A Smoky Rendition Steeped in Melancholy and Reflection
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In the dimly lit sanctuary of Austin’s Elephant Room, Sarah Sharp has crafted a world where jazz standards crackle with new life. Her latest release, a haunting rendition of Bob Dylan’s Don’t Think Twice, It’s Alright
, acts as a poignant centerpiece to her new collection, Déjà Vu. With each note, Sharp transforms a personal meditation into a universal reflection on life’s impermanence and the beauty hidden within its fragility.
For nearly a decade, Sharp has been a mainstay at the Elephant Room, bringing jazz aficionadas a rare combination of intellectual depth and soulful resilience. Her weekly performances, backed by her quintet, have become a local legend, deeply embedded in Austin’s rich music tapestry. “We live for it, and not because it pays many bills,” she chimes in with characteristic humor. “At the end of every Thursday, I always feel better when I’m leaving than when I got here.”
The journey to Déjà Vu wasn’t without its twists. Local guitar luminary Eric Johnson offered his studio, setting the stage for an album that captures the live energy fans adore. Reflecting on the intimacy forged with her bandmates, she says, “I’ve been playing with these musicians for years, and our closeness goes beyond just being like a family. I would give a kidney to anyone in my band.”
Sharp’s interpretation of Don’t Think Twice
delves deep, born out of personal loss and the echoes of a past love stricken by cancer. It’s a version that invites listeners into her world of nuanced emotions and contemplative peace—a tribute to the complexity of relationships.
Throughout Déjà Vu, Sharp explores a wide emotional landscape. Her handling of classic tunes, like Randy Newman’s I Think It’s Going To Rain Today
, reveals an artist willing to peel back the layers of a song to expose its aching core. She recounts an inspiring encounter with Newman himself in the exotic glow of a New Orleans mansion—a conversation that shaped her creative vision.
From The Beatles’ For No One
to the flirtatious rhythms of Quizás, Quizás, Quizás
, Sharp’s artistry glows with versatility. Her take on I’m Beginning To See The Light
, immortalized by Ella Fitzgerald, is given an agile, playful twist, while an unexpected transformation of The Boy From Ipanema
challenges conventions. “We added a trance-inducing bass line and loved it right away,” she recalls.
The project, primarily recorded live over two days, captures the organic chemistry that defines her sound. “I’m always striving to become whole while keeping my heart open,” she says, channeling the serendipitous spirit her friends fondly dub “Sarahdipity.”
As Déjà Vu unfolds, it marks a return to the magic of unbridled performance for Sharp. A world tour beckons, from intimate sessions in Japan to potential new adventures in Paris. “Traveling with your music to other parts of the world is like saying hello to parts of yourself that you can’t always access,” she muses—a journey of artistic integration.
Her entrée into the global spotlight, underscored by a storied past and palpable ambition, invites listeners everywhere to explore a world of reflection, heartbreak, and resilient beauty.
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