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<\/a><\/p>\n\u201cI guess I identify as Black,\u201d she says. \u201cPredominantly in work spaces, I find the cognitive dissonance of being many things at once can be difficult to accept. My upbringing in Oakland was multiracial, immigrant and American. In an ideal world, I wouldn\u2019t have to choose one identity.\u201d<\/p>\n
Music suggests the possibility, if not the reality, of an ideal world. Mentors with whom she has studied or worked have reminded her to advocate for her true self. Among them are Faye Carroll and Tammy Hall.<\/p>\n
Sauce first worked with Carroll in the Jazz Camp West program. It was early in her career, and she didn\u2019t think of her voice or her songwriting as significant, magnificent or noteworthy. \u201cI sat in the back, tried not to be noticed. Faye picked up on that right away and pulled me forward, telling me I had to accept and honor the gifts I had. From her, I learned to just be true,\u201d she recalls.<\/p>\n
\u201cTammy emphasized I shouldn\u2019t have to choose between jazz or soul music, between Black or Filipino,\u201d she says. \u201cI shouldn\u2019t justify or fragment myself to be marketable or digestible. People constantly project on you, how you fit in. I find people I trust who don\u2019t make me choose. The art benefits from that.\u201d<\/p>\n
The authenticity of Sauce\u2019s new work rests in embracing her reputation as an accomplished singer of jazz standards and vocalese lyrics while simultaneously venturing into territory spanning Brazilian, soul, R&B, folk tunes and more. \u201cI get to be all parts of me,\u201d she notes. \u201cThere\u2019s vocalese where I\u2019ve written lyrics to [established] instrumental jazz solos, straight-ahead jazz and new things I\u2019m communicating into the musical conversation. For the first time, the arc pushes the limits of what constitutes jazz. The more I do what I want, the more it fully enriches my practice.\u201d<\/p>\n
Steeping herself in the culture of a particular language, she has become increasingly appreciative of the nuances. Metaphorically variable and different in how certain words stretch over extended notes or add percussive qualities to the lyrics, the distinctions seem minor, but are artistically significant. One example she cites: Vowel sounds sung in Portuguese lend themselves to the poetry of Brazilian music more than does English.\u00a0<\/p>\n
\u201cI write music in these styles in authentic ways,\u201d says Sauce. \u201cIt\u2019s not a gimmick. It demonstrates the history of the music. I honor where it comes from.\u201d<\/p>\n
A song with personal references, \u201cSome Other Place,\u201d centers on feeling threatened and vulnerable in the current political environment as a woman, person of color and artist.\u00a0<\/p>\n
\u201cIt\u2019s a chaotic time,\u201d says Sauce. The lyrics put forth finding the love, happiness and \u201cfloating free\u201d feeling that are deserved and worth fighting to preserve. \u201cIt\u2019s not telling anybody how to feel,\u201d she explains. \u201cIt\u2019s presenting uncertainty, unrest, patience, yearning and longing. The harmony, groove and rhythms are opportunities to connect.\u201d<\/p>\n
Feeling liberated to express versatility by the collaboration with Kipple, Sauce says their pairing is \u201ckismet.\u201d She expected a serious, rigorous experience, but discovered an artist who is down-to-earth, eager to follow or lead, have fun and set no limits. Engaging in play\u2014the hard work of professional musicians, but also, the childlike thrill of adventure\u2014she insists is important.<\/p>\n
\u201cHe welcomes all of me,\u201d she says. \u201cThere\u2019s no correct chord or lick; there\u2019s simply an authentic presentation of who I am.\u201d<\/p>\n