The State of jazz vocals

Ottawa's Leah State, a rising star, chooses to sing songs that are 'simple, heartfelt and true.'

by James Hale [Tuesday, July 22, 2003]

Canterbury High School graduate Leah State's debut CD, Still, showcases her vulnerable but confident voice.

Not since the heyday of Ella, Billie and Sarah - those vocalists so iconic that a single name can make you conjure the sound of their voices - has the jazz scene been so dominated by female singers. Again, they are with us; Diana, Cassandra, Norah. Thanks to massive sales and multiple Grammy Awards, female jazz singers are ubiquitous.

Each week brings another new voice to consider, as record labels rush to sign and release the potential next big thing. One singer easily merges into another, so that after awhile you can no longer distinguish between Tierney Sutton, Patricia Barber, Jane Monheit and Lizz Wright - to name just four of the leading candidates in the make-it-big sweepstakes.

The last place you expect to stumble upon one of the most thrilling young singers in jazz is in a high school auditorium. Yet, in 2002, there was Leah State, at a benefit to raise funds for the arts program at Ottawa's Canterbury High School, stepping out alone with a stunning, stirring version of Kurt Weill's Lost In The Stars.

First impressions of State's ability to climb inside a song and make it completely hers were quickly reinforced by hearing her debut CD, Still. There was the voice that sounds both vulnerable and confident, the timing that is as daring and quirky as that of Miles Davis, and the young woman who appears not to care a whit about the prevailing trends for jazz singers.

Remarkably, State is the product of a family that is decidedly non-musical. Born in London, Ontario, in 1975, her family moved to Ottawa when she was two.

"We had a turntable in our house, but it was almost never used," she says. "I never listened to pop music until I was in my 20s."

What she did listen to as a child makes her blush at the memory.

"When I was nine or 10, I got obsessed with the idea of seeing Cats in Toronto, so I saved a dollar each week in a little jar and took the bus to visit my grandmother and see the show. When I came back, I knew that was what I wanted to do."

At 13, she started singing lessons with opera singer Yoriko Tanno-Kimmons, then enrolled at Canterbury's drama program. "Canterbury completely changed my life. It was so challenging and yet so much fun."

After graduation she moved on to the Ryerson Theatre School in Toronto and voice teacher Peggy Redmond. More importantly, State fell into the orbit of a number of bright young improvising musicians, including fellow former Ottawans guitarist Justin Haynes and drummer Jean Martin. Together with pianist Craig Harley and bassist Andrew Downing, they helped create her first CD and reinforced her convicition that being a different kind of singer wasn't bad.

"Right from the start, the people I've worked with have been incredibly supportive in helping me pick songs that are relevant to me. I can't relate to songs like Satin Doll and other jazz standards; the words don't feel right in my mount. I want to try to create an atmosphere with my songs, tell a story that is simple, heartfelt and true. Overall, I want to sing in a way that fits who I am. There's no use in me trying to sing the blues or try scat singing, because I'm terrible at it.

Two weeks at the Banff Centre for the Arts with the brilliant jazz singer Sheila Jordan helped her harden her resolve, and an increasing fan base at Toronto clubs like the Rex Jazz Bar has embraced her.

She has also continued to widen her circle of collaborators, becoming the fifthe member of Runcible Spoon, an all-woman group that shares State's quest for distinctive material.

Leah State and Runcible Spoon perform tomorrow at 6:30 p.m. in Confederation Park, followed by Billy Bang's Vietnam Aftermath Band at 8:30.