Dianne Reeves

In his opening remarks for this edition of Billy Taylor's Jazz at the Kennedy Center, Dr. Taylor fondly recalls an early encounter with his guest, vocalist Dianne Reeves. During one of his numerous educational residencies, Dr. Taylor had an opportunity to judge a high school jazz competition and was awestruck by the maturity of a very young Dianne Reeves. This anecdote was his way of forewarning the audience that they were in for an extraordinary treat. Reeves is blessed with a big voice packed with nuance, and a very regal stage presence. Despite her formidable skills, the show proves her to be a very gracious and down-to-earth guest.

Though born in Detroit, Reeves was raised primarily in Denver, Colorado. She describes her earliest influences as an uncle who played bass in the Denver Symphony, and an aunt who sang the blues at family gatherings. Sarah Vaughan was her earliest and most abiding vocal influence, an artist she often mimicked on record as a youngster. She advises young singers to mimic the masters from records as "an opportunity to see what it feels like to phrase and do different things with the music..." Reeves fondly recalls her first live encounter with Vaughan. A 16 year-old, Reeves opened a concert for Vaughan. Later that evening when they met, Vaughan teasingly admonished the youngster, saying "....as long as you live, don't you ever open for me again," a kidding compliment that draws chuckles and applause from our audience. Reeves' studies further deepened when she moved to Los Angeles and studied with Phil Moore's singers workshop "Get Your Act Together." There, Moore encouraged her to concentrate on singing the melody.

Mongo Santamaria's classic "Afro Blue" has become a signature vehicle for Reeves, which she renders with a dramatic folkloric introduction. The show also includes a performance of Stephen Sondheim's tender "I Remember," something she purposefully chose from the same songwriter who gave Vaughan her signature song, "Send In The Clowns." Other performances include Cole Porter's "Love For Sale," which pleasingly morphs into Duke Ellington's "Caravan," as well as "Detour Ahead", and the appropriate closer "That's All."

When an audience member asks Reeves about some of her peers, and what makes a jazz singer stand out, Reeves cites Cassandra Wilson, Carmen Bradford, and Carmen Lundy as three she enjoys. She goes on to say that what makes a singer special is "....when they have their own, unique way of interpreting their music...." It seems Reeves is something of a singer's singer, as several aspiring singers step up to the mic to ask questions. One audience member asks Reeves about avoiding the pitfalls of the road, to which Reeves quickly admonishes "....don't fall in love" on the road. The best tip she offers for life on the road is to take time out to really give the voice a break, carve out some times of total silence, and "drink plenty of water." Q&A time closes with a 2nd grade teacher presenting Reeves with a booklet of drawings from her class which illustrate their impressions of a Reeves lyric, a gesture which draws warm audience applause and genuine joy from this most delightful singer.