mr. Hancock entered the stage and took his seat at the eagerly awaiting Steinway, all such notions were forgotten.

The Majestic sounds of the orchestra’s opening piece: Bach’s Das alte jahr vergangen ist, had barely come to an end when Colaiuta’s drum kit sprang to life and a collective smile illuminated the orchestra. Herbie Hancock entered, looking every bit the grand reverend of Jazz piano that he has become, and launched into a lively dialogue with the spirited drummer. At the close of this energetic interpretation of Gershwin’s Fascinating rhythm, Herbie remarked “Well, that’s my exercise for the day”. I was transfixed.

Robert Sardin’s conducting brought a dynamic energy to the night, his vibrantly bopping figure breathing a light-hearted and highly spirited breath of fresh air into the orchestra, who all seemed delighted to be part of such a magical experience.

Throughout the night, Herbie gazed intently with child like wonder at the piano keys, where his fingers proceeded to draw out the perfect combination of notes. As Herbie swung back and fourth between the Steinway and his Korg, Lionel Loueke treated the audience to his unique style of guitar playing, complete with percussive effects and vocalisations. The orchestra provided an immaculate sound scape, while Nathan East and Vinnie Colaiuta provided what must surely have been the strongest and most grooving rhythmic foundations the QPAC concert hall had ever felt.

Hebie returned to play a solo encore at the night’s close, his playing testament to the years of work that he has poured into his craft. What I found most inspiring, other than the sheer quality of the music that was delivered and the supreme level of musicianship displayed by Herbie and his band – was the joyful playfulness that flowed through everything that was played and all that was spoken. A truly positive vibe filled the music – It was thoroughly inspiring and uplifting (and practice inducing).

3. DIANA KRALL – With QSO, Brisbane March 3, 2010

Seeing my favourite performers with the local orchestra is not usually my preferred band format. I’m not sure what the “just add an orchestra” phase is all about. Kurt Elling with the Sydney symphony at the Sydney Opera house, just about put me to sleep – whilst Kurt Elling with his regular band is like a revelation. However, Diana Krall being one of my favourite artists, and me living in Brisbane, opportunities to see Diana Krall perform are, well, fairly rare – so you take what you can get!

I was, pleasantly surprised! Diana Krall and her band were subtly supported by an unobtrusive orchestral soundscape. The Krall Quartet was the central focus the whole way through while the orchestral arrangements simply complimented the Quartet – win!

I love Diana Krall’s understated, deep and husky vocals and am completely in ore of her piano playing. She has a beautiful touch – a really tender delivery of her solo lines and an effortless yet always tasteful style. Somehow Krall’s playing manages to be both delicate and strong at the same time. My favourite album of Krall’s is “The Girl in the other room” – which is markedly different from the rest of her albums. It features many co-writes with Elvis Costello and covers of Joni Mitchell and Tom Waits. Whilst this concert was a promo tour of her then new album “Quiet nights”, full of lush takes on bossa nova classics and bossa arrangements of standards – there was still room for a display of Krall’s “other side”; with a cover of Tom Waits’ “Jockey full of Bourbon”. This is the side of Krall that I adore - grittier and darker vocals that are much stronger and full bodied than the more breathy and sweet approach that she uses for Jazz standards. Her playing becomes more impassioned too.

After dedicating “PS I love you” to her late mentor Rosemary Clooney – Krall started the song, only for her voice to crack in the opening verse – Krall stoped the band, and restarted - stating that note would bug her forever if it was captured on the concert recording. It was a touching sign of humility from such an esteemed and brilliant performer

4. MELODY GARDOT – Brisbane, March 3, 2010

I had only heard a couple of songs of Melody Gardot’s when I went along to the Diana Krall “Quiet nights” concert in Brisbane. I wasn’t sure that I liked her music very much, but I was pleasantly surprised and thoroughly impressed with what I witnessed that night. Melody Gardot opened the show (followed by a set from Madeline Peyroux – where Peyroux seemed to be struggling to keep time - while the musicians played the tunes note for note off the recordings) with the most carefully and wonderfully crafted set I’ve ever witnessed. Every single move seemed to have been meticulously thought out. From her dramatic first notes – leaning over and into the piano, plucking and striking at the strings from inside the piano, then moving to centre stage to play guitar to finally standing at the mic and slamming her gigantic heels on the floor, stamping out the beat in order to accompany herself with just that thudding beat (I can’t remember the song – but I remember the heel relentlessly hitting the floor).

Note perfect, it was like watching a superbly choreographed dance – complete with immaculate wardrobe hair and make up.

5. KURT ELLING – Powerhouse, Brisbane, 2010

Somewhere around 2004, ABC’s “live at the Basement” featured a Kurt Elling Concert. My dad, responsible for so many of my early musical encounters (including my introduction to the music of Nina Simone), taped the show and I got a hold of that VHS tape . It was the best concert I’ve ever seen. Kurt Elling was in his absolute prime here – performing many songs from “The Messenger” “This time its love” and “Close your eyes” - including an incredible version of “Freddie’s yen for Jen”, “My love Effendi” and “Dolores Dream”. His soloing was phenomenal – inducing shrieks of excitement from me as I sat transfixed in front of the television screen. Kurt Elling here is inspirational in his ability to just let go and rip into a tune, leaving no corner of his range unexplored and squeezing every possible sound out of his unique and capacious voice. It’s a cathartic experience. He wails, squeaks, shrieks and moans, seemingly playing an imaginary Tenor sax – and at one stage imitating an old record player playing a smoky scratchy jazz recording. And with his very awesome collaborator Laurance Hobgood at the Piano – the sound is just perfection.

I was thoroughly disappointed however when I attended Kurt Elling’s Sydney Opera House concert in 2008, joined by the Sydney Symphony – the concert was decidedly soporific. It was as if someone had clipped Mr Elling’s wings and placed him in a small cage. There was the occasional outburst that was reminiscent of that former concert that I had witnessed – however on the whole Elling seemed tired and contained.

However, when Kurt Elling came to Brisbane in late 2010 for a show at the Brisbane Powerhouse - this time sans orchestra – I was not going to miss the chance of seeing him (hopefully) in full swing and free from the constraints of lush orchestral arrangements. He did not disappoint. Still – nothing compares to that earlier concert at The Basement – it will remain my favourite for years to come.