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Before I tell my life story, and reveal my inner-most secrets in this
website bio, I will answer the one question that I have been asked most in
my life; "Is Solitaire your real name?"
Yes, it is. A few generations back, a same-named great -great-
grandmother left France for the USA. My Mother, an artist and a child of
the late 60's, decided to name her only child after this relative, to carry on
a family name. I can't lie, it was hell growing up with it, and he jokes and
lines I hear never end
"Did your mother like to play cards?"
"Hey, let's play a little Solitaire..."
I have heard them all, and I'm setting the record straight now, so I don't
have to keep explaining it. But as a name for a jazz singer, I couldn't ask
for anything better. So I never changed it to Mary or Susan or any of the
other normal names that I used to fantasize about having. I was going to
put up an official, formal bio, but what I had come up with sounded so
stiff and pretentious. Since I'm not a Nobel laureate, I'm going to
provide a more casual read.
I grew up in the US, in Northwestern Pennsylvania and Western New
York. My Grandmother Sybil came from a very musical family and
decided to make a musician out of me when I was very young. Sybil had
been a big band/jazz singer in the late 1930's - 40's, and sang and played
piano in the northeastern US. By the time I was in grammar school she
was training my ear with Billie Holiday, Ella Fitzgerald and Mildred Bailey,
and encouraging me to learn several instruments. My first instrument was
the stand up bass that I played when I was in the 3rd grade, and it was
taller than I was. I had to stand on a stool to play it. Sybil was a great
singer, and had incredible phrasing. She taught me standards like
"Tenderly" and "Body and Soul", and I use several of her arrangements
for these tunes now.
Consequently I entered a private highschool that was known for it's
specialization in performing arts, with a music scholarship that forced me
to concentrate heavily on singing and music. After high school I attended
the D'Angelo Music Conservatory in NW PA to study music, and later
transferred to DePaul Universtiy in Chicago, IL, to study voice. It was
during this time that I met the great jazz violinist Johnny Frigo, who's
playing wooed me away from classical singing. Hanging out with Johnny
and Joe Vito at Toulouse quickly tuned my ear to jazz, and I began singing
with them. We recorded an album of jazz and art songs which featured
some obscure material by Kurt Weill, and a few great standards like
"Autumn Leaves" and "Lush Life". As I expanded my jazz horizons in
Chicago I also befriended Sax Legend Von Freeman, who also encouraged
me to pursue jazz professionally. We worked together
on the bandstand, and made a recording with Chicago pianist Willie
Pickens. It's these two recording sessions that make up most of my
debut album.
After performing in Chicago with Johnny and Von, I decided to move to
NYC and make a go of it there. With the support of my musician friends in
Chicago, I was able to meet great players in NYC and get started singing.
While I was working as a receptionist for a jazz club, I met the great jazz
trumpeter Doc Cheatham, who held a Sunday brunch when I was working
at the club, and he would invite me up to get on stage with him during his
jam sessions, and sing with him and the band. It was a great introduction
to the jazz scene in NYC, and I was fortunate to follow that up with other
jobs around town, thanks to Doc. I learned a lot from him, and I really
admired his phrasing while he sang and played, and I have adopted
several of the songs that he did, even though they are really OLD songs
that not too many people do anymore. Songs like "How Am I to Know"
and "Was it a Dream?" and "Out of Nowhere".
While living in NYC, I was diagnosed with a genetic auto-immune disorder
called Lupus. I moved to Los Angeles then, to follow up with some very
exceptional and outstanding medical treatment at the superior
rheumatology department at UCLA. It was at this time that I met my
husband John, who came from a family of artists, and encouraged me to
work with art. Because of the odors and chemicals involved in some of
the painting materials, like oil paint and turpentine that irritated my
treatment, John set me up on a computer with Photoshop and a Wacom
tablet, and I credit him for any bit of digital art that I create now. In the
lull of treatment, I found a wonderful way to deal with any feelings or
conflict I had experienced while living with Lupus. It became another
muse that quickly filled up my heart and mind, and it was a great
therapy, and a powerful healing tool. I strongly recommend working with
art or crafts as a tool to facilitate healing for anyone, sick or not. Even if
you haven't had any art training, or you can't color within the lines, go for
it. Putting paint on a canvas or scribbling with crayons can help you
unload a lot of things from your mind and soul, and it doesn't have to look
like a DaVinci. It just has to please you. It's a very healing thing.
Now I am living in Chicago again, and I am recording music, and
performing, and still making art. One of the nicest things any reviewer or
critic has recently said about me was pronounced by Chatauqua
Symphony Bassist Harry Jacobson, "Solitaire sounds like Billie Holiday
with sunshine and air".
I have just started pod-casting, because I love to pick the brains of other
artists and musicians, and I think it's fascinating to hear their stories and
learn about the process of their art and music. I also feel that there isn't
enough press out there for jazz musicians and artists, so I am glad to
provide a vehicle for them to tell their stories and express themselves,
and share their life experiences.
I hope that you have fun visiting my site, looking and listening. Thank you
for checking me out.
Here are a few nice things that people have said over the years about my
music;
"Solitaire Miles captivates an audience with mesmeric tone, playful,
conversational phrasing, and a sinuous sense of swing. Miles has a voice
that grabs you, and demands to be listened to. Her natural, unaffected
delivery never draws attention to itself, allowing the craft of the song
writers to shine through." Tamara Dailey, Chicago
Sentinel
"Billie Holiday with sunshine and air"- Chautuaqua Sympony bassist
Harry Jacobson
"Her singing is enhanced by an uncanny stage presence. She could easily
fit into a group portrait with Peggy Lee, Maxine Sullivan, or Billie Holiday.
She shows great vocal diversity, strength and agility as she explores the
timeless textures of songs like 'Autumn Leaves', 'I Must Have That Man',
and 'Lush Life'"
Dave Rhoerbach Los Angeles Victory Gazette
"We can learn a lot from the way Miles informs each song with
impeccable intonation, flexible phrasing, and historical insight. She can
take an obscure Billie Holiday song and recreate it in her own style
without sacrificing the mood of it's time."
Marion Herschberger Brooklyn Free Press
"Her voice is best described as human and earthy, and she presents jazz
standards and forgotten favorites in a sassy style of jazz/swing hybrid
that has been compared to Mildred Bailey, Billy Holiday and Helen Humes."
Emily Santolla The Chautauquan Daily
"Solitaire cries and shouts long-forgotten jazz and blues gems from the
likes of Bessie Smith and Dinah Washington with the power, vigor, and
stage grabbing presence of Mick Jagger. Bassist Harry Jacobson
captured her essence by labeling her 'Billie Holiday with sunshine and air'.
One thing's certain, once you've caught her, you can't help going back for
more."
Al Lubiejewski Erie Times
website bio, I will answer the one question that I have been asked most in
my life; "Is Solitaire your real name?"
Yes, it is. A few generations back, a same-named great -great-
grandmother left France for the USA. My Mother, an artist and a child of
the late 60's, decided to name her only child after this relative, to carry on
a family name. I can't lie, it was hell growing up with it, and he jokes and
lines I hear never end
"Did your mother like to play cards?"
"Hey, let's play a little Solitaire..."
I have heard them all, and I'm setting the record straight now, so I don't
have to keep explaining it. But as a name for a jazz singer, I couldn't ask
for anything better. So I never changed it to Mary or Susan or any of the
other normal names that I used to fantasize about having. I was going to
put up an official, formal bio, but what I had come up with sounded so
stiff and pretentious. Since I'm not a Nobel laureate, I'm going to
provide a more casual read.
I grew up in the US, in Northwestern Pennsylvania and Western New
York. My Grandmother Sybil came from a very musical family and
decided to make a musician out of me when I was very young. Sybil had
been a big band/jazz singer in the late 1930's - 40's, and sang and played
piano in the northeastern US. By the time I was in grammar school she
was training my ear with Billie Holiday, Ella Fitzgerald and Mildred Bailey,
and encouraging me to learn several instruments. My first instrument was
the stand up bass that I played when I was in the 3rd grade, and it was
taller than I was. I had to stand on a stool to play it. Sybil was a great
singer, and had incredible phrasing. She taught me standards like
"Tenderly" and "Body and Soul", and I use several of her arrangements
for these tunes now.
Consequently I entered a private highschool that was known for it's
specialization in performing arts, with a music scholarship that forced me
to concentrate heavily on singing and music. After high school I attended
the D'Angelo Music Conservatory in NW PA to study music, and later
transferred to DePaul Universtiy in Chicago, IL, to study voice. It was
during this time that I met the great jazz violinist Johnny Frigo, who's
playing wooed me away from classical singing. Hanging out with Johnny
and Joe Vito at Toulouse quickly tuned my ear to jazz, and I began singing
with them. We recorded an album of jazz and art songs which featured
some obscure material by Kurt Weill, and a few great standards like
"Autumn Leaves" and "Lush Life". As I expanded my jazz horizons in
Chicago I also befriended Sax Legend Von Freeman, who also encouraged
me to pursue jazz professionally. We worked together
on the bandstand, and made a recording with Chicago pianist Willie
Pickens. It's these two recording sessions that make up most of my
debut album.
After performing in Chicago with Johnny and Von, I decided to move to
NYC and make a go of it there. With the support of my musician friends in
Chicago, I was able to meet great players in NYC and get started singing.
While I was working as a receptionist for a jazz club, I met the great jazz
trumpeter Doc Cheatham, who held a Sunday brunch when I was working
at the club, and he would invite me up to get on stage with him during his
jam sessions, and sing with him and the band. It was a great introduction
to the jazz scene in NYC, and I was fortunate to follow that up with other
jobs around town, thanks to Doc. I learned a lot from him, and I really
admired his phrasing while he sang and played, and I have adopted
several of the songs that he did, even though they are really OLD songs
that not too many people do anymore. Songs like "How Am I to Know"
and "Was it a Dream?" and "Out of Nowhere".
While living in NYC, I was diagnosed with a genetic auto-immune disorder
called Lupus. I moved to Los Angeles then, to follow up with some very
exceptional and outstanding medical treatment at the superior
rheumatology department at UCLA. It was at this time that I met my
husband John, who came from a family of artists, and encouraged me to
work with art. Because of the odors and chemicals involved in some of
the painting materials, like oil paint and turpentine that irritated my
treatment, John set me up on a computer with Photoshop and a Wacom
tablet, and I credit him for any bit of digital art that I create now. In the
lull of treatment, I found a wonderful way to deal with any feelings or
conflict I had experienced while living with Lupus. It became another
muse that quickly filled up my heart and mind, and it was a great
therapy, and a powerful healing tool. I strongly recommend working with
art or crafts as a tool to facilitate healing for anyone, sick or not. Even if
you haven't had any art training, or you can't color within the lines, go for
it. Putting paint on a canvas or scribbling with crayons can help you
unload a lot of things from your mind and soul, and it doesn't have to look
like a DaVinci. It just has to please you. It's a very healing thing.
Now I am living in Chicago again, and I am recording music, and
performing, and still making art. One of the nicest things any reviewer or
critic has recently said about me was pronounced by Chatauqua
Symphony Bassist Harry Jacobson, "Solitaire sounds like Billie Holiday
with sunshine and air".
I have just started pod-casting, because I love to pick the brains of other
artists and musicians, and I think it's fascinating to hear their stories and
learn about the process of their art and music. I also feel that there isn't
enough press out there for jazz musicians and artists, so I am glad to
provide a vehicle for them to tell their stories and express themselves,
and share their life experiences.
I hope that you have fun visiting my site, looking and listening. Thank you
for checking me out.
Here are a few nice things that people have said over the years about my
music;
"Solitaire Miles captivates an audience with mesmeric tone, playful,
conversational phrasing, and a sinuous sense of swing. Miles has a voice
that grabs you, and demands to be listened to. Her natural, unaffected
delivery never draws attention to itself, allowing the craft of the song
writers to shine through." Tamara Dailey, Chicago
Sentinel
"Billie Holiday with sunshine and air"- Chautuaqua Sympony bassist
Harry Jacobson
"Her singing is enhanced by an uncanny stage presence. She could easily
fit into a group portrait with Peggy Lee, Maxine Sullivan, or Billie Holiday.
She shows great vocal diversity, strength and agility as she explores the
timeless textures of songs like 'Autumn Leaves', 'I Must Have That Man',
and 'Lush Life'"
Dave Rhoerbach Los Angeles Victory Gazette
"We can learn a lot from the way Miles informs each song with
impeccable intonation, flexible phrasing, and historical insight. She can
take an obscure Billie Holiday song and recreate it in her own style
without sacrificing the mood of it's time."
Marion Herschberger Brooklyn Free Press
"Her voice is best described as human and earthy, and she presents jazz
standards and forgotten favorites in a sassy style of jazz/swing hybrid
that has been compared to Mildred Bailey, Billy Holiday and Helen Humes."
Emily Santolla The Chautauquan Daily
"Solitaire cries and shouts long-forgotten jazz and blues gems from the
likes of Bessie Smith and Dinah Washington with the power, vigor, and
stage grabbing presence of Mick Jagger. Bassist Harry Jacobson
captured her essence by labeling her 'Billie Holiday with sunshine and air'.
One thing's certain, once you've caught her, you can't help going back for
more."
Al Lubiejewski Erie Times
| With Von Freeman in Chicago |
| With Johnny Frigo in Chicago |
| Sybil Der Manuel |
| With Willie Pickens |
| Doc Cheatham |
