In January, there was the release of the neo-soul project Silhouette Brown on Ether. How did you get involved?
I was doing backing vocals for Bembé Segué and she mentioned that they (Segué and Bugz in the Attic’s Kaidi Tatham and Dego of 4-Hero) wanted a vocalist for a new project. So Dego came to a Panacea gig of all things to check me out. The next thing we met at Bembé’s house and were talking about the recording schedule. So I was in!

Deborah, what was the highlight of Welkom Bij North Sea Jazz 2005 (North Sea Jazz Festival) at which you played this year?
The whole thing really. Just to get the opportunity to be a part of it. And not just a part but also the front person! The guys were great to work with as they just have so much vibe in the studio. And then taking it live has been amazing. The first gig at Cargo was an experience. As soon as the bass line of ‘Who’s in Charge’ started, people just reacted in a big way, started singing the song and dancing. And of course playing North Sea Jazz festival was something else! To be there with all those other consummate artists and actually to have people at your gig at all when Chaka Khan’s in the next room: awesome!

Ibrahim Ferrer was on another stage at the same time as you and Dwight Trible followed you on the same stage.
It was a shame we didn’t get to check out the rest of the festival as we had to go to Paradiso in Amsterdam more or less straight after playing North Sea. I did catch some of Dwight Trible, what a voice! Lovely vibe the band had on stage too. There were so many great artists that day I was gutted I had to go but the band felt they’d warmed up at North Sea so let rip again at Paradiso. I’m lucky to have such great musicians as part of Silhouette Brown, not least of which was having Robert (Mitchell) there, as Kaidi was busy in Japan!

At the other extreme to a huge International Jazz festival, Panacea was at The Crypt in Camberwell at their ‘Jazz Friday’.
We played there last on 29th July as a quartet rather than the usual 6-piece as our percussionist and sax player couldn’t make it. This was the first time we played as a 4-piece and it was amazing! It blew everyone away. Gave it new perspective, with more space and greater clarity but it was a challenge for everyone when you’re used to playing as 6-piece.

Robert was in the year above Deborah at City University in Islington in 1990, where they were both studying music. The original singer in Panacea was Eska so when she left the band after the first album Voyager in 2001, Robert was on the look out for a replacement
Robert hadn’t even heard me sing since uni but seemed to have faith so, although terrified as it was a new style for me, I knew I had to give it a go and took the gig. It’s almost 4 years later so I figure I must be doing something right to still be there! There’s enough people queuing up for that spot!

You certainly are ‘doing something right’, but are you enjoying the experience?
Singing Robert’s music is always a challenge but that’s part of the fun of it. You never know what he’s going to come up with and not being a singer himself his perspective on what a voice can do is very different. He writes some amazing melodies which when placed into the context of what the band is doing they become a whole different thing to what you thought they would be. That’s part of the whole beauty of Panacea I think. It’s a real joint effort of every player and Robert gives each player something wonderful to do.

And his lyrics and poems are a large part of the ‘whole’, Kevin LeGendre’s sleeve notes, says, “His words are earnestly woven rather that calculatingly spun,” would you agree?
I completely agree. Robert doesn’t use words lightly, especially in his music. He’s a thinker and loves increasing his knowledge — reading some pretty obscure stuff sometimes — which all helps to fuel his music. His lyrics are like interesting poetry to me rather than song lyrics. They’re definitely not the easiest things to sing on many occasions! But there’s great depth to them. Sometimes at first glance they don’t seem to make much sense, as there are layers of meaning.

You have to really read and live with them to get the full benefit of their meaning. And he tackles some big subjects, such as in ‘The Brink’ dealing with global issues of war/peace. Then take something like ‘Cotopaxi’ or ‘Shukran’ which were inspired by trips abroad, he paints a beautiful picture for you. ‘The mist is so still, The air holds no thrill, All millennia left their stories here from time’s own birth, Some became the truth others hibernate inside this earth’, it’s poetry. He manages to create something interesting and unique in his choice and use of words. Lyric writing is an art form in itself. It’s all too easy to be banal or safe and just write the same old lyrics time after time. Robert pushes the envelope with lyrics as much as he does with his music. You then have to find a way to sing it and make it intelligible to the audience, which can be the hard part!

I can see why you described Robert in the Straight No Chaser interview as “A. he’s a creative genius and B. he’s a complete original”.
I stand by that statement. Genius is not a word I use lightly as it gets too easily used these days. I think Robert is one of those artists that people will look back on in years to come and say, he’s utterly unique and inspired, doesn’t adhere to convention or what would achieve success easily, he stayed true to his soul and creates music that transcends its own dimension. These are not easy things to do. And he’s British. We expect to hear stuff like this coming out of the US but he’s home grown and still has as yet to be recognised for his achievements and receive the support he deserves. He’s rare and I truly feel honoured to be part of anything he does. These opportunities come but rarely in a lifetime.

Did you get to meet the other guest vocalists Ty, Norma Winstone, Eugene Skeef and Eska?
I’ve worked with Eska a fair bit in the past as she made me her Backing Vocalist Director. I’ve met Norma a few times. She’s wonderful! Again I was lucky enough to be allowed in the studio when she was recording. She’s a legend so it was great watching her work. Also as I’d been singing the track she recorded it was interesting to watch as we both struggled with the same parts so it was great sharing our experience of the song and hearing her make it her own. I also met Eugene who’s a generous spirit I was glad to meet and share a beautiful experience with as we were sat there listening to the band record the instrumental sections of that piece together. And I know Ty well through various connections so it was great having him contribute to ‘Heart’. He’s a busy guy so schedules didn’t allow us to record together, we’ll do that another time! And for me it’s also an honour to sing alongside these artists. I had to step up my game!

It seems an appropriate time to ask about the oft-quoted Patrice Rushen comparison.
It’s not always a good thing being compared to other singers, as every singer is unique. I’ve had some comparisons that I think, have you actually heard me! The Patrice Rushen one does come up quite a lot and it’s an honour! If I sound even the tiniest bit like her, it’s an accolade in my eyes. She’s an awesome musician and artist and certainly an inspiration to me. I was lucky enough to meet her recently when she played at the Jazz Café with Lee Ritenour. She is a truly amazing spirit, very open, giving and beautiful. I can only be myself though so hopefully people will like what they hear as me.

But it’s being Deborah Jordan that’s opening doors…
It’s a really exciting time for me as I’m getting the opportunity to work with new people. Although I did some writing and vocal arranging on Silhouette Brown, I’m getting to find my own voice on these projects. Richard E gave me a fantastic track for myself. He liked what I did with it so he asked me to contribute to his solo album project. I’ve written that and he seems very happy with it! It’s great to have someone react to what you’ve done with his or her instrumental in such a positive way! So, hopefully, my confidence is growing. And I’m working on something special with Simon S and Abstract Blue. It’s such a stroke of luck that we were billed at Cargo together for Silhouette Brown’s first gig for Gilles Peterson. Break Reform are fantastic in their own right and Abstract Blue have my respect for supporting quality music and trying to help artists get their music heard. They’ve done an amazing job. I’m glad they’re getting the recognition they deserve on both fronts from people like Gilles (Peterson). They’re showing me a lot of faith and support so I’ll come up with the goods!

With your flautist skills as well?
My flute playing is extremely rusty but I’m just getting into Bobbi Humphrey thanks to Simon S educating me! Does he have a record collection and a half! I’m being totally inspired by all the stuff I’m hearing at the moment that’s new to me whether it’s old or new. So I think there will be many influences in my solo stuff. I’m just into good music, I don’t care what category things fall into. I once said in an interview that ‘the world would be a better place if everyone listened to Frank Zappa!’ which is kind of haunting me now, although I still believe it, a lot of people can’t believe I’m into his music. I’m happy to let the music dictate what I should write to it, for it to feel right, that way hopefully people will feel something when they hear it.

You live in East London, is this where all this talent emanates?
I’m very proud of my Italian roots, Mum moved to Milan from Bologna when she was 15 and she met Dad as he was out in Italy with his band. My cousin, Dante Maffei, is an artist still based in Bologna doing amazing artwork including installations in nightclubs! And growing up in Bournemouth was great. I loved it there and still go back frequently as my family is still there. It’s definitely got a little scene happening too.

More on the Bournemouth scene I hope as I’ve heard there are new Baker Brother releases due, but what’s immediately next for you?
There are more gigs lined up with Silhouette Brown. I’m especially looking forward to London Jazz Festival in November, Stratford Circus for my friends at Urban Development and lots of writing for the solo project, for Richard E and continuing to co-write with Uschi Classen.

Abstract Blue Recordings tell us Deborah will be recording with Kamara, Ol’English and Quozman, so 2006 looks like it’ll be equally busy for what Straight No Chaser tells us is “one of the top new soul-jazz singers to come out of the UK Scene.” I’ll endorse that, top indeed.

Links:
Robert Mitchell’s Panacea
Robert Mitchell Biog
Straight No Chaser Deborah Jordan features as on to the Soul Sirens feature: Straight No Chaser. Summer 2005
May/June 2005 Issue 63 Jazz UK Chrissie Murray ‘Steps Ahead’ “Silhouette Brown (Ether Records) .. the Dego and Kaidi Tatham neo-soul project meets London Broken beats. A winner”.
Jazzlive at The Crypt St. Giles Church Crypt, , 81 Camberwell Church Street, SE5 8RB Tel. 0871 332 3605
Cargo
Ibrahim Ferrer (1927 – 2005) – Obituary The Economist
Uschi Classen
Dante Maffei http://www.ddmaster.com/maffei/ [also try Sitart]
Patrice Rushen