Holly Cooper at Mouthpiece Music turned me on to Hannah Gill. At first, I resisted, since I'm bombarded by publicists 24/7 and don't have a minute to spare. But Holly insisted, guaranteeing I'd be blown away by the sound of Hannah's voice within four measures. I've known Holly for some time, which means she wouldn't be wasting my time unless she was right. So I gave a listen. Holly was right. [Photo above of Hannah Gill]
Hannah Gill is a 26-year-old jazz vocalist, songwriter and performer based in Bushwick, Brooklyn in New York. She's currently with Turtle Bay Records, and her debut jazz album Everybody Loves a Lover just came out last week. She has over 10 million streams on Spotify, and her YouTube videos have exceeded 22 million views. She has toured internationally with Postmodern Jukebox and jazz pianist Gordon Webster. When not on tour, she appears at clubs around the city and with bands such as the Hot Toddies and the Glenn Crytzer Orchestra.
Back to the music. Giving a listen to Hannah's new album, I was struck by how sophisticated her phrasing is as well as her time and swing. The sound of her voice will knock you out. There's a lot of 1950s flavor and ease in her voice, with just a hint of country. I imagine she could sing anything well—from Patsy Cline to June Christy. Her studio band is solid (dig Danny Jonokuchi on trumpet, Sam Chess on trombone and Ryan Weisheit on saxophone and clarinet), and Danny's arrangements fit her like a glove. This, I thought, is someone who is way inside the music and knows her way around a song—and at 26!
Here's a taste from the studio...
Holly connected us and Hannah graciously agreed to a JazzWax e-interview, despite being under the weather. You'll find Everybody Loves a Lover at Spotify under her name and at Amazon as a stream or download here.
Here's my e-conversation with Hannah...
JazzWax: Where did you grow up?
Hannah Gill: We moved to the eastern shore of Maryland from Texas when I was in second grade. I did most of my growing up in St. Michaels, on Chesapeake Bay. I had no idea how lucky I was to live so close to the water until I moved away. I spent my entire childhood playing in and on the bay, an experience well worth all the jellyfish stings.
JW: Were your parents musical?
HG: Yes, in different ways. Dad plays guitar and was in a rock band back in college. Mom has a beautiful singing voice but, in her words, she had terrible stage fright. Their talent deeply influenced the musicality of all their kids. We always had music in the house, of all kinds. One of my earliest memories dates back to Pearland, Texas, before we moved to Maryland. I remember sitting on the back porch one night. My entire family was there, the cicadas were singing, and my dad was playing guitar and singing Mexico (1998) by the band Cake. I couldn’t have been more than 4 or 5 at the time, but it was a peaceful moment that’s always stuck with me. [Photo above of Hannah Gill]
Here's Mexico by Cake...
JW: When did you start singing as a child?
HG: I’ve been singing for as long as I can remember. If there were any singing clubs at school or performing camps at the local YMCA, I was there. There's a video somewhere deep in YouTube of me singing Heartbreaker by Pat Benatar at age 11 for a local singing competition. I even sang the Scooby Doo cartoon theme as my audition song. As soon as I was old enough, I was in school plays and choir class up until I graduated from high school in 2015.
JW: Did you start by playing an instrument?
HG: Singing has been my main instrument throughout childhood, but I do play ukulele and guitar. I have been dabbling on the instruments since I was 16, but it was mostly just for fun or for songwriting. When the pandemic hit in 2020, I spent countless hours practicing both so I could play live-stream shows for fans at home. Those months helped me improve my playing and confidence when it comes to supporting myself musically.
JW: Brothers and sisters?
HG: I have three younger siblings. My brother, Jack, is 23; my sister, Carly, is 18; and my youngest sister, Ella, is 8. All three are musical and have beautiful voices. Ella plays piano, Carly plays guitar and Jack plays piano, guitar, banjo and harmonica. While they watched me perform growing up, I didn’t teach them a thing. We all have our own unique paths and approaches to music. Nothing makes me happier than to return home and jam with them.
JW: How would you describe yourself growing up?
HG: I was an extroverted kid. I was always up to something in high school, including choir, tennis, the annual musical or helping to organize school events. I didn’t like having free time and still don’t. I even played trumpet for a few years in middle school. Other than that, I was heavily involved with choir and school musicals.
JW: Who were your jazz influences?
HG: I’ve been a fan of Louis Armstrong and Ella Fitzgerald for as long as I can remember. My dad played a lot of jazz at home and, for a few years, my parents were really into the Squirrel Nut Zippers. I loved their music videos as a kid, especially Ghost of Stephen Foster. [Photo above of Hannah Gill]
JW: What was your jazz turning point?
HG: When it comes to what made me become a jazz singer, I didn’t have that revelation until I moved to New York in 2015. Before I graduated high school, I thought the only way to make a living in music was to become a music teacher. The concept of becoming a working musician never occurred to me. I didn’t know anyone who was one.
JW: What changed in New York?
HG: After I moved to the city, I started going to swing dance events and clubs. That was where I started to meet other musicians. It was important for me to hear about their lives and how they got started on the New York scene. The more people I talked to, the more I began to realize you could support yourself as a jazz musician—if you had gigs. Since I grew up loving the genre, it seemed like a no-brainer. I wanted to dive deep into that world and see if I could find my place in it.
JW: Did you study in college?
HG: I didn't. I moved to New York right after high school at 18 to work on my original music. I discovered the Lindy hop scene that first year. Dances were one of the few places I could go at night since I was under 21, the legal drinking age. I learned to swing dance and also met a lot of the jazz musicians I work with today. From there, I slowly started performing on the scene. Eight years later, here we are.
JW: Did you study voice at all after you graduated?
HG: No. Other than a handful of lessons with Ana Quintana to recover from a vocal injury, I’m self-taught. At the start of my professional career, Glenn Crytzer, the jazz orchestra leader, took me under his wing and helped me expand my repertoire. He showed me the importance of learning a tune the way it was originally written. He also taught me to respect the song and songwriter first and build from there. While my interactions with Glenn weren't formal lessons, I wouldn’t be the musician I am today without Glenn’s guidance.
JW: Who were you earliest favorite jazz vocalists?
HG: Ella Fitzgerald, Blossom Dearie, Helen Forrest, Anita O’Day, Mildred Bailey and Nat King Cole.
JW: When was your first professional singing job?
HG: In 2013, when I was still in high school. Caffe Vivaldi on Jones Street in New York’s Greenwich Village gave me a gig in November of that year. My dad and I drove up to New York from St. Michaels right after high school let out, and we made it just in time for the show. I performed songs written by my musical partner at the time, Brad Hammonds. Caffe Vivaldi was a small cafe, but it was packed with folks who really enjoyed our show. I didn't make much money, but I was super charged by the experience. All I wanted to do after that was keep performing. The café closed in 2018.
JW: What do you enjoy most about performing?
HG: Probably the ability to get lost in the performance. Even at a young age, when I was singing alone or in front of others, I was fully focused on the music. Performing is one of the few things in life I can do with full focus. It sounds corny, but when I’m singing, it’s the only thing that matters. I’m not thinking about anything else in that moment, only how the music is moving through me. Singing has always been a way for me to ground myself.
JW: Were you nervous about being on stage?
HG: I’ve never been scared of going on stage. I guess I was just born without that anxiety. If you had me go on stage to read from a book or try to do stand-up comedy, I’d pass out from stress. But when it comes to singing, as long as I feel prepared, I feel confident on stage.
JW: Tell me about your new album?
HG: After 10 years in the music business, this is my first full length album. I couldn’t be more proud of it. Danny Jonokuchi did such an amazing job with the arrangements, and all of the musicians are truly top tier: Danny on trumpet, Sam Chess on trombone, Ryan Weisheit on saxophone and clarinet, Gordon Webster on piano, Greg Ruggiero on guitar, Tal Ronen on bass and Ben Zweig on drums. I wanted to make a record full of songs that I love and love to perform. I wanted the listener to be moved by the tunes the way I was the first time I heard them. It’s a group of songs I’ve collected over the years. Some of them you know, some you may not know. I’m really drawn to standards with beautiful melodies and witty lyrics. I think that’s why I love them so much. [Photo above of Hannah Gill]
JW: What’s the thread that ties them together?
HG: Love. They’re songs about heartbreak and songs about true love. I’ve always been a fan of a good contradiction, so the idea of an album that shows both sides of that glorious emotion really appealed to me. I found Scott Asen's Turtle Bay Records through my friend Megg Farrell. I went to one of Scott’s parties to see Megg’s band play. Scott and I got to talking, and the rest is history.
JW: Tell me about your band.
HG: The band on the album is a group of talented jazz musicians I’ve been working with for years. Believe it or not, this was the first time we played together as a full group. Since everyone has been busy with their own careers, I only had a chance to perform with members individually at any given time. Naturally, I was thrilled when I heard that all of the guys were available for my recording session. Most of them I met while singing on the scene, but I’ve known Danny since I was 16. He was hired to play in my first band, and we’ve been friends ever since.
JW: Tell me three of your favorite vocal or jazz albums and why they're special?
HG: Let’s start with Ella Fitzgerald: Twelve Nights in Hollywood. It was recorded at the Crescendo club in Hollywood over 10 nights in May 1961, and a subsequent pair of performances in June 1962. It’s a perfect example of a flawless vocal jazz album. There are so many tunes on this album, and Ella sings each one beautifully. The first three CDs feature Ella with Lou Levy on piano, Herb Ellis on guitar, Wilfred Middlebrooks on bass and Gus Johnson on drums. The fourth CD features Ella backed by Paul Smith on piano, Wilfred Middlebrooks on bass and Stan Levey on drums.
Chet Baker’s Chet Baker Sings (1954), with Chet Baker on vocals and trumpet, with Russ Freeman on piano and celeste, Carson Smith or Joe Mondragon on bass, and Bob Neel on drums. This was one of the first jazz records I ever listened to. I’ve always loved Baker's phrasing and how his voice perfectly complements the way he plays.
And third would be Ella Fitzgerald and Louis Armstrong: Ella and Louis (1956), with Oscar Peterson on piano, Herb Ellis on guitar, Ray Brown on bass and Buddy Rich on drums. A perfect album filled with beautiful songs that put a smile on my face every damn time.
JazzWax clip: Here's This Will Make You Laugh...
