Highly anticipated new Limited Edition 12" Vinyl LP “Vanity” (plus "Vanity Amber Navran Remixes") etd April 2023 (subject to change).
“Impressive on every level…”
– Andrew Gilbert, JazzTimes Magazine
LP TRACK LISTING:
Side A
Something Good (Rodgers/Hammerstein)
We Have Not Long To Love (Gazarek/Williams)
Extraordinary Machine (Fiona Apple)
Vanity (Guy Wood)
//
Side B
Something Good (Amber Navran Remix)
We Have Not Long To Love (Amber Navran Remix)
Extraordinary Machine (Amber Navran Remix)
Vanity (Amber Navran Remix)
With the announcement of her highly-anticipated collection of new songs, 3x GRAMMY® nominated vocalist Sara Gazarek also sends a sort of postcard from the journey she has traveled over the past few years. On her new EP, Vanity, we witness a rebirth and a revelation since the release of her previously critically-acclaimed and widely celebrated Thirsty Ghost; a journey of growth, exploration and lessons. Vanity gives us a Sara Gazarek with fear taken off the table; replaced by truth, compassion, and an acknowledgement of the artist she has become over the last three years. An artist that values expression over beauty, communication and freedom over safety and consistency. “Through the pandemic, I pushed myself to explore deeper parts of myself, a deeper relationship with my instrument (through rigorous weekly voice lessons), fundamentally and forever changing my perspective and approach as a jazz musician and vocalist,” said Gazarek.
On Vanity, we hear Gazarek exploring more depth of sound in not only her instrument, but in the repertoire she continues to traverse. Sara’s first original composition, “We Have Not Long To Love” (words by Tennessee Williams) “is meant to amplify the importance of taking every moment for the miracle that is,” said Gazarek. “I pushed myself to compose, thinking about colors and shapes, emotional textures and storytelling, much in the way that I do when I write a lyric. I wanted to capture the yin and yang of every day love and life, and the movement, modulations, and meditative repetition that can become more of an undercurrent than a miracle if we let it. And, while what resulted is by no means perfect, it is the truth – for me.” The fairly obscure title track, “Vanity” (arranged by Alan Ferber, and originally covered by the great Sarah Vaughan), is a statement of what people likely view Gazarek’s persona to be, based on her past, vs the person and artist she has now become. Gazarek explains, “I’ve wanted to put a song to the shift that I’ve experienced over the last ten years, the space I’ve finally stepped into, and the need to document that in a way that showcases the unexpected and the unconventional.” Fiona Apple’s “Extraordinary Machine” arranged by Geoff Keezer, with horn orchestrations by Alan Ferber, is utilized by Gazarek as a statement on women’s rights and how, “in the jazz community, fighting for equality has been an important journey for me and for my students,” states Gazarek. “Something Good” (from The Sound of Music), arranged by Stu Mindeman, is a deeply personal love letter to Gazarek’s mother. The artist explains, “I’ve wanted to sing a love song to my mother since her almost catastrophic car accident a few years ago (and I penned an extra verse just for her).”
We also hear Gazarek surrounded by a wider spectrum of instrumentation in the music of Thirsty Ghost. With horns arranged by master composer Alan Ferber, Gazarek is joined by 5 horns and expanded rhythm section — with pianist Miro Sprague, bassist Alex Boneham, drummer Christian Euman, guitarist Brad Alen Williams, trumpeter Michael Stever, the aforementioned trombonist/arranger/orchestrator Alan Ferber, alto saxophonist Lenard Simpson, tenor saxophonist Daniel Rotem, and baritone saxophonist Adam Schroeder. “They all have such command over their craft, and having Alan orchestrate for a larger ensemble brought things to another level. The experiences I wanted to capture are on a wider spectrum than Thirsty Ghost, so it only made sense to encapsulate that with a broader instrumentation. The band is comprised of deeply beloved, long-time friends and master musicians; but at the end of the day, I am grateful to have had their contributions in movement and air, and gifting me the space and opportunity to fly free, in return,” said Gazarek.
Includes unlimited streaming of Vanity
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Streaming + Download
Includes unlimited streaming via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.
They call it vanity because I'd rather be
All by myself instead of laughing with the crowd.
If I don't care to be part of their gaiety
They often say to me, don't be so proud.
But how are they to know
I'm looking high and low
For love that used to be my own.
I never even glance when I’m offered new romance
I can't because I'm yours alone.
‘Till you forgive again, I'll never live again
So will it be as long as we are far apart.
It may be vanity to think you’ll come to me,
But is it vanity to hide a broken heart?
Perhaps I had a wicked childhood
Perhaps I had a miserable youth
But somewhere in my wicked, miserable past
There must have been a moment of truth
Perhaps I was a vicious sweetheart
Perhaps I led a scandal or four
But somehow in my vicious, scandalous past
There must have been a flicker of more
For here you are, standing there, loving me
Whether or not you should
So somewhere in my youth or childhood
I must have done something good
Nothing comes from nothing, nothing ever could
If loving comes from loving, just the way it should,
So somewhere in my youth or childhood
I must have done something good
We have not long to love, our light does not stay.
The tender things are those we fold away.
Coarse fabrics are the ones for common wear.
In silence I have watched you comb your hair.
Intimate the silence, dim and warm.
I could but did not, I would but do not, I could but did not,
Reach to touch your arm.
Break that which is still.
Almost the faintest whisper would be shrill.
So moments pass, they wish to stay.
We have not long to love.
A night. A day.
I certainly haven't been shopping for any new shoes, and
I certainly haven't been spreading myself around
I still only travel by foot, and by foot it's a slow climb
But I'm good at being uncomfortable, so
I can't stop changing all the time
I notice that my opponent is always on the go, and
Won't go slow, so's not to focus, and I notice
He'll hitch a ride with any guide, as long as they go fast from whence he came
But he's no good at being uncomfortable, so
He can't stop staying exactly the same
If there was a better way to go then it would find me
I can't help it, the road just rolls out behind me
Be kind to me, or treat me mean
I'll make the most of it, I'm an extraordinary machine
I seem to you to seek a new disaster every day
You deem me due to clean my view and be at piece and lay
I mean to prove I mean to move in my own way, and say
I've been getting along for long before you came into the play
I am the baby of the family, it happens, so
Everybody cares and wears the sheep's clothes while they chaperon
Curious you looking down your nose at me
While you appease courteous to try and help
But let me set your mind at ease
If there was a better way to go then it would find me
I can't help it, the road just rolls out behind me
Be kind to me, or treat me mean
I'll make the most of it, I'm an extraordinary machine
Do I so worry you, you need to hurry to my side? It's very kind
But it's to no avail, and I don't want the bail
I promise you, everything will be just fine
If there was a better way to go then it would find me
I can't help it, the road just rolls out behind me
Be kind to me, or treat me mean
I'll make the most of it, I'm an extraordinary machine
If there was a better way to go, then it would find me
I can't help it, the road just rolls out behind me
Be kind to me or treat me mean
I'll make the most of it, I'm an extraordinary machine
about
Highly anticipated new 4-song EP “Vanity” etd Oct 21st. Vinyl etd April 2023 (subject to change).
“Impressive on every level…”
– Andrew Gilbert, JazzTimes Magazine
TRACK LISTING:
Vanity (6:42) Guy Wood/Jack Manus/Bernard Bierman
Something Good (5:47) Richard Rodgers/Oscar Hammerstein
We Have Not Long To Love (5:27) Sara Gazarek/Tennessee Williams
Extraordinary Machine (4:43) Fiona Apple
With the announcement of her highly-anticipated collection of new songs, 3x GRAMMY® nominated vocalist Sara Gazarek also sends a sort of postcard from the journey she has traveled over the past few years. On her new EP, Vanity, we witness a rebirth and a revelation since the release of her previously critically-acclaimed and widely celebrated Thirsty Ghost; a journey of growth, exploration and lessons. Vanity gives us a Sara Gazarek with fear taken off the table; replaced by truth, compassion, and an acknowledgement of the artist she has become over the last three years. An artist that values expression over beauty, communication and freedom over safety and consistency. “Through the pandemic, I pushed myself to explore deeper parts of myself, a deeper relationship with my instrument (through rigorous weekly voice lessons), fundamentally and forever changing my perspective and approach as a jazz musician and vocalist,” said Gazarek.
On Vanity, we hear Gazarek exploring more depth of sound in not only her instrument, but in the repertoire she continues to traverse. Sara’s first original composition, “We Have Not Long To Love” (words by Tennessee Williams) “is meant to amplify the importance of taking every moment for the miracle that is,” said Gazarek. “I pushed myself to compose, thinking about colors and shapes, emotional textures and storytelling, much in the way that I do when I write a lyric. I wanted to capture the yin and yang of every day love and life, and the movement, modulations, and meditative repetition that can become more of an undercurrent than a miracle if we let it. And, while what resulted is by no means perfect, it is the truth – for me.” The fairly obscure title track, “Vanity” (arranged by Alan Ferber, and originally covered by the great Sarah Vaughan), is a statement of what people likely view Gazarek’s persona to be, based on her past, vs the person and artist she has now become. Gazarek explains, “I’ve wanted to put a song to the shift that I’ve experienced over the last ten years, the space I’ve finally stepped into, and the need to document that in a way that showcases the unexpected and the unconventional.” Fiona Apple’s “Extraordinary Machine” arranged by Geoff Keezer, with horn orchestrations by Alan Ferber, is utilized by Gazarek as a statement on women’s rights and how, “in the jazz community, fighting for equality has been an important journey for me and for my students,” states Gazarek. “Something Good” (from The Sound of Music), arranged by Stu Mindeman, is a deeply personal love letter to Gazarek’s mother. The artist explains, “I’ve wanted to sing a love song to my mother since her almost catastrophic car accident a few years ago (and I penned an extra verse just for her).”
We also hear Gazarek surrounded by a wider spectrum of instrumentation in the music of Thirsty Ghost. With horns arranged by master composer Alan Ferber, Gazarek is joined by 5 horns and expanded rhythm section — with pianist Miro Sprague, bassist Alex Boneham, drummer Christian Euman, guitarist Brad Alen Williams, trumpeter Michael Stever, the aforementioned trombonist/arranger/orchestrator Alan Ferber, alto saxophonist Lenard Simpson, tenor saxophonist Daniel Rotem, and baritone saxophonist Adam Schroeder. “They all have such command over their craft, and having Alan orchestrate for a larger ensemble brought things to another level. The experiences I wanted to capture are on a wider spectrum than Thirsty Ghost, so it only made sense to encapsulate that with a broader instrumentation. The band is comprised of deeply beloved, long-time friends and master musicians; but at the end of the day, I am grateful to have had their contributions in movement and air, and gifting me the space and opportunity to fly free, in return,” said Gazarek.
credits
released October 21, 2022
Produced by Sara Gazarek
Arrangers: Alan Ferber (Vanity, We Have Not Long To Love, + all horn orchestrations), Stu Mindeman (Something Good), Geoffrey Keezer (Extraordinary Machine)
Musicians: Miro Sprague (piano); Alex Boneham (bass); Christian Euman (drums); Brad Allen Williams (guitar); Michael Stever (trumpet); Alan Ferber (trombone); Lenard Simpson (alto saxophone); Daniel Rotem (tenor saxophone); Adam Schroeder (baritone saxophone)
Recording Studio: United Recording, Los Angeles, CA
Recording + Mix Engineer: Steve Genewick
Mastering Engineer: Jett Galindo
Artwork: Jamie Breiwick/B Side Graphics (design); Lauren Desberg (photography); Schuron Womack (make up)
Based around the question “What is trust?” the latest from Michele Thomas is a bewitching combination of jazz and soul. Bandcamp New & Notable Feb 27, 2022
