Chloe Feoranzo

Along with an incredible voice, Chloe Feoranzo plays the clarinet and saxophone. She pulls you back in time with her music. As you listen you’ll feel like you’re sitting in a 1920s speakeasy enjoying a night on the town. She’s put hard work and dedication into her craft and it shows. Every note, whether voice or instrument, shines bright in her performance. Truly a modern-day link to the past, yet a gem in our musical present.

Chloe studied under Jazz great Charles McPherson. A friend of mine’s father, Mario Rivera was also a Jazz great. He played with Tito Puente for many years. He recorded an album with Dizzy Gillespie, Afro Cuban Jazz Moods in 1975. Over the years, I’ve enjoyed hearing stories from my friend Mario about his father and that magical time gone by. Chloe’s music is reflective of this era.

Music from the past is always a treat to look back on and take in. All of its emotion captured in the recordings of the musicians from years ago. But there’s something special when you see the past alive and well here in present day. Chloe Feoranzo is that present day musician making a lasting mark on the Jazz world.

This is Chloe Feoranzo.

How old were you when you started playing clarinet and saxophone?

I was about 9 or 10 when I first started playing the saxophone in Elementary school band. I was around 12 or 13 when my middle school teacher needed an extra clarinet player and I said why not? Haha.

Have you always been drawn to Jazz as a musician?

I definitely grew up around Jazz even before starting to play an instrument. My parents used to swing dance and loved to listen to the songs they heard in classes at home so I got a taste of it then. After starting music, I was drawn to the older styles of jazz after hearing it live for the first time at the San Diego Jazz Fest. So yes, but I’ve also been drawn to other forms of music as well such as classical, Brazilian choro, old R&B, Irish music, and even pop.

Which artists inspired you when you were starting out?

A lot of my inspiration came from the musicians I heard growing up live in town (I grew up in San Diego), especially the ones that would take me under their wing such as Ron Hockett, Chris Klich, Zzymzzy Quartet, Charles McPherson and practically any group that went to the Traditional Jazz Festivals. Recording wise I loved Billie Holliday, Peanuts Hucko, Lester Young, Gerry Mulligan, Ella Fitzgerald, Louis Prima, Artie Shaw, Benny Goodman... I could go on.

I watched a clip of you playing on “The David Letterman Show.” How was the experience for you?

It was a pretty crazy day! A few of the highlights for me was finding out they kept TV studios extremely cold so no one sweats on television, so I basically walked around with my travel blanket for most of the time. Another is right before we did our take (and we were really only allowed to do one even though it wasn't live) Paul Shaffer sees me with my clarinet and goes "Oh! A clarinet!" and proceeds to play a polka beat. To which I then, of course, start playing some vaguely polka-like improvisation and we just jammed on this improv polka for a little bit before the TVs were filming. Lastly, right as we ended our take and Letterman walks off I look down on my mouthpiece to see my reed had completely shifted almost off the mouthpiece, which thankfully waited until after the take to do so or else there would have been some serious squeaks haha. In my excitement to perform I had forgotten to tighten my ligature enough (the thing that holds the reed in place) and luckily the reed cooperated. Whoops.

If it were possible and you could cover any song with the original artist singing along with you, what would it be?

I'll Be Seeing You - Billie Holliday version. Her version is so hauntingly beautiful and perfectly captures the message of the song.

What have you been working on lately and what would you like for the reader to check out? 

I have an all women traditional jazz group called the Shake 'Em Up Jazz Band that is based in New Orleans, also where I currently live. Our newest album called 'A Women's Place Is In The Groove' is an album dedicated to women composers of the 1920s-30s. We have done a couple overseas tours and various festivals around the country. You can find more about the band on our Facebook page ( https://www.facebook.com/ShakeEmUpJazzBand/) and at our website(www.shakeemupjazzband.com) I really love these ladies and the way we make music and hope your listeners enjoy us too!

Lilly Hiatt

Like Loretta Lynn and Neil Young, Lilly Hiatt sings from the heart. Her lyrics and style are reminiscent of the greats I grew up listening to in The Seventies. Yet she also has that rocking edge that rolls along in rhythmic chords much like the bands I loved in The Nineties. Lilly is someone special, someone whose spirit soars high when she picks up her guitar and sings. Truly an original.

From the first time I heard her, I was enthralled with her music. The more I heard the more I wanted to hear. As time went by I would find myself singing her songs as I went through my day. So, after work one afternoon I messaged her and asked if she would do an interview. I put my phone down and collapsed onto the couch. I started to drink some coffee and watch TV. A short time passed and my phone buzzed. It was Lilly. She agreed to do the interview. 

This Is Lilly Hiatt  

How old were you when you started singing and playing guitar?

I have sang for as long as I can remember! And 12 for the guitar.

With your father also being a singer/songwriter, music had to be a large part of your childhood. When writing songs today do you reflect back on the songwriters and storytellers you first heard in your youth?

I certainly do.  I remember Prince being a soundtrack early on.  Purple Rain.  That stuck with me, as did Neil Young's Harvest Moon.  Liz Phair's Whipsmart, that's what my mom jammed when she was letting loose. They all crept in and influenced me amongst the many things I discovered on my own,  I think also just seeing the shows with all kinds of musicians.  Ya know my dad toured with Hootie and the Blowfish, he toured with BB King, Jackson Brown...they all became a part of my musical journey.  My brother was obsessed with Slayer and hip hop, my sister loved Weezer and the Spice Girls.  Everyone was bringing something to the table.

You have a wide range and very unique style of music you write. Who have been your biggest influences over the years?

Why thank you.  Well, I could write a book on it, but I won't.  At least not now.  It's hard to reduce it to just a few folks, but big writer influences I'd say would be Liz Phair, Bob Dylan, Lauryn Hill, Neil Young, Eddie Vedder, Prince, Conor Oberst, Lucinda Williams and my dad of course. But, different eras have occurred and I am an avid fan of a lot of music.

You’ve covered “Guy Clark” with Aaron Lee Tasjan and “The Beatles” with Margo Price. If it were possible and you could cover any song with the original artist singing along with you, what would it be?

See, I am already stressed I left John Lennon out of that last question haha! Well, I want to sing "Daughter" with Eddie Vedder. I plan on it. I also badly want Cardi B to sample a song of mine, and I would happily sing that with her. 

On your third and latest album “Trinity Lane” you worked with Michael Trent and Cary Ann Hearst from the band “Shovels and Rope.” How did that come about?

I knew them both, and liked them very much as people.  When Michael was suggested to me as a possible producer, I was intrigued and began a musical conversation with him.  We vibed quickly and I knew he would push boundaries with me without pushing my buttons.  I like working with people that are willing to go to the edge and beyond, and he is! Yet with such a chill and respectful attitude.  Great listener. We had a blast if ya can't tell! 

What have you been working on lately and what would you like for the reader to check out?

I am writing up a storm planning to make another record.  Excited to be in a creative haze at the moment.  Next up tour wise is a fun run with Margo Price that goes through New Year's Eve. Should be a fun way to ring in 2019!

Driven By Money

Broke Disc Blues

Loretta

Colleen Rennison

Colleen Rennison is a singer, songwriter, and actress. She’s worked in films with Bruce Willis, Michelle Pfeiffer, Minnie Driver, Tom Arnold, Rachael Leigh Cook, Kathleen Turner, Mila Kunis, and many more. None of this I knew when I first heard her voice. A voice that is simply stunning.

I stumbled across Colleen on YouTube. Her band “No Sinner” was under recommendations. My first thought was, what a cool name. I found out later it’s her last name “Rennison” spelled backwards. I clicked the video and the music began. Within the first few notes I could hear those Delta Blues, muddy and smeared with life dripping from the guitarist’s amplifier. Then came Colleen’s voice soulful, strong, and raw with emotion.

I sat watching song after song, blown away at the sound of an old soul singing in this almost forgotten style. I say almost, because in our overstimulated world flooded with perfectly polished music, real talent is hard to find. So when you run across someone of Colleen’s caliber you instantly take notice.

The next morning waiting to clock in for work I looked her up on the web. I followed her and within a few hours she followed me back. A few weeks passed and I decided to reach out and see if she would do an interview. The next day she wrote back and agreed.

So this is Colleen Rennison.

Have you always been drawn to the blues as a musician?

I think so, I’ve always been drawn to anything with soul and pain... I’d say the blues has a lot of that.

  

When writing lyrics do you pull from journal entries or is writing songs a more spontaneous action for you?

I definitely go back into old journals if I manage to keep my hands on them. Sometimes it’s painful but it’s worth it. When you’re in the throes of a feeling you might not be in the position to sit down and write a song about it, but to jot down something is key, even if it doesn’t seem significant at the time it can be very valuable in the future when you have time to reflect and write.

Which artists inspired you when you were starting out, and still inspires you today?

I listened to a lot of Etta James, Aretha, Martha Reeves, Nina Simone... still do. My musical tastes have expanded slightly but never really changed.

I noticed you ride a motorcycle. What kind do you have, and how long have you been riding?

I’ve been riding for about 3 years now, taught myself after a bad breakup and I moved to Saskatoon. Haven’t looked back since.

  

While riding your bike and enjoying the open road do lyrics or lines for songs come to you?

I started riding to clear my head, but turns out it just spins in circles like your wheels. When I’ve got nothing but my thoughts sometimes they’ll start to sound like a song and end up writing themselves into one.

What have you been working on lately in music or film that you would like the reader to check out?

I just came back to Vancouver from Austin for The Vancouver International Film Festival (VIFF) where a film I was in called “Kingsway” showed. It’s a dark comedy about a dysfunctional family where I play Lori, a pregnant singer who rides a motorcycle (the only real stretch was on my T-shirt for that one). I wrote a few songs that made it into the film, and I’m hoping to flesh them out into an EP soon. Also, Colin James just released his new album and I’ve got some backup vocals on it. You should check it out! It’s a great album!

Behind The Axe

My father

Gave me my first axe

When I was 8 years of age

39 years later

It’s my go to tool

I’ve honed my skills behind the axe

And

Honed its blade!!!

Its weight

Its length

Its handle

Which soaks in my sweat

And

Sometimes my blood

Becomes a part of me

And me of it!!!

A symphony of

Cutting, slicing, and chopping

Me, the conductor

It, the instrument

The Axe and Cutting Mattock

Have been in my hands

My father’s hands

His father’s hands

His father’s, father’s hands

So on and so forth

All the way back to Ireland, Scotland, and Wales

Back to Scandinavia and The Vikings

The axe is deeply rooted in my blood

My DNA

Everything that is me

When it comes to working outdoors

One day

When I’m old

And my hands too feeble

Too crippled

To hold my axe

I’ll look back on the lands I’ve shaped

The dirt I’ve churned

The trees I’ve fallen

And remember

My days

Behind the axe