jnj: You were born in New Orleans. I've never been there but from what I've heard it must be a very "musical" city where you have music in every other corner maybe like Nashville. What was it like being raised in New Orleans?
Monica Dillon: I was actually raised right outside New Orleans in Metairie (sounds like Me-ta-re). It’s about 10-15 minutes away. As a kid I always went to Mardi Gras. I used to stand in awe of the marching bands and brass bands that would come down the parade route. They were brassy and had so much class about them. Even today, there is a strong tradition of marching bands here.
There was always a field trip or two downtown to see plays and go to museums. So I always sort of on the outskirts of the music. These days I run into musicians who went to a regular high school half the day and then attended the New Orleans Center for the Creative Arts (NOCCA). Guys like Wynton Marsalis, Harry Connick, Jr., etc. all graduated from there. Lots of musicians here grew up with the music all around them. I didn’t have that experience, but I always felt connected to music around me no matter where it was.
Since I studied clarinet in school, I always had an awareness of Pete Fountains music too. It’s only been since moving back to New Orleans five years ago, that I have truly realized and appreciated the depth of the music in the city.


jnj: Please tell me what has turned you into music in the first place and made up your mind to become a musician?
Monica Dillon: I think the music has always been there. I grew up listening to a variety of music. Gospel in the home and at church, marching band music, jazz came much later. I think there has always been something in me that has drawn me to music. I remember now just how much I gravitated to the music as a child. Wherever there was a keyboard, organ, or piano, you could find me tinkering away on it. I just couldn’t let it pass me by. Throughout elementary, jr. high, and high school, I played music in the band. I loved playing concert music! The regional honor bands I’d perform with – the sounds we made were heavenly.
I was always a little shy about studying piano, however. After playing a woodwind instrument, all the keys and notes on the piano can look pretty intimidating. I decided to get some formal lessons about 4 years ago. Class with "Madame" consisted of classical training and a little bit of "fun" music at the end of a lesson.
It wasn’t until after I moved back to New Orleans and really starting going out and learning about bands to see. I think there’s something about the music, about creating, that leads one to music. I didn’t choose it – it chose me. Not coming to the music would kind of be like ignoring a clear sunny day and not doing anything with the day. It would be a waste!


jnj: You did a cover of Curtis Mayfield's People Get Ready and of the jazz standard You Don't Know What Love Is, what other artists apart from Curtis have influenced you? Are there any of today's artists you'd like to work with?
Monica Dillon: I’ve really been influenced by great vocalists & songwriters like Stevie Wonder, Nina Simone, Abbey Lincoln, Dianne Reeves, Shirley Horn, Rachelle Farrell, Sarah Vaughn, Billie Holiday, Roberta Flack, Sade, Renee Marie, Tracy Chapman, Cassandra Wilson, Kurt Elling, Jimmy Smith, Prince, James Taylor, Donnie Hathaway, Bob Marley, Sweet Honey In The Rock, Meshell N’degeocello, India.Arie, etc.
As an aspiring musician, people like Herbie Hancock, Joe Sample, Chucho Valdes, Nina Simone, George Duke, and Geoff Keezer, & Jason Moran to name a few, are all artist I really dig. I like to explore and really digest what they’re trying to say. I discover new artist everyday. So many people I’d like to work with...would they work with me is the question (ha, ha). I would be honored to work with anyone who is doing his or her craft and giving it back to the world. I think all of the above artists signify that and much more.


jnj: You're album All I Have Is A Moment is a very impressive debut. How do you feel about it and the reaction it gets so far. Which songs are your favourites?
Monica Dillon: Wow, I never really had any expectations. The business side of me - my first thought was to sell as many as I could. The other artistic side of me really hoped I had a product that people would be receptive and receiving of. The rest, in my mind, is Lagniappe (a little something extra as we say down here), as we say down here. I have been totally overwhelmed and humbled by the reception I have received from people all over. When I write a song or a melody, I try to say something I think will be meaningful at least to me. It is a privilege and an honor to say something that means something to someone else.
I’ve been asked several times by others what my favorite songs are. It is incredible difficult since it’s like asking a parent who their favorite child is. Every song has a life of its own and each song was birthed in a different and interesting way. I put the complete liner notes on the website so that listeners could learn more about the origin of the songs. I ran out of room on the liner notes on the CD.
If I had to really say, my favorite songs on the CD are No, My Baby, We Make Do, Like Friday, T.S. Isidore, Think of Me, – Whoops...there I go again…it’s really hard to say. It’s a much easier question to answer when put to other people – I’M SO HOPELESSLY BIASED!!! It’s not that I think these are the best songs in the world, it’s just that I am proud of the work I have been able to do thus far.


jnj: You've released your album independently. Where do you see the advantages as an independent artist and would it be an option for you to sign a deal with a major label?
Monica Dillon: Hmmmm...the music business is such a necessary/unnecessary evil. On the one hand we now have technology (inexpensive CD pressing, internet radio, etc.) that allows independent artists to at least get their music out into the market. On the other hand, there are so many fly by night artists who come and go, that it’s difficult to look at the big picture and be patient enough to build a career out of the music. We confuse fame with fortune. Often, artists with record labels have the fame, but little of the fortune. I am very comfortable right now doing everything myself, for myself. It’s like our stock market, however. I try not to invest more than I am willing to loose. I work a full-time job, which allows me to reinvest in my music a little quicker than some full-time musicians.
I think the perception used to be that a label was going to come rescue artists from the plight of the independent music business. Now artists are saying, yes - we can do this ourselves. Of course, as an independent musician, like most other artists, getting lots of capital for promotion and distribution is difficult. Sometimes we work really hard and not smart – and miss the journey while trying to promote ourselves and make a go of things. I think I’m getting better at figuring out how to market myself and share the music. This process has definitely made me grow and think even more outside the box.


jnj: What inspires you to write songs like the women's anti-violence song No?
Monica Dillon: Good question...I’ve always been an advocate of human rights, equality, and acceptance of differences. I happen to live in Louisiana, which has one of the highest rates of violence against women in the United States. It is impossible for me to live and go about my day to day without trying to empathizing and understanding the plight of others. If I can bring attention to an issue through my music, then that is what I will do. The song, No, actually came about as a result of a really terrible year in the area of domestic crimes in New Orleans. We suffer with a high unemployment & poverty rate. It doesn’t make us violent people, but it unfortunately shifts our perspective on how we treat each other. Women, unfortunately have been disempowered for so long that we sometimes forget that we do have a voice. I took a self defense class last year and it made me at least feel like, if put in a situation where I felt like I would be assaulted, at least I could fend for myself enough to get away. So the song is about empowerment and a stand against violence against women.


jnj: What do you think of the internet as a tool to promote your music while on the other hand it also may offer file-sharing of your music on peer-to-peer-networks like Kazaa or Soulseek?
Monica Dillon: For promoting music, I think the Internet is heavenly. Just yesterday a gentleman from Hungary emailed me to tell me how much he loved the music. To sit and contemplate how music is able to transcend all kinds of man-made borders/barriers and reach other people thousands of miles away is both astounding and refreshing.
File sharing – hmmm – I think we have to adapt to the market as business people. If file sharing means less CD sales, put less money into CD production, and more time into music creation. Let’s give music lovers what they want, I say. I only fear that we will get to the point of wholesaling music and we’ll be unable to profit from it. Many major artists especially since most artists depend on tangible cd sales. I don’t think there are any easy answers right now. Technology is usually ahead of us. Stay tuned!


jnj: Will there be a European tour to promote your album?
Monica Dillon: Hmmm, I wish I could say there will be a tour. I would love to come to Europe. Last year I visited Madrid and Barcelona, Spain. Europe is such a different world. I really enjoyed it. I’ve had a passport for a long time now and I’m trying to push my friends to get theirs in case I get a call. I would really need some help in trying to put a tour together. And if we come to Germany, we will definitely put Hamburg on the list.