I am hesitant, in writing about Northern California guitarist Mimi Fox, to use the word “revelation.”
The term has grown trite from overuse, more often that not standing in as shorthand for a journalist who has run out of options in describing a particular artist. If you’re enthralled with music, you almost by definition will be wowed when you first encounter a major player. Get used to it.
That said, Mimi Fox’s artistry came as something of a revelation to me upon first viewing her “Live at the Palladium” DVD.
And, in my defense, it’s not just me. Fox’s website features encomiums from the likes of Jim Hall and Joe Pass who, we can all agree, know from whence they praise. Fox is also a six-time Downbeat magazine International Critics Poll winner
Released two weeks ago, the DVD finds Fox and her rhythm section – Chris Enghauser (bass) and Akira Tana (drums) – delivering an impressive set at the titular St. Petersburg, Fla., venue. The seamless connection among the musicians is evident; indeed, it’s underlined by camera placement and angles that serve to convey the intimacy that exists on stage. We’ve all seen concert videos but this is among the few in which you actually get some sense of that fourth wall having been obliterated; you are in there with the players.
Fox makes rare live appearances in her home region, the next being an April 23 solo show in Petaluma. Fortunately, you can see her “Live at the Palladium” any time you want. Here’s what she had to say about the project, her influences and more.
Question: You have a crack rhythm section on "Live at the Palladium." How did the three of you initially get together? Also discuss, if you will how, your goals when approaching an arrangement.
Fox: Akira and I have worked together for years both locally and internationally. Chris and I met when I was playing at the jazz festival in Athens, Ga. I always try to put my own spin on standards and that could be changing the groove, reharmonizing it or creating modern intros/endings for the piece. I hope that everything I do conveys "warmth" because without this jazz would be cerebral and cold. Without technique ("virtuosity"), all the heart in the world can't convey intelligent ideas. They work together and inform each other
Question: The influence of jazz masters like Wes Montgomery and Joe Pass is evident in your music. Who do you see as your prime non-jazz influences?
Fox: When I was a little girl and first started playing music (drums at 9, guitar at 10), I listened to everyone I could because my family loved music and exposed me to all genres. I am a human sponge as a musician and I picked up things from watching/listening to everyone from Glen Campbell to Stravinsky, Leonard Bernstein to Michael Nesmith. On guitar, my non-jazz influences included Julian Bream, Paul Simon and all funk players from the ‘70s.
Question: Finally, let me get your take on the Northern California jazz scene these days.
Fox: I tour continually and only do a select few shows a year in the Bay Area (usually Yoshi's or SFJAZZ) and so I don't really know how the scene is for other artists. It is tough to make your living as an artist and I think you have to be creative, diligent and persistent to make a dent. You can't sit at home and expect the phone to ring.
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