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All That Jazz
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It’s one of the coldest days of the year in Manhattan, with icy
winds keeping most people indoors, but not Esperanza Spalding. The 27-year-old jazz artist is racing all over town. She spent the morning at a photo shoot for DownBeat magazine. Now sheʼs heading to a recording studio to fine-tune her next album. Tonight sheʼll perform back-to-back sets at the Village Vanguard, the historic jazz club. But right now she's taking a moment to grab a grilled-cheese sandwich at a café.
“I mean, you have to eat,” she says, as if she needs an excuse to sit still. Spalding doesn't waste much time. She goes to bed early, gets up early, and practices the bass - her instrument of choice every day. She rarely tweets, texts, or watches TV. “I want to,” she says, laughing. “I feel I’m not part of this group. I really admire people
who work so much and still find the time to do that - theyʼre tougher than me.” Still, her diligence pays. Since winning the Grammy for Best New Artist last year - besting Justin Bieber and
infuriating his fans - she has performed 120 shows, hitting 15 countries and 50 U.S. cities. A new
album, Radio Music Society, comes out next month.
Sheʼs eager to hear the mix session for that album this afternoon, an indication of her
hands-on approach. “The sound engineer is a genius,” she says. “But this is the last step where you
make sure the balance of all the instruments is at a place where the music really comes through. I like to be a part of that.” The album is her fourth, and its 11 tunes are accompanied by short films, shot in New York, Spain and Oregon.
Spalding became famous the old fashioned way: hard work. No reality shows, no American
Idol, no manufactured scandals involving naughty snapshots. She grew up in a gang-ridden corner
of Portland, Ore., where a neighborhood child died when a stray bullet flew through a window. As a 5-year-old, she began playing in a community band; by the time she was 15, she was the
concertmaster for an Oregon youth orchestra, with a scholarship to a private arts high school. At
20, she graduated from the Berklee College of Music in Boston.
She credits her mother, a single parent, with her early interest in the arts, recalling childhood evenings, spent together reading books like The Little Prince, and later the biography of abolitionist Frederick Douglass. She listened to the “oldies” - Motown and British rock bands from the ʽ60s and ʼ70s - because her mother didnʼt think the modern stuff was good for her.
She downplays her unpleasant childhood. “Growing up poor isnʼt a ‘specialʼ story,” she says, “but an American one. Where Iʼm from is a really mild example. I mean, Iʼm sure my whole life we were under the poverty line, you know, but I still felt rich. I had a rich upbringing, rich in the sense of a lot of love, a lot of education, nature, music and art, and laughing.” She adds, “Itʼs not just about the income you make.”
Today she sounds like a 21st-century beat poet, peppering remarks like these with phrases such as “Oh, man,” “What a thrill,” “Whoa,” and “What a trip.” She says she sometimes worries that she isnʼt diligent enough. Sheʼs reading a book called The War of Art - about creative thinking
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‘artistʼ, she says, “but thatʼs wrong.” The author, Steven Pressfield, argues that creative people instead need to be willing to work hard every day. “Get up and do your work,” Spalding says. “If itʼs four hours, just get up and do your four hours. I really like that. It somehow makes you feel free.”
Stepping out of the café, sheʼs greeted by a cold wind to the face. “Oh, man,” she says. Head bowed and hands in her parka pockets, she looks for a cab to take her to the mix session for her album across town.
Later, at the Village Vanguard, she steps onstage wearing the same casual cardigan sweater she was wearing at lunch. The house is packed, with people crowded around tiny tables. The walls are lined with posters of jazz giants Coltrane and Thelonious Monk. Standing onstage with her eyes closed, Spalding plays a bass that's taller than her by a foot. Flanked by a pianist and a drummer, she smiles, frowns, laughs, says “Yeah.” She opens her eyes between numbers and gives the audience a quick smile - but when the music starts, she's in her own world.
From: Newsweek, February 20, 2012 Slightly adapted
Notes:
Line 14: diligence ‒ noun of diligent (hard-working) Line 15: besting ‒ being more successful
Line 16: infuriating ‒ making extremely angry
Line 18- 19: hands-on ‒ doing something rather than just talking about it Line 19: approach ‒ a way of doing something
Line 19: sound engineer ‒ a person who works in a recording studio and whose job is to control the levels and balance of sound
Line 27: concertmaster ‒ the most important violin player in an orchestra Line 29: recalling ‒ remembering
Line 33: downplays ‒ makes people think that something is less important than it really is
1
Lines 1-2: “It’s … Spalding.”
These lines indicate that the weather was the following EXCEPT: A agreeable B icy C windy D wintry 2
Lines 1-7: “It’s … club.”
From these lines we may conclude that Esperanza Spalding is a … person. A cautious
B reckless C resolute D restless
3
Lines 3-5: “The … album.” These lines suggest that Esperanza
A had a busy day. B had to make haste.
C was in a very great hurry. D was late for an appointment
4
Line 5-7: “Tonight … club.”
We may say that the Village Vanguard is a jazz club which
A is a historic monument.
B is mentioned in America’s history. C is of historic value.
D is part of America’s history.
5
Line 7-8: “But … café.”
These lines indicate that Esperanza
A had only a moment to buy a sandwich. B had only a moment to order a sandwich. C quickly bought a sandwich.
D quickly had a sandwich.
6
Lines 7-10: “But … still.” We may say that Spalding
A considers sitting still to eat a sandwich a real waste of time.
B knows that eating must be part of your daily routine no matter what.
C means to say that people prefer to eat if they want to stay alive.
D needs to make excuses to sit still and eat a sandwich.
7
Lines 10-13: “Spalding … laughing.” These lines suggest that Spalding
A could only practice early in the morning. B focuses on reaching her aim.
C never tweets, texts or watches TV. D tries not to waste her time anymore.
8
“admire” in line 13 is similar in meaning to A criticize.
B envy.
C look down on. D look up to.
“that” in line 14 refers to A being part of a group.
B going to bed and getting up early.
C tweeting, texting, or watching TV. D wasting much time.
10
Lines 14: “… they’re tougher than me.’ ” This line contains a(n)
A comparison. B contrast. C disappointment. D excuse. 11
Lines 14 -15: “… her diligence pays.” We may say that her diligence paid as she
A could anger Bieber’s fans. B could win an award. C received an award. D won Bieber’s award.
12
Lines 15-17: “Since … month.”
In these lines Esperanza’s success is … . Which of the following does NOT fit?
A evident B ignored C indicated D obvious
Lines 16-19: “A … approach.”
An indication of Esperanza’s hands-on approach is
A announcing the title of her new album. B choosing a suitable title for her new album. C her eagerness to compose a mix session for her album.
D her eagerness to listen to the mix session for her album.
14
The word “eager” in line 18 is similar in meaning to the following EXCEPT:
A impatient B longing C looking forward to D uninterested 15
Lines 19-21: “The … that.”
These lines suggest that Esperanza’s belief in the sound engineer does not keep her from
A balancing all the instruments. B being present during the last step. C checking the sound engineer.
D checking where the music comes from.
16
The phrase “are accompanied by” (line 21) is similar in meaning to
A come before. B go with.
C should come before. D should go with.
17
“shot” in line 22 is similar in meaning to A made.
B prepared. C shown. D watched.
18
Lines 23-24: “Spalding … snapshots.” We may say that Spalding became famous
A by once performing in a popular show. B by refusing to perform in reality shows. C through her own effort.
D through the effort of others.
19
Lines 24-25: “She … window.”
These lines indicate that Spalding grew up
A in a gang.
B in an unsafe vicinity. C to see kids being shot. D with gang members.
20
Lines 25-28: “As … Boston.”
These lines suggest the following about Spalding EXCEPT:
A She had a leading role in a youth orchestra. B She obtained a degree in music.
C She showed musical talent at an early age. D She started a band at an early age.
21
Line 29: “She … arts … .” This line suggests that
A Spalding credits her mother for raising her as a single parent.
B Spalding owes her early interest for music to her mother.
C Spalding’s mother knew she could arouse her daughterʼs interest in the arts.
D Spalding’s mother wanted her daughter to get interested in the arts.
22
Lines 29-32: “ … , recalling … her.” These lines contain a …
A hesitation.
B possibility. C probability.
D reason.
23
Lines 31-32: “She … her.”
We may say the following about Spalding’s mother EXCEPT:
A She disapproved of modern music. B She had an old-fashioned taste in music. C She had influenced her daughter’s taste in music.
D She let her daughter listen to all music styles.
24
Lines 33-35: “She … rich.”
Esperanza’s youth is probably referred to as unpleasant because
A she did not know who her father was. B she had a strict mother.
C she had lived in poverty.
D she was not allowed to listen to modern music.
The word “special” in line 33 is similar in meaning to A common. B exceptional. C normal. D usual. 26
The word “one” in line 34 refers to A an adjective.
B an article.
C a noun. D a verb.
27
Lines 34-36: “ ‘Where … laughing.’ ”
The sentence “Where I’m from is a really mild example.” is followed by a(n)
A apology. B description. C explanation. D report.
28
Lines 36-37: “ She … make.”
From these lines we may conclude that Esperanza
A does not think that money is the most important thing in life.
B does not worry about her income.
C thinks that money is the most important thing in life.
D worries a little about her income.
Lines 38-39: “Today … trip.”
We may say that Esperanza sounds like a 21st- century beat poet because she
A chooses her phrases carefully. B chooses her phrases carelessly. C uses modern phrases.
D uses phrases told to use.
30
Lines 39-40: “She … enough.” We may say that Esperanza
A is sometimes dissatisfied with herself. B is sometimes satisfied with herself. C sometimes gets worried easily. D sometimes worries a lot.
31
Lines 40-41: “She’s … concentrate.”
We may conclude that Esperanza … support to be able to concentrate.
A probably needs B really needs
C is surprised she needs D is told she needs
32
Lines 41-44: “Artists … hours.”
From these lines we may conclude that Steven Pressfield and Spalding think that artists should
A be more creative. B please others. C work four hours. D work hard daily.
33
Lines 46-48: “Stepping … town.”
Spalding probably said “Oh, man” because A a cab was hard to find in the cold. B a cold wind outside blew in her face. C she had to go to the mix session for her album in the cold.
D she had to leave the cosy café.
34
Lines 49-50: “Later … lunch.” These lines indicate that Spalding
A could have performed. B had to perform.
C should have performed. D tried to perform.
35
Lines 51-54: “Standing … world.” These lines suggest that Spalding
A closes her eyes to concentrate when playing the bass.
B finds it hard to keep her eyes open when playing the bass.
C has to close her eyes to play the bass. D is lost in music when playing the bass.
