jnj: You've spent some time in Europe/The Netherlands before going back to the USA. Why have you moved to Europe and why have you gone back?
Fay Victor: I originally moved to Holland some time after I made contact with an American vocalist who lived in Amsterdam. He was instrumental in getting me started there. He acted as my agent and organized gigs and tours in Holland and Belgium. That's how I first went to Amsterdam. I fell in love with the place the moment I got there. After being there a while, I thought it would be a great place to live and making a living as a vocalist seemed possible.
At the time, I was doing fine in New York and I was starting to get my name around and getting better gigs. But at that time I thought it was difficult to make a living solely as a vocalist in New York City. So I thought that Europe might be a good option for a while, to try to perform as much as possible, to hone my chops and develop myself musically. So in 1996, I made the move to Amsterdam. I was right about gigging a lot and all over. And that was a fantastic experience that contributed strongly to my growth as a musician. And that is simply because I had the opportunity to not only perform on a regular basis but to devote the majority of my time to my craft. I am very grateful that.
Then it became time to seek out new challenges and I also thought it was time to try what I do in New York. That's why I came back.


jnj: Please tell me the difference between the music scene you've found in the Netherlands and the USA.
Fay Victor: Well, the scene in New York is HUGE. I mean, there are so many musicians and scenes, and sub scenes. New York is fantastic in that when you do find your place, you can have good support for what you are trying to do. This is something I sometimes missed in Europe. Hardly any musicians that I worked with would give me honest feedback on what I was doing musically. A few would, and with their help, I've gotten constructive criticism that has been a big help. There is a lot of competition in New York, which I like. And I think you have to sort out your priorities pretty quickly here as well.
The scene in the Netherlands is interesting in a different way. The Dutch jazz scene and especially the improvised music scene are very open to a wide array of influences where mainstream jazz in the USA has clearly narrowed its parameters. I liked the quirkiness and open mindset in and about the Dutch scene. They also have some of the most incredible improvising musicians in the world.
I will continue to visit and perform in Holland and I hope to tour there in the not too distant future.


jnj: Your album Lazy Old Sun, that will be released in October 2004, is different from its predecessor Darker Than Blue. Please tell me what you had in mind whilst recording Lazy Old Sun and why did you choose the live setting.
Fay Victor: Lazy Old Sun is a tribute to the Netherlands. I am paying homage to a place that was my home for over 7 years. I grew a lot there - as a musician, a teacher and as a person and I also wanted to document this chapter in my life.
I chose a live setting because I thought it would benefit the music. I wanted to communicate a sense of true ensemble playing. The idea was that my voice would be "just" another instrument, another band member. I wanted an interactive and sensitive musical environment that is greatly enhanced when there is an audience present. This leads me to another aspect of the recording, a sub-concept, if you will and that is 'dreams'. I found the Netherlands to be a rather dreary and dreamy place. Sometimes like a fairytale in the best sense of the word. I thought the arrangements should illustrate this feeling in the music as well.


jnj: Your previous two albums were released on Timeless Records. Which label will release Lazy Old Sun? And why does it take so long to release the album which -like your website says- is ready with mastering etc. since the beginning of April.
Fay Victor: Lazy Old Sun will be released on Greene Ave Records, an independent label based in New York. The release date has been delayed due to a few production glitches which I am happy to say have been resolved. It will be released in October 2004.


jnj: Would it be an option for you to release your new album by yourself and sell it on the internet either as a CD via mail order or as download?
Fay Victor: It certainly would and I am considering that option for future projects. We are also considering making Lazy Old Sun available as a download.


jnj: You've started as a singer of house music. How come you finally found yourself recording jazz albums?
Fay Victor: That's funny that you say that. From the moment I decided I wanted a music career, I only pursued jazz. It was the only thing I wanted to do at that time. Through a mutual friend, I met David Anthony. He was looking for a singer to work with that could also write. We started working together and became good friends. I love house music - I had my clubbing days -- and I thought David wrote good, danceable tracks and if we could make a living doing that, then great. Also, he was cool to work with. He never had to "produce" me, which he liked - so it was a good arrangement while it lasted. It was a lot of fun but it was basically a side gig. That was my start (and end) in house music.


jnj: Who has influenced you musically?
Fay Victor: This is a difficult question to answer because they are so many but I'll give you the top 5: Betty Carter, Sonny Rollins, Thelonius Monk, Jimi Hendrix and Miles Davis, - I mean, this doesn't even cover it at all! Besides of all the musical icons that I could name, the main thing that influences me or touches me is when a musician is herself/himself, and that could be from anybody. I learn the most from hearing that.


jnj: You've done some cover versions of songs by The Doors, The Kinks, Randy Newman or Curtis Mayfield on Lazy Old Sun. Please tell me what inspires you to do a cover and give it a new direction and dimension.
Fay Victor: I am firm believer in making something completely my own. Sometimes, I have a song in mind for years but I haven't figured a way to make it mine. So I don't do it until I do. It was that way with "Last Night I Had a Dream" by Randy Newman, for example. I had wanted to add it to my repertoire for quite a few years, but I couldn't come up with anything. So I left it alone until I did.
In terms of inspiration, it can come from anywhere. We have a lot of music around the house and I try to be open to everything I hear and go with it if touches me somehow. I also go out and listen to a great deal of live music and I might hear a bass line, a riff, something that may give me an idea for a certain tune. That's how it works for me usually. Another feature that attracts me to a cover is a tune that makes a strong personal statement. I think all of the covers on Lazy Old Sun have that quality.