Nancy Marano: Interview 2

“Nancy Marano sings songs as they were meant to be sung. With a wonderful warm sound, she delivers a song with a deep respect for the lyric. Her unerring musicality and sense of time enables her to fit beautifully in ensembles of any size. Working with Nancy is pure pleasure. As a teacher, Nancy’s experience, knowledge, taste and dedication put her in a class by herself.” Benny Carter

“Most popular singers are totally focused on their sound, style and performance. With very few exceptions, the lyrics are way down on their list of priorities. Some of the most famous ones simply don’t have a clue as to what they’re singing about. Nancy Marano is most definitely an exception. Her marvelous voice, superb musicianship and total awareness of what a song is about are what she brings to the party; and what a party it is. . Nancy Marano is truly a songwriter’s dream.” Johnny Mandel 

“It’s one thing to have a great voice-- It’s another to know how to sing and tell a story--Nancy knows.” Alan & Marilyn Bergman

“What a great experience working with Nancy. Her consummate knowledge of the harmonic language and the understanding of what swings makes writing for her a great deal more than simply a pleasure! Her awareness goes profoundly into what determines musicianship.” Manny Albam 

“I’ve always loved Nancy’s work. In the musical world of today, with its terrible music, lyrics, etc., putting on Nancy’s CD is like sipping a chilled glass of good champagne after a very dry spell. She’s so multi-talented, it makes me wonder how she can do all this – but do it she does – and beautifully. . . . Hooray for Nancy.”Annie Ross

“Nancy Marano’s extraordinary album shows her talents as pianist, vocalist, and arranger. And those wonderful musicians from Holland . . . Five Stars! Blossom Dearie

What enkindled your interest in music?

I was very fortunate to be born into a musical family. My Father was a professional pianist, who worked in many areas of music.  He was Vincent Lopez’ pianist at the Taft Hotel in NYC when he was 18 yrs old.  He was a member of a live band on Radio WINS when he was in his twenties. He recorded Jingles, played for many wonderful acts, including “Hines, Hines, and Dad” (Gregory Hines), but declined Judy Garland’s road trips, preferring to stay with his family.  He accompanied Opera Rehearsals, being a first-rate reader, recorded many “Jingle Dates,” played Dance Classes, worked “a single” for several years, and put my Sister and I through Manhattan School of  Music with that job.  He worked Private Parties for the DuPonts, the Rockefellers and the high society folk of his day.  He could work Carnegie Hall one night, and play a local Dance class the next, and loved it all.  He was a natural and wonderful piano teacher as well, having a wonderful, Italian sense of humor, and a great charisma.  He loved people.

If you read my dedication to my Dad on my last CD, called “Sure Thing” you will know how I felt about his influence on me and my music.  The joy on his face when he played was so evident, and he always said “I get paid for having fun.”

He was the greatest teacher I have ever had – a natural teacher, supportive, exciting, who always made you want to please him – and it was not difficult to do so for he always looks for the good in people.

Of course, there were many wonderful musicians who came to our home and played sessions.  One of our true close friends was Father John (formerly Gate Frega) who was the bassist with the Joe Mooney Quartet.  He had been in the Army Band on Staten Island with my father, who was leader of the band.  Father John was like an uncle to me.  He would find reasons to have a Jazz concert at whatever Church he was associated with and then spend the weekend with us, drink Scotch, eat great Italian food and play Jazz with my Dad.  I would often sing with them and many others in our home/studio. 

My Mother was an amateur singer, who was quite good, but insecure about pursuing a career herself.  She was the one who introduced me to the wonderful singers that were all over the radio at that time, Billie, Sarah, Ella, Peggy, Nancy, Mel, Joe and many others.  We sang, recorded on our new tape recorder. My Dad would even invite the neighbors and we would have shows and a wonderful time – and we always learned. 

Did you take music lessons?

My Dad taught my younger sister and me until I was about 13 and she was 10.  Then, he brought in an Israeli teacher from Juilliard, who was a protégé of Rosina Levine.  His name was Yehuda Gutman, and he was a fabulous classical pianist who supplemented his income by teaching Hebrew.  He would come to our home in New Jersey and teach all three of us, and then stay to dinner.  It was quite a marathon!

While I was studying classical music formally, my jazz record collection grew quite suddenly when a family friend lost his job as a DJ and his radio station converted to a talk radio format.  The next thing I knew, piles of records were being stacked in my room – mostly singers, but also jazz piano trios.  These recordings became my after school musical wonderland adventure.  I played them and sang with the great singers in my bedroom mirror and pretended that their musical lives were mine!

I sang with the best:  Ella and Riddle and the Songbook Albums.  Nat Cole’s Trio, Sarah and Lena, especially loving the ‘live’ albums where my fantasy could really fly!  I listened to Peggy Lee’s pitch and time and marveled at her understated style.  I sang along with Mel and Marty Paich’s wonderful arrangements.  I knew every lick and note in all the Sinatra recordings and I longed to be a “Hi-Lo”.  Carment McRae and early Nancy Wilson recordings focused my goal to night clubs, as did the cool performances of June, Chris and Anita, and the sound of Doris Day, which was not unlike my early sound.  I loved Dinah and Joe Williams and Ray Charles.

As I was listening and singing and pretending in the mirror in my bedroom every day after school, my Dad was teaching me the chords and improvisation from the new music books that had just become available.  These were called “Fake Books”. . . I soon realized that many of the songs I had come to love on my records were contained in these Fake Books.  I began playing and singing them and an entire new world opened up to me.  This became my new great adventure: exploring these books, and accompanying myself on piano as I did so.  It became apparent immediately that these songs had been written for Sopranos and Tenors, and I needed to transpose them in order to sing the way I had in mind.  This was another great development in my musicianship training.  I became quite adept at transposing at sight – something that would serve me well many years later in my teaching jobs, both at my two Colleges, Master Classes, and with my Private Students coming to my Studio.

Who were your mentors?  Whom did you emulate -- were there any performers you wanted to sound like?

I have mentioned my idols above.  I think, as I sang with my record collection, I tried to copy every singer I loved.  I had a light sound, first like Doris Day, then later more like Ella, but I longed for a sound of great depth like Sarah.  But I ‘stole’ whatever I could:  time, phrasing, improvising, dramatic flair, humor – whatever would impress me from the recordings during those years of 9 through 18.

When I graduated from Middle School, my Father took me to the Waldorf Hotel in NYC  - the famous Empire Room, where the bill was “The Hi-Los” and The Count Basie Orchestra.  It was that night that I decided that Night-Clubs were for me. I will never forget how I felt that night, hearing such excellence and feeling so excited.  I longed to be a part of that, and felt that perhaps I could achieve that level.  I was more than willing to study to get there.

When did you begin performing?  What was it like -- the good and the not-so-good?

I began performing in Grade School, as an accompanist for choirs and school shows..  My earliest recollection of a real performance as a singer was with my Father and Sister on a Radio Broadcast called “Live Like a Millionaire”   The theme of the show was that a family had to be experiencing a crises of some sort – necessitating the acquisition of serious funds.  There would be three families performing and the audience would vote on the neediest one, who would receive first prize which was cash.  My Sister, June, at the time had an eye condition that needed a second surgery, and that was our issue.  I sang “Walkin My Baby Back Home,” (I was 7 yrs old)  accompanied by my Dad and my sister June, who was 4 yrs. old at the time, sang“Rudolph, the Red-Nosed Reindeer”.  My Dad played a solo – and my second grade class all listened in at school. We came in second, but received so many toys and prizes, that we didn’t care at all. Somewhere, I still have that tape. The good news was that I sang in tune, at 7 yrs. old!

When did you begin performing as a “jazz” person?  What was that like?

I sang as a Jazz Person from about 13 or 14 years old – almost always with my Dad, on his Gigs. I sang with a local Big Band, small groups, wherever he thought I would have fun and learn, and get good experience.  When I was about 15, George Roumanis, who was a wonderful bassist, and jingle-writer took me to Coral Records, where I was offered a record contract.  The rub was that they wanted to make me into the new Leslie Gore.  I said ‘no thanks.’  I hated Pop Music all through my teens. They begged my Dad.  “Convince her – she will make a ton of money!” My Dad said, “My daughter knows what she wants to do.  It is completely her decision.  I can’t tell her what music to sing!”  We left the studio and neither of us ever looked back.  A far cry from so many of the “show-biz” moms and “little league” dads of today.

Pick out a few professional gigs with other performers that helped you along the way.

There were many musicians that helped me along the way, during my teens and early twenties when I was studying Classical Piano with Robert Goldsand at The Manhattan School of Music.  They probably would be people that would be largely unknown to many laymen, but they were musicians who played with good people.

Later, after my first recording with my Accordion duo, I sent out the CD to important musical artists. I received what to me, was an astonishing response.  Calls came to me from Johnny Mandel, Gerry Mulligan, who invited me twice to his home to talk about and rehearse songs, etc., Dave Frishberg, Bob Dorough, Johnny Mandel, Dave Brubeck, Michel Legrand - lots of composers like Matt Dennis and David Raksin, and Marilyn and Alan Bergman and Cy Coleman - all of whom sent me their songs.  It was quite incredible.

After I had moved on from the Accordion Duo,  Johnny Mandel recommended me to Benny Carter, who called and asked me to be the only singer on his “Songbook” CD on MusicMasters.  Later, that was changed to include a roster of singers, but Benny’s plan had been to only use me.  When I sang in California, Benny was in the front row, along with David Raksin and Johnny Mandel.  I wasn’t TOO nervous!!!

We often speak about “paying our dues” as musicians.....tell us something about the dues which you have paid!  Perhaps you might want to tell us about your emotional input.....or your interpretative phrasing.....or the road (touring, clubs in towns, getting paid or not getting paid, welched contracts, etc.)?

I would say that the worst part for me, were the years I spent doing club dates, weddings, etc. with bad bands.  I remember many a Saturday night in which I drove home crying all the way, wondering if that was I had studied so hard for. Fortunately, I soon moved away from that and went to work doing similar work but for Peter Duchin.  Peter’s bands were excellent.  There were players like Joe Wilder, Linc Milliman, Tony Gottuso on Guitar, good reed players and excellent musicians all around.  The songs were good, the tempos not so good, but we traveled and played the White House, the Kennedy Compound, all the Political High Society Gigs and that was fun.  Of course, anything like that becomes boring after one learns all one can in a restricted environment and after a few years I longed to do something more creative and unique, especially after all my training at the Conservatory.  I would frequently complain after a gig, but needed the money to support myself.  I was already teaching, which I enjoyed, but I really wanted to sing with my idols!

After I married and gave birth to my baby daughter, Joanna, I didn’t travel, except for the overnights with Peter Duchin, so I wasn’t really ever “on the road” in that sense.  I also recorded demos and jingles during those years, which I enjoyed.  I sang back-up at Columbia Records as well during that period, which worked out very well with my mothering duties, which I dearly loved.  Fortunately, I had no experience with welched contracts, etc. 

What recording or performance was your blockbuster, or were your blockbusters?

No real blockbuster, as such, I don’t think. My first real break came when I was 22 yrs old.  I had wanted to sing on Jingles and was getting around the Studios with my demo tape.  I was getting some calls, and happened to meet Jimmy Wisner, who was quite a well-known producer at that time.  He had 4 out of the top 10 songs on the charts.  He was also a pianist and had performed with Mel Torme on the “Live at Red Hill Inn” CD.

He loved my singing and got a deal at Columbia Records, where he said they would “take care of me and that they would support a new artist they believed in.”    I had a 35-piece Orchestra, arranged by Frank Hunter and we recorded 8 sides toward an album and released 2 45s, which received good air-play, especially on WNEW by Julius LaRosa (one of the best DJs I had heard)

To make a long story short, Columbia sort of sold me out, by taking my cover record and going with one from England, the contract was not renewed after one year.  I was sort of happy, because I did not enjoy having a manager and producer telling me how to dress, how to look, what to sing, etc.  Jimmy Wisner let the others tell me that I sang “too much in tune” and I should sound more like Carole King. Having just graduated from a fine Conservatory, I found that too much to bear and said a disappointed “good-bye” to all.

At first, what were your “day gigs?”  What is your “day gig” now?  How is it to make a living being a jazz performer?

I am happy to say that I have never had a “day gig”. . .  Because of my excellent training, I continue to re-invent myself.  I have had to explore every aspect of my talent.  I play and sing on “single engagements,” I sing with big bands, small groups, small venues and large. I still do some occasional studio work.  I am quite organized and pursue every contact I can, in the USA and Abroad.  I have taken advantage of Un-Employment Insurance many times over the years, as I have lost steady Hotel jobs. I have never had enough money, and always feel behind in my bills. Being a vocalist means being one’s own ‘leader.’ I seem to always be “re-investing” in my career: Photos, Music, Arrangements, Mailings, Printing expenses, etc. This gets expensive and gradually depletes any profits,  as anyone who has self-produced and promoted one’s own CDs knows.

However, I love teaching, and that income has been a huge help in being able to sustain myself as a full-time musician and I have certainly learned as much from the students about being a Vocalist/Musician, as I have from teaching the music students.

How do you manage your celebrity status, and continue to be a straight ahead person?

I  bet you say that to all the girls! I am not a celebrity, nor a diva.  I love the music and am totally humbled by great talent.  When I get a chance to sing with a great musician, like I did with Benny Carter, Gerry Mulligan, Michel Legrand, Frank Wess, Grady Tate, Dave Frishberg etc.  I always feel like I am the worst musician in the room, and I am always a little surprised that they like my work.  That will never change.  I hate Show-Business, love the music, my gardening, my exercise and my cooking. I enjoy small groups and communication that really connects with my family and sensitive, intelligent friends whose passion is a metaphor for the way they live their lives.  I continue to pursue balance in my life with all the above – and continue to hopefully look ahead to the next challenge and the next thrilling moment, which I am always sure is just around the bend.

My feelings for the music I love have never changed – still love the songs, and find it so fascinating that every 5-10 years I am able to bring more life experience to the lyric and interpretation and keep hoping one day I will be a truly great singer that my idols might have called ‘an equal.’

What sort of gigs do you get now?  What is your audience like?  Young.  Older. Mixed.  What kind of reception do you get?

In the USA, I am teaching at Manhattan School of Music, William Paterson University.  I teach Jazz Voice, conduct Ensembles, teach Sight-Singing and Ear-Training Classes, and Conduct a Jazz Choir.

I seem to have come full-circle now in my Private Teaching, combining everything I have learned to be able to offer the following courses of study: In my Private Studio, I run a Jazz Vocal Workshop 3-4 times in the Fall and Spring called “Sessions in Song and Swing” and another in my Studio/Apt called “Musicianship for the Jazz Vocalist.”  I also have a Private Studio Practice where I give a 90-Minute course for Singers which includes Piano, Theory and Sight-Singing and Voice to fully train singers who have had little or no background in Piano study and general music.  I am also writing a book, in which I will write down this 90-minute course, after 5 years of trying it out and seeing that it indeed works.

My last CD was self-produced here in the US.  It was well-received, but since only Major Record companies have the budgets necessary to reach enough of the public to retrieve one’s investment, my bank-account is definitely down at this point.

Work in the US is also definitely down.  Concert Series are all being cut, DJs that have been so helpful with their short but necessary broadcasts of The American Songbook and Jazz are retiring and are not being replaced with younger programmers who care about this music.

IN Europe I seem to be doing better.  I have just returned from three separate concerts in Germany with the WDR Radio Big Band of Cologne  and I am looking forward to travel to Holland at the end of October to record a brand new CD for Munich Records, which is a Dutch label.  I will have a Trio, and guest appearances by a Guitarist, Trumpet player and a Trombone player – all Dutch musicians.  I am hoping that this recording will enable me to work more in Europe on Concerts, etc.  I find that they are more appreciative there and the pay is better.

I find that my audience is middle aged and older, except when students attend.  I usually seem to have a very appreciative audience.  Since I am not extremely well-known, sometimes people have their doubts when they walk in, but usually seem to have had a good time and are touched somehow by the time we get to the ‘coda.’

What do you enjoy more: being a “single” performer, or performing with others?

I love both.  There is one concept, perception when I accompany myself that I can really lose myself in.  Working with others is probably why I went into music.  Nothing compares with coming together of musical talents and sharing very special, emotional moments. . . Nothing.

What thoughts do you have about today's jazz vocalists, yesterdays jazz vocalists, pop or blues vocalists?

Careful, you have touched a nerve!  Read on at your own risk!

I have indeed “followed my bliss” as Joseph Campbell suggested so eloquently.  For me, it was the only path to follow.  I had no choice.  I have always been interested in psychology, probably to find personal answers that have always haunted me.  That is probably why I have enjoyed teaching so much.  It has given me the forum to search for musical and personal truths and these are very connected to me.

However, I have been very saddened and disappointed in the direction that the Artistic World has taken since my studies began a long time ago.  When I was studying in a Conservatory, all my friends were there to grow and perfect our talents.  We were humble, admiring of greatness, and sure that we would graduate and work.  My Dad was my role-model.  He was good and he worked.  Some jobs were better than others, but he was a Professional – and he was proud.

Everything has changed.  Money, Power and Greed on the part of Record Companies, Radio Stations, Educational Organizations, Club Owners has destroyed much of the goodness, vulnerability, sensitivity and sincerity of the artist. Even worse than that, it has pitted artists against each other and just about destroyed any real give and take and sharing that Artists once enjoyed, whether it be in a Pub or on a Bandstand.

Just as mice avoiding traps, the Artist tries to explore one venue or another to be able to continue to create the art he/she loves. But, in my opinion, we are at the end of our rope.  We must finance our own Records, Publicity, Radio Promotion, Venues, supply Mailing lists and Guarantees to Venues, Fees to Musicians, Photos, Clothing and Make-Up, Arrangements and Copying, etc.  Most of the time the pay-back is a loss.  There seems to be no possibility of building anything.  Last year, when I called a well-known Los Angeles Club to possibly sing there, I asked the owner if she would like me to send a CD.  Her response was, “It is not necessary.  I don’t really care what you sound like. I only need to know if you will fill the seats.”  Not wanting to believe that I had heard properly, I pursued her. “Don’t you even want to know if my sound would fit the programming of your club, or its patrons?”  “No, absolutely not”, she replied, very straightforwardly.  “I only care about bodies and bucks.” 

Since the clubs have no format or philosophy, one can never assume that if a lesser-known artist like Nancy Marano’s name is on the sign outside their door, a curious passer-by will take a chance and buy a ticket, knowing that club always has good people, etc.

I recorded “If You Could See Us Now!” with the brilliant arrangements of  Manny Albam. It took an incredible amount of Musicianship, years of study and experience, for me to give that performance, which took place in Holland in four days.  It was distributed by Koch. I expected that the 62-Piece live Orchestra, one of the best in the world, so rare these days, would be some sort of an “event” that the label would surely promote.  Wrong.  The CD was ignored.  That CD, which I had hoped would be an important one for me and Manny, one which would put me in a new category of important singers, ended up being reviewed in columns with trio albums of a couple of my former students, who were completely inexperienced singers.

In better times, a musician would start with a low-level band, and if he played well, would move on to a better, and better band and eventually carve out a reputation that would grow and flourish.  There is no such thing today, because there is not enough work, forcing the Artist to create his/her own persona, work, promotion, etc. The money and efforts of the businessmen  are spent on making stars out of children in their twenties who wear a crazy hat, or have “a look” and nothing to say.

Everything is backwards.  Instead of getting out there and working with a new band or a new creative venture for a year, polishing and refining the music, and THEN going into a studio to record, we have the record project coming first, with random players chosen for their visibility,  and then touring to promote the recording.  The whole process is ridiculous and infuriating and does nothing to further develop anyone, let alone the cause of good music.

Currently, the Vanguard Orchestra, which contains stellar, experienced players in EVERY chair, can just about put together a tour of European Jazz Festivals, because the Festivals are hiring High School and College Bands, because they are cheaper.  The Jazz Festivals have become Pop Festivals and the whole dirty business has watered down the level and respect of the wonderful artists who have gone before.  Even Disc Jockeys are doing this now on reputable jazz stations in large cities! The situation makes me afraid that one day no one will remember or even be aware of how good and important the quality of that music is.

When I ask a new student applying for admission to MSM, who they listen to, I now hear Jane Monheit and Diana Krall.  When times were prime for great artists, these two singers would be in the second or third echelon of vocalists working the appropriate venues.  Now they are elevated to be called the new “Ella” . . .  I don’t think so, but at least I know better.  I tell these young hopefuls to please go back and listen to the “dead” singers and they look at me in shock.  They haven’t a clue. 

Of course, this is a sign of our times.  It is true about all art:  film, books, painting, etc.  But to those of us of my generation, this is a heartbreak.  Also quite saddening to me, is the fact that many of the composers and artists who have made a great deal of money in our profession, are not giving back the way they should. Of course they want me & other good singers to record their songs, but do very little in helping give visibility to the project, much less the financing.  That is shameful, in my opinion.

And finally, what might I have asked, but didn't?  And would you ask it and respond to it?

I guess you could ask me if I am hopeful about the future.  The answer seems to vary on what day you ask, or if your question comes around the first of the month.  The one consistent thought I have is that  it is too difficult just to stay alive. 

I have a very talented daughter, Joanna, who had spent 9 years of Saturdays at the Preparatory Division of Manhattan School of Music studying Classical Piano. Even though musical talent goes back to my Italian Grandmother, Aunt and Uncle, all of whom had perfect pitch and were accomplished instrumentalists, I was relieved when Joanna decided that she needed something a little more secure in her life.  She is presently two years away from achieving her PHD in Clinical Psychology  - with music on the side. 

Since I am basically a positive person, and hate to exit with a whining tone, I must admit that I did tell my students only last night that they must indeed “follow their bliss” and treat their passion for music with respect and honesty – and go forth.  If we don’t do that, the bad guys have indeed won.

As for me, I have just come off singing with the wonderful Big Radio Bands of Slovenia and Cologne, and am really looking forward to working on my songs, and arrangements and self-accompanying on my new CD in Holland,  along with Master Classes at the Conservatory of Amsterdam and others, and a Big-Band Concert in Arnhem as well.  Not too shabby, as they say.

My favorite part is always the new project, the plans, the practice and the making of the music and possibly achieving “the perfect moment” with wonderful, committed players.  So here I am, still excited.  As a good friend would say, “That’s not nothing.”

Interviewer: Tony Agostinelli / Circle of Scholars / Salve Regina University: Newport,
Rhode Island / Fall, 2003
Copyright 2003 OS&M. All Rights Reserved.