New York Voices

	"New York Voices Sing The Songs of Paul Simon" Peter Eldridge Lauren Kinhan Darmon Meader Kim Nazarian Produced by Joel Moss
1. Baby Driver 2. Cecilia 3. One Man's Ceiling is Another Man's Floor 4. So Long, Frank Lloyd Wright 5. Loves Me Like A Rock 6. Me and Julio Down By the Schoolyard 7. St. Judy's Comet 8. Punky's Dilemma 9. Overs 10. Mother and Child Reunion 11. I Do It For Love 12. Still Crazy After All These Years 13. Why Don't You Write Me? 14. Old Friends/Bookends

Billboard Spotlight Review • January 24, 1998

Jazziz Vol.15, March 1998 No. 3

On New York Voices Sing the Songs of Paul Simon (RCA Victor), the New York Voices pay homage to one of pop music's greatest songwriters. "We were trying to rise to how inventive and expressive Paul Simon has been with his music," says group member Lauren Kinhan."We want to somehow be on his same level." For the recording, the vocal emsemble interpreted 14 of Simon's classic tunes, including "Me & Julio Down by the Schoolyard" (featured), "One Man's Ceiling," and "Still Crazy After All These Years." The Voices are backed by Andrew Ervin (keyboards), Ben Whitman (drums), Peter Calo (guitar), Christian McBride (bass), and a classical chamber string quartet arranged by Gil Goldstein.

 All-Music Guide Review

Women In Music • Spring 1997 • "Tales From the Road" Lauren Kinhan talks about touring in Asia

I've done a fair amount of touring in Asia with New York Voices. Over the last five years, we've been to Japan seven times, and to Korea and Indonesia as well. When asked to reflect on my experiences there, the memories came flooding back. I find japanese audiences to be discerning and sophisticated listeners, and especially supportive of jazz. They sit and really listen. They often express their appreciation with gifts. I have received beautiful antique kimonos, original art work and, in one instance, the members of NYV were given specially designed and handcrafted gold rings set with our respective favorite precious gems.

Some of the most moving experiences I've had on the road are the informal encounters with our fans, particularly the young kids who come backstage and say, "You inspire me to pursue my dream." I feel that this is life coming around full circle, as I remember my excitement as a child after seeing a show and thinking, "Wow! I want to do that!" And know I'm able to pass that dream on to the next generation. That makes the work so much more fulfilling.

Jakarta was a more jarring experience. The poverty was so apparent. If you exited through the front of the hotel, you walked onto a shop-lined street. However, if you exited through the back, you were in a shanty town. Our show's ticket price was equal to an average worker's monthly salary. That was disappointing on both ethical and spiritual levels.

While in Jakarta, I also experienced a very strange New Year's Eve. We were playing the Blue Note and afterwards the entire staff of the club came up to us and sniffed us. At first, it seemed like they were trying to kiss us, European-style, but they were actually smelling us! Not having been forewarned of this apparent custom, I was dumbfounded and wondered if the polite thing to do was to sniff them back. I opted not to.

Japan is a familiar stomping ground for NYV. Our tours average three weeks or more. Western elements are trickling in all the time, but Japan still feels like another world, and believe me, Another World isjust what I'm longing for after I hit that second week. I find Beverly Hills 90210 on TV at 2 am and I'm glued to the tube! By the time I hit the fourth week, I can usually hum the theme music for CNN while reciting the world events.

"You don't get paid for the gig - you get paid for the travel," the great Phil Woods once said. I think every musician relates to that. It's a 13-hr flight to Japan, and with the additional transportation and inevitable layovers, you're travelling for over 24 hours. Usually we play six nights a week at the Blue Note and travel on the seventh day. The biggest challenges I face are trying to maintain my body and my instrument. I have to be very specific about getting my rest, good nutrition (which is hard on the road) and knowing when to say no to certain demands. I was sick more often in my first year of touring than I have been since. I lost my voice a couple of times, and once I blew a major recording date because of fatigue. That was a really hard lesson. However, road life teaches you - requires you - to know your limits and pace yourself.

Some of the best time I've had on the road in Asia have been hooking up with other American artists whom I might never meet here - people who are my mentors. We worked with George Benson in Nagasaki in 1993 and I remember a wonderful night NYV spent in his hotel room, just hanging out and singing. When you're abroad, there's this bond that happens with other Americans. At home, we're each one in a million, but on foreign soil we seek each other out and are automatically united.

Japan has been, and continues to be, this group's greatest supporter. It's ironic that after seven years of performing and recording jazz, one of the greatest American art forms, we are still introducing ourselves to the US of A. In the meantime, I love and aprreciate the worldwide education our music has afforded me.

• Official New York Voices Website
• Unofficial New York Voices Website