Gratitude over expectation
Muirsical Conversation with Sari Schorr (Part Two)
Muirsical Conversation with Sari Schorr (Part Two)
Seven months have passed since FabricationsHQ spoke to vocal powerhouse Sari Schorr in a conversation that went well beyond discussion on the perfectly titled debut album A Force of Nature to uncover just what makes the extremely talented individual that is Sari Schorr tick.
But things have moved so quickly for the New York Blues Hall of Famer and her supremely talented band The Engine Room (Innes Sibun - guitars, Kevin Jefferies - bass, Kevin O'Rourke - drums, Anders Olinder - keys) that it seems only a matter of weeks since that 2016 feature, the critical acclaim received for A Force of Nature and The Engine Room's initial and well-received run of UK & European dates.
The continuity and relationship formed between the prior and latest conversational feature is also such that FabricationsHQ has no hesitation in sub-titling this article Part Two, especially in light of the two-fold nature of topics covered including the upcoming second UK Tour, progress on the highly anticipated second album and two dates that will see the Sari Schorr return to a country she has an "indescribable" connection with, and love, for.
Outside of those Two for the Show topics the forces of connectedness and attraction, along with the importance of momentum and gratitude, were discussed, but the conversation started with the upcoming tour and the blues rocking soul sister getting back out on the road with her band of brothers…
Ross Muir: Having got your first UK tour as a solo artist under your belt in 2016, and with debut album A Force of Nature being so well received, you must be looking forward to continuing the momentum on what is, in effect, the second leg of the Force of Nature Tour, in the UK and Europe…
Sari Schorr: Honestly, I really can’t wait!
It’s great when you finally get to take the music out on the road for the fans and the audiences; it’s the reward for all the hard work that’s gone in to this project and the making of A Force of Nature.
This is the fun part of it, because it’s like being on the road with family with these guys; obviously we have lots of long trips on buses – and even longer waits at airports with cancelled flights! [laughs] – but when you are with people you adore it’s just so much easier.
We really do look forward to it and getting out to as many people as possible.
RM: Your Manhaton Records label mate Stevie Nimmo made the same sort of points in conversation with FabricationsHQ; he doesn’t just have his two first-choice musicians with him, he has two of his best mates.
It’s as much about the comradeship as the musicianship, which invariably comes across in the performance, which in turn creates a bond between band and audience.
SS: That’s so true and I don’t think I’d have the strength to do this without that kind of support.
And I completely agree about the bond created; I think that’s because music is all about communication – not just with the audience, but with each other on stage – when you have so much friendship between you, you also have trust, and that means you can have a lot of fun in the playing.
I can take chances and do things that would normally give other musicians a heart attack [laughs] because I know they have my back. That allows us to have that little element of danger when we are performing.
Innes especially [laughs]; he and I attack the songs the same way – in fact we go as close to the edge as we can possibly go!
But things have moved so quickly for the New York Blues Hall of Famer and her supremely talented band The Engine Room (Innes Sibun - guitars, Kevin Jefferies - bass, Kevin O'Rourke - drums, Anders Olinder - keys) that it seems only a matter of weeks since that 2016 feature, the critical acclaim received for A Force of Nature and The Engine Room's initial and well-received run of UK & European dates.
The continuity and relationship formed between the prior and latest conversational feature is also such that FabricationsHQ has no hesitation in sub-titling this article Part Two, especially in light of the two-fold nature of topics covered including the upcoming second UK Tour, progress on the highly anticipated second album and two dates that will see the Sari Schorr return to a country she has an "indescribable" connection with, and love, for.
Outside of those Two for the Show topics the forces of connectedness and attraction, along with the importance of momentum and gratitude, were discussed, but the conversation started with the upcoming tour and the blues rocking soul sister getting back out on the road with her band of brothers…
Ross Muir: Having got your first UK tour as a solo artist under your belt in 2016, and with debut album A Force of Nature being so well received, you must be looking forward to continuing the momentum on what is, in effect, the second leg of the Force of Nature Tour, in the UK and Europe…
Sari Schorr: Honestly, I really can’t wait!
It’s great when you finally get to take the music out on the road for the fans and the audiences; it’s the reward for all the hard work that’s gone in to this project and the making of A Force of Nature.
This is the fun part of it, because it’s like being on the road with family with these guys; obviously we have lots of long trips on buses – and even longer waits at airports with cancelled flights! [laughs] – but when you are with people you adore it’s just so much easier.
We really do look forward to it and getting out to as many people as possible.
RM: Your Manhaton Records label mate Stevie Nimmo made the same sort of points in conversation with FabricationsHQ; he doesn’t just have his two first-choice musicians with him, he has two of his best mates.
It’s as much about the comradeship as the musicianship, which invariably comes across in the performance, which in turn creates a bond between band and audience.
SS: That’s so true and I don’t think I’d have the strength to do this without that kind of support.
And I completely agree about the bond created; I think that’s because music is all about communication – not just with the audience, but with each other on stage – when you have so much friendship between you, you also have trust, and that means you can have a lot of fun in the playing.
I can take chances and do things that would normally give other musicians a heart attack [laughs] because I know they have my back. That allows us to have that little element of danger when we are performing.
Innes especially [laughs]; he and I attack the songs the same way – in fact we go as close to the edge as we can possibly go!
RM: I’m glad you mentioned Innes because I was about to say, on that thread of "trust" balanced with "danger," when Innes goes off on one, you know you have the two Kevins’ locking it down with Anders similarly knowing what to provide by way of support.
It becomes an interplay of five great musicians; this is not just a backing band with a great vocalist.
SS: Absolutely, and it’s funny you should say that because Mike Vernon made exactly the same kind of point when we were in the studio, working on what will be the second album.
He said "I have rarely seen a band that is this locked in, with this dynamic, and this amount of talent."
We are five very different people, with very different personalities and very different musical backgrounds, but that's what makes it all so interesting.
We have a foundation based on blues and blues rock but there’s an immense amount of other influences in there, which creates the sonic landscape of this unique thing we have called The Engine Room.
I still sometimes think "wow, how did I get so lucky?" [laughs]
RM: I think it has little to do with luck and more to do with the connectedness of things, or gravitating towards each other.
We are all made of the same atoms and subject to the same forces, so many of us gravitating towards like-minded individuals or circling in the same orbits, is simply the micro-version of the gravitational forces that form, and create, planetary orbits.
SS: That’s so beautifully said. That could be exactly what it is because this is bigger than any one of us.
Really, it's if a guiding force attracted us to each other and to this particular project – and it continues to pull more interest towards us from people who are just discovering the band.
There just seems to be this beautiful momentum behind it.
RM: "Momentum" is the key word and leads nicely to what will be the second album.
To continue that momentum you have to deliver not just live but in the studio, with new material – I believe the initial recording and tracking for what will be album number two went very well?
SS: To be honest with you it has exceeded all our expectations so far – and to see Mike Vernon so ecstatic in the studio just lifts all our spirits, because we are so aware of what an incredible privilege it is to be working with someone of Mike’s stature.
We are all big fans of his work too, so to see him on his feet, grooving to the music, arms flailing over his head and with this great big grin across his face [laughs]… as we see that, and how Mike is reacting?
That makes us enjoy the experience even more.
We were supposed to be working on six tracks but because this band is so clued in to each other we ended up getting ten out of that first session; that puts us way ahead of the game for the next session and takes a hell of a lot of pressure off of us.
So, when we go back in to the studio in May, we know we will have plenty of time to work on guitar overdubs, solos, some nice augmentations and be extra selective on any number of little things.
RM: The debut album met with great acclaim and positive review across the boards; it featured on a number of music and blues sites and was FabricationsHQ’s "Debut Album of the Year" in 2016 Review.
All of which means you become subject to "follow that then" syndrome – can you at least match, if not better, what has gone before?
SS: Before we started this new record Mike Vernon had a serious conversation with me about the album.
He said "the debut album has exceeded everyone’s expectations; the reviews have been off the charts and in some cases spectacular, but that means the second one is the important one – this is the make or break album, there’s going to be a lot of pressure to get it right."
But I told Mike I felt absolutely no pressure coming to this record; I just know that it’s going to work – I have this incredible intuition and I’ve never been more confident because I believe so much in this band.
When we went out to Spain to do the initial writing sessions we wrote twelve songs over the course of five days; we were just so excited about the new material.
Even the lyrics, which as you know are normally the struggle for me – we would pick two songs that we wanted to work on further the next day and that night I would write the lyrics!
RM: Wow [laughs]; that’s so unusual for you – and quite the strike rate.
SS: That is unusual for me; I mean really unusual, especially when you consider I’ve been known to take a month on one single lyric! [laughs]
They were not one hundred percent done but the hard parts – defining what the song is about, the lyrical hooks – that was all down, so I had about seventy-five percent of them written.
It becomes an interplay of five great musicians; this is not just a backing band with a great vocalist.
SS: Absolutely, and it’s funny you should say that because Mike Vernon made exactly the same kind of point when we were in the studio, working on what will be the second album.
He said "I have rarely seen a band that is this locked in, with this dynamic, and this amount of talent."
We are five very different people, with very different personalities and very different musical backgrounds, but that's what makes it all so interesting.
We have a foundation based on blues and blues rock but there’s an immense amount of other influences in there, which creates the sonic landscape of this unique thing we have called The Engine Room.
I still sometimes think "wow, how did I get so lucky?" [laughs]
RM: I think it has little to do with luck and more to do with the connectedness of things, or gravitating towards each other.
We are all made of the same atoms and subject to the same forces, so many of us gravitating towards like-minded individuals or circling in the same orbits, is simply the micro-version of the gravitational forces that form, and create, planetary orbits.
SS: That’s so beautifully said. That could be exactly what it is because this is bigger than any one of us.
Really, it's if a guiding force attracted us to each other and to this particular project – and it continues to pull more interest towards us from people who are just discovering the band.
There just seems to be this beautiful momentum behind it.
RM: "Momentum" is the key word and leads nicely to what will be the second album.
To continue that momentum you have to deliver not just live but in the studio, with new material – I believe the initial recording and tracking for what will be album number two went very well?
SS: To be honest with you it has exceeded all our expectations so far – and to see Mike Vernon so ecstatic in the studio just lifts all our spirits, because we are so aware of what an incredible privilege it is to be working with someone of Mike’s stature.
We are all big fans of his work too, so to see him on his feet, grooving to the music, arms flailing over his head and with this great big grin across his face [laughs]… as we see that, and how Mike is reacting?
That makes us enjoy the experience even more.
We were supposed to be working on six tracks but because this band is so clued in to each other we ended up getting ten out of that first session; that puts us way ahead of the game for the next session and takes a hell of a lot of pressure off of us.
So, when we go back in to the studio in May, we know we will have plenty of time to work on guitar overdubs, solos, some nice augmentations and be extra selective on any number of little things.
RM: The debut album met with great acclaim and positive review across the boards; it featured on a number of music and blues sites and was FabricationsHQ’s "Debut Album of the Year" in 2016 Review.
All of which means you become subject to "follow that then" syndrome – can you at least match, if not better, what has gone before?
SS: Before we started this new record Mike Vernon had a serious conversation with me about the album.
He said "the debut album has exceeded everyone’s expectations; the reviews have been off the charts and in some cases spectacular, but that means the second one is the important one – this is the make or break album, there’s going to be a lot of pressure to get it right."
But I told Mike I felt absolutely no pressure coming to this record; I just know that it’s going to work – I have this incredible intuition and I’ve never been more confident because I believe so much in this band.
When we went out to Spain to do the initial writing sessions we wrote twelve songs over the course of five days; we were just so excited about the new material.
Even the lyrics, which as you know are normally the struggle for me – we would pick two songs that we wanted to work on further the next day and that night I would write the lyrics!
RM: Wow [laughs]; that’s so unusual for you – and quite the strike rate.
SS: That is unusual for me; I mean really unusual, especially when you consider I’ve been known to take a month on one single lyric! [laughs]
They were not one hundred percent done but the hard parts – defining what the song is about, the lyrical hooks – that was all down, so I had about seventy-five percent of them written.
The Engine Room (left to right): Innes Sibun, Kevin O'Rourke, Sari Schorr, Kevin Jefferies, Anders Olinder
"I’ve never been more confident because I believe so much in this band. I know they have my back."
RM: To return to something we’ve spoken about before and your thoughts on where some of your music and lyrics come from.
Do you think those lyrics were coming so quickly this time around because you may have been pulling them from somewhere else?
SS: I think I’m channelling something, yeah. It’s like the Universe is saying "this is what you’re supposed to be doing because the world needs healing and you’ve been chosen to be one of the people to help bring something of value and beauty to the world, through music."
RM: Your calling, if you will.
SS: I’ve always wanted to save the world, but, I’ve also always been completely unrealistic about what I’m realistically capable of doing [laughs].
I went off to Haiti and India to try and solve problems that were obviously so much bigger than any one person, and came back home demoralised – not to say my work was wasted, but you very quickly learn that you can’t just take people out of poverty; you can’t just cure diseases; you can’t overcome political corruption.
That’s when I started to realise "well, wait a minute, maybe my job here is to use my music as the vehicle, to make a contribution." That’s when I felt doing music wasn’t so selfish any more, which had always been a negative thing for me – up until then I had been very selfish about my music.
But then I started thinking "I love to sing, I love to write, why don’t I do something with that to make the world a better place?" Well, duh! [laughs]
RM: That palm of hand to forehead moment of self-realisation…
SS: Yes, exactly! [laughs]
RM: But, without going through those processes, and those demoralising experiences, you wouldn’t have the perspective you now have.
As you so eloquently explained to me in our 2016 conversation, every event in our life, whether negative or positive, shapes us and defines who we are.
SS: They do, and you’re right to remind me of that [laughs] but, one of the things I struggled with was really appreciating what I had to offer. I didn’t have enough confidence to think that I could ever be good enough.
I had a voice saying "oh there are other great singers, there are other great songwriters;" I was so critical of myself, and so uncomfortable in my own skin, that I could never say "wait a minute, I can do this!"
Well, that is until a Yoga class, just before I was due to do the New York City Marathon...
I had read that Yoga was good training for running and for the discipline of a Marathon so I went to a class. Before long this beautiful young Yoga teacher came over to me as I was struggling to twist myself in to a pretzel that was well beyond the limitations of my body [loud laughter]
She came over, put her hand on my shoulder and said "honey, you’ve got to learn how to balance effort and compassion – right now you are all effort, with absolutely no compassion for yourself! [laughs]
RM: That’s a great line [laughs] – and a great lesson.
SS: I know, what you can learn in a Yoga class, right?
That lesson changed everything for me – it made me a better singer, it made me a better musician, and it got me through two New York City Marathons, because I learned how to train with compassion.
I also learned to accept I’m not going to win those races [laughs] – fifteen thousand people finished before me but fifteen thousand people finished behind me – making me a completely average runner! [laughs]
But I can live with that now, that’s the difference!
RM: Yes, but that’s counterbalanced by the fact you are not an average singer, something Scottish audiences will get to see and hear for themselves when you play Aberdeen and Glasgow as part of the 2017 UK tour.
You played the Edinburgh Jazz and Blues Festival in 2016 but these are new territories for you; coupled with your love of the Auld Country that has to be something you’re really looking forward to…
SS: Well [pauses]... let me tell you something I’ve never told you before.
The first time I ever set foot in Scotland I was home; I have a connection with Scotland that is indescribable but there was this feeling, deep in my gut, and so powerful, that felt so familiar to me. It’s truly inexplicable.
My first trip to Scotland was twenty-five years ago; I bought a beautiful silver ring on the Isle of Skye and that ring has never left my finger.
RM: The Celtic knot ring you showed me last year.
SS: Yes. I wear that ring because it reminds me of my connection with Scotland.
Actually we visited Aberdeen right after we did the Edinburgh festival date; I loved it there too but I just love all of your country. So, yes, I can’t wait to get back!
RM: And we can’t wait to have you play those dates – although the thrill of playing new towns or territories is balanced by the threat of lower turnouts, something suffered by even the most talented of acts or truly firecracker bands.
That can be a fact of touring life until you become established in those territories and build a grass roots flowing.
SS: That’s true, but you know what? When I first started out I was part of a six-piece band – and most nights we outnumbered our audience! [laughs]
But as I said to the band then, and as I say to The Engine Room now, you have to be even more grateful to that handful of people who have got up off their couch, turned off their TV, got in their car or headed for the subway, to make the effort to come out and see you.
Believe me it’s a lot of fun getting on the stage in front of thousands of people, but there’s a lack of intimacy there as well – it’s very hard to make a connection on those big stages, especially as even the front rows of those audiences might be quite far away from you.
I also think it’s great – and really important for us – that we still have the opportunity to do intimate shows. Because let’s face it, this band has skyrocketed very quickly and one of my concerns about that is we aren’t developing that grass roots following you mentioned; that core audience that becomes your fan-base.
For example we still do some shows in the UK that my agent tells me we’re now beyond playing, in terms of size of the venues, but I’ll say "no, it’s very important that we take every opportunity to develop that grass roots following."
RM: I applaud that attitude – and the gratitude shown to any and all who turn up – as loudly as I applaud The Engine Room on stage.
Developing a fan-base is critical because the days of high sales, denting the charts and guaranteed airplay for even the most hard working and talented of bands are long gone – it’s a crapshoot out there.
Given the talent currently featured in blues and blues rock it should be a theatre and halls circuit but, equally, given the 21st century musical landscape, it’s probably destined to forever be a club circuit.
SS: Yeah, I agree. But I’ll tell you another advantage to this smaller environment and that’s the subtleties that can come through; for example I can do things vocally that would get lost on a big stage, or have some fun with the songs.
RM: Indeed; you certainly have some fun with some of the numbers you’ve introduced in to the set list on occasion – the full on cover of Led Zeppelin’s Rock and Roll, the sassiness employed on the non-album track Don’t You Call My Name, to name but two...
"I’ve never been more confident because I believe so much in this band. I know they have my back."
RM: To return to something we’ve spoken about before and your thoughts on where some of your music and lyrics come from.
Do you think those lyrics were coming so quickly this time around because you may have been pulling them from somewhere else?
SS: I think I’m channelling something, yeah. It’s like the Universe is saying "this is what you’re supposed to be doing because the world needs healing and you’ve been chosen to be one of the people to help bring something of value and beauty to the world, through music."
RM: Your calling, if you will.
SS: I’ve always wanted to save the world, but, I’ve also always been completely unrealistic about what I’m realistically capable of doing [laughs].
I went off to Haiti and India to try and solve problems that were obviously so much bigger than any one person, and came back home demoralised – not to say my work was wasted, but you very quickly learn that you can’t just take people out of poverty; you can’t just cure diseases; you can’t overcome political corruption.
That’s when I started to realise "well, wait a minute, maybe my job here is to use my music as the vehicle, to make a contribution." That’s when I felt doing music wasn’t so selfish any more, which had always been a negative thing for me – up until then I had been very selfish about my music.
But then I started thinking "I love to sing, I love to write, why don’t I do something with that to make the world a better place?" Well, duh! [laughs]
RM: That palm of hand to forehead moment of self-realisation…
SS: Yes, exactly! [laughs]
RM: But, without going through those processes, and those demoralising experiences, you wouldn’t have the perspective you now have.
As you so eloquently explained to me in our 2016 conversation, every event in our life, whether negative or positive, shapes us and defines who we are.
SS: They do, and you’re right to remind me of that [laughs] but, one of the things I struggled with was really appreciating what I had to offer. I didn’t have enough confidence to think that I could ever be good enough.
I had a voice saying "oh there are other great singers, there are other great songwriters;" I was so critical of myself, and so uncomfortable in my own skin, that I could never say "wait a minute, I can do this!"
Well, that is until a Yoga class, just before I was due to do the New York City Marathon...
I had read that Yoga was good training for running and for the discipline of a Marathon so I went to a class. Before long this beautiful young Yoga teacher came over to me as I was struggling to twist myself in to a pretzel that was well beyond the limitations of my body [loud laughter]
She came over, put her hand on my shoulder and said "honey, you’ve got to learn how to balance effort and compassion – right now you are all effort, with absolutely no compassion for yourself! [laughs]
RM: That’s a great line [laughs] – and a great lesson.
SS: I know, what you can learn in a Yoga class, right?
That lesson changed everything for me – it made me a better singer, it made me a better musician, and it got me through two New York City Marathons, because I learned how to train with compassion.
I also learned to accept I’m not going to win those races [laughs] – fifteen thousand people finished before me but fifteen thousand people finished behind me – making me a completely average runner! [laughs]
But I can live with that now, that’s the difference!
RM: Yes, but that’s counterbalanced by the fact you are not an average singer, something Scottish audiences will get to see and hear for themselves when you play Aberdeen and Glasgow as part of the 2017 UK tour.
You played the Edinburgh Jazz and Blues Festival in 2016 but these are new territories for you; coupled with your love of the Auld Country that has to be something you’re really looking forward to…
SS: Well [pauses]... let me tell you something I’ve never told you before.
The first time I ever set foot in Scotland I was home; I have a connection with Scotland that is indescribable but there was this feeling, deep in my gut, and so powerful, that felt so familiar to me. It’s truly inexplicable.
My first trip to Scotland was twenty-five years ago; I bought a beautiful silver ring on the Isle of Skye and that ring has never left my finger.
RM: The Celtic knot ring you showed me last year.
SS: Yes. I wear that ring because it reminds me of my connection with Scotland.
Actually we visited Aberdeen right after we did the Edinburgh festival date; I loved it there too but I just love all of your country. So, yes, I can’t wait to get back!
RM: And we can’t wait to have you play those dates – although the thrill of playing new towns or territories is balanced by the threat of lower turnouts, something suffered by even the most talented of acts or truly firecracker bands.
That can be a fact of touring life until you become established in those territories and build a grass roots flowing.
SS: That’s true, but you know what? When I first started out I was part of a six-piece band – and most nights we outnumbered our audience! [laughs]
But as I said to the band then, and as I say to The Engine Room now, you have to be even more grateful to that handful of people who have got up off their couch, turned off their TV, got in their car or headed for the subway, to make the effort to come out and see you.
Believe me it’s a lot of fun getting on the stage in front of thousands of people, but there’s a lack of intimacy there as well – it’s very hard to make a connection on those big stages, especially as even the front rows of those audiences might be quite far away from you.
I also think it’s great – and really important for us – that we still have the opportunity to do intimate shows. Because let’s face it, this band has skyrocketed very quickly and one of my concerns about that is we aren’t developing that grass roots following you mentioned; that core audience that becomes your fan-base.
For example we still do some shows in the UK that my agent tells me we’re now beyond playing, in terms of size of the venues, but I’ll say "no, it’s very important that we take every opportunity to develop that grass roots following."
RM: I applaud that attitude – and the gratitude shown to any and all who turn up – as loudly as I applaud The Engine Room on stage.
Developing a fan-base is critical because the days of high sales, denting the charts and guaranteed airplay for even the most hard working and talented of bands are long gone – it’s a crapshoot out there.
Given the talent currently featured in blues and blues rock it should be a theatre and halls circuit but, equally, given the 21st century musical landscape, it’s probably destined to forever be a club circuit.
SS: Yeah, I agree. But I’ll tell you another advantage to this smaller environment and that’s the subtleties that can come through; for example I can do things vocally that would get lost on a big stage, or have some fun with the songs.
RM: Indeed; you certainly have some fun with some of the numbers you’ve introduced in to the set list on occasion – the full on cover of Led Zeppelin’s Rock and Roll, the sassiness employed on the non-album track Don’t You Call My Name, to name but two...
SS: Performing on smaller stages or more intimate environments is also an artistic challenge, which I love.
And I’m always aware that I could be somewhere else, doing a job I don’t even like; so I’m grateful for every opportunity.
RM: As you said that I’m reminded of Texas Blues artist Ray Wylie Hubbard and his song Mother Blues.
When performing it live Ray signs off with the line "the days that I keep my gratitude higher than my expectations, I have really good days."
SS: "Gratitude higher than my expectations"… that’s great!
RM: A line to live by, I feel.
SS: It is; it’s beautiful!
RM: Right, that’s the t-shirts for the UK Tour sorted then; I’ll get on to the printer [loud laughter].
It’s also the perfect way to sign off, until we reunite when you cross north of the border.
SS: Fabulous; let’s make sure we do! Thank you so much Ross and thank you for the friendship and support you and FabricationsHQ has given us – we’re grateful for that too!
Ross Muir
Muirsical Conversation with Sari Schorr
March 2017
Sari Schorr official website: http://www.sarischorr.com
Click here for FabricationsHQ’s conversation with Sari Schorr (Part One - August 2016)
Click here for FabricationsHQ's Feature Review of A Force of Nature
And I’m always aware that I could be somewhere else, doing a job I don’t even like; so I’m grateful for every opportunity.
RM: As you said that I’m reminded of Texas Blues artist Ray Wylie Hubbard and his song Mother Blues.
When performing it live Ray signs off with the line "the days that I keep my gratitude higher than my expectations, I have really good days."
SS: "Gratitude higher than my expectations"… that’s great!
RM: A line to live by, I feel.
SS: It is; it’s beautiful!
RM: Right, that’s the t-shirts for the UK Tour sorted then; I’ll get on to the printer [loud laughter].
It’s also the perfect way to sign off, until we reunite when you cross north of the border.
SS: Fabulous; let’s make sure we do! Thank you so much Ross and thank you for the friendship and support you and FabricationsHQ has given us – we’re grateful for that too!
Ross Muir
Muirsical Conversation with Sari Schorr
March 2017
Sari Schorr official website: http://www.sarischorr.com
Click here for FabricationsHQ’s conversation with Sari Schorr (Part One - August 2016)
Click here for FabricationsHQ's Feature Review of A Force of Nature
Sari Schorr Photo Credit: Laurence Harvey
Audio track 'Don't You Call My Name' presented with the permission of the artist.
Audio track 'Don't You Call My Name' presented with the permission of the artist.