American vocalist, composer and improviser Dominique Eade blends musical virtuosity with a songwriter’s straightforward emotional sensibility, creating music that has garnered critical acclaim, inspired audiences, and served as a creative signpost for generations of singers. Deemed “a fearless collaborator” by pianist Fred Hersch, Dominique’s musical associations have ranged from Alan Dawson and Stanley Cowell to MacArthur grant recipients Ran Blake and Anthony Braxton. She has taught at the New England Conservatory of Music for over three decades, mentoring an array of talented musicians including Roberta Gambarini, Michael Mayo, Rachel Price, Sara Serpa, Sarah Jarosz, Luciana Souza, Jo Lawry, Aoife O’Donovan, and many others. Dominique lives in Boston with her husband and their two sons, both in their twenties.

UK Jazz News: What is the best advice you received about balancing/juggling motherhood and career? 

Dominique Eade: Nothing could ever sum it up. It’s the small things that people say that affect your mindset for the next little step forward. Like my doctor telling me that babies are “quite portable” when I was offered an RCA recording/touring contract four months pregnant with my first child, and about to move back to Boston. She helped me understand that what they (the baby, not the label!) need in the beginning is you. Of course, that changes, so you look for new insights or role models to help you along for the next stage or conundrum. I never found an overarching philosophy that worked for everything. It is, by nature, improvisatory. 

UKJN: What information or advice do you wish you’d received but didn’t (and had to learn through trial and error or on the go)?

DE: Don’t buy too many nostalgic wooden toys. (Anybody need any?) Also, prepare to be interrupted. And know that for some crazy reason, in the US at least, society seems to be set up to isolate mothers, or those doing the primary parenting. See what you can do to bring people into your circle, and find your way into theirs. Don’t feel you have to be exemplary.

Perhaps develop, with your family, a calm ritual around how you are leaving when you go for gigs or tours, or even just out the door, so that the inherent anxieties for the person leaving (Will everything be OK? Did I leave everything as it needs to be and think of everything that could possibly go wrong and leave three back-up plans in place?), and those staying (Will she/he/they ever come back?) don’t take over and become a habit. If possible, gently work to normalize it.

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UKJN: Your top tip(s) for other mothers in jazz:

DE: Ask for help. I had sisters in Europe who came to my rescue when I was on tour. It was bonding and fun. My partner helped out for recordings and gigs. That’s hard to balance, but we managed. My kids also had a couple of babysitters who are now quite well-known vocalists!

UKJN: Baby/child gear tips for travel/touring/gigging:

DE: I had my kids quite a while ago, so much has changed I’m sure. Bring a change of clothes for YOU and the baby on the plane for predictable mishaps when flying, especially if the promoter is meeting you at the airport. And Baby Björns build upper body strength, which is useful for keeping your vocal technique in shape. Know if your baby (or toddler!) prefers napping there, you are actually practicing.

UKJN: Best general travel/gigging/tour-with-child advice:

DE: If you are singing “Silent Night” for a Christmas show on Mountain Stage, you may choose to let the promoter know you are 8 months pregnant before you arrive, or not. I chose not to. “Round yon virgin,” might have gotten a few chuckles. That’s pretty specific, but the general take-away is that you don’t have to over-explain. People can deal.

UKJN: What has surprised you about becoming a parent and remaining engaged with your professional activities and ambitions?

DE: I think I’d have to say that we shouldn’t be too surprised if we feel like we are not that good at either, but that doesn’t mean you shouldn’t be trying, or that you have made bad choices.

UKJN: What boundaries have you set for yourself as a mother in jazz (could be related to travel/touring, riders, personal parameters, child care decisions, etc.)?

DE: I relied more on my teaching position at NEC for income than on touring while my kids were growing up. I was lucky to get maternity leave for both, and also lucky that my RCA recordings were getting good distribution while I wasn’t performing that much, making it easier when I would resume. I don’t know that I have a specific set of boundaries, but I have just learned that you always have to look for balance, and that means many adjustments along the way. 

From what I can see, there are more mothers who are open about raising children and having their performing/artistic careers. It’s not assumed that their artistic endeavors or ambitions will be put on hold, or given up altogether. It’s great to see that. Role models and the sharing of personal experiences really help, and I am proud of this next generation for stepping up. Thanks, Nicky!

(*) Mothers in Jazz was started by vocalist Nicky Schrire. The initiative aims to create an online resource for working jazz musicians with children, those contemplating parenthood, and jazz industry figures who work with and hire musicians who are parents. The insight of the musicians interviewed for this series provides valuable emotional, philosophical and logistical information and support that is easily accessible to all. “Mothers In Jazz” shines a light on the very specific role of being both a mother and a performing jazz musician.

LINKS: Artist website
The complete archive of Nicky Schrire’s Mothers in Jazz series
Profile of Dominique Eade as Faculty Member at New England Conservatory