[Dixielandjazz] Bria Skonberg interviewed

[Robert Ringwald]

Bria Skonberg: Singer-Trumpeter Brings 'Brass and Belles' to Cafe Carlyle
by Tom Dworetzky
New York Daily News, April 16, 2013
Why does a 27-year-old singer-trumpeter from Canada fall for the brassy sound of
New Orleans Jazz?
In a word: Satchmo.
But it's not just the late, great Louis Armstrong's golden horn that drew a then-11-year-old
Bria Skonberg in her chilly hometown of Chilliwack, B.C., to the hot brassy sounds
of New Orleans... where in many ways the earliest form of American jazz was born.
It was Armstrong's obvious warmth as a person.
Skonberg has just debuted with her show "Brass and Belles" at the Cafe Carlyle's
late-night venue "Second Act Series" April 11-12, and will be returning April 25-26
and May 23-24.
"Brass and Belles" includes her own compositions, and also moves smoothly from coast
to coast and era to era with tunes made famous by such legends as Chet Baker, Armstrong
and Ella Fitzgerald, and Keely Smith and Louis Prima. Skonberg sings and plays both
trumpet and flugelhorn, accompanied by Sean Cronin on bass and vocals, Darrian Douglas
on drums and Dalton Ridenhour on piano.
The show gave us a chance to ask her a few questions about Armstrong and other influences
on her and her work:
News: What is it about Louis Armstrong that appeals to you so?
Skonberg: Louis is at the top of my list because beyond his famous musicality he
was also an incredible human being; his joy and experience came through his playing
and the musical language he communicated transcended multicultural borders.
News: What trumpeters are the ones that have inspired you?
Skonberg: I would take up this whole article with the whole list! I really enjoy
listening to players on the cusp of swing into bebop like Charlie Shavers, Clifford
Brown and Clark Terry. They balance immense facility on their instrument with rhythm,
melody, and more complex harmonies of the time. Cornetist Ruby Braff came from that
lineage and I am always satisfied listening to him. Wynton Marsalis is undeniably
the one who ties all styles together today; I could spend a lifetime studying his
contributions to music.
News: What drew you to the New Orleans sound?
Skonberg: Believe it or not my hometown of Chilliwack, B.C., had an annual Dixieland
jazz festival that brought in players from all over the world and showcased local
youth talent. I first loved the infectious energy and how the bands engaged the audience.
My high school started a trad jazz band and I joined in 11th grade. As I studied
more I realized the music is a perfect starting point for young players to learn
because it lays down the building blocks of rhythm and improvising, and encourages
ensemble interaction. It's inclusive, non-intimidating music and I feel fortunate
to have had that as a foundation. At the time I just knew I was having a lot of fun
playing music with my friends as if we were a team.
News: How do you see the role of New Orleans jazz, and Armstrong in particular, in
the evolution of American jazz and pop music?
Skonberg: As far as the evolutionary aspect of it, it was the beginning of jazz and
that point however simple is often overlooked in music education today. If you were
to skip the first few chapters in a book would you have a full understanding of the
story?
Jazz was the pop music of its day and all American popular music has stemmed from
it one way or another. Louis Armstrong was one of the founding fathers. To understand
the history behind this wonderful art form creates room for a depth of musicality.
Otherwise it can tend to lack soul, becoming a copy of a copy.
News: Can you talk about whether you find it unusual to be a women trumpet player?
Skonberg: I know quite a few, so it's never been something I regarded as so different.
One segment of the "Brass and Belles" show honors Valaida Snow, a vivacious African
American trumpeter and vocalist from the 1930's.
In New York I've crossed paths with Ingrid Jensen, Jami Dauber and Tanya Darby who
are all amazing musicians and people. For traditional jazz there is a ridiculous
trumpeter/trombonist in Sweden named Gunhild Carling. For classical Alison Balsom
is the most widely known; I have yet to hear her live but hope to someday.
News: Why did you move from piano to trumpet at age 11?
Skonberg: Seventh grade marked the start of school band and my dad encouraged me
to play trumpet as he did back in school.
News: What first drew you to it?
Skonberg: I loved the brassy trumpet section sound in big band and joined the school
group in 8th grade.
News: Do you still play piano?
Skonberg: I was juggling so many activities between sports and music that something
had to give; I now use my piano skills mostly for writing and practicing singing.
I'm really a product of an excellent school system and supportive parents. My high
school band director gave me recordings of Louis Armstrong, Kenny Ball, and contemporaries
like Nicholas Payton. The Mammoth Lakes Jazz Camp and the Chilliwack Jazz Festival
are where I really fell in love with jazz.
News: I understand you also danced when young? Does that experience inform you musical
sense and composition?
Skonberg: Yeah, that's where all the odd time meters come in -- just kidding. I took
tap and ballet, which likely contributed to my sense of rhythm and showmanship. I
love creating music that gets people moving together, free of inhibitions. I love
the sense of symbiotic energy when you play for dancers. So I'm lucky to have a variety
of playing for them as well as concert style settings.
-30-



-Bob Ringwald
www.ringwald.com
Amateur (ham) Radio Operator K6YBV
916/ 806-9551