On Thursday, singer Eve Seltzer will sing the history of St. Louis—a history of its jazz scene, that is. “Going Back to Gaslight Square: A History of St. Louis in Song,” will feature works composed and performed by various famous jazz artists from St. Louis. And of course, there will be blues and swing traditions thrown in the mix, too.
Seltzer spoke to SLM about the upcoming performance, her passion and inspiration for jazz, and the St. Louis music scene in particular.
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How did your passion for jazz come about?
Like many University City natives, I was introduced to jazz through the middle and high school band programs, at the time led by Hiram Martin. I played trombone in the band, but had no knowledge of vocal jazz. It happened that in high school and college I dated several jazz musicians, who gave me recordings of Ella Fitzgerald, Louis Armstrong, and Sarah Vaughan, and I found that while I was in conservatory, I spent more time listening to jazz recordings than to recordings of the classical repertoire I was studying.
How did you transition from classical to jazz?
In my early twenties, I met a jazz guitarist at a fencing competition in Kansas City. When I went to visit him in Washington, D.C., after another competition, he “auditioned” me by having me sight-sing tunes from the Real Book while he played. Two sparks were ignited. The following week, I enrolled for jazz voice lessons at the New School in New York City, and two years later I married Ben Wood, the fencing guitarist. We continue a relationship of playing together and stabbing each other.
Who has inspired you along the way?
I have been blessed to have many wonderful teachers. I started with Julia Dollison at the New School. After I got married, I attended the Barry Harris jazz workshop every Tuesday night for 12 years, and learned a great deal about the jazz tradition both musically and historically. Rodney Kendrick took me under his wing and taught me basic jazz theory. My private teacher, Miles Griffith, is a dear friend who I can always trust to give honest feedback. Miles referred me to Marion Cowings, who taught me how to conduct a band, and how to deliver the story within the song. There are not enough expressions in the English language for me to express how brilliant and beautiful these people are.
How will you prepare for your cabaret debut?
I have read book upon book about jazz history in St. Louis, starting with Dennis Owsley’s City of Gabriels, and expanding to other sources. I also drew a lot of material from conversations with local performers, starting with an interview with Eddie Randle I did in college. After listening to hours of archival recordings, I selected songs that I though were both representative of St. Louis, and would combine well for an entertaining show. And of course, I practice dail
What can the audience expect from this cabaret?
It is impossible for me to fit everything into 75 minutes, but I’m going to give it my best. All of the songs have either been written by, or famously played, by artists from St. Louis, starting from Scott Joplin, and running up to my contemporaries. The emphasis will be on the blues and swing traditions, both of which were very strong here, with a little historical background thrown in. It should be great fun, and will allow me to fly both my musical and historical flags high.
What is the significance of your song “Days of Wine and Roses?”
First of all, I love the movie, and cannot sing the song without picturing Lee Remmick lying on her couch surrounded by bottles. Secondly, I love the combination of Johnny Mercer’s poetic lyrics, with Mancini’s soaring melody. For me as a performer, this song was really where I learned how to arrange, combining different tempos and coordinating a band. The performance at ShapeShifter Lab featured on YouTube (and to be released on CD on March 12th), marks my transition from singer to bandleader.
Why does St. Louis jazz in particular stand out to you?
St. Louis is a town that all jazz musicians know about. When I was living in New York, and told musicians that I grew up here, nearly everyone had a story of someone from St. Louis who inspired him—ranging from Clark Terry’s teaching and Mentorship in New Jersey, to Johnny O’Neal’s encyclopedic knowledge of songs. We have a great deal of talent and tradition here, and have had so many innovators get their starts here. Miles Davis revolutionized the genre, and the avant-garde movement that populated the New York Loft scene in the ’70s started here. I want everyone to appreciate our heritage as passionately as I do.
Do you feel like you are a part of the St. Louis music scene?
As a St. Louis “re-plant,” I still feel like I’m getting to know the scene, but have found it very welcoming. I play in town two to four times per month, and have loved the warmth of the audiences. I know I will have fun when I get onstage a St. Louis venue, and have been gratified to see listeners enjoying themselves.
What about this city keeps you inspired?
There is a great deal of passion here. I have met arts enthusiasts in media ranging from theatre to music to photography, and work part-time at a rehabilitation hospital where the therapy staff is fiercely devoted to its patients. St. Louisans may take time to warm up to something new, but once they embrace it, they don’t hold back. And, of course, once a Cards fan, always a Cards fan.
Eve Seltzer performs “Going Back to Gaslight Square: A History of St. Louis in Song,” at the The Emerald Room (4510 Manchester) on Thursday, February 18. Her band includes Arthur Toney on piano, Eric Slaughter on guitar, Bernard Long on drums, and Kane Hiser on bass. Tickets can be purchased here. For more information, call 314-932-7003 or go to themonoclestl.com.
