Singer Marlena Shaw looks back on jazzy, soulful career
Vegas Voices is a weekly series highlighting notable Las Vegans.
singer Marlena Shaw likes to share with students the lessons she’s learned over a lifetime of performing.
So when a UNLV student asked “Where are all the legends?” she had a ready reply: “Some of us are still alive.”
Not that the Grammy-nominated Shaw sings in public anymore. She turned 75 in September, but retired more than a year ago because of
“the sound of my voice, by the third song,” demonstrating that sound by launching into a guttural, groundglass growl light-years away from the smooth sass that took her from jazz to R&B to soul to blues. (And, thanks to sampling, on to hip-hop.)
“I can’t go that way,” says Shaw, whose sassy spirit is exemplified by the title of one of her most successful albums, 1975’s “Who Is This Bitch, Anyway?”
Despite Shaw’s retirement, music is never far from her mind.
JI found out early that I enjoyed working live and having an immediate comeback with the audiences. … Mementos of her multi-decade career surround her in the northwest Las Vegas home where she’s lived since 1970.
There’s a newspaper photo of Shaw with legendary bandleader Count Basie. A tour poster featuring her with another jazz legend,
Benny Carter. Her 1989 Grammy nomination certificate for “Is You Is or Is You Ain’t (My Baby).” An autographed picture of the Army Blues Jazz Ensemble. A plaque from the Las Vegas Academy. Proclamations from Gov. Brian Sandoval and the Clark County Commission.
Even Shaw’s bedroom slippers, emblazoned with musical notes, signal her claim to fame as she sets aside her cane (blame arthritis) and
VOICES
settles into a favorite chair for a round of reminiscing that takes her from her start — at age 10 at New York’s legendary Apollo Theater — to touring with Sammy Davis Jr., singing with
Basie’s band and playing jazz festivals around the world. (Not to mention such venues as the White House, the Kennedy Center and Carnegie Hall.)
“I sure wish you would’ve got to me two years ago when I could remember,” Shaw says with a chuckle — before launching into recollections that prove she’s as impressive a talespinner as she is a singer.
Review-journal: How, and why, did you get interested in music?
Shaw: Probably my uncle (trumpeter Jimmy Burgess) … I didn’t make a conscious decision. (People told her) ‘You have a wonderful voice — join this choir.’ So I did. Until they find you can stand up without your legs shaking — then you become a soloist.
How did you get the job singing with Count Basie’s big band at the Sands in Las Vegas?
I never auditioned. The guy writing the charts, Fred Foster (told her) ‘When Basie sees you and hears you, he’ll hire you.’ …
(After) the first time Basie is hearing me. … Basie came back with pony glasses filled with some kind of wine, one for him and one for me. He put the glass on the stage and told me, ‘Save your voice — you’re going to need it for tonight.’ That was the first night of the gig, having all these wonderful horns (playing behind her). Coming from a trio, I was crying. I had these Mary Quant (false) eyelashes and I stuck ’em on the side of the microphone (because) I was singing and didn’t care what I looked like.
When, and why, did you move to Las Vegas
I had been here with Count Basie. I met people who lived here. I come from a small town — New Rochelle, New York — and back then, that was what
Las Vegas was. I just fell in love with the place. I thought maybe I would get a call from Hollywood. The Hollywood call never came — and they started turning lounges into keno parlors.
What’s your favorite musical venue in town?
It’s gone. … The Sahara was mine. I loved the
Casbah (Lounge). Aah. Now, it’s kind of hard to say. I’ve been in Japan and Europe so much of the time for the last 10 to 15 years. I loved Japan because of the response.
You toured with Sammy Davis Jr. for four years. What are your favorite memories of working with him?
On and offstage, Sammy was a wonderful guy. Everything about him was first class. … At the beginning, there was a lot of that “Hey, baby.” When he heard my story with five kids (he knew) I was not that kind of girl.
What memories do you have of working with such jazz greats as Ray Brown?
Ray Brown liked (to play) uptempo. He loved uptempo. Honey, we blew the roof off (one) night — it was just divine. (The mood was) the whole reason I felt like I was singing. Ray Brown had said to me, “Don’t expect tomorrow to be like tonight.” I said, “Honey, we blew the roof off tonight. There ain’t no roof left to blow.”
Your music — especially “California Soul” — has been featured in movies, on TV commercials and even in video games. Is it exciting to hear yourself?
It sure is. Even now, watching ‘The Voice,” (a contestant performed) “California Soul” and they showed the sheet music with my name. … The first (royalty) check I got … (for “California Soul”), I told my husband to come with me to the bank (because ) I told him, “this is trauma money.”
How has your music changed over the years?
I found out early that I enjoyed working live and having an immediate comeback with the audiences. … Five to
10 years ago, everyone wanted to sing like Whitney Houston, or they’d say,
‘Sing it like such-and-such.’ I was born at the right time. … I could make up stuff and do it right there on stage.
What advice do you give young singers at UNLV and the Las Vegas Academy?
Make sure this is what you want to do. Be passionate about it. Learn about music. If it’s singing, learn about yourself and your relationships. … If you’ve had it good, you want it bad.
Contact Carol Cling at ccling@reviewjournal.com or 702-383-0272. Follow @Carolscling on Twitter.