Feature

Tanja Maritsa: Elegantly Yours

"For me, elegance is not to pass unnoticed but to get to the very soul of what one is" - Christian Lacroix. For ME elegance in this instance is a tad different, one would listen to the delicately intrinsic tones of Tanja Maritsa while contemplating (taking a leaf from Lacroix's sketch book) one's soul. But not only Soul - how about Jazz, Folk and a touch of World Music?

And mon amis, having had the chance to ponder all the above before catching up with the lady herself - I found this, one time Jazz, now jack (or should that be Jacqui) of a lot more trades, in slightly jovial mood to talk about her two singles in - now impending album. An album so full of style, panache and je ne sa qua that even Mr Lacroix would whole heartedly approve - and for want of better terminology in this instant, an absolutely beautifully delivered piece of genre crossing quality.

So, I suppose you want a quick run-down on Ms Maritsa before I go any further... Well, she was born to an English Mother and Croatian Father, subsequently spent her early years in France (Ahh, now you know why I used all those French-isms, - it's all planned don't you know!?) before settling here at the tender age of five. Fast-forwarding to 2005 she would form a Jazz group called 'Bluebird', before branching out on her own. Now, about to release her second album 'Fragile', she stands on the precipice of (some may say) a GREAT musical future. Why greatness you ask? Well, when you're mentioned in the same breath as Madeleine Peyroux, Eva Cassidy, Jon Mitchell, Ella Fitzgerald AND Nina Simone you can kinda make that assumption. On a personal note, when listening to her, then all I can do is rubber stamp that statement. So, Madames et Messieurs, may I start the interview now? .... Merci...

Lee: Your first album was well received and if I remember rightly Jazz orientated - how does the second album differ from the first?

Tanya: Well, there's more of my own songs on the second album. The first had quite a few Jazz covers as well as my own music - but my producer from the first album Richard Niles, when he heard my songs from the first album encouraged me to write more. I think it's also got more of a worldly feel to it, as you've probably aware I've got an Oud player (Course we do!?... Well, stringed instrument pickers - An Oud is a pear-shaped, stringed instrument - predecessor of the western Lute. Of course it is...). It has that sort of ethnicy, worldy feel to it - which probably wasn't on the first album. And I think just because it's my second album, it's got an over-all feel of being probably more lively. I had quite a few duets in the first album. But mainly the focus is on my own songs on the second album, so we've only got two covers 'Libertango' (remember Grace Jones version) and 'Fragile' (Sting), which is obviously the name of the album. Other than that, they'all my own songs...

Lee: Yeah I noticed that there were two songs that you didn't write and you've named your album after one of them...

Tanja: [Laughs] Yeah, erm... It's probably cos I just really liked the way that cover version turned out and it's always been one of my favourite songs, the 'Fragile' song by Sting. And in a way it actually summed up, ultimately, what the whole album is about. I think quite a few of my songs like 'Live For Today' and 'Fading Grace' are all about valuing life and making the most of every moment, and not moaning your way through life. And in a way I think 'Fragile' is also about how precious life is and how we really need to value it, you know, with terrible things going on. So in a way I think it was really appropriate, it really set the scene if you like - for the whole album. But also the fact that I really liked the completely different slant with the Oud player. That's really why it was chosen [Laughs] as the title as it were...

Lee: [Laughing] I wasn't trying to catch you out, I was just asking honestly... You were'nt expecting that question I could tell...

Tanja: [Still laughing] I wasn't really - it's ok...

Lee: [Still laughing] I'll try not to do that again... You've had two singles releases from the album already - I've looked at how they've been received, review-wise, and both seem very positive. How has it been for you first hand?

Tanja: I'm really pleased at the way they've been received. 'Live For Today' I sort of released first because it's more of a lively, Jazzier number and normally when you're releasing a single it tends to be more lively as it were. And then because the album was originally meant to be released last year, but there was a delay for other reasons, so I then decided that I would then do the release - the duet with Gwill (Gwilym Simcock - revered jazz/classical pianist) and I'm really delighted with the response to be honest. I've had some really nice reviews, so I'm really pleased.

Lee: I mean you've had excellent reviews, not just "not bad!?"...

Tanja: [Laughs]

Lee: Being compared to some real greats there...

Tanja [Still laughing] Cool... -

Lee: Some of my favourites as well, like Nina Simmone, Ella Fitzgerald etc. I mean, how does that feel?

Tanja: [Laughing] Very nice...

Lee: Yeah. Not bad I suppose? [Laughs]

Tanja: [Still laughing] Not bad, no - you know, up there with the greats... No [As she composes] Of course that's lovely, it's amazing to be likened to anybody of that calibre. I mean especially, well you know, Ella Fitzgerald or Nina Simone - Nina Simmone was one of my idols as it were, so it's fabulous to have anything like that.

Lee: Can I ask you to sort of go backwards a little bit?

Tanja: Yeah

Lee: Your mum is English and you dad is Croatian, but you settled in France - was that because it was in between?

Tanja: I was brought up in Paris for the first five years of my life, but my dad's a linguist so I also studied French and what have you for quite a while. Which is why there's a couple of the songs on the album I'm singing in English and French. I've always loved Paris and the front album artwork from 'Live Today' is on a carrousel in the middle of Paris - so I think that's a reflectional, and 'Live For Today' is quite a French Jazzy shone-sholl. So definitely there is that influence there - but yeah, I'd love to back to France more often...

Lee: So you came over here when you were five?

Tanja: I came over here when I was five yeah. Initially I completely rejected my French even though my dad was a linguist and was saying "You've gotta carry on speaking" but you know, when you're little you wanna fit in don't you. But then I carried on studding it later, so that's always been there really.

Lee: Is it just French you can speak?

Tanja: Yes just French.

Lee: What does your dad speak?

Tanja: He's one of these annoying people that can speak about eight languages. I have to get him to check my French as well, with lyric's, if there's any mistakes...

Lee: I think there's a lot of French overtones on the album. For instance although 'Libertango' isn't French, it sounds awfully French because of the piano accordion?

Tanja: Yeah... I really enjoyed doing that - that was quite funny. We wanted it to sound like [Giggling]... When I was singing it - Richard kept on saying to me "Imagine you're in some sort of black and white old French movie".

Lee: Any particular movie?

Tanja: Any particular movie [Laughs]... Oh I don't know...

Lee: You didn't get that far?

Tanja: [Still laughing] No we didn't get that far.

Lee: I noticed that it's the same producer on both albums, Richard Nile - was there a reason for sticking with him. Is that where your comfort zone is, or does he understand you more than anyone else perhaps?

Tanja: I suppose Richard in a way has always... He approached me, sort of, several years ago - I think I sent him a demo. That's right, I sent him a demo and he rang me up and said "Aw you know, I really liked the stuff". But he's always been my mentor, as it were, and I really like his arrangements - I love his arrangement of 'Libertango' and 'Fragile'. So yeah, that's really why I've sort of stuck with him - he's been a really good mentor.

Lee: As you said earlier, he was instrumental (forgive the pun) for getting you write your own material?

Tanja: Exactly. So when I wrote, on the first album 'Child In My Hear', which is my song and then over a few others. He sort of heard those and he said "You know you really need to write more", so that's how the second album came about really.

Lee: How did he encourage - did he just say "write more" or was it being complimentary of your writing skills which helped to motivate you?

Tanja: Yeah exactly - he said you've got some really good melodies and some really catchy songs and I really think you should... Cos originally I think I was really very much down the, you know, standard Jazz singer just doing lots of covers. And he really sort of said to me, "No you really need to focus in on that, and branch out, and you've got a talent there". So that's really nice - that's how I sort of got into it really.

Lee: Can I ask pre that, when it all started. 2005, was that the first time you got yourself off the ground with your own band?

Tanja: Yeah. I originally had trio which was mainly a Jazz folk cover band called 'Bluebird' - the guitarist called Chris Stoggart, we did a lot of gigs around London. Then I sort of focused, then I wanted to do the album and that's when I started with more Jazz musicians like Rob Rickenberg - the base player on the first album. And Gwilym Simcock who was on quite a few of the tracks on the first album, he's also featuring on the second album. I started off doing classical singing when I was about 10, I did all sorts of competitions and things and then I went off and did other studies and then sort of came back and thought "Actually, no I really much prefer folk". As you get older your likes change don't they?

Lee: Yes of course (thank God in most cases).

Tanja: But that was really when I came back to London, that's when I really got into the 'Jazz scene'.

Lee: You just mentioned Gwilym Simcock. Your second release from the album, the beautifully crafted duet with Gwilym called 'Fading Grace'. Here his delicate playing complements your voice perfectly for one of the standout tracks on the album. As Gwilym is usually known for his contributions to Jazz/Classical music - how was this partnership forged?

Tanja: I met Gwil through Richard actually, when we were doing the first album - so he was on quite a few of the tracks there. I think what I like about him so much is that he can play incredibly complicated Jazz you know - out of this world. But then he can also play something that is just... I mean I love the accompaniment to 'Fading Grace' and likewise on the first album. On the first album there were a couple of songs that were just duets, there was 'Memory Box' and 'A Thousand Years' - he also has that ability to play, you know, really simply and give you a perfect accompaniment. I think that's a real skill when it comes to accompanying somebody, so that's why I wanted him back on the second album really. Cos we did another... 'Fading Grace' was two versions, there's a sort of livelier sort of full band version. Originally it was actually written as a duet, so I really wanted Gwill to come back. He's just amazing - whenever you sing with him... You have sort of gulp before you start singing... For example, on 'Saving Grace' a lot of pianists would of played too much accompaniment, although he does play really complicated jazz - he also knows when to be restrained if you know what I mean so it doesn't take over from the vocals. I think that's why I choose him for that particular track. I love what he's done with me - he can adapt to any style.

Lee: Can I ask you about your style - do you like to 'genre hop' if you like.

Tanja: I think I do. I know cos the album is Jazz, World, Folk and I think to be honest I don't like any one type of music - I like all sorts of music. I like anything from Pink Floyd to... I don't really believe, in like, sort of saying that you only like one type of music. I think everybody has different moods and one day you want to listen to something a bit more wild and another day you wanna listen to something a bit more mellow - So I suppose in a way that's a reflection. Sometimes I write a song like 'Fading Grace', which is sort of more of a folky mellow number, and then other days something like 'Won't You Dance' will come to mind - which is much more sort of Poppy Jazzy. So I don't know if I'll remain in that... I would imagine, yeah, I'll always be Jazz/Folk. I think it depends on what comes to me - what influences me. For example, the reason why I have 'Naffear' on the album - I have a connection with Egypt, I listen to a lot of that sort of music as well. So I think it just depends on where I go, what comes across my path if you see what I mean - I'm unpredictable really. I might find in a years time I might be heavily into something else that will take me down that route (Jay-Z's album is good Tanja!?).

Lee: Do you think that crossing too many genres may have restricted you little, as far as the public is concerned - as we know, they do like to pigeon hole?

Tanja: I don't know... I don't know... If you think of singers like John Martain and Nina Simmone, they in a way have done exactly the same. Nina Simmone didn't just sing jazz - she sort of sang traditional songs as well, she also did cover versions. Even Ella Fitzgerald did cover versions of Pop and things, and likewise John Martain has done some complete crosses like Jazz to Folk. So I don't think so - there are alot of artists that cross between different genres really. I think the key thing is to do songs that you like - I think that's the main thing. I don't want to do all new... You know, I just want to do songs I like really, and mean something too me as much as anything. Rather than saying "O this is a particular genre, therefore I'm not going to do it" if you see what I mean?

Lee: I agree - stick to what you like and what you're comfortable with... So to my final question - what's your immediate plans?

Tanja: Well, the albums coming out in a few weeks time and then we're going to do some gigs around the U.K - Starting off in London. We're looking at small studio theaters like Wimbledon studio theatre and places like that. And some of the main venues in town like The Vortex and Pizza On The Park - so that's the plan really. We might also be doing some gigs in places like Abu Dhabi as well maybe later in the year.

Lee: I look forward to my review ticket - Out to Abu Dhabi! Lovely!! I can't wait!? I'll see you there then...

Tanja: [Laughing] I'll see you there!

Lee: I think I've extracted what I need Tanja, including my free ticket! Thank you very much.

Tanja: [Still laughing] Thank you Lee.

Tanja Maritsa's highly anticipated album 'Fragile' can be found at most decent retail outlets now.
Words LEE TYLER