#OnRepeat: Leon Redbone & Zoey Deschanel's "Baby It's Cold Outside"

This week, I've had Leon Redbone and Zoey Deschanel's version of "Baby, It's Cold Outside" #OnRepeat. Christmas is in two days and I've been watching the movie, Elf, non-stop for the past couple days, so I can't get this song out of my head.

Zoey Deschanel is an American singer-songwriter and actress who started gaining attention after her role in The Hitchhiker's Guide to the Galaxy. Some of her other well-known films are Bridge to Terabithia, Surf's Up, Yes Man, and Elf. I first took notice of her voice in the movie, Elf, because it reminded me of jazz singers from the 1940's and 1950's--Zoey's voice is very reminiscent of Billy Holiday and Rosemary Clooney.

Leon Redbone is a Canadian American singer-songwriter who performs mostly jazz and blues standards. I wasn't aware of Redbone until his work with Zoey Deschanel, but he has also performed the theme song for the television sitcom, Harry and the Hendersons and voiced the character of Leon the Snowman in the movie, Elf, as well


This version of "Baby, It's Cold Outside" just makes you want to cuddle up in front of a fireplace with a coffee and a book--at least it does for me. Zoey and Leon's voices compliment each other very well while the drummer plays brushes at a slow pace with bass and piano. It's a Christmas classic given a Jazz spin. Take a listen below:

Are there any actresses/actors that you know that have shed new light on an old standard? Leave a comment below!

#OnRepeat: Josh Groban's "Believe"

This week, I've had Josh Groban's song, "Believe," #OnRepeat. Yes, this is a holiday song ( I can already hear the groans) and it is that time of the year, but I've been stuck on this song because I believe the message in the words transcends Christmas and feelings about Santa Clause. Plus, I happen to really like Josh Groban's voice.

For those of you who aren't familiar with Josh Groban, he is a singer, songwriter, and actor who gained attention when he served as a stand-in for Andrea Bocelli's duet with Celine Dion on the song, "The Prayer," during the 1999 Grammy Awards. Some of his most well-known songs are "You Raise Me Up," "You Are Loved (Don't Give Up), and "To Where You Are."

The song,"Believe," is the theme song from the 2004 film, The Polar Express, a movie about a little boy who doubts the existence of Santa Clause and takes a ride on a magical train to the North Pole. "Believe" is a great song for the holidays, but also delivers a message that can be applied to any aspect of life: anything is possible if you just believe. Groban's voice has the unique, innocent-like quality--apparent even when he belts the higher notes--that delivers this message in the perfect way. Take a listen below:

Though the video is not the best quality, you can see and hear Groban's powerful, yet intimate vocal timbre and performance style.

Is there a holiday song whose message you feel can be applied to any part of the year? Leave a comment below!

#OnRepeat: Jessie J's "Masterpiece"

So this week, I've had Jessie J's song, "Masterpiece," #OnRepeat. I know I'm extremely late, but I've just recently discovered Jessie J. I think she has the same potential as Bruno Mars in terms of making mainstream American popular music substantial again (this is a hefty statement to make, but once you hear her voice, you might agree).

Jessie J (Jessica Ellen Cornish) is a singer-songwriter from London, England. She studied at the BRIT School for Performing Arts and Technology before later getting a record deal and writing several songs for performers like Miley Cyrus and Chris Brown. Her music blends Soul, Gospel, and R&B-style vocals with Electro-pop, Hip-Hop, Pop, and R&B, creating a unique sound that is all her own.  Some of her most well-known songs are "Domino,""Bang Bang," and "Who You Are."

"Masterpiece" is from Jessie J's third studio album, Sweet Talker, and is a song about living up to your potential and empowering yourself. The song has a Hip-Hop/Electronic feel and the words give the impression that it should be an anthem. Although "Bang Bang" definitely makes you move more, Jessie J's powerhouse vocals are really exemplified in this song. Some have criticized Jessie J for not trying to belong more to a particular musical niche, but I truly admire singers who have that chameleon-like quality--meaning they have the ability to fit in several different styles of music, comfortably--and Jessie J is one of those singers. The level of confidence present in her performances is also something that many singers, both beginning and advanced, aspire to have.

Take a listen below:

Is there a group or musician that you can't stop listening to? Leave a comment below!

#OnRepeat: Nina Simone's "Feelin' Good"

This week, I've had Nina Simone's version of "Feelin' Good" #OnRepeat. I actually have been listening to this song a lot because one of my students brought in this song to work on, so I figured I might as well learn more about the song while I work on it with my student.

Anthony Newley and Leslie Bricusse composed the song, "Feelin' Good," for the 1960s musical, The Roar of the Greasepaint - The Smell of the Crowd. It was originally sung by Cy Grant during the U.K. tour of the musical and it was sung by Gilbert Price in 1965 for the Broadway version. The play's plot is basically a metaphorical representation of how differences between upper and lower-economic classes in Britain during the 1960s are maintained. The song, "Feelin' Good," is sung by the role of "the Negro," who wins a game while two other characters are arguing, and sings this song at the moment that he wins.

Nina Simone recorded her version of this song in 1965 on her album, I Put A Spell On You. For those of you not familiar with Nina Simone, she is an American singer, songwriter, pianist, and civil rights activist. She is known for fusing Pop, Jazz, Classical, and Gospel influences in her music. Some of her most well-known songs are "I Loves You, Porgy," "I Put A Spell On You," and "Don't Let Me Be Misunderstood." Nina's contralto voice, powerful vocal timbre, and jazz-like vocal licks are showcased perfectly in this song. Her version of this song set the standard for vocalists afterward, in both performance and technique. You can listen to her version of "Feelin' Good" below:

Do you have a new song, artist, or group that you're listening to? Let us know in the comments below!

#OnRepeat: Kristin Chenoweth's "Maybe This Time"

This week, I've had Kristin Chenoweth's version of "Maybe This Time" #OnRepeat. This is one of those cases where you are introduced to a song by a modern artist or group, which in turn, leads you to research the original version (if you're anything like me).

I've also been listening to musical theater a lot lately and, from what I hear, Kristin Chenoweth is a lover of all things Broadway and is also a theatrical performer, herself. My first introduction to Chenoweth was through the movie, Bewitched, and the comedy, RV, but she was performing long before that, having originated the role of Glinda the Good Witch in the musical, Wicked. Growing up she sang Gospel music, studied Opera, and went on to pursue a career in musical theater. She has won several awards, including three Tony awards for her performances in You're a Good Man, Charlie Brown, On the Twentieth Century, and Wicked.

The song, "Maybe This Time," is from the 1966 musical and 1972 film, Cabaret, made famous by the singer and performer, Liza Minelli. The play is set in early 1930's Berlin, following the story of Sally Bowles and Brian Roberts, and their odd love affair. Chenoweth's version of this Broadway classic captures all the melancholy, desperation, and longing that is found in Sally Bowles' character. When I first heard Chenoweth sing, I wondered how such a big voice could come out of such a small person. She has the ability to be intimate and sultry one minute, and the next, become brash and gaudy, all the while maintaining a clear, bright vocal timbre. Although she does adopt some of Liza's mannerisms for this performance, Chenoweth has her own performance style that is unique and intriguing to watch.

Here is the video of her version of "Maybe This Time" below:

What do you guys think? Are there any other songs that Kristin Chenoweth has performed that you like? Let us know in the comments below!

#OnRepeat: Madeleine Peyroux's "Smile"

This week, I've had Madeleine Peyroux's version of "Smile" #OnRepeat. The song is commonly associated with Charlie Chaplin (the musical composer), but John Turner and Geoffrey Parsons composed the lyrics and gave the song its name in the early 1950s.

Madeleine Peyroux is a Jazz singer, guitarist, and songwriter from the United States. Her singing style is compared to Billie Holiday, yet you can also hear influences of Patsy Cline, Bob Dylan, Edith Piaf, and even Bessie Smith in her performance style.  Some of her most well-known songs are "Don't Wait Too Long," "You Can't Do Me," and "Dance Me to the End of Love."

The song, "Smile," was originally an instrumental theme song composed for the 1936 film, Modern Times, with Charlie Chaplin. Later, when the lyrics were added, the message behind the lyrics was centered around themes from the film--remain positive (or smile) through everything. One of the most heart-breaking parts of the song is when it says: "Light up your face with gladness/Hide every trace of sadness/Although a tear may be ever so near [ . . . ]" Madeleine Peyroux's performance of the song captures the message of the lyrics perfectly. Her voice has all the tenderness and soul of Patsy Cline, yet still slips into melancholic moments like that of Billie Holiday.  Take a listen below:

Do you have a new song or musician that you can't stop listening to? Leave a comment below!

The Importance of Communication in a Band

Communicating is something that we, as people, do on a daily basis. When you were small and you were hungry, you would say to your mom, "Mom, I'm hungry. What's for dinner?" With your friends, if you got mad for whatever reason, you would say, "I'm mad," or "I'm upset," and then list the reasons why you were mad, hoping that you could find a solution to the problem. The reason why I'm giving you everyday examples of how we communicate everyday is to illuminate how similar it is to communicating in a band and why you should do more of it in a musical setting.

There's two important times to make sure you're communicating with your bandmates: during rehearsal (preparation) and actual gigs (performances). Both are equally important because, at any time unexpected things can happen--the pianist comes in a measure early, you forget the lyrics to the second verse, a band member shows up late or not at all, etc.  Getting to know your band members and how they operate before, during, and after a gig will help you to better prepare for those really important performances.

Types of Communication

Something that develops with your bandmates are gestures or looks that are exchanged during gigs and/or rehearsals, and can either be verbal or non-verbal. Some of these are:

-making eye-contact with a particular band member
-either subtle or exaggerated nodding of the head
 -holding up a small fist or a finger
-looking back at other musicians (for soloists or times when vocalist sings without music)
 -giving verbal cues, like, "head," "solo," or "verse."

All of these can be done to cue a certain section of a song or when you want to add or change something at the last minute.

I tend to be unsure when to come in with the verse or bridge of a song after another musician takes a solo, so I always ask the soloist to give me a nod when they are finishing their solo. Some musicians would argue that a good musician always knows where they're at in a song, at all times, but I have seen some really great players either lose themselves in the moment because of the music or they just mess up. It's always better to be prepared for when those "uh-oh" moments happen, so you can transition out of them smoothly.

Learning how to communicate with other musicians helps you connect better with those other musicians, in turn creating better musical experiences. Don't feel bad asking one of your bandmates to help you with your starting note for a song or asking the drummer to give you a cue when to come in after a solo. You all are supposed to be helping each other out so that that musical experience can not only sound good to the audience, but be a fun experience for those performing as well

#OnRepeat: "All About That Bass" Postmodern Jukebox (2015 European Tour Cast Version)

This week I've had Postmodern Jukebox's European Tour Version of the song, "All About That Bass," #OnRepeat. This is actually one of those times where the group that does the cover of a hit pop song gets just as much attention as the actual pop singer who performed it.

Yes, this is a cover of Meghan Trainor's original "All About That Bass." Yes, I know that the lyrics are considered somewhat cheesy (although one would argue that the lyrics promote ideas about positive body image) and the original has influences of R&B, Doo-Wop, Country, and Hip-Hop, creating a mixture that may be catchy but is somewhat hard to get through. I admit that I actually didn't completely listen to Meghan Trainor's version of this song until after I heard the Postmodern Jukebox version.

Which is why I think that this group's version of this song is so great--it takes a mainstream song and makes it relatable for everybody. The group is lead by Scott Bradley on piano, followed by Chip Thomas on drums, Ben Golder-Novak on saxophone, James Hall on trombone, Adam Kubota on bass with Ariana Savalas, Morgan James, and Haley Reinhart on vocals, and Casey Abrams on bass and vocals. This is a big group, but when you hear the music, you will understand why. This version has elements of Big-Band Jazz, Swing, and some New Orleans-style horn playing. The singing-style and vibe of the group and video feels as if you would see them perform in a club in Paris during the 1930's or 1940's. The singers each have their own strengths: sassiness, power, and intonation, and stage-presence; the harmonies that the girls create are iconic of the era in which they are trying to recreate, not to mention that they blend very well together.

Here is Meghan Trainor's version and the Postmodern Jukebox European Tour Cast version below:

Is there a cover version of a song that helped you discover and/or appreciate the original more? Let us know in the comments below!

#OnRepeat: Nat King Cole's "That's All"

This week, I've had the standard, "That's All" #OnRepeat. I actually first heard it as an instrumental, but looked it up later to find the lyrics because I remembered that it had words (my mom used to play this song a lot when I was younger). 


"That's All" is a song written in 1952 by Alan Brandt and Bob Haymes and was recorded by Nat King Cole a year later. The lyrics are simple, honest and sincere, and the melody is just as simple and catchy. Here are the lyrics from the Michael Bublé version: 

I can only give you love that lasts forever,
And a promise to be near each time you call.
And the only heart I own
For you and you alone
That´s all,
That´s all.

I can only give you country walks in springtime
And a hand to hold when leaves begin to fall,
And a love whose burning light
Will warm the winter night
That´s all,
That´s all.

There are those I am sure who have told you,
They would give you the world for a toy.
All I have are these arms to enfold you,
And a love time can never destroy.

If you´re wondering what I´m asking in return, dear,
You´ll be glad to know that my demands are small.
Say it´s me that you´ll adore,
For now and evermore
That´s all,
That´s all.

Below, are two different versions of the song, "That's All"--one by Sam Cooke, and the other by Nat King Cole. This is done to show the differences in personal performance style and the styles, themselves (early R&B and jazz/crooner-style). Both are intimate in their own way, but Nat King Cole has that timeless element to his performance style; one that has kept people listening to his recordings to this day. Take a listen below:

Have you heard a classic jazz standard lately? Who was the musician or group that performed it? Let us know in the comments below!

#OnRepeat: Bill Wither's "Grandma's Hands"

This week, I've had Bill Withers' "Grandma's Hands," stuck #OnRepeat.  I grew up listening to Bill Withers, but was reminded of his music once again when I was listening to Gregory Porter's music. I came across this song several days ago and have been hooked ever since.

Bill Withers is an American singer-songwriter and musician who was big during the 1970's and early 1980's. Some of his most well-known songs are "Ain't No Sunshine," "Lovely Day,""Use Me," and "Lead On Me." In my opinion, Withers is a versatile musician--his guitar-playing is musical and sophisticated, yet simple and his voice can be brash and powerful, but at the same time intimate.

In the video below, Withers explains the song, "Grandma's Hands," to the audience before he performs the song. This song really struck a chord with me because of my memories of my own grandmother. The similarities between my own grandma and the woman he sings about in the song are uncanny--protective yet sweet behavior, religion--which are characteristics that, I assume everyone can identify with in their own family members.  My point is that Wither's lyric writing is so good that anyone can relate to it. What makes it even more impressive is that the song is only two minutes long! Take a listen below:

Do you have a new artist or group that you can't stop listening to? Let us know in the comments below!

Figuring Out the Right Key to Sing a Song In

This is something that is more important to vocalists than you would think.  Practicing basic vocal technique and knowing the words and melody of a song are all things that you should be doing to prepare for a performance. However, knowing what key you should sing a song in (whether the key is too high or low) can also make or break a great performance of a song. If you're not singing in the right key, you can become nervous, overcompensating in other parts of your body--this can lead to not only intonation issues, but injury from strain as well.

1. Practice & Experiment 
In order to know what key you should sing a song in, you should have a general idea and comfortability with your range. I say "comfortability," because some singers that I have come across can give you the exact starting and ending pitches of their range, but have never actually sang through their whole range. In order to know and feel that, you should be practicing scales and singing songs that utilize different parts of your range regularly; both on your own and with a vocal instructor.  If your goal is to expand your range, then practice exercises and songs that push you to expand that range. If you are very comfortable singing in the lower part of your range and you want to show it off  during performances, practice exercises  and songs that strengthen that part of your range. Point is, practice, so that you are comfortable enough to know what feels wrong and right with your voice.

2. Try the Song in Different Keys
Knowing the range of your voice, you can then test out several different keys for a song that you are learning. I would encourage you to learn the melody of the song like the back of your hand first so that you can easily move the whole melody up or down a half-step and sing through it, instead of having to re-learn the entire melody when you change the key (I, unfortunately, have made this mistake several times).  A great tool to aide in this is the program, iReal Book--or iReal b, as many call it--which has a feature that lets you pick a certain key and it plays through the song chart for you so you can sing along. It's available for iPad or iPhone too, so you can even be on-the-go while you practice!

I would also encourage you to keep two of the keys for that one song memorized. The lower key may allow you to belt the melody at certain points (if you are able to do so without strain), giving the performance a different character than, say, a higher key, which could change the overall timbre of your voice entirely. I know several vocalists who have recorded songs in the studio in a higher key so that they can give a "wow" performance for the recording, and then sing it in a lower key during live shows for loyal fans. The more strategies you have that can aide you in connecting with your audience in different ways, the better.

I hope that this helps in trying to find the right key for a song. This is always the hardest step in the song-learning process for me because I always feel like I might have picked the wrong key to sing the song in. Remember to also have fun. Music allows you to connect with people and ultimately, whatever key you sing a song in, if you're enjoying yourself, everyone around you will truly appreciate your performance too.

#OnRepeat: Ed Motta's "Dried Flowers"

This week I've had Ed Motta's "Dried Flowers" #OnRepeat. I was first introduced to Motta's music during my undergrad years at UC San Diego, but have just recently within the past two years  revisited his music, and this is one of his songs that I just can't stop listening to.

Eduardo "Ed" Motta is a MPB, rock, soul music, funk, and jazz musician from Rio de Janeiro, Brazil.   He is the nephew of the late, Brazilian soul singer, Tim Maia (someone I researched and wrote about while working on my thesis). Although Ed is mostly known for his voice, he is a multi-instrumentalist, composer, producer and arranger; having recorded all of the instrument parts for several of his albums by himself and recording many of his original compositions. He has composed for several Brazilian films and has toured throughout the United States and Europe.

I had the great pleasure of meeting Ed Motta and being able to watch him perform live. Ed is an extensive collector of records and it is apparent in his writing and singing. Some of his other songs, like "Manuel," are throw-backs to R&B and Pop music of the late 1980's and 1990's.  Each album that you listen to is so dramatically different, yet Motta's powerful vocals and writing style creates a unifying theme--almost a stamp--signifying that you're listening to something written by Ed Motta. "Dried Flowers" is no different. I really appreciated in this song how the melody reflected the emotions conveyed in the lyrics and vice versa. Motta's ability to write catchy melodies on top of great instrumental arrangements will always make him one of my favorite singers from Brazil. Take a listen below:

Do you guys have any new musicians or groups to listen to? Let us know in the comments below!

#OnRepeat: Adele "Make You Feel My Love"

This week, I've had Adele's version of the song, "Make You Feel My Love," #OnRepeat. I know many of you out there have been listening to Adele for awhile now, but Adele is quite literally one of those singers that I keep circling back to because of her songwriting and her voice.

Adele Laurie Blue Adkins, or Adele, is a British singer/songwriter, whose music blends Soul, Country, Rock, Pop and Funk.  Some of her most well-known songs are "Rolling in the Deep,""Hometown Glory,"and the song, "Skyfall," for which she received several awards.

The song, "Make You Feel My Love," is actually a song originally written by Bob Dylan for his 1997 album, Time Out of Mind, and has been recorded by others such as Billy Joel, Garth Brooks, and Trisha Yearwood.  The song, though written with the common love theme, has very simple, yet emotive lyrics and Adele's performance brings out the "bareness" of the words.  Although guitar accompaniment typically makes a song sound more intimate, I appreciate the fact that there are only piano and strings in this arrangement. Adele's voice offers the intimate, raw sound that the piece calls for while the piano and strings give the song more of a "grand" feel. Listen below:

You can hear clear influences in Adele's voice--Sam Cooke, Etta James, Ella Fitzgerald and at the same time, Pink, Spice Girls and even hints of Destiny's Child--yet she still has her own unique sound. Although I haven't heard much from Adele recently, I'll let songs like "Make You Feel My Love" tide me over until she comes out with another album or song.

Do you guys have a new musician, group or song you can't stop listening to? Let us know in the comments below!

#OnRepeat: Bruno Mars' "Treasure"

This week #OnRepeat is Bruno Mars' "Treasure." I know that this song has been out now for some time, but I have to bring this one out and dust it off, so to speak.

The music for the song, "Treasure," has a very throw-back feel to it, and truth-be-told, this song is what really made me start to take notice of Bruno Mars. The lyrics talk about a guy who absolutely adores this girl, which doesn't really set the song apart from anything else that you would hear out there; however the musical arrangement and melody makes the song very catchy. He had great hits before this--"Count On Me," "Just the Way You Are," "Locked Out Of Heaven"--but they just didn't have the same pull for me like this song.

One of the main things that was so appealing about, "Treasure," was the music video itself. You can see the clear influence of the Jackson Five, with the dancing and cinematography, but you can also see influences of Earth, Wind, and Fire (matching outfits, singing lovingly at the camera and including a full "band" in the video). This song is also one of the very first songs that features Mars' voice; you start to hear subtleties in his voice that allude to his influences. The raspy, funk-like quality is reminiscent of James Brown while his vocal timbre and melodic choices reflect Michael Jackson. Have a listen below:

Do any of you guys have a Bruno Mars song that is reminiscent of another musician or group out there? Let us know in the comments below!

#OnRepeat: "Dos Gardenias" Omara Portuondo

This week #OnRepeat is Omara Portuondo's version of the bolero, "Dos Gardenias." This song is actually more well-known for Ibrahim Ferrer, another singer from the Buena Vista Social Club, however, I love Omara's interpretation of this song and her deep, expressive voice, so I had to share this one with all of you.

Omara Portuondo is a singer and a dancer from Cuba and was one of the original members of the singing group, Cuarteto d'Aida. She has performed with groups and musicians such as Nat King Cole,  Los Van Van, Adalberto Álvarez, and Ignacio Piñeiro. Some of her most well-known songs are "Hasta Siempre, Comandante," "Siguamos Amantes" and "Donde Estabas Tu."

"Dos Gardenias" is a song speaking about a person giving these flowers--gardenias--to their  significant other as a representation of their love (conversation, affection). Towards the end of the song, there is an almost poignant, heart-breaking lyric that says that if those flowers were to die, it would be because they have sensed that there is someone else; or in other words, that that couple's love has died. It is a beautiful song--you don't find much music out there anymore with lyrics like this that can depict such emotion in a great, story-like arc. Here is a excerpt of the lyrics below:

Dos gardenias para ti
Con ellas quiero decir
Te quiero, te adoro, mi vida
Ponle todas tu atención
Que serán tu corazón y el mio

Dos gardenias para ti
Que tendrán todo el calor de un beso
De esos besos que te di
Y que jamas te encontrarán
En el calor de otro querer [ . . . ]

Omara displays this passionate story in such a simplistic way, that she makes it look easy. Her melodic choices with each phrase, though, are intentional and work with the flow of lyrics and harmony. Her performance style and her vocal timbre has made me an avid fan for several years now, so much so that I compare other new vocalists' performance style with her own. I've included a YouTube video of Omara singing "Dos Gardenias" and "Besame Mucho" from a concert she did with Maria Bethania, a singer from Brazil, just so you can get more of an idea of what her voice sounds like and how she performs. Check out the video:

Is there a musician or group who shines new light on an old standard for you? Let us know in the comments below!

#OnRepeat: Trombone Shorty's "Backatown" album

I've had Trombone Shorty's "Backatown" album #OnRepeat this week. I first discovered him while listening to his music at my job. One of the many perks of working at a job that promotes and holds musical performances is that you get exposed to great music that you usually wouldn't be aware of or listen to on a regular basis. Since I first listened to this album, I've went on to listen to more of Trombone Shorty's albums and his music never fails to disappoint.

Trombone Shorty (Troy Andrews) is a trombone and trumpet player from New Orleans who also sings, composes and arranges his own music. He has toured with artists such as Aerosmith and Lenny Kravitz and has participated in several benefit concerts and projects for New Orleans after the aftermath of Hurricane Katrina. His music blends New Orleans-style Jazz, Hip-Hop, Rock, and R&B music.  He is well-known for his single, "Do To Me," and his most recent album, "Say That to Say This," another album that everyone should definitely check out. Below is a Youtube video of the full "Backatown" album. Take a listen:

Although his music is a new, impressive hybrid type of music blending many styles that causes people to get up on their feet, I am even more impressed with his philanthropic work. Trombone Shorty is involved in several different programs that give back to the community in which he grew up and is still actively a part of; the main program being the Trombone Shorty Academy, which provides young New Orleans musicians mentorship, music performance experience, and basic musicianship skills, all while donating instruments to underserved schools in the area and teaching New Orleans musical traditions. He also takes a leadership role in the Fredman Music Business Institute, which gives music industry training to young musicians in the New Orleans area. Not many musicians give back to their community where they grew up in the same way that Trombone Shorty is and it is something to be admired and commended.

Check out his music for yourself and see what you think. Do you know any other musicians or groups who are giving back to their communities while making a name for themselves? Let us know in the comments below!

Doing What Scares You

This past Saturday I performed in a piece created by Susan Silton and my vocal teacher, Juliana Snapper.  The piece, "A Sublime Madness in the Soul," features a libretto that centers on issues such as gentrification, greed, and the pros and cons of living in a capitalist society, inspired by the real-life, rapidly changing landscape of downtown Los Angeles.  Four vocalists, including myself, stood in the windows of Susan Stilton's studio--which was recently sold--and sang to an audience that stood on the iconic 6th Street Bridge in downtown (a structure that will be demolished soon).  The experience was definitely something that I'd never done before, using singing styles that more closely resembled the classical, operatic style.

 (Viewpoint from where the vocalists performed in the Silton's studio)

(Viewpoint from where the audience stood on 6th Street Bridge)  

I'm writing this post to not only discuss the piece, "A Sublime Madness of the Soul," but to broach an important topic that should be discussed among singers, musicians, and anyone in any profession that desires to grow or progress: Do something that scares you. Do something that makes you simultaneously almost doubt your abilities yet, at the same time, pushes you to take risks.

Many people might say that this is, yet again, another "duh" moment in terms of being a musician or artist of any kind--ideally we are always trying to push the limits of what we are able to do with our craft.  I've heard this time and time again, yet it didn't even really hit me until Saturday night, when I stepped up onto the platform to sing out a window to people standing on a bridge a couple hundred of feet away from me. I was terrified.

There I was, having to sing lines reflecting the angering economic and social situation of that moment, with no notes or sheet music of any kind except the script with the text and Susan conducting from a roof below. Would I start on the right note that could lead to a powerful melodic phrase or would I completely bomb it? Would my voice crack just as I decided to go up into my upper register? Would I be able to put just the right amount of infection in my voice so that the original intention of that phrase would be felt by the audience?  I realized I should be asking myself questions like this all of the time. For every performance. And that, slightly unsure feeling let me know that in that moment, that was exactly what I was supposed to be doing.

When you put yourself into situations that make you uncomfortable or that scare you, you grow. You discover things about yourself that you didn't know before as an individual, musician, and performer. Pushing yourself beyond your limitations, you can experiment, finding what works and doesn't work for you. I would encourage everyone to do at least one thing that scares them and pushes them in their life because in those moments you get to know yourself better and you feel the most alive. I know I did.

#OnRepeat: Pink Martini's "Aspettami"

This week, I've had Pink Martini's "Aspettami" #OnRepeat; matter of fact, I've had all of Pink Martini's music #OnRepeat for the past couple of days. I first heard them while I was at work (my job always plays music from artists that will be performing in the next couple weeks).

Pink Martini is a musical group based out of Portland, Oregon, led by pianist, Thomas Lauderdale and vocalists, China Forbes and Storm Large. Their music combines elements of Jazz, Classical music, Pop, and takes influences from traditional and popular music from around the world. The vocalists are multilingual, singing in languages such as English, Italian, Spanish, Portuguese. Some of their most well-known songs are "Let's Never Stop Falling in Love," "Sympathique," and "Hang On Little Tomato."

The song, "Aspettami," is a simplistic song (guitar and voice in the forefront), yet the lyrics make the song's overall feel romantic, intimate, and at the same time, give the composition a grandiose nature. Forbes' voice is reminiscent of the Bossa Nova Style--straight-toned, intimate--mixed with the Crooner style of the 1940's and 50's (think Sinatra, with perfect placements of vibrato). It isn't very apparent on this piece, but on many other songs on the album, you can hear the range and power in Forbes' voice, adding an even fuller sound to each song that the "little orchestra" plays. Listen to "Aspettami" below:

This is definitely a group that everyone should be following. There is an overall vibe to this group, yet each album and performance is different, making them so interesting to listen to. I look forward to what they will come out with next.

If anyone has any new groups or songs to listen to, leave a comment below!

#OnRepeat: Billy Ocean's "Suddenly"

This week #OnRepeat is Billy Ocean's "Suddenly." Interesting story: I actually came across this song while watching an episode of Family Guy. The character, Peter, (played by Seth McFarland) sings this song when he sees a cardboard cut-out of Cathy Ireland. Surprisingly, Seth McFarland does a great rendition of the song and this is one of the first episodes that caused me to respect McFarland not only as a comedian, but as a singer as well. The clip from the episode can be seen below.

Billy Ocean is an R&B singer-songwriter from England who was internationally popular in the 1970's and 1980's. He won the Grammy Award for Best Male R&B Performance in 1985. Some of his hit songs include "Caribbean Queen," "Loverboy," and "When the Going Gets Tough, the Tough Get Going."

"Suddenly" is an iconic 80's song, and Billy Ocean's singing adds so much to the style that is considered 80's music. His use of inflection, melismas and his clear, bright tone makes the song a unique love song to listen to. The words are simple, yet full of emotion; talking about suddenly realizing how in love the individual is with another person. Many musicians that I've spoken to aren't fond of the instrumentation, but his powerful voice makes you stop and pay attention. The original version of this song can be listened to below:

Do you guys have any new musicians, groups or songs to check out? Let us know in the comments below!

The Worst Advice or Statements I've Heard in Regards to Music

Receiving advice from others who have experienced more than you can be helpful and rewarding. However, people can sometimes give their advice and opinions, even when it's not needed or wanted. Unfortunately, many of these statements that you'll read below are still told to myself and other musicians, even long after we've earned degrees and gained much valuable experience in our chosen profession

1."Oh you sing? How fun!"
This is one of the most off-putting statements I get. A lot. It seems harmless, but it's followed by "I didn't know that people actually went to school for music." Some people assume that music doesn't require as much discipline or work as an engineer, athlete, or doctor. A musician keeps learning long after everyone else has established their full-time or part-time careers. That's part of the fun.

2."You're too old to get your career off the ground."
This one is entirely not true. There are plenty of musicians--and other people in other professions for that matter--who have started their careers and become very successful when they are well into their late 30's, even 40's. There are all types of music for everyone and tons of different career options involved or related to music, so it is never too late to achieve your goals.

3."Don't go to school for music." 
I remember when I was back in high school, getting ready to graduate and looking for college music programs. There were many people telling me that studying music would make me lose my artistic edge, change my tastes, or even change my voice completely. My tastes have changed and my voice changed, but I believe for the better. Studying music helps you to understand it better by teaching you how to read and write music, exposing you to musics that you might not necessarily be exposed to if you hadn't gone to school, and begin your network of musicians that could lead to rewarding music experiences, gigs, and career opportunities. Going to school for music was the best thing that ever happened to me.

4."If music is your profession, you need to go to school."
This is another one that gets under my skin. Unfortunately, some people think that music, or being a musician, isn't considered a "real job." The only way they think you can make any type of decent money is through becoming a music professor. Although I, myself, am going the route of becoming a music professor, I don't believe this statement to be true. There are plenty of musicians who gig on a consistent basis or have private students, and are very successful and happy. Like I said before: there are many different career paths that a musician can choose from. It all depends on you.

5."Music teachers/professors are disillusioned, musicians who didn't make it."
This statement and notion is entirely misguided as well. Although there are some professors that I've met who seem to be very bitter about their careers and are not very pleasant individuals to interact with, there are plenty who are "doing it" in my opinion. These professors teach either full-time or part-time and still gig and travel, participating in their own meaningful, musical projects both inside and outside of the classroom. Making generalizations based off of a few sour apples gives the rest of the population bad ideas about certain professions.

Many of these people who say these things mean well and most of the time, they are just misinformed. However, it could give potential future musicians and/or companies or programs a slightly slanted view of music and being a musician. For those who have encountered situations similar to this should understand that, again, every person has their own life path so whether or not you choose to make music or try being a professional musician shouldn't be dependent on the opinions or advice of others.

What kind of advice or statements have you heard in the past in regards to music or being a musician? Was it helpful or hurtful? Leave a comment below!

#OnRepeat: "Them Changes" Thundercat feat. Kamasi Washington & Flying Lotus

I know many of you reading this post will think that I'm late in writing about this song, but this week, I've had Thundercat's "Them Changes" #OnRepeat. If you already consider Thundercat's song awesome, or if you have read all of this before from countless other forums, blogs, or even tweets, then I apologize, but these #OnRepeat posts are about music that I discover and what I think; and I just discovered this song.

Stephen Bruner--better known by his stage name, Thundercat--is a bass player, producer and singer from Los Angeles. He is best known for his work with Flying Lotus and appearance on Kendrick Lamar's 2015 album, To Pimp a Butterfly. He has two solo albums and has also worked with musicians like Erykah Badu and Kamasi Washington. 

First of all, I have to say, the music video for this song teeters on the line between cool and weird. This might be based on the fact that I can't quite understand the lyrics that are being sung (which is basically my only complaint about this song). However, I will give the producers behind this video credit--the opening scene with the samurais fighting is definitely an attention-grabber. Check out the video below:

The heavy, funky groove mixed with hints of 70's jazz fusion music and elements of George Clinton's funky, electronic Afro sound produce a hypnotic groove that makes it hard not to bob your head or swing your hips to. Thundercat's voice is mellow and vulnerable, giving the melody of the lyrics and the "ooo's" a subtle like nature that floats perfectly over the rest of the music. 

After hearing this song, I am anxious to hear what other stuff Thundercat is going to come up with. His bass lines groove and hit. Hard. The music that he collaborates on is so eclectic and full of many different musical influences. It is no wonder that people like Erykah Badu and Kamasi Washington have called on him for collaboration. 

Do you guys have any new musicians or groups to listen to? Let us know in the comments below!

#OnRepeat: Totó La Momposina's "Adios Fulana"

This week, Totó La Momposina's "Adios Fulana" has been #OnRepeat. I came across this singer by chance, while listening to videos of Colombian music on Youtube (a great resource by the way!), and her name and music randomly came up. After hearing this song, numerous times, I decided to research Totó a little further.

Totó La Momposina (Sonia Bazanta Vides) is a singer and dancer from Colombia whose music blends elements of indigenous, African and Spanish traditions. She comes from five generations of musicians, studying music from a very young age. She has toured Latin America, parts of Eastern and Western Europe and the United States, gaining even more international attention with the recording and release of her album, La Candela Viva, on the Real World Records Label in 1993. Her music blends rhythms such as the cumbia, bullerenge, chalupa, garabato, and mapal, and is a great representation of music from Colombia's Caribbean coast.

"Adios Fulana" is an incredibly rhythmic song and Totó's voice floats over the percussion and other instruments effortlessly. You can tell that she has been performing for almost 70 years--70 years! I thought that I had been singing for a long time!--because there is no hesitation present in her voice at all. Songs like "Adios Fulana" are sung for everyday chores and tasks to make the time go by faster and you can almost hear the joy (and the tradition ) in her voice. The way she hits the high notes in the melody might seem noticeably weaker in volume, but her intonation and attack fits the song and the style. Plus, her ability to project over the instruments playing is incredibly impressive--some might even mistake her voice for that of Celia Cruz, another powerful Latin American singer. 

I don't know that much about Totó La Momposina, or Colombian music, for that matter, so I am excited to research and find out more about both. I've been reading that she has another album coming out at the end of July that happens to have this song on it. You might see more of her stuff if I find any more songs that I can't stop listening (or dancing) to!

Do you have any new songs, musicians, or groups to listen to? Let us know in the comments below!
 

Self-Doubt: Your Biggest Enemy

I wanted to talk about something that I've had issues with since I first started singing. It's something that many people, musicians or not, deal with, but I see it manifest in many different ways, not only with students, but with fellow musicians.  Self-doubt can be a serious obstacle; something so potentially debilitating that it can cause problems on a physical level. Singers especially can suffer from self-doubt, causing the throat and rest of the body to tense up, literally cutting off sound, making you forget lyrics and phrasing you've practiced. Many musicians miss out on great musical opportunities when they doubt themselves--not hitting that high note in a phrase, not playing that solo the way you wanted, or not introducing yourself to that person who could potentially get you more gigs. I've always said that singing, along with playing other types of instruments, is 80% mental, so it's good to recognize certain behaviors that might not be so beneficial to you not only as a musician, but as a person.


Behavior Related to Self-Doubt

1. Comparing yourself to others.
Gauging where you're at as a musician and person based on someone else's accomplishments or proficiency level isn't realistic. Each person has their own set of goals, their own musical preferences, and their own life path. You should always compare yourself and what you've done to who you were, not someone else.

2. Doubting whether you can do something just because it seems hard.
Just because you may not be able to do something now, doesn't mean you won't be able to do it down the road. I've seen many musicians pass on great musical opportunities because of this factor. For example, I have the worst time trying to make lead sheets or charts because I'm not very good at music theory. However, I try not to let the fact that I'm not good at making charts now keep me from transcribing some really great music because I know that with enough practice, I will eventually be proficient.

3. Not being able to let yourself try and fail.
This one sounds really scary and it is, but it is the most beneficial in the growth process of being a musician. This one also ties in with #2 because when you try something, you are bound to mess up--you're learning. You have to be willing to put yourself in uncomfortable situations and possibly fail because from those failures, we learn what mistakes were made and how we can improve for next time. Plus, the next time it happens, it won't feel as scary or horrible because you've already experienced it before!


Ultimately, we have to learn to enjoy the process; not just the destination. Don't take yourself too seriously--the main reason why you started doing music to begin with was because it was fun. Learn to relax and enjoy the moments of uncertainty (being randomly called up to sing at a jam session or learning a song for a gig at the end of the week). Some of the most beautiful musical moments result from randomness and mistakes.

Do you have any modes of thinking or behaviors related to self-doubt? Have these behaviors or thoughts hindered your performance or practice? Let us know in the comments below!

#OnRepeat: Thalma de Freitas "Cordeiro de Nana"

This week I've had Thalma de Freitas' version of "Cordeiro de Nana" #OnRepeat. I have been listening intently to a lot of her music lately because she has just recently made her debut in the United States (I wrote about her performance at the Loft at UCSD in my blog post about authenticity and conviction) back in April and I can't get enough of her voice and performance style.

Thalma de Freitas is a Brazilian actress, singer and songwriter. She is the daughter of Laercio De Freitas, a famous pianist, arranger, and composer in Brazil. Some of her most well-known songs are “Doce de Côco" and "Tranquilo", and she has collaborated with musicians such as João Donato, Caetano Veloso, and Céu.

"Cordeiro de Nana" is a prayer for Nana, who is considered to be the grandmother of the universe and all the Orixa (deities) in the religion of Candomble in Brazil. Nana is also associated with rivers, water, and swampland, which explains why water is referenced in the song as well. I always like to research the composer's reasoning behind a song and/or the culture that is connected to the music because you find out why certain things happen in the song, such as melody, harmony, rhythm, and lyrics. It also just so happens that a portion of my Master's thesis mentioned Candomble, so I am very interested in this topic already.

Thalma's performance of this song, both in this video (whom she performs with her father), and in live shows, is captivating. Her interpretative style is both intimate and free at the same time--you feel as though she is really saying a prayer to someone. Her singing is heartfelt and she always manages to make everyone in the audience feel included in her emotional experience onstage. The video is definitely more intimate, but this same level of free-ness is still felt through the computer screen. Her performance style and melodic ideas are truly what make her an amazing performer and singer.

Is there a musician or group that you haven't been able to stop listening to? Let us know in the comments below!

5 Bad Habits of Singers

I have a feeling that I might have already written a post similar to this before--or a post related to this--but I have been noticing some annoying habits of vocalists lately. Though these might not necessarily be related to your health, or be considered the "typical" bad habits of vocalists, these bad habits could potentially be detrimental to your reputation as not only a musician, but as a professional.

1. "The Flakes"
I have encountered this with not only many of my vocal students, but other musicians as well. Students will plan and confirm that they are coming to lessons, but cancel at the last minute, or not even show up at all. Same for fellow musicians--they will say they can rehearse or play for a gig and either not show, cancel and/or find a better paying gig. This is detrimental because it makes others think that you are not reliable or responsible. Teachers and fellow musicians lose out on money and all lose out on a potentially rewarding musical experience.

2. Not Practicing
Whether for an actual paying gig or a fellow musician's recital or project, I've seen vocalists repeatedly show up, having not prepared or practiced. Practicing, either for your vocal instructor or fellow musician, shows that you respect them enough to invest in whatever you're working on with them and that you respect yourself enough to want to improve your abilities, bringing your best to the table.

3. Not Being Supportive of Other Fellow Musicians
Music, like any other profession, can be very competitive. While we hustle to get gigs and advance our careers, we as musicians tend to forget why we started doing music to begin with: to connect with people using music. When you see a fellow musician being successful, you should appreciate and congratulate; not say anything negative behind their backs. When we support and look out for each other--giving a gig to a more qualified musician or attending an extra rehearsal for a friend--we help build each other up. This is a great way to network, building great personal and professional relationships.

4. Not Trying to Sharpen Your Musical Theory Skills
I have been guilty of this one myself, numerous times, because my music theory skills aren't that strong. However, not trying to improve your skills can potentially hinder your musical career. The more theory you know, the more you are better able to create the type of music you want to create. You are also able to make yourself more marketable as well--a vocalist who can arrange, compose and play piano is more likely to get a job than a vocalist who can only sing (depending on their past experience).

5. Not Trying to Contribute More During Rehearsals
I've witnessed several vocalists who were leading a band do this. Not having the confidence to contribute your own musical ideas or suggestions to a band for a project or performance can keep you from growing as a musician. When you speak up, you assert yourself as an actual creative part of that group and you sharpen your leadership and team working skills.

Although these issues don't have anything to do with vocal technique or performance practice per se, these are still things that any vocalist needs to keep in mind when building their music career. I hope these tips help you to better yourselves as musicians and people.

Do you have any other bad habits that vocalists or other musicians do? Leave a comment below!

#OnRepeat: Rosa Passos "É Luxo Só"

This week, I've had Rosa Passos' version of "É Luxo Só" #OnRepeat on my computer. I've been working on putting together a trio that plays Brazilian music, some Jazz, and Funk, but I just can't get this song from the set list out of my head.

Rosa Passos is a guitarist and singer/songwriter from Brazil.  Her major influences are Dorival Caymmi (father of Nana Caymmi) and Joao Gilberto.  You can hear these influences in the way she sings, especially in how she plays with rhythm--a common feature in Gilberto's singing. Many of her well-known songs are actually Brazilian standards like, "Aquarela do Brasil," but "É Luxo Só" is by far my favorite.

"É Luxo Só" is a simple song that repeats over and over again, describing how elegant a woman looks when she dances. It's interesting to note that when the word, "samba," is used in the song, it is used interchangeably--"samba" can mean the specific dance that you might see performed during Carnival or it can also be used as slang to mean simply, dancing.

I have also heard Joao Gilberto's version of this song, but it doesn't have the same impact as Rosa's version. Rosa Passos gives the song an intimate, warm feel that isn't heard in Gilberto's version (this is saying a lot since I admire Joao Gilberto as a singer and performer because of his vulnerability, tenderness, and the intimate nature of his playing). I also really dig when she plays with the rhythm of the melody and the lyrical phrasing, making the song groove harder and giving the song a care-free feel.

What do you guys think of the song and Rosa Passos? If you have any new singers or groups to check out, leave a comment below!

#OnRepeat: Ibeyi "River"

This week, I've had "River" by Ibeyi #OnRepeat. I actually came across this particular song several months ago, but rediscovered it just recently.

Ibeyi is a French-Cuban group composed of the sister duo, Lisa-Kaindé Diaz and Naomi Diaz. Interestingly enough, their father is the famous Cuban percussionist, Anga Díaz, originally a member of Irakere and the Buena Vista Social Club.  Both of them sing in both English and Yoruba--a West African language.  Naomi pays traditional Afro-Cuban and Peruvian percussion instruments, the Batá drums and the cajón (respectively) and Lisa plays piano. The music has elements of Afro-Cuban and French rhythms and music fused with Jazz, Electronic, Pop, and traditional music sampling. 

"River" is a simple, yet beautifully arranged song featuring synthesizers, sampling, and many of the other elements listed above that make up their music. Towards the end of the song, they start to sing in Yoruba, which brings in a more traditional, ethereal color to the electronic sounds in the music. I am a huge fan of arrangements that manage to blend traditional and progressive music into a whole new, seamless sound.  Some times when completely different styles or genres of music are mixed together, the result is not necessarily a smooth one, but "River" is a beautiful result.

Are there songs, musicians or groups to you that blend different styles of music into a new, interesting sound? Leave a comment below!

Do You Want a Voice Teacher or Vocal Coach?

Recently, I've come across several people (both musician and not) who have told me, "Oh you sing?! I've been wanting to learn how to sing. Teach me how to sing like Beyonce," or "Can you make me sound more like him/her?" I'm always left not knowing what to say because on the one hand, these individuals want to learn how to sing--meaning learning how to breathe, have proper posture, produce an efficient sound, etc.--yet, they are clearly wanting to sound, stylistically like someone else, an aspect of singing that is different from vocal technique. To be fair, some instructors use these names conversely, making it hard for new singers to find an instructor who fits their specific needs and goals. This confusion has led me to want to clarify the difference between a voice teacher and a vocal coach.

A vocal coach is an instructor that focuses on musical style, performance tradition and practice. They help singers with things like diction, pronunciation (especially when the song is in a different language), melodic phrasing, riffs, melismas, and where to breathe throughout a song.  They also frequently suggest musicians or groups to listen to for the student to get a better feel for the genre or style and also suggest songs to add to the repertoire of that student.  Another key component that a vocal coach works with students on is the act of visualization and internalization of a song--aspects that really help you to almost "claim the song as your own."

A voice teacher is an instructor who focuses more on the technical aspect of singing. They help singers with things such as breathing technique, learning and maintaining proper posture, becoming aware of and expanding vocal range, understanding the anatomy of the voice and how to sing more efficiently.  They teach how to utilize all of these different elements of technique in different vocal exercises that include scales and intervalic leaps or skips. Voice teachers usually have specific genres of music that they specialize in and have basic piano skills.

It is crucial that anyone out there looking to take vocal lessons do their research because many instructors cover much of the criteria listed above. Make sure to have a positive working relationship with your instructor as well because not only will this person help shape who you are as a musician and person, but you want to make sure that you enjoy your musical experience during each lesson. I hope that this helps to clear up some of the confusion that people out there may be having and that this helps you in picking an instructor more tailored towards your specific goals.

#OnRepeat: "Siéntate Ahí" Oscar D' León

This week, I've had "Siéntate Ahí" by Oscar D' León #OnRepeat.  Although I grew up listening to him (my father was and still is a huge fan of his music), this is one of Oscar's songs that I really can't get enough of.

For those of you who aren't familiar with Oscar D' León, he is a salsa singer and bassist from Venezuela who is responsible for setting the performance standard for Cuban dance music, specifically during the 1980's with his band's performance in Varadero, Cuba.  Google for more information on Oscar D' León. Some of his more popular songs are "Lloraras," "Volver a Verte," and "Esa Mujer." You are bound to find lots of information and videos because he is a well-known Latin American musician (you can also check out this post for more information, done by a fellow musician and blogger, David Castañeda, on the Musicorum site, here.)

The song, "Siéntate Ahí," is a song told from the point of view of a man, telling the mother of his son to sit down and look at what she walked out on, and the fact that he's had to raise their son all on his own. The lyrics are poignant and sad, but as with a lot of Latin music, the music itself is upbeat and grooves hard.

As I've said before, Oscar D' León is the epitome of the performer. His rhythmic timing and melodic improvisation is consistently on-point; his musical charisma practically pulls you to the dance floor.  As with most of his songs, I am most impressed with his powerful belt during high notes. I've yet to hear his voice crack during his melodic leaps and runs; he makes it sound vocally easier to pull-off than it actually is. It's no wonder he's called, "El León de la Salsa."

Do you have any new songs, musicians, or groups to check out? Let us know in the comments below!

Components of a Good Singer

When having conversations with other musicians, I always hear them talk about their favorite drummer, horn player, bassist, etc., and why they love that musician. There are many different aspects  that make up a great musician--how they connect with the audience, performance-style, improvisation.  After being asked this question multiple times in regards to singers, I figured I would compile my own thoughts into a blog post for you guys.  This post can, of course, be read in conjunction with another post I wrote awhile back about different influences that have shaped me as a singer because what you admire most in your favorite musicians, tends to influence who you are as a musician.

1. A Powerful Voice. This one is really simple, but it is the most inspiring and attention-grabbing for me. A powerful voice that can fill up a theater or stadium (with or without a mic).  This can be achieved by years of study and practice, but sometimes some vocalists are naturally gifted with a big voice. Some singers that are great examples of this are: Jennifer Hudson, Whitney Houston, and Celia Cruz.

2. Rhythmic Timing & the Ability to Play with Rhythm. Singers that have a good concept of time and how to play with it definitely make for a more interesting, groovy performance.  When you feel the vocalist really "getting into it," they start to improvise, making you more invested in the music. Great examples of this are: Ella Fitzgerald, Djavan, Joao Gilberto, Celia Cruz, and Oscar D'León.

3. Melodic & Lyrical Improvisation. These both tie in to #2 because when you play with the rhythm in a song, melodic and lyrical improvisation tends to follow since they're all connected. Because of this, many of the singers mentioned above are also included in this section, along with Donny Hathaway and Erykah Badu.

4. Connecting with the audience.  Singers tend to naturally communicate with the audience better since the voice is such an immediate instrument that everyone has and uses on a daily basis.  Singers mentioned above have this aspect of connecting with the audience, but I haven't seen a better example  of this than that of Gregory Porter and Celine Dion. Both have a type of charisma that may be practiced, but can't really be emulated. The natural way that Porter communicates with his audience, both in song and speech, makes you feel right at home.

5. "Performer Appeal." These are singers who put on a great performance--singing, dancing, costumes, etc. Many who think of this would automatically think Elvis Presley or Michael Jackson, but I actually think that Oscar D'León emulates this image very well.  I've seen live performances (both in person and on video) of Oscar dressed in costume, performing choreographed dance moves, singing and improvising, while playing bass at the same time.  He is truly, in my opinion, one of the last few great performers.

 There are probably many other aspects to being a great, inspirational singer, but these are the things that I look for when watching or listening to a singer perform. These aspects have helped shaped me into the musician I am today and are things I strive to work on when practicing and performing.

What aspects do you think makes a great singer? Leave a comment below!

#OnRepeat: "Holding On" by Disclosure feat. Gregory Porter

This week I've had the song, "Holding On," by Disclosure feat. Gregory Porter #OnRepeat.  I've always prided myself on being open to new and different kinds of music, but admittedly, I've had a hard time getting into electronic music of any kind. Until now.

The group, Disclosure, is an Electronic music duo from England consisting of two brothers. I'm sure many of you out there have heard of them already, considering the fact that they performed at big music festivals in 2013 like Coachella and Lollapalooza.

"Holding On" is reminiscent of early 90's R&B and Pop music. Gregory Porter's powerful voice adds to this vibe, especially when he hits those long, high notes. Gregory Porter's voice and improvisational choices fit the song perfectly.  I've never heard Porter sing a more up-tempo song like this one before, so it is a nice change from all of his already beautifully written, more Jazz and ballad-like music.

I was very impressed with this song for the simple fact that it shows that Gregory Porter is trying to branch out musically.  Many musicians--singers, especially--tend to stay in one type of music their whole career and while this may work for many, it can potentially be dangerous for some.  It is great to see Porter try to progress and evolve into a well-rounded singer and performer, all the while maintaining a signature sound in any type of music.

I hope you guys all enjoy this song as much as I have been. I'm not too familiar with Electronic music  so if anyone has any great groups or artists that play this type of music, let me know in the comments below!

Straw Therapy--What I've Learned So Far

So I was scrolling through Twitter several weeks ago and I came across a video posted by a fellow vocalist on straw therapy.  Throughout the years, I've come across this topic several times although my vocal instructors haven't elaborated on it further in my lessons. So, after rediscovering this topic, I decided to take it upon myself to research and try this vocal exercise myself.

What is it?

Straw therapy--or, what many people call "straw phonation"-- is a type of semi-occluded vocal tract exercise that specifically focuses on allowing the singer to create sound (phonate) without putting extra glottic tension on the vocal chords.

This, along with other exercises, such as humming and doing lip trills (lip buzz), are used not only by vocalists, but speech therapists.  Straw therapy or phonation is typically practiced using a straw--you can sing a line of a song using the straw and vocal exercises such as scales.  I've also seen some vocalists use the straw while blowing into a bottle with a small amount of water in it. Below is a video of Ingo Titze, a vocal scientist who helped pioneer the use of straw phonation in speech therapy, elaborating further on the topic and how to use it:

Benefits

Many vocalists and vocal instructors use semi-occluded vocal exercises (I like to call them work-outs because they really help the overall timbre and performance of your voice) like straw phonation to:

1. Helps vocalists to produce resonance or buzzing sensation in the face (many vocalists call this the "mask" because the area where resonance and sound occurs is felt in the mouth, sinus area and nose).
2. This, in turn, helps to lift the soft palate, and ultimately, the voice, reducing throaty singing and giving the vocalist's overall timbre a lighter, brighter, fuller sound.
3. Help vocalists smooth out transitions between low (chest) to high (head) registers.
4. Help vocalists to create a more efficient sound that's balanced with the air support required for singing.

I'm still experimenting with this vocal exercise, but from what I've learned and experienced so far, this technique is extremely helpful. Don't underestimate it either folks: try to sing the melody line of a song you've been working on using a straw; it's quite difficult (different straw diameters have different levels of interance so keep this in mind).  I, myself, have been using this technique to sing through melodies with big intervals to help smooth out any breaks that I find between registers.

Have any of you tried this vocal exercise? Do you find it helpful or not? Let us know in the comments below!

#OnRepeat: Etta James' "At Last"

This week, I've had Etta James' "At Last" #OnRepeat. I know a lot of you out there, when reading this, will think "of course," but I'm actually writing this post for all of the people who don't know who Etta James is. Especially the younger ones who think that Beyonce's version of "At Last" is the end all and won't think to do their own research. I've always try to educate myself about music that I hear for the first time--read books, articles, watch documentaries, or even just strike up a conversation with your parents or a professor.

For those of you who don't know who Etta James is, she is a Blues, Jazz, Gospel, and R&B singer who is known for bridging the gap between R&B and Rock 'n' Roll.  She is associated with Chess Records, who were very successful in the 1960s and is known for implementing elements of Soul and Gospel music into her songs. Some of her well-known songs (among many others) are "All I Could Do Was Cry," "Tell Mama," and "I'd Rather Go Blind."

"At Last" is one of the few songs that you can listen to and within the first few bars you know who is singing.  It is a classic Etta James song.  Although many musicians that I've spoken with about this song have said that the song has become too "played-out"--being played at weddings, at parties, and receptions--they all agree that the reason for this, is that the song is an iconic love song.  Etta James has so much passion and soul in her voice. Whenever I hear "At Last," I hear a deeper emotion than just puppy love, something that blends raw emotion with all of those funny butterflies-in-your-stomach, dancing-in-the-rain feelings you get when you find that one person you can't stop thinking about and want to spend every waking moment with, even when all of the initial "honeymoon" feelings of a relationship start to fade.

I hope that you enjoy listening to this song as much as I do--even as many times as I do!  In my opinion, Etta James will always be one of the queens of Soul and Blues music because of her powerful voice and the way in which she conveys the message of each song.

If you guys have any songs, musicians or groups that you can't stop listening to, leave a comment below!

That Moment When Everything Clicks

This past Friday I was able to be a part of a school event that combined theater, Mariachi music, and Cuban music.  The school put on a great production--costumes, stage design, a great narrator and actors that interacted with the audience--in the re-telling of the classic, romantic tragedy of Romeo and Juliet (except for the main characters were Rosalia y Juan).  I'm not writing this to talk about the storyline or the actual show itself, however. I'm writing to talk about a great moment that happened while I was performing a lead song during the show.  A thing I tend to describe as "everything clicking" or "everything falling into place."

I had been practicing the song for months, performing it in front of my peers and professors multiple times.  For some reason that night, though, I found myself getting nervous to perform the song (it probably didn't help that I was going to be singing up on a raised platform due to the stage setup, in heels).  The theater was completely packed--many of the audience members were either fans or players of Mariachi or Cuban music--and little camera flashes or random shouts of excitement would happen periodically throughout the night.

When the music started, however, all the insecurities fell away. Everything just felt right.  The music was swinging--it wasn't too fast or too slow.  I remembered all the words--which happen to be the trickiest things to remember when your nerves are going crazy--and all of the things I improvised actually worked out pretty well.  Hand gestures, vocal inflection, and facial expression all tied together, making the performance look and feel natural (something that I have a hard time pulling off).  Most of all, I could feel and see the audience responding positively to my performance, which always feels really good for any musician.

I don't say any of this to toot my horn, so to speak, but to try to give you a clearer picture of what that "everything clicking" sensation feels like.  It's one of those feelings and situations that every musician strives for because it doesn't happen all the time.  You hope that when you're in that moment, that all of your training and practicing doesn't go out the window, but at the same time, you realize that that's not as important as what you experience in that moment.  Connecting with your audience. Conveying the message in that one song to everyone around you, making them feel what you're feeling in that moment. I hope that every vocalist out there, whether beginner or advanced, experiences this at least once in their lifetime. It's an incredible moment.

Anyone out there ever experience anything similar to that "everything clicks" moment when performing? Do you call it something different? How did you feel when that happened?

#OnRepeat: Herbie Hancock feat. Corinne Bailey Rae "River"

This week I've had Herbie Hancock feat. Corinne Bailey Rae's "River" #OnRepeat. This song, originally written and  performed by Joni Mitchell, has two of my favorite musicians working together, resulting in a simple, yet sweet collaboration. Herbie's whole album, River: The Joni Letters, pays homage to the great singer-songwriter, Joni Mitchell.

I have to say that Herbie Hancock and Corinne Bailey Rae collaborating together is one of the sweetest musical mixtures that I've listened to in awhile.  The way that Herbie thinks of harmony seems to fit right in step with Corinne's range and choice of notes when she improvises. This shows that not only is Herbie a good leader (proven by his countless albums), but that he can be just as powerful as an accompanist for a soloist or singer.

In case you didn't know who Joni Mitchell is, she is a singer-songwriter who is considered one of the most influential musicians of pop music because of her writing that displays themes of social commentary and environmental ideals. Some of her well-known songs are "Court and Spark," "Both Sides, Now," and "Help Me."

The lyrics for "River" give the air of someone who has made bad choices and wants to be somewhere else. The lyrics are simplistic, yet the message of sadness and longing is conveyed. A portion of the lyrics are below:

"It's coming on Christmas
They're cutting down trees
They're putting up reindeers
And singing songs of joy and peace

Oh I wish I had a river I could skate away on

But it don't snow here
It stays pretty green
I'm going to make a lot of money
And then I'm going to quit this crazy scene
I wish I had a river I could skate away on [. . .]

I hope there is nobody on here that dislikes Herbie Hancock or Corinne Bailey Rae because there will most likely be many more posts about these two, especially if they are working together. 

If anyone has any new songs, or musicians to check out, leave a comment below!

Rehearsal Tips for Singing in a Band

Playing in a band, small combo, or ensemble can provide valuable experience both on and offstage.  You gain exposure during actual gigs and network with your bandmates to try to get more work outside of that musical experience, possibly even gaining more friends while doing this.  On top of all of that, you can learn more about yourself as a musician, performer, and person.  Having been a part of several small combos and ensembles over the years, I would like to offer some rehearsal tips on how to sing when in a band or large ensemble for anyone who wants to get their feet wet or for those who need a refresher.

1. Make sure to have your own copies of music for your band's set. Whether it is on an iPad or printed out on regular sheets of paper. Personally, I prefer the latter so that I'm able to write notes down on the chart (changes in song form, corrections of notes or harmonies, addition of musical licks or lyrics, etc). This is also something to have for yourself during your own personal practice time and/or to go over with your vocal instructor.

2. Practice BEFORE rehearsal AND the gig. This one seems like a no-brainer and sometimes it's hard to get in extra practice time between rehearsals and gigs.  I've seen this happen time and time again with musicians in a group, singer or not. If you want the material that you've learned to stick, you need to practice.  Rehearsal time should not be time for you to practice--this is time for everyone to run through the set list briefly and fix kinks that are happening collectively with the band.

3. Try not to sing full-out during a rehearsal.  This is especially true of a rehearsal that happens right before a gig and when you have a large horn and/or percussion section in the group you are a part of.  If other members in the group cannot hear you sing, turn up your mic slightly. You should not be yelling over a band.  It is not worth the possibility of damaging your vocal chords just so that you can be heard for a rehearsal.

4. Practice good singing habits. Whether it is for a Rock group, chamber ensemble or Latin-Jazz combo, always practice things like proper breathing technique, posture, and vowel shaping.  Just because you're not singing full-out, doesn't mean you start practicing bad singing habits. What you do in rehearsal will most likely be done in performance, so try to practice the proper way.

5. Have respect for the music and for the band. Try not to show up late or talk during times when other bandmates or the band director is trying to talk. Get to know your band members, how they work and what their limitations are so that everyone can plan accordingly and work towards improving together.  Another aspect of this is knowing what the goal of the band or ensemble is: Does this band compete or is it just for fun? Is it an academic group or a professional band? Is the group serious about the music they are playing?

6. Try an idea out first before shooting it down. If you hear a melody that sounds weird to you or an unusual harmony that you've never sung before, try practicing singing it how it is written first before saying no. This will keep the band and band director (and possibly composer) in good spirits. However, if the song or melody is completely out of your vocal range, either hand it off to another singer or ask for the key to be changed. You don't want to put strain on or damage your vocal chords for the sake of a band.

7. Bring a recording device. This is for your own practice time outside rehearsal so that you can remember what the band or ensemble specifically did for each song in the set. However, if you have a band director, make sure to ask them first before you start recording.

I hope that these tips help some of you to improve your experience rehearsing (and playing) in a band or ensemble. Having respect for yourself, the music, and other musicians are very important, but if you're not enjoying yourself, all of these things will be very hard to keep in mind. Make sure to find music you enjoy and band members who are of a similar mindset to make it more fun for everyone.

If you have any additional tips or stories to share, feel free to leave a comment below!