With a radiant voice that truly stirs the soul and a wit that lights up any room, Jamie Shew has earned her place as one of Los Angeles’ most acclaimed jazz vocalists. Praised for her expressive artistry and masterful musicianship, Jamie’s rich, velvety vocals and creative flair have enchanted audiences across the globe for more than twenty years. Blending classic jazz sophistication with a fresh, contemporary twist, her distinctive style continues to resonate with listeners from all walks of life. We had the pleasure of catching up and discussing music, life, and more!
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Jamie, thank you for taking the time to speak with us. Your musical journey began early on. Can you share a formative memory from your childhood in Washington that first sparked your love for singing and arranging?
Honestly, I was about ready to quit piano as I entered high school. I’d been taking classical lessons since I was four, and by eighth grade, I was feeling pretty burned out – anxious of competitions and a bit tired of accompanying everything. At that point, I was also really into sports – volleyball, basketball, and softball – so music was starting to feel less important. Then, my mom heard that the high school jazz choir needed a pianist, someone to understudy for a year and then step into the main role. She suggested I give it a try and sweetened the deal by saying I could take lessons from a jazz piano teacher. Plus, she promised I could quit after a year if I didn’t like it. From the first lesson and rehearsal, I was hooked. Jazz felt fresh and expressive in a way classical music hadn’t for me at that point.
Arranging came a bit later, and honestly, it wasn’t even on my radar until college. I didn’t realize students could do it. I assumed arrangements just came from professionals you bought music from. Then, a transfer student joined our program and had done her own vocal jazz arrangements. I’ll admit, my first reaction was, “Who does she think she is?” But really, I was just jealous she figured it out before I did. After getting over my case of envy, I then thought, “Wait, so we’re allowed to do that?” That was the first time I realized arranging was something I could explore myself. So, I gave it a try – I arranged “Autumn Leaves” for my solo set at the Lionel Hampton Jazz Festival. I gave it an Afro-Cuban feel, wrote out the piano part, and added a swing section for the bridge. I absolutely loved the process. It felt like solving a creative puzzle, and it pulled together all the things I loved about jazz at that time.
If I think WAY back, though, my first “arrangement” might’ve been in high school for an English project. I made a seamless medley of songs – including the original Top Gun theme and that very cool piano part to George Michael’s “Freedom” – and rolled the piano into the classroom to perform it. I so wish I could remember what the assignment was for, but I clearly remember how fun it was to put that performance together. That may have been the real beginning.
How did your studies at Washington State University and Western Michigan University shape your approach to both performance and education? Were there specific mentors who left a lasting imprint on your artistry?
I absolutely wouldn’t be where I am today without my time at both Washington State University and Western Michigan University. Each place shaped me in unique and lasting ways both as a performer and an educator.
At WSU, I studied jazz piano with the brilliant Charlie Argersinger, who had a huge influence on how I think about harmony and improvisation. I also studied classical voice and choral studies with Lori Wiest, which gave me strong technical foundations. During my first three years, Paul Klemme directed the jazz choir – he had a classical background in choral conducting and organ but a real passion for vocal jazz. Then, in my final year, Dan Bukvich took over as jazz choir director when Paul moved. Since his full-time position was at the University of Idaho, he gave me the opportunity to lead the group one of the two days a week – an experience that really sparked my love for teaching vocal jazz.
Funny enough, it was Charlie Argersinger who introduced me to one of my all-time favorite vocalists, Sunny Wilkinson. Though, I didn’t actually meet her at the time. He had arranged a bunch of big band charts for her album and made me a mixed cassette tape to learn the music to perform with our WSU big band, directed by Greg Yasinitsky. I remember falling in love with her and her voice long before I ever saw her face or met the beautiful soul that she is.
Fast forward to after graduation – my late husband, Roger, and I received a flyer from Greg about full graduate assistantship availability in jazz bass and jazz voice at Western Michigan University. Roger was excited as he wasn’t totally sold on a future teaching middle or high school marching band. I, on the other hand, had zero intention of going back to school. We were planning to move to Portland, and I was ready to start the jobs we had lined up for us! But we both applied anyway and sent in our audition tapes. I remember doing what must have been slightly rough bass/voice duos for mine, including the song “Blue Monk” by Thelonius Monk.
After applying, I looked into the WMU program more closely, and there she was – Sunny Wilkinson! She taught there, and if I got in, she would be my teacher. I couldn’t believe it! On top of that, the vocal jazz ensemble, Gold Company, was one of the most prestigious in the country, led by the incredible late Steve Zegree. Suddenly, I was thrilled (yet still a bit terrified) at the thought of going back to school – and we both received full scholarships to attend.
In my second year, I had the chance to study with the incredible Duane Davis while Steve was on sabbatical. Each of these mentors – Charlie, Lori, Paul, Dan, Sunny, Steve, Duane, and Greg—played a major role in shaping the performer and educator I am today. I truly owe my musical trajectory to their guidance, opportunities, and belief in me.
You’ve dedicated over two decades to teaching at Fullerton College. How has your role as an educator influenced your own artistic growth and the way you approach new projects?
Teaching music for over two decades at Fullerton College has 100% shaped my artistic growth. There’s no question that teaching makes me better at what I do on stage. When you’re explaining musical concepts to students, you have to really break them down. In doing so, you always end up deepening your own understanding. I’ve learned more through teaching than I ever expected.
It’s also taught me to be incredibly flexible – both in the classroom and on the bandstand. You quickly learn that things don’t always go as planned, and being able to adapt in the moment is a skill that translates directly to performance. Whether it’s a missed cue, a wrong note, or a day when technique just isn’t cooperating, you figure out how to keep the music moving forward with grace and creativity.
Being an educator constantly reminds me to stay curious, open, humble, and organized – that mindset influences every new project I take on. Whether I’m arranging, performing, or writing, I carry that spirit of exploration with me. Teaching and performing have become deeply interconnected in my life. Each one fuels and informs the other.
After the loss of your husband, Roger, you turned to music as a way to process grief. Can you talk about the first song or moment where you felt music begin to help you heal?
Before Roger passed, my role was very much centered around being a full-time educator and a full-time caretaker for our son. Roger and I both worked during the day, but at night, he was also playing gigs five or six nights a week. I didn’t go out to see live music much – someone always needed to be home, and that was me. After his passing, something shifted. I felt this strong, almost urgent pull to go out and hear live music, even though it was terrifying at first. I didn’t know where to park, I didn’t know the neighborhoods, I didn’t want to walk into clubs alone, and I had to arrange babysitters just to leave the house. Every night out easily cost $100+ between childcare, gas, cover charges, and those two-item minimums. It was overwhelming, but I went anyway. And every time I stepped into a club, something incredible happened. This music community – many of whom I didn’t know well personally – embraced me. People came up to me, hugged me, asked me to sit in. They somehow knew exactly what I needed before I could even say it.
One night stands out in particular. I went to see the LA Jazz Quartet at the Baked Potato. They asked me to sit in, and I was completely starstruck, but also deeply moved. Their music reached me in a way I hadn’t experienced before. I didn’t just hear it, I felt it. I went home that night inspired, pulled out some charts, and started practicing again with a new sense of purpose. That night marked a turning point in my healing, and three of those musicians, Larry Koonse, Darek Oles, and Jason Harnell, ended up playing on my album at that time, Eyes Wide Open.
Music didn’t just help me cope with the grief – it gave me a way to move through it. It reconnected me to myself – physically feeling my voice for the first time – and to a community I didn’t even know I had until I needed it most.
On your album ‘Eyes Wide Open,’ you chose songs that mapped the arc of your relationship and loss. Did arranging and performing these pieces offer you new perspectives on your own story, or perhaps even surprise you emotionally?
Absolutely. Creating Eyes Wide Open was a deeply emotional and personal process. I found myself returning to recordings that Roger and I used to listen to together – songs that held memories, laughter, and what many musicians will relate to – nerd-ily over-analyzing their structure, chords, and techniques. Some tracks made me smile, but many had me crying as I sat and listened, remembering him and the life we shared.
Writing the title track, “Eyes Wide Open,” was especially cathartic. That song captures the reality I was stepping into – the grief, yes, but also the transformation. One lyric, “As the clock slowly turns back in time, the hands move forward in a new direction,” reflects that shift. It speaks to my new role as both parents to our son. The lyric was inspired by something small, but meaningful – the way Roger used to hold my hand with the back of my hand facing forward. Now I found myself holding our son’s hand that same way, now being his sole protector.
Arranging and performing these songs helped me see our story not just as one of loss, but of love that continues. It surprised me how healing it could be to share something so personal through music – and how much clarity it gave me along the way.
‘Spicy, Classy (and a little) Sassy’ explores love in all its forms, including rediscovered joy. How did your experiences of heartbreak and healing inform the tone and song choices for this new album?
I think it was just time to let loose a little. Spicy, Classy (and a little) Sassy really does describe me – and after everything I’d been through, I was ready to embrace all the parts of myself, not just the reflective or serious ones. This album was a conscious decision to stop worrying about what other people might expect from me personally and musically and to just create something that felt true to who I am. Heartbreak and healing both played a big role in that. They helped clarify not only what I want in life, but also what I want to say as an artist. It’s been a long and sometimes difficult journey figuring that out, but this album reflects all the pieces of me – playful, soulful, bold, tender.
The songs on this record are a mix of past and present influences – from the pop I grew up with like Whitney Houston, Prince, Madonna, and Michael Jackson, to current artists I love, like Lake Street Dive, Brandi Carlile, Lawrence, and Sara Bareilles. And of course, the jazz tradition is always at the heart of what I do. This album allowed me to blend all those sounds while still honoring the jazz roots that are so ingrained in my soul. In the end, Spicy, Classy (and a little) Sassy feels like a celebration – not just of love in all its forms, but of rediscovery, confidence, and joy.
As an arranger, you’re known for blending genres and adding unique grooves and textures. Can you walk us through your creative process for reimagining a classic, such as your funk-infused take on “Invitation” or the Latin groove on “I’m Glad There is You”?
This album was definitely influenced by a wide range of genres, and I had so much fun exploring those sounds. It’s funny you asked about “Invitation,” because honestly, I’m not even sure where that particular groove “came” from – I guess I’m just in my backbeat-and-funky era! At the time, I was listening to a lot of Lake Street Dive, Michael Jackson, and Lawrence, so I imagine those sounds crept into my subconscious and sparked something.
That said, it always starts with the lyric for me. I don’t just slap a groove onto a tune because it sounds cool – it has to feel authentic to the story the song is telling. With “Invitation,” I sat at the piano and started playing around with a bass line. That’s often my way in. I began layering in harmonic ideas – experimenting with sus chords to create a kind of rich, rhythmic punctuation – and the arrangement grew from there. I knew I didn’t want the entire tune to stay in that same funky feel, so for the bridge, I had the band shift into an Afro-Cuban groove. That contrast felt right – the opening has this restless, almost impatient energy, and the bridge opens up with a sense of release and freedom, which fits the lyric beautifully.
With “I’m Glad There Is You,” the process was similar. It started with a bass line at the piano. The lyric in the A sections is so introspective and vulnerable, and the Latin groove I chose – reminiscent of Ahmad Jamal’s “Poincianna” – had this openness to it that matched that emotional tone. I’ve always admired Edward Simon’s piano playing. He often uses this really interesting rhythmic Latin-infused pattern that feels both grounded yet syncopated. I borrowed some inspiration from that and added a different rhythmic texture in the bridge, where the lyric becomes more certain and resolved. That shift in groove mirrors the shift in the story.
For me, arranging is always about emotional alignment – finding the groove, texture, and harmony that brings the lyric’s arc to life in a fresh, honest way.
“Enough” and “Letters from You” are deeply personal originals. What was it like translating your family’s stories and emotions into music, and how did you know when a song was truly finished?
I’ll focus my answer on “Letters From You,” which was inspired by a box of old letters from my grandmother that resurfaced during a family reunion in the summer of 2024. Most of the letters were between her and her mother, and they sparked a wave of family memories – especially the quirky things that made my grandma who she was. We shared stories about her love for Kmart blue light specials, hoarding toilet paper, her scary basement, picking raspberries, and her obsession with Johnny Carson. Initially, I thought I was going to write a light, funny tune based on those stories.
But after returning home and attending a live show by one of my former students, Mario Jose, something shifted. His performance at The Moroccan Lounge moved me so deeply and inspired me to start writing the very next day. As I wrote, I realized those funny quirks masked something much heavier – my grandmother’s loneliness and longing for connection. The song began evolving into something much more emotional and layered, reflecting not only her story but also the parallels to my own life – we were both widowed around 40, raising children alone. But where she remained alone, I eventually found love again.
Even though it was a deeply personal subject, I just knew it had to be a pop tune. It was my first time writing in that style – what was I thinking? But Mario’s show had left such an impression on me that the energy and tone came surprisingly easily. I dove into studying the song forms and writing styles of artists like Taylor Swift, Brandi Carlile, and Billie Eilish. Within just a few days, “Letters From You” started to take shape.
At the first rehearsal, I had the core structure, chords, guitar theme, and most of the lyrics, and the band instantly understood the vibe because the bones of the song were strong. But it wasn’t until I sat with the rough studio recording that the real magic happened. I knew it needed background vocals, so I asked Mario to sing – and he said yes! My teacher’s heart just about exploded. I had the vocal parts written out for him, but also gave him creative freedom, and when we layered his vocals in the studio, something clicked. I remember sitting in my car listening on the way home from the studio just sobbing! That’s when I knew it was done. The song had become exactly what it needed to be – a tribute to my grandmother’s life, her longing, and the universal power of connection across generations.
Collaboration is a strong thread throughout your work, especially with the stellar band on your latest album. What do you look for in collaborators, and how do you foster creative synergy in the studio?
Trust has become a key theme for me, both as an artist and as a person. In music, trust is everything. It creates a truly collaborative environment where everyone feels valued and respected, and where the music can really breathe. Whether in a rehearsal, in the studio, or on the bandstand, mutual trust – without ego – is what allows us to take risks, be vulnerable, and create something meaningful together. That trust is built on knowing everyone has put in the time, care, and energy into their craft – and that we’re all speaking the same musical language. That means collaborators can read music, expect clear and concise charts, communicate groove and vibe effectively, speak in terms of form (not just measure numbers), and most importantly… the swing feels good! And beyond all that, they’ve got to be a good hang. Because if we’re going to make music together, the vibe in the room matters just as much as what’s on the page.
You’ve been a mentor and adjudicator for countless young jazz musicians. What advice do you give to students who are struggling to find their own voice in such a competitive and ever-changing industry?
Ah, the million-dollar question for any artist educator! I actually think about this a lot. My first piece of advice is: if music is something you love, like something you can’t stop thinking about and doing, then you have to do it. But if it’s not lighting you up in that way, it’s important to be honest with yourself. This is an incredibly demanding industry, and it requires a lot of resilience, dedication, and self-advocacy. You have to fight for yourself through the noise, the doubt, and the competition. No one will hand it to you. You have to be your own biggest cheerleader, learn how to promote your work, and develop thick skin early on. Start young if you can – your brain is a sponge during those early years, and there’s no substitute for total immersion in the art form.
As an educator and mentor, I always tell students that nothing you learn about music is ever wasted. Even if some of the curriculum feels outdated or not directly applicable, there’s value in every lesson if you stay open. Through it all, you’re learning how to work hard, how to think critically, how to connect musical ideas, and, most importantly, how to discover who you are as an artist.
Also, (again) the power of the hang is real. Go to shows. Introduce yourself to other artists. Build relationships. Yes, it can be uncomfortable at first, but the connections you make in those spaces (as well as the classroom) are often just as important as the skills you develop in a practice room.
And finally, be versatile. Don’t box yourself into just one thing. Learn different styles, a musical computer notation program, a DAW program, learn about artist management, build a website, take a good photo, shoot and edit video, post on your social media accounts. Learn how to play basics on the drum set, even if you’re not a drummer! The more skills you bring to the table and the more you can relate to people, the more opportunities will come your way – and the more control you’ll have over your creative life.
In your view, what is the most powerful way music can serve as a tool for healing—not just for artists, but for audiences as well?
Life would be incredibly boring without music. Can you even imagine a movie without a soundtrack? Music is everywhere, and it enhances every moment, every mood, in ways we often don’t even realize. What makes music such a powerful tool for healing is its ability to connect us to our own stories – and to each other’s. People are drawn to stories, and music brings those stories to life in a way that goes beyond words. Whether you’re creating it or simply listening, music can tap into emotions that we may not even know how to express. It can offer comfort, release, reflection, and joy when we least expect it. For both artists and audiences, music holds space for healing by allowing us to experience emotion on a deeper level, process what we’re going through, and to sometimes feel less alone in it all.
Looking back at your journey so far, what has been the most unexpected lesson you’ve learned about resilience, both as an artist and as a person?
One of the most unexpected lessons I’ve learned about resilience is that even in the midst of heartbreak and hardship, we can still do hard things. In fact, we need to do hard things in order to grow. The challenges don’t disappear, but over time, we get stronger, more compassionate, and more aware of what really matters.
Another big lesson has been the importance of community and connection. Truly showing up for others – and allowing them to show up for you – is one of the most powerful things in life. I moved away from home when I was 18, and since then, it’s mostly been me, my son, and either my late husband or my partner now of 7 years. With my family still in Washington State, I’ve had to build my support system here from the ground up. My neighbors and my musical community have become my local family, and that kind of chosen family has carried me through so much.
Where can our followers find out more about you?
https://open.spotify.com/artist/29QE0ah1g4hYlC9gO8ZcyA?si=IcrlEJZ1S26lDBfV0WMrQw
https://music.apple.com/us/artist/jamie-shew/517607988
https://www.instagram.com/jamieshewmusic/
Images- main photo by Anna Webber – Location- The Prospect Hotel, Los Angeles
Vibrato Craig Allyn – Location/ Vibrato, Los Angeles, CA
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