It would be difficult to define Spencer Day or his music with brevity; the singer-songwriter is profoundly insightful, multi-faceted, and possesses a timeless voice that continues to garner wide-ranging adoration. A stylistic chameleon crooner of sorts, Spencer has an uncanny ability to transition seamlessly from his intricately orchestrated jazz compositions, to more straightforward pop persuasions – with a Spencer twist.
Regardless of what his focus may be at any given time, it’s certain the 40-year-old San Diego-based musician pours his heart and soul into his work both on and off stage. Away from the music world, Day can be found working and sweating (literally) on behalf of numerous humanitarian causes, including Border Angels, a non-profit that helps people stranded at the US-Mexican border.
I recently had the opportunity to speak with Spencer about Angel City and a soon to be released Broadway-based album, his affinity for Seattle, his return to Jazz Alley and his dedication to humanitarian work.
Jerry Peerson: You’ve played shows and worked in support of social justice, mental health, and charitable organizations. Are you working with any organizations currently?
Spencer Day: Day to day the one I’m most involved with is Border Angels, who work with people who are stranded at the border. We’re doing a water drop next month, because 10,000 people have died in the last 10 years or so trying to cross these incredibly brutal passes where it can easily be 115 degrees in the summer. Regardless of how people feel about who gets to stay and who doesn’t, I’d like to think everyone’s on the same page; no one wants to stumble across a dead family. Think about what the stakes must be like for them to be in that situation.
Jerry Peerson: Your forthcoming album, Broadway by Day, is a collection of Broadway-based numbers and is scheduled for release this fall. You’ll preview some of the tunes at the Jazz Alley shows. What songs are you planning to play, and which one do you find the most interesting?
Spencer Day: What I like, is we’re doing very unexpected ones like, ‘A Chorus Line,’ it’s not what you’d expect to do. What I love anytime I do a cover – whether it’s the Cardigans or whatever – I like people getting halfway through the song before they realize what it is. We’re doing, ‘I’d be Surprisingly Good for You,’ from Evita, which I was determined to do as this really dark rhumba. That’s actually one of the favorite tracks we play.
(via Seattle Gay News)
