JAM: February/March 2005 Issue: Q&A with Candace Evans

CANDACE EVANS

Singer and pianist Candace Evans is a steady presence on the local jazz scene, regularly performing at such clubs and restaurants as the Plaza III, EBT, Touche, The Phoenix, Forty Sardines, the Raphael Hotel, and Ivy's. Her clear vocals and swinging piano fit well into any setting. Her latest CD, So Nice, has Candace performing with a number of her musical friends, such as bassists Ricky Anderson and Steve Rigazzi, drummer Kelly White, and reedman Jim Mair .

These conversations took place in the days straddling her visit to the International Association of Jazz Educators convention in Long Beach, California.

JAM: What were your impressions of the convention?

Evans: It was really something! I wasn't able to take advantage of all of the educational clinics that I would have liked, but I certainly heard some fabulous music! It was also very exciting to attend the NEA Jazz Masters Award Concert on Friday night. This concert was to honor great musicians such as Shirley Horn, Slide Hampton, Kenny Burrell, and the late great Artie Shaw. I'm looking forward to attending the conference again next year in New York.

JAM: Can you tell me about your early musical experiences?

Evans: Early musical inspirations for me are varied. The first musical recording I heard as a small child that totally mesmerized me was the Boston Pops performance of Gershwin's Rhapsody in Blue with Arthur Fiedler conducting and Peter Nero at the piano. Then I heard recordings of An American in Paris , Porgy and Bess , Preludes 1, 2, and 3, and I was stuck on Gershwin forever! Then came my introduction to Cole Porter, Rodgers and Hart, and Mercer and Arlen.

JAM: When you started playing, what styles attracted you?

Evans: My early musical background was based strongly in classical piano and voice. Also, I was heavily involved in musical theatre as a performer and accompanist throughout high school and college. I attended college on a classical piano scholarship. It never felt totally right to me. I don't think my personality was suited to making a career as either a teacher or a concert pianist. Besides, my hands are too small!

JAM: So you were more or less a musical outcast, not being that interested in the pop music that was around in your teens?

Evans: I enjoyed a certain amount of pop and rock I guess, but in high school I was definitely into musical theatre primarily, and the great musicians and composers of the past.

JAM: Do you see today's youth being as musically adventurous as we were? Does this concern you about jazz's future?

Evans: Yes, it does concern me that the people who really enjoy jazz and standards are of a certain generation. The jazz audience is usually a more mature, sophisticated audience, but I really feel that today's younger people will be tomorrow's jazz consumers. I have played many times for younger audiences who have a real appreciation for what I do. We have to give them some credit for being educated beyond what the media and their peers are throwing their way.

JAM: Let's step back. What was your first gig?

Evans: My first real gig was at the Marriott Allis Plaza in the early ‘90s. I was there about a year and a half when I was approached by management of the new Ritz-Carlton Hotel (now the Fairmont). I opened the hotel as one of the lobby and dining room pianists and stayed there for almost six years!

JAM: Were you playing jazz?

Evans: My repertoire then was totally different than today, except that I was playing the standards, just in a different way. I was also still playing some classical and semi-classical music—I still do if the gig calls for it. I was also playing more pop tunes even though I never really liked them that much.

JAM: So when did you move more into the jazz world?

Evans: My introduction to jazz came from listening to great performers around town and my association with my good friend and mentor, Carol Comer. My first real introduction to trying to understand jazz was when I went to a Jardine's jam session one night after I was finished at the Ritz. Lucky for me, Greg Halstead was there and booked me for my first real gig in a jazz club. It was a real eye-opener for me and it continues to be as I evolve. I think my working with Carol, along with lots of listening, has helped me continue to grow.

JAM: Tell me more about your relationship with Carol Comer.

Evans: I remember being blown away by Carol's musical genius when I first started studying with her...I still am! I got to know Carol about seven or eight years ago, probably towards the end of my engagement at the Ritz-Carlton. She has offered excellent advice through the years.

JAM: What do you look for in a song? What makes them right for you?

Evans: When I look at a ballad I'm going to pick one that has an equally appealing blend of lyrics and melody. The great songwriters I mentioned previously assure me of that! When I pick a swing tune, I can just tell if it fits; if it flows easily off my fingers and voice I know I have a winner.

JAM: What are you planning for a new recording?

Evans: The next album will be a much simpler format than So Nice ; the basic piano, bass, and drum trio will be predominant. I'm getting ready to start work with Carol on a new demo, which will eventually become part of a new album. If I can find the time!

JAM: Time is a challenge for all of us.

Evans: It's hard to strike a good balance between musical artistry and the business side. I spend so much time booking gigs, working with clients on private events, preparing music, doing contracts, booking musicians, hauling equipment, etc., that I don't have much time left for being creative.

JAM: So it's like research and development in any profession or business, you have to work to find time.

Evans: I'm looking forward to working on my next CD so that I can work on some new musical ideas. I often work on new music and try new ideas out on the job. As long as it doesn't sound to the audience like I'm practicing.

JAM: In addition to your regular gigs, any especially cool events coming up?

Evans: One special club gig, I will be performing with my trio at the Club at Plaza III on Valentine's Day. I also have several regional summer festivals in the works. Also, I have several area church concerts set for 2005, along with a charitable fundraiser for the Cancer Action Network on February 16, and a performance for one of my favorite charities, the Dream Factory, in May. Lots of exciting doors are opening, such as an opportunity to play more gigs in the LA region.

JAM: Do you prefer concerts to clubs?

Evans: I love dealing with all kinds of situations! I enjoy performing in concert venues because the audience is so attentive. But on the other hand, the challenge of playing in a club where there are many distractions isn't necessarily a total negative to me. I don't expect the paying customer to focus on me entirely. I become part of their total experience.

JAM: It's respect for the situation.

Evans: I really believe that much of my success in this business is due to the fact that I treat every job and every client with respect. In other words, I try to give my best to each performance, even though I may be tired and stressed at times. Having a professional work ethic is important to me and it keeps me working a lot.

JAM: What directions would you like to explore more?

Evans: I would like to do some more stand-up singing. It's a whole different ball game as far as strength of voice—you have lots more—and connecting with the audience, leading a band, etc. I feel like I'm pretty natural at it. I guess that comes from my musical theater background.

JAM: Do you have any favorite performers?

Evans: I have to put Billie Holiday at the top of my list. Her vulnerability and sincerity have always touched me. A singer can have all the “chops” and vocal acrobatics in the world, but if the honesty and meaning of the song are lost in the technique, I'm not that impressed.

JAM: Honesty comes through in your work, also .

Evans: The more mature I become the more emphasis I have placed on the “honesty” of the music. I guess I'm at a point in my life and career where the actual execution of a song has become more natural to me and I can let go of worrying about chord changes, technique, and perfect pitch. Now I can concentrate on the meaning of the lyrics and the beauty of the melody and blend them together better than ever before. Also, I truly feel that our life experiences can only enrich and add to our understanding of a great piece of music.






	Search our site:		CANDACE EVANS Singer and pianist Candace Evans is a steady presence on the local jazz scene, regularly performing at such clubs and restaurants as the Plaza III, EBT, Touche, The Phoenix, Forty Sardines, the Raphael Hotel, and Ivy's. Her clear vocals and swinging piano fit well into any setting. Her latest CD, So Nice, has Candace performing with a number of her musical friends, such as bassists Ricky Anderson and Steve Rigazzi, drummer Kelly White, and reedman Jim Mair . These conversations took place in the days straddling her visit to the International Association of Jazz Educators convention in Long Beach, California. *JAM: What were your impressions of the convention?* *Evans:* It was really something! I wasn't able to take advantage of all of the educational clinics that I would have liked, but I certainly heard some fabulous music! It was also very exciting to attend the NEA Jazz Masters Award Concert on Friday night. This concert was to honor great musicians such as Shirley Horn, Slide Hampton, Kenny Burrell, and the late great Artie Shaw. I'm looking forward to attending the conference again next year in New York. *JAM: Can you tell me about your early musical experiences?* *Evans:* Early musical inspirations for me are varied. The first musical recording I heard as a small child that totally mesmerized me was the Boston Pops performance of Gershwin's Rhapsody in Blue with Arthur Fiedler conducting and Peter Nero at the piano. Then I heard recordings of An American in Paris , Porgy and Bess , Preludes 1, 2, and 3, and I was stuck on Gershwin forever! Then came my introduction to Cole Porter, Rodgers and Hart, and Mercer and Arlen. *JAM: When you started playing, what styles attracted you?* *Evans:* My early musical background was based strongly in classical piano and voice. Also, I was heavily involved in musical theatre as a performer and accompanist throughout high school and college. I attended college on a classical piano scholarship. It never felt totally right to me. I don't think my personality was suited to making a career as either a teacher or a concert pianist. Besides, my hands are too small! *JAM: So you were more or less a musical outcast, not being that interested in the pop music that was around in your teens?* *Evans:* I enjoyed a certain amount of pop and rock I guess, but in high school I was definitely into musical theatre primarily, and the great musicians and composers of the past. *JAM: Do you see today's youth being as musically adventurous as we were? Does this concern you about jazz's future?* *Evans:* Yes, it does concern me that the people who really enjoy jazz and standards are of a certain generation. The jazz audience is usually a more mature, sophisticated audience, but I really feel that today's younger people will be tomorrow's jazz consumers. I have played many times for younger audiences who have a real appreciation for what I do. We have to give them some credit for being educated beyond what the media and their peers are throwing their way. *JAM: Let's step back. What was your first gig?* *Evans:* My first real gig was at the Marriott Allis Plaza in the early ‘90s. I was there about a year and a half when I was approached by management of the new Ritz-Carlton Hotel (now the Fairmont). I opened the hotel as one of the lobby and dining room pianists and stayed there for almost six years! *JAM: Were you playing jazz?* *Evans:* My repertoire then was totally different than today, except that I was playing the standards, just in a different way. I was also still playing some classical and semi-classical music—I still do if the gig calls for it. I was also playing more pop tunes even though I never really liked them that much. *JAM: So when did you move more into the jazz world?* *Evans:* My introduction to jazz came from listening to great performers around town and my association with my good friend and mentor, Carol Comer. My first real introduction to trying to understand jazz was when I went to a Jardine's jam session one night after I was finished at the Ritz. Lucky for me, Greg Halstead was there and booked me for my first real gig in a jazz club. It was a real eye-opener for me and it continues to be as I evolve. I think my working with Carol, along with lots of listening, has helped me continue to grow. JAM: Tell me more about your relationship with Carol Comer. *Evans:* I remember being blown away by Carol's musical genius when I first started studying with her...I still am! I got to know Carol about seven or eight years ago, probably towards the end of my engagement at the Ritz-Carlton. She has offered excellent advice through the years. *JAM: What do you look for in a song? What makes them right for you?* *Evans:* When I look at a ballad I'm going to pick one that has an equally appealing blend of lyrics and melody. The great songwriters I mentioned previously assure me of that! When I pick a swing tune, I can just tell if it fits; if it flows easily off my fingers and voice I know I have a winner. *JAM: What are you planning for a new recording?* *Evans:* The next album will be a much simpler format than So Nice ; the basic piano, bass, and drum trio will be predominant. I'm getting ready to start work with Carol on a new demo, which will eventually become part of a new album. If I can find the time! *JAM: Time is a challenge for all of us.* *Evans:* It's hard to strike a good balance between musical artistry and the business side. I spend so much time booking gigs, working with clients on private events, preparing music, doing contracts, booking musicians, hauling equipment, etc., that I don't have much time left for being creative. *JAM: So it's like research and development in any profession or business, you have to work to find time.* *Evans:* I'm looking forward to working on my next CD so that I can work on some new musical ideas. I often work on new music and try new ideas out on the job. As long as it doesn't sound to the audience like I'm practicing. *JAM: In addition to your regular gigs, any especially cool events coming up?* *Evans:* One special club gig, I will be performing with my trio at the Club at Plaza III on Valentine's Day. I also have several regional summer festivals in the works. Also, I have several area church concerts set for 2005, along with a charitable fundraiser for the Cancer Action Network on February 16, and a performance for one of my favorite charities, the Dream Factory, in May. Lots of exciting doors are opening, such as an opportunity to play more gigs in the LA region. *JAM: Do you prefer concerts to clubs?* *Evans:* I love dealing with all kinds of situations! I enjoy performing in concert venues because the audience is so attentive. But on the other hand, the challenge of playing in a club where there are many distractions isn't necessarily a total negative to me. I don't expect the paying customer to focus on me entirely. I become part of their total experience. *JAM: It's respect for the situation.* *Evans:* I really believe that much of my success in this business is due to the fact that I treat every job and every client with respect. In other words, I try to give my best to each performance, even though I may be tired and stressed at times. Having a professional work ethic is important to me and it keeps me working a lot. *JAM: What directions would you like to explore more?* Evans: I would like to do some more stand-up singing. It's a whole different ball game as far as strength of voice—you have lots more—and connecting with the audience, leading a band, etc. I feel like I'm pretty natural at it. I guess that comes from my musical theater background. *JAM: Do you have any favorite performers?* *Evans:* I have to put Billie Holiday at the top of my list. Her vulnerability and sincerity have always touched me. A singer can have all the “chops” and vocal acrobatics in the world, but if the honesty and meaning of the song are lost in the technique, I'm not that impressed. JAM: Honesty comes through in your work, also . *Evans:* The more mature I become the more emphasis I have placed on the “honesty” of the music. I guess I'm at a point in my life and career where the actual execution of a song has become more natural to me and I can let go of worrying about chord changes, technique, and perfect pitch. Now I can concentrate on the meaning of the lyrics and the beauty of the melody and blend them together better than ever before. Also, I truly feel that our life experiences can only enrich and add to our understanding of a great piece of music. RETURN TO FEBRUARY/MARCH 2005 MAIN INDEX © Kansas City Jazz Ambassadors 1996-2005. All rights reserved.