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Local Guides
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DIANA PANTON
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by
View
July 7 – 13, 2005 |
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Diana Panton. If you don’t know the name, you should
(and will). But more importantly, you want to get to know
the voice. As jazz vocalists’ instruments go, hers is
unique, though you’ll find hints of the past there too, if
you listen—the girlishness of Ella Fitzgerald, the
authority and skill of a Sarah Vaughn, occasionally even
the world–weariness of a Billie Holiday. Those are some
pretty big names from which to draw comparison, but the
correlations are apt and free of hyperbole. Diana Panton
is just that good.
Born in Hamilton, Panton got her start singing in front of
an audience when (on a dare) she auditioned for and
won a part in a local musical. Encouraged by the
positive responses to that performance, Panton sought a
vocal instructor, eventually ending up with Dr. Joan
Heels. Heels was a classical teacher, however, and
Panton had come to realize that her heart was with jazz.
On Heels’ suggestion, Panton tried out for the Hamilton
All–Star Jazz Band (HASJB).
During her long stay with that ensemble, Panton
performed before ever–increasing audiences here at
home, and even played some of Europe’s top jazz
festivals. After leaving the HASJB—and a subsequent
stint teaching at the University of Paris—Panton returned
home, found herself performing with Canadian jazz
luminaries like pianist David Braid… and the rest is
history, albeit a history still in the writing.
Panton’s got a new CD, the release of which happens at
Hamilton Place’s Studio Theatre this Saturday. It is an
astonishing debut recording. As airy and precious as a
bubble on a breeze, Panton’s voice floats enchantingly
over subtle but impressive instrumentation by Don
Thompson and Reg Schwager. Her singing combines
the skill of those aforementioned past–masters, along
with an endearing, surely intentional naivete that, to
these ears at least, was surprisingly reminiscent of a
Singin’ in the Rain–era Debbie Reynolds. It’s
impressive, it’s moving, it’s beautiful—it really is just that
good.
View had a chance to interview Panton in advance of
her performance and CD release this Saturday; the
following is some of what she had to say about her art,
her collaborators, her disc, and her hometown.
View: How would you describe your music to somebody
who has no idea what jazz is about?
Diana Panton: There are many approaches to jazz—in
fact, jazz pretty much explodes its own genre in terms of
diversity. Some musicians do not even like the word
because they find it limits their creation. But I feel jazz is
really more a state of mind than a musical style. To me, it
is the willingness to discover oneself and others through
purposeful exploration… for this to truly work, you must
embrace change and the unexpected—whatever comes
out at the end is jazz. Improvisation can happen on
many levels, but is inextricably linked to jazz. My improv
is very subtle—I rarely scat, but each time I sing a
phrase, I experiment by changing the rhythm ever so
slightly or bending this or that note to suit my mood at
that moment or in response to something one of the
musicians has played or the vibe of the audience. My
tendency to do this unconsciously was often an issue
when singing classical music. My teacher would say
“Yes, that is very nice, but it is not what is written on the
page.”
V: You’ve got a new CD. What can you tell us about it,
about the experience of recording it, and those who
joined you in the studio?
DP: The new CD is called …yesterday perhaps, which is
a lyric fragment from one of the songs. As a title it refers
to the fact that although most of the songs I pick come
from another generation, they are still relevant and in no
way anachronistic—and yet, one cannot negate the
tradition from which they come, for it provides the
foundation and the inspiration for new creation.
The CD came into being after an encounter with pianist
Don Thompson at the Banff Centre for the Arts. While
attending a workshop there, I had the opportunity to
perform with Don at the famed “Blue Room.” Don is such
a sensitive accompanist. He listens intently for every
nuance—even the most subtle. To record, let alone
work, with a musician of Don’s calibre was an absolute
thrill.
He invited Reg Schwager on the date also. I had only
admired Reg’s playing from a distance, we had never
actually played together or even met before that first day
in the studio. Normally, this would make me very
nervous, but Reg intuitively knew where the songs were
going.
Most tunes were recorded in two takes—the first was a
run down of the chart, and the second was the keeper. I
loved the recording part of the CD—if that were all it was,
I would be in the studio all the time. The stuff that follows
is more time consuming and expensive. There are a lot
of components most people probably don’t consider
when they purchase a CD— the mixing and mastering
costs, artwork, layout, manufacturing, copyright,
distribution…all these things require time and lots of
money. I have definitely learned a few things in this
regard.
V: What’s a Diana Panton live performance like?
DP: Hmm… this is a tough one to answer from the
performer’s perspective. As far as the stage is
concerned, I usually find the musicians are really
listening and the communication is open and very
supportive—gentle, almost. I try to keep things very
simple with the instrumentation, choice of songs and
delivery. I am not overly demonstrative on stage and feel
more comfortable while singing than speaking. The
mood is intimate…
Ted Quinlan will be on board (along with Thompson) for
the concert at the Studio Theatre. Ted is regarded as
one of the most versatile guitar players in Canada. His
skills are highly in demand as a jazz player, session
musician, writer and educator. As a busy sideman, Ted
has performed with Chet Baker, Freddie Hubbard, Eddie
Harris, Jimmy Smith and Joey DeFrancesco. His debut
CD As If?, which features a program of his original
compositions, received a nomination for the 1998 Juno
award in Contemporary Jazz.
V: How have you found the appetite for jazz in Canada?
Are people hungry for it?
DP: I cannot personally comment on the jazz scene
throughout Canada as I have only ventured to TO on
occasion and am most often performing in Hamilton.
That said, I have a number of friends who tour on the
east and west coasts to good audiences, and here in
Hamilton, I have been able to plan a major concert
annually that often sells out at 325 to 1,000 people,
depending on the size of the venue. I think this is
fabulous, if you consider that a lot of these listeners must
be coming back a second or third time. I have had
people tell me they have never missed a concert in
Hamilton. Touring abroad, I was exposed to the
European audiences as well. They love jazz over there
and are quick to buy CDs if they hear something they
like.
V: What are your plans for the immediate future? More
recording? More playing?
DP: I will be heading off to Paris in a couple weeks for a
much needed rest. When I get back, I have a concert
planned for the McCassa Bay Boat Club with Don
Thompson and Reg Schwager on August 19th. The
Upstairs Club has invited us to do a Montreal launch in
September and, hopefully, there might be some festival
dates on the horizon. I hope to be back in the studio in a
year’s time—I already have the material picked out for
the next two CDs.
V: Anything you’d like to add that we haven’t covered?
DP: I would like to encourage people to support artists
within the community: attend events, join mailing lists to
stay informed, invest in artistic creation, respect
copyrighted materials and hopefully artistic production
will continue to flourish in Hamilton. V
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