In this — the month of International Jazz Appreciation, Philadelphia Jazz Month and the Center City Jazz Festival — one woman stands out as a queen of the scene, the priestess of the poetic, the saint of the strum and the goddess of the guitar: Monnette Sudler.
Busier now than she’s been since her start (she’s got a Live n Japan album due out soon), Sudler will play for “Philly Real Book” (a just-published volume of notated Philly jazz classics used by musicians of all stripes) April 26 at the University of the Arts’ Terra Hall. Plus, Sudler’s Ladies Night Out Quintet will perform for the Center City Jazz Festival April 29 at Franky Bradley’s.
PGN: It is the 40th anniversary of your first recording, “Brighter Days for You.” What recollections do you have about writing it, arranging it and getting into the studio as the boss?
MS: It’s ironic you ask the question about “Brighter Days for You.” I’ve been thinking of revisiting those songs, maybe the title track. For the Jazz Bridge Philly Real Book concert April 26, I will perform “Natural Accurrance.” I had not counted the years since that recording. As you said “40th anniversary,” in my mind it’s like, Wow, has it been that long? Back then, I was thinking things would get better and better. “Natural Accurrance” was in response to a discussion about the MOVE ideology before Osage Avenue. In some respects, it was a political statement.
PGN: You’ve made a handsome handful of albums and experimented with the spoken word. With a catalogue that is still continuing, how do you view that body of work as who you are as an artist — most potently, a jazz artist?
MS: When I look at the music I’ve recorded, I feel the most consistent thing is my diversity, the eclectic blend of straight-ahead jazz, funky avant-garde, Latin flavors, love songs, poetry and suites. “Sisters in Music and Poetry” with Trapeta Mayson was a great CD, and another one is in the works. I’ve also collaborated with poet Beth Brandt composing/performing/recording music for her play “Retro Love.” I want to do a CD of love songs, just a woman and her guitar — all original compositions — then an ensemble CD showcasing new instrumental music. Haven’t thought of a title yet … Maybe, “Get it Girl!”
PGN: Where is your Ladies Night Out Quintet at present? You have a nice crew (Kim Clark, bass; Lynn Riley, alto sax and flute; Lucianna Padmore, drums; Noriko Kamo, piano) and an album of your originals (“First Born”). How does that team work?
MS: Honestly, each of us has our own groups and projects we work on. When I have an opportunity to have this group perform together, I take it because the group is special. It is still a novelty but understand that we are five women committed to our music. Does this team work well for my compositions? Yes, they do. I especially enjoy adding Kim on bass because it allows more freedom for Noriko and she then plays the piano instead of organ. I will say that it’s different psychologically because we are all women with woman-centered thought processes. I like the change.
PGN: What did you think of the Out Jazz Festival when it ran? Are you surprised that it has not yet been revisited?
MS: It was a big deal and I did think that it would possibly continue. However, I will say it is a weird situation to be hired because of your sexual preferences; it’s kind of like not being hired because of your gender.
PGN: You have utilized the Jazz Bridge’s support system(s) in the past. What is your take on those services?
MS: Jazz Bridge is a lifeline for musicians. They have helped me several times with medical bills and rent. It was a blessing. It’s unfortunate musicians do not have enough resources to survive this business of music. There is always someone — usually family or a partner/spouse — to supplement or sacrifice for the cause. When that’s just not enough, organizations like Jazz Bridge step in.
PGN: It is grand that this next gig of yours connects Jazz Bridge to the “Philadelphia Real Book.” What’s your take on that volume? It is unique and a long time coming.
MS: It is fabulously amazing. I remember maybe five years ago meeting with David Dzubinski about his idea for a “Philly Real Book.” Jazz Bridge really came through helping to bring it to fruition. I will purchase my book the night of the performance. I am very proud to be included there, and will perform two compositions published in the book: “Come to Me” and “Lemar Shongo.” That’s all part of my personal motto: “Stay in the state of gratitude and thankfulness.” n
For more information on the “Philly Real Book” concert, visit http://www.jazzbridge.org.
For more information on the Center City Jazz Festival, visit www.ccjazzfest.com.