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Shortly after I moved to Austin in the early ‘90s, I went to the Elephant Room looking for jazz. I grew up in Atlanta and lived in New York City for several years. I could not imagine a town without jazz, but in Austin, then as now, jazz that speaks to your heart and soul is not easy to find. Enter Pam Hart with a crisp, clear voice reminiscent of Ella and a soulful delivery reminiscent of Sarah Vaughan. I became a fan, a supporter, and through years of following her career, a friend. Pam and her husband Kevin have produced Women in Jazz, the premiere performance showcase for female jazz musicians, since 1994. Through the years, the series has included a highly regarded tribute to Billie Holiday, classic renditions of the Great American Songbook, and featured performances by jazz notables including Nancy Wilson and Dianne Reeves. Dedicated to her craft, Hart reaches out and mentors up-and-coming singers through her Vocal Performance Workshops. On June 27th, Women in Jazz will present Sax, Strings, and Scat at the Paramount. Taking a turn from classic standards, Hart decided to lean toward an evening of “sultry, smooth jazz”, bringing in ‘saxtrist’ Pamela Williams from Los Angeles; flutist Althea Renee from Houston and guitarist Joyce Cooling from Seattle.
We discussed the state of jazz in Austin and a new chapter in her career.
austinwoman:
You have been trying to build an audience for female jazz musicians in Austin for many years. Why do you think the genre has never really had a substantial following here?
Pamela Hart:
Honestly, the jazz scene here has declined in recent years. Jazz has never been a top genre in this town but there is no radio programming to support jazz – no local station or show devoted to jazz. When I started, it seemed that there were female jazz singers in all of the hotel lounges and more clubs that featured jazz. Some of the standards are still around – The Victory Grill, The Elephant Room and Antone’s. I sing at the Hilton and The Belmont. Cannoli Joe’s has initiated wine tasting and jazz evenings, but basically, the availability of venues for female jazz singers hasn’t improved.
aw:
Even so, the Women In Jazz Series has been very successful.
PH:
Well, it is a once a year event. We are still plugging away because the original intent remains the same and we have never increased the number of female musicians that get booked in this town. Last year, Swing with the Divas, was amazing. We had it at the Monarch and it was a supper club setting. Gil Askey surprised us and came up to play. He is best known for writing the music for Lady Sings the Blues and Mahogany … he was here visiting family, so it was an unexpected treat.
aw:
What can we expect this year?
PH:
It is going to be a departure for us … more of a smooth jazz evening. Of course, I will sing some classics because that is what the audience will expect, but I will do a lot of revamped standards and lean toward scat. The focus will also be on female jazz instrumentalists rather than vocals … sax, flute and guitar, all performed by some of the best in the business.
aw:
Define your style and tell me about your musical influences.
PH:
I feel that I am just coming into my own style in the last couple of years. In the beginning, I was very much influenced by the style and sound of Nancy Wilson and Billie Holiday. Then Gil Askey gave me a good lesson on singing from the heart and delivering a song. He said that anyone can have a pretty voice, but it is what you do with it that counts. Be sincere and believable. So my style changes with the mood of the song and the lyrics. Sometimes it feels right to belt it out and sometimes I am quiet. My singing has evolved into situational singing.
aw:
How does jazz appeal to the emotions more than other genres?
PH:
Fortunately, the lyrics of most jazz songs are very classic … they mean something. Most are love songs or about everyday life and audiences relate to those lyrics. A lot of the songs are stories and now I am old enough to have lived through a few and understand what they mean. For a jazz singer, maturity is about more than voice. I try to put the song into context not only with my voice, but also with my attitude and body language ... It’s about delivering on your feelings and expressing emotion.
aw:
Facing what seems to be an uphill battle, why stay in Austin?
PH:
Austin happened organically. Like many other people, I believe I belong here. I left Austin once and went back to LA. It was louder, more crowded and not very clean. I felt safe in Austin, so I came back. I believe there is still an opportunity to find a place for female jazz singers. I believe we can collaborate with younger artists – musicians, poets, visual artists and dancers – to expand the audience. I keep hoping that the jazz scene will become the next big thing in Austin. All it takes is that push … that collaborative ‘ah ha’.
aw:
So what’s next?
PH:
I will keep playing around town. I want to work on a show in tribute to Ella Fitzgerald. I am working on a new CD and writing some songs. I am a little more than halfway through. Of course, June 27th we have our one-night-only performance – Sax, Strings, and Scat – at the Paramount.
aw:
I admire your dedication to your craft and the fact that you just keep plugging away.
PH:
That’s what happens when you love what you do. I don’t have a choice really … it’s what I do.
Get Involved:
Women in Jazz has several volunteer options. There is a need for artist’s aides, backstage volunteers and a volunteer to serve as house manager. There is also a need for help with marketing and public relations prior to the show. You can also go to the website to request being added to the email list for prior notification of events. For more information: www.womeninjazz.org or www.pamelahart.com or call 512.258.6947.
Sax, Strings, and Scat. June 27th – 7:30 p.m. The Paramount Theatre. Tickets: GetTix.net, the Paramount Box Office, Waterloo Records, Mitchie’s, and the UT Co-Op.