It was during the early part of her career, that her teachers and mentors nurtured the innovative side of Naylor’s personality. “I was encouraged to be myself as much as possible, and not worry about sounding like someone else. I had a very good teacher who encouraged me, and taught me to release who I am. I think that over time that evolved into the way that I interpret jazz tunes. I was encouraged to try new things.”

Naylor has enjoyed much success and her music has received high marks from the media, radio and a wide spectrum of fans. “I am very pleased to say that we get some nice radio coverage.  It started with straight-ahead jazz and now our music can be heard on some smooth jazz stations, as well as AAA radio. Sirius (satellite radio) plays me on a number of different stations and internet radio plays our music. Obviously, (the stations) are playing different tunes. Some of those songs, such as “Love For Sale,” which have been played on straight ahead, smooth jazz and AAA radio stations, overlap. We are getting more and more radio support all of the time, and we have charted. We just keep sending the music around, and people seem to pick things that they like, out of the myriad of choices on the albums,” she says.

With so many segments of the music industry warmly embracing her music, Naylor was somewhat surprised. “On the Color Of Five, album I was really prepared for the jazz police. I was prepared for the jazz community to not take me seriously. The truth of the matter is that didn’t really happen. In fact we received very good reviews from (a number of publications), radio stations, including NPR. It was shocking to me. In terms of the sidemen with whom we have performed, they have really dug our music,” says Naylor.

Naylor is quick to give credit to her co-producer and co-arranger Art Khu, who also plays piano and guitar in her band. Changing directions numerous times as she talks, Naylor almost seems undecided as to which of Khu’s many talents and attributes she should draw to my attention first.

“Art is a very intricate part of what we do. At first listen, it may sound like an easy thing to do (smashing tunes), but it is actually very difficult to find tunes that work together. You have to have a very large understanding of different kinds of music, to know all of those tunes, and the chord structures that work together. You also have to be able to reharmonize them in a way that is fun, done elegantly, and mindfully. He has the ability to do that, and I have not found that in anyone else. A lot of credit has to go to him. He has put those tunes together very intelligently,” says Naylor.

If other artists had experienced the success that Jacqui Naylor has enjoyed, they might be tempted to take the path of least resistance, and ride the smashed tunes theme until the well ran dry.  Naylor’s devotion to achieving and maintaining excellence in her craft does not permit her to become content, nor does it allow her to abandon her jazz roots.

“When we do a live show, it is really a third, a third and a third. In other words, I am singing one third straight ahead or swing jazz tunes or ballads. One third (of my songs) are tunes that I have written, and one third of them are tunes that are ones that we have smashed. That has worked fairly well, and I have (also) kept that going on the last couple of albums. I think that I have enough albums out there now, that people are drawn more to the jazz stuff. I love jazz music, and that is why there is always a more sensitive ballad on my albums. For instance on Color Of Five, I open with “Blue Moon,” and I close with “Here’s To Life.”  The songs are done in a very traditional way. Jazz is still my favorite genre of music. (Then half-joking, half-serious she says) I don’t ever want to be thrown out of a jazz club. So far, I haven’t been, even though for a while I think that (my music) was pretty shocking (to people). We have played the Blue Note and the jazz festivals of the world, and it is important to me, to be able to continue to do that,” says Naylor.