CHAT WITH A LEGEND
Jazz great in Calgary
Sheila Jordan is what’s known as a modest legend.
We’d use the word quiet, but it’s because of her incredible voice that she is who she is — a true innovator and a lasting legend.
“I’m old,” the 86-year-old says and laughs. “If that’s a legend then I’m a legend.”
Last year, her biography, Jazz Child: A Portrait of Sheila Jordan was released, chronicling her poor upbringing in Pennsylvania, her time in Detroit, her move to New York and a career that has seen her work with some of the music’s giants, including Charlie Parker, Herbie Nichols and George Russell, and in 2012 saw her named a National Endowment for the Arts Jazz Master.
Prior to her appearance in Calgary on Sunday for a workshop and performance, Jordan spoke with the Calgary Herald.
Q You’ve had an incredibly long and remarkable career. Does it ever hit you all that you’ve done and all that accomplished?
A No. No. I wouldn’t do it any more if it did. I never think about it too much, I just do it.
Q Was it difficult for you to do the biography, then, to sit down and tell your story?
A No. Not at all … (Ellen Johnson, the author) was after me to do it and I thought, “Well, if it can give hope and encouragement to others, then I’ll do it.” I talked about different parts of my life that weren’t the most pleasant, about not giving up, and how music saved my life, so that could be encouraging to somebody out there that might be going through same thing. So I thought about that and I said, “Well, maybe this will help somebody.”
Q Hearing some of the stories from the book, of all that you went through, from poverty to, especially, seeing racism that up close, it really is amazing to see how far we’ve come but how far we still need to go.
A Exactly. We’ve made a little progress, though. I remember, when my daughter was first born, I would walk down the street with her, being in an interracial marriage (with Duke Jordan, Charlie Parker’s pianist) with a biracial child, how people would stare and look. And now, in New York, just about every other couple is interracial … It’s quite beautiful to see that happen.
But (the point of telling those stories) was also about keeping the music alive, too. I wanted to get that message across, not to give up. Just keep the music alive, no matter what happens. Maybe you’re not getting recognition but that’s not what it’s about for me. As long as you love doing the music don’t let it die on you … That’s part of the story, too, which is helpful to people who are out there.
Q Speaking of which, it’s interesting, I heard an interview with you where you said that the reason that it took 12 years between your solo debut (1963’s Portrait of Sheila Jordan) and its followup (Confirmation) was that you were waiting for someone to call, that you weren’t even sure if it was that good, and it’s now considered a classic.
A Well, I’m not the kind that will go out there and push. I’m not going to call up record companies and say, “Will you record me?” I’ve never been like that and I never will be. That’s not my style. George Russell was great in getting me a recording deal, and I did it, and then after that I wasn’t called to do another one, so I didn’t call them. (Laughs) That’s the way I am.
Q But you continue to work, performing and teaching.
A I love to teach, I love to see the new people — young people, old people, doesn’t matter what the age is, but people who are out there just trying to keep the music alive. I love teaching them and giving them hope and showing them possibilities and just giving them some encouragement.
Q When you’re here, you’re teaching a workshop. What’s the one lesson you hope to impart on people?
A Keep singing.