#OnRepeat: Elis Regina & Antonio Carlos Jobim's "Inutil Paisagem"

This week for #OnRepeat, I have to talk about Elis Regina and Antonio Carlos Jobim's version of "Inutil Paisagem". Elis Regina is a singer and performer from Brazil who became famous within the genre of MPB, or Música Popular Brasileira, because of her style of singing and performance. During the 1970s, Elis Regina recorded the album, Elis & Tom, with Antonio Carlos Jobim--of which the song, "Inutil Paisagem", is a part--and is considered one of the best pop Brazilian music recordings.

I would highly recommend (for any singers out there) heading over to YouTube and watching some of Regina's live performances. How she conveys the message in each song, her use of body language, facial expression, and her choices of vocalization in different pieces exemplify why Regina is such an intriguing performer to watch, even almost thirty years after her death. She is a household name in Brazil and every musician that I have come across has either heard of her or heard a song that she performed ( and they didn't even know it). Some of her most memorable songs are "Aguas de Março (Waters of March)," "Modinha," and "Corcovado".

Tom and Elis' version of "Inutil Paisagem" is one of my favorites not only because of the lyrics and melody, but simply because of the fact that it is just voice and piano. A lot of Latin music that I have been listening to (and performing) lately have arrangements with big ensembles or a five-piece band, so it is a nice change for the ear, when you hear simple arrangements. The words and the melody are profound enough--and what Jobim does on the piano adds texture and color to Regina's vocal melodic  line--that it doesn't need more than that. The words are filled with lament; it is unclear if the words are about not caring about the beautiful landscape because of lost love, or if the words are saying how useless the beauty of everything is around them if they were to lose that love. Either way, the song is beautiful.

I hope this song inspires you to listen to more of Elis Regina's music. She continues to inspire musicians to this day with her unique, heartfelt performances and expressive singing style. 

If you have any new musicians or groups that you've been listening to #OnRepeat lately, let us know in the comments below!

Authenticity & Conviction

Recently I've been reading a lot and participated in discussions about authenticity in music.  Statements like "Leadbelly's guitar playing exemplifies the most authentic and pure form of rhythm and blues ever," "Authenticity and wealth are mutually exclusive," or "Disco is not an authentic music," are tossed around without careful thought. It is hard to give a clear definition for authenticity in music--what one person, a group of people at one point in time or location consider authentic could be completely different from another individual or group. 

For example, many of you out there know the Beatles. There are some who have grown up listening to Beatles music, like myself, and therefore have memories or certain emotions attached to certain songs or the Beatles group as a whole. These are authentic experiences specific to each individual.  Some of you could even venture to say that you love Beatles music too.  When someone asks, "In your opinion, which Beatles song is representative of their music, composition and performance?", your answer could be completely different from your friends', your mother or your teacher.  This means that authenticity is subjective and therefore, is difficult to discuss or even write about.

I do feel though that the concept people might be referring or alluding to when using the word, authenticity, in regards to music is conviction. It is a concept that is discussed in a post by David Castañeda at theMusicorum.com:

"Conviction can, and does, mean many things, but in this context I’m referring to an apparent and undeniable commitment to whatever you might be doing. In music, we have many names for this; 'buying into it,' 'leaving your heart on the stage,' 'having emotional investment in your material.' If you’ve never heard it put this way, take a minute and think of performance that gave you tunnel vision or goosebumps. Maybe at a concert, performance, or spoken word event where the performer was so invested in what they were sharing that you found yourself intently focused on every word, movement, mannerism – in other words, they were so invested that they forced you to become present, if only for that small moment in time."

The rest of this post can be read here.  This concept is not only something that I agree with, but have experienced myself, both on- and off-stage.  For example, when performing, if you sing about losing a loved one and you get to a place where you feel every ounce of that grief, identify with or draw from experiences to help you convey the words you are singing to your audience in a more deliberate way, the audience will feel that pain right in that moment with you.  I believe that this is connected to the idea of authentic experience--every individual feels and perceives the message conveyed in a piece of music differently.  Without conviction, people wouldn't be able to connect to the music and the musicians that play the music. 

I have also witnessed conviction during performances as well with singers such a Gregory Porter. I was also able to watch Thalma de Freitas' performance at the Loft that night (the one mentioned in David's post) and I was completely blown away by her performance.  She had everyone in the crowd moving in their seats and her amazing, heart-felt, interpretation of "Amalgura" captivated everyone.  These performances were filled with conviction that made it almost feel like I was feeling exactly what they were feeling. These musical experiences were my own, pure individual experiences that are now a part of who I am as a singer, musician, and individual.  

What are your opinions on authenticity? Is there such a thing in terms of music? Have you ever been a part of a performance or at a show where someone performed with so much conviction that that moment became a part of you? Tell us about it in the comments below!

#OnRepeat: Stevie Wonder's "Summer Soft"

For this Thursday's #OnRepeat post, I have to mention Stevie Wonder, a musician whose music I've always loved yet keep on rediscovering over and over again.  Stevie Wonder is a singer, composer, instrumentalist, performer and arranger who started his early career with Motown and has made innovative, hit songs ever since. Some of his songs that you might be familiar with are "Superstition," "Overjoyed," "Signed, Sealed, Delivered I'm Yours," and "Don't You Worry About A Thing" (one of my other personal favorites.

However, the song that I want to talk about today may not be Stevie Wonder song that everyone is familiar with: "Summer Soft". This came from one of his most critically-acclaimed and widely considered signature album, Songs in the Key of Life.  Of course I like the song for the obvious reasons--Stevie's distinctive voice, use of dynamics and his incredible range--but I actually like the song for another reason. The lyrics are filled with so much imagery that if you were just to read them before Stevie Wonder sang them, it would still fill you with an immense amount of passion. For example, the first verse is written below:

"Summer soft... 
Wakes you up with a kiss to start the morning off 
In the midst of herself playing Santa Claus 
She brings gifts through her breeze 

Morning rain... 
Gently plays her rhythms on your window pane 
Giving you no clue of when she plans to change 
To bring rain or sunshine 

And so you wait to see what she'll do 
Is it sun or rain for you 
But it breaks your heart in two 
When you find it's October 

And she's gone 
And she's gone 
Summer's gone 
Taking with her summer's play" 

The lyrics are so playful and yet so full of lament. Is he speaking about a childhood friend? A lost love? You don't know because, even though the lyrics are picturesque, they are still somewhat ambiguous, allowing the listener to draw their own conclusions. This is something that I consider truly creative and I have used this approach in lyric-writing myself. 

Towards the end of the song, Stevie Wonder sings "And she's gone" repeatedly, alternating between mentioning the months of April and October to give an illusion of the cycle of the seasons.  This deepens the feeling of ambiguity, since you almost feel like at some points throughout the song he is actually talking about a person. 

This is truly one of my favorite Stevie Wonder songs. It exemplifies all of the aspects of Stevie Wonder that make him the iconic Stevie. His talent in musical composition, his lyric writing, his performance style, his vocal range and improvisational skills. Take a listen below.

I hope this song inspires you to not only listen to more of Stevie Wonder's music, but to also try writing a song or two. If you have any new musicians or groups to check out, please leave a comment below!

The Parmer Soirée & Why There Should Be More Places Like It

This past Friday, I attended a farewell celebration at the Parmer compound in Los Angeles, which is home to the lovely (and bad-ass), Juliana Snapper.  Juliana has been living and teaching vocal lessons there for almost ten years. I had just began taking voice lessons with Juliana over the past year to two years. She came highly recommended by my previous vocal teacher when I was living in San Diego, saying (my vocal teacher's words): "She has ridiculously, crazy good technique and is a very nice woman." She was completely right.  After expressing my interest to Juliana to gain experience in teaching, I began working with her, subbing for her group vocal classes on the weekends and eventually taking on my own class every Sunday.  I have met many eager people who love singing and music and have gained not only teaching experience so far, but have learned some great lessons along the way myself.

When I went this past Friday to the showcase--which actually felt like a jam session/big party for singers or anyone who wanted to get up to perform--it had been my first time.  I had always received emails and texts about others in the past, but there had always been a gig, papers to write or chapters to read for a class.  I'm so glad I put that to the side for this special occasion.  The performance space was outside--a small wooden stage, built by hand with lights and decorations strung everywhere--with a decent sound system and chairs set up throughout the yard so you could enjoy the performances and the starry sky at the same time. There was plenty of food, drink and conversation to go around and the vibe of the evening was so relaxed that you almost didn't think it could be a formal showcase of Juliana's students.  Everyone was so welcoming at this event that if you were shy or if you paused out of hesitation, the crowd cheered you on. No one laughed at others, unless that person was cracking a joke.  It felt like the whole community had gathered to celebrate Juliana and each other.

While conversing with other musicians and lovers of music at the party, my boyfriend, who attended the festivities with me, even mentioned how much he loved the vibe. Being a musician too, he told me over and over again how he wished he had brought some of his percussion instruments so that he could jam with others. Which leads me to my next point.

There should be more places like the Parmer showcase that we attended Friday night. Places, either outside or not, that offer performance space and a decent sound system to plug in different instruments. Inviting everyone and anyone is a great idea because it creates a bigger audience to communicate with, more possible musicians to network with and play with, and allows the local music scene to grow and flourish. I can't tell you how many times I've been to jam sessions where there are egotistical musicians present who don't allow new or young musicians to get up and play. If the aim is to create good music, then what does it matter? You get to experience new musical ideas and approaches while that new or young musician gains experience.

I also loved how everyone at Juliana's celebration brought their own food or drink to share and helped to set everything up.  An atmosphere where everyone chips in with work and food contributes to a more community, group feel.  That type of stuff really makes a difference. If you feel part of a community, you will be more likely to participate in events over and over again.  This is one of the main reasons I am anxiously awaiting the next showcase party at Juliana's. Even though it will be at a different location this next time around since she is moving, I am sure that the loving, laid-back vibe will still be present, along with all of the food, drink, good music and good conversation.

Have any of you ever participated in something that made you feel part of a community? Was it music-related? Let me know in the comments below!

#OnRepeat: Billie Holiday's "I'll Be Seeing You"

For this week, Lady Day has been the one #OnRepeat; specifically, "I'll Be Seeing You". I felt that this would be an appropriate musician to discuss this week since Billie Holiday's birthday recently passed. Many of my favorite versions of songs are sung by Billie Holiday, and for good reason. Some of her most memorable songs, in my opinion, include "Strange Fruit" (artistically and socially poignant lyrics with Billie's voice adding a smooth yet at the same time haunting, harsh quality to the song), "Solitude," and "Good Morning Heartache" (both songs of which have beautiful melodies and lyrics that tug at your heart strings).

Billie Holiday's voice, and the way she applies it to each song she performs, is one of the most unique that I have ever heard. Her vocal range was not of a virtuosic singer, nor did she perform on-the-spot, ridiculous scatting like that of Ella Fitzgerald or Sarah Vaughn. However, the way that Billie would play with the melody of a song, her tendency to be rhythmically behind the beat and her choice of vocal inflection in the lyrics quickly became Billie's signature sound and could turn any run-of-the-mill jazz standard into something brand new and hip.

There are many who have covered the song, "I'll Be Seeing You",--Frank Sinatra, Dean Martin, Bing Crosby and even Michael Bublé--but I think that Billie's version is the best simply because of her performance. The lyrics are bittersweet, making one think of a lost love, or possibly even a close friendship or family member, depending on how you interpret it. Interestingly enough, this sad song was actually written for a Broadway musical called "Right This Way" which was supposed to be a musical comedy. Billie Holiday was able to take a musical number meant for a Broadway production and make it completely her own.

If you have never heard any of Billie Holiday's music before, this is a great musical introduction to Lady Day. I hope this prompts you all to do some more digging about old Jazz standards and even other genres of music. You never know: some of your current favorite singers may have done a cover version of an old standard that Billie probably performed. You can expand your musical repertoire while still learning about old and new musicians!

Again, if you guys have any new musicians or groups to check out, please leave a comment below!

Music & Our Schools

Always in the discussion of music, the thing that is brought up the most is the importance of musical education and how it can be implemented to improve students' scholarly performance and work skills, particularly in grades K through 12. I was even asked this question, several weeks ago in one of my blog posts: "How would you like music to be used in grades K-12?"

I personally feel that music should be a requirement that is mandated at every level in schooling. Every kid should learn how to play some type of instrument--whether it is drums, flute, piano or singing. The amount of self-discipline and determination needed to achieve musical goals are benefits that I feel kids can experience and improve upon while being involved in music.

Some would argue that people can gain this experience by playing sports, but I strongly feel that, though the physical aspects may be similar, playing music is not the same. There is a communal aspect to music--connecting with your audience--that isn't present in sports. This form of communication involves artistic expression and tapping into your own sense of individuality--figuring out who you are--in order to more effectively convey your message to an audience. Learning how to work with people is another skill that you inevitably pick up when learning, playing and performing music. You learn how to work within a band, with other musicians, with managers at restaurants or other performance venues and how to communicate with your audience.

This is why I feel that music should be a requirement in schools and not just an elective. More money should be allocated for the arts in general; not just music. This is first and foremost, a financial issue, but it is also apparent in this country that the same value that is applied towards science, mathematics and sports is not applied to music. This point of view starts with the parents. The parents are the ones who can encourage kids to figure out what it is that they want to do, to practice and work towards achieving goals, to make sure that the kids have good relationships with teachers and private instructors and to set the example themselves. The last point is the most important: setting an example for your kids. My mother was a full-time english professor so she was always reading and correcting papers, teaching classes and working on her own material, whether it was poems, short stories or a full-length article. Watching her work made me want to emulate her--her hard work, passion and independent nature were attributes that I strove towards and I still try to follow her example to this day. The parents are the first step toward a child's (and young adult's) success in the future.

All of this being said, I feel like music should be incorporated into every educational grade level (K-12). However, when students get into high school, music becomes an elective, being offered through either choir, ensembles, musical theater or band. Even in high school, music should be a requirement, focusing on basics such as reading and writing music, technique on the individual instrument and performance technique. The teaching of these concepts will inevitably instill aspects mentioned earlier: people skills, self-discipline, time-management and determination. That way, all students have a good foundation in musical knowledge, a deeper appreciation for music and the arts, and a good basis for working skills that will prepare them for the future, no matter what profession they decide to become involved in.

#OnRepeat: Jill Scott feat. Mike Phillips "The Way"

For today's #OnRepeat, I had to write about Jill Scott's song, "The Way", which is a live version featuring Mike Phillips on saxophone. There are some musicians who don't sound as good in their live performance as on a fully-mastered, studio album, but Jill Scott is one of the exceptions. For those of you who aren't familiar with Jill Scott, she is an R&B singer and actress. I am always discovering songs by Jill Scott that I really like not only because of the timbre of her voice, but because of her lyric writing.

I really enjoy listening to Scott's voice because of how much control you can hear in her voice. It seems like she has been vocally trained--her vocal clarity and diction, her use of dynamics and vocal placement--even if she may not have necessarily had any formal training. Her ability to go from a full, bright sound to this nasal, pointed tone to convey a message in a phrase makes it interesting to listen to her.

In the song, "The Way", I loved how she had the music reflect the lyrics (and vice-versa) to convey a feeling, atmosphere, mood, etc. For example, in the first verse she says:

 "Woke up this morning with a smile on my face 
   Jumped out of bed, took a shower, dressed, cleaned up my place 
   Made me some breakfast, toast, 2 scrambled eggs,  . . . grits" 

She sings the first line slow, as if to literally insinuate she's waking up. The next line is sung fast; as if she's in "work-mode" (getting stuff done, starting her day). Then, on the third line she slows down and drags out the word, "grits", suggesting that she was really looking forward to her breakfast. You would think that this lyrical phrasing only happens here, but the pattern continues throughout the song--the words fitting nicely within the rhythm of each phrase. Now, of course, this is my own interpretation of the lyrics, but this doesn't take away from the fact that Jill Scott is a good songwriter. 

Please pay special attention to her improvisational skills in this song. This includes where she places notes in a phrase, words rhythmically in a phrase, her use of dynamics and how she messes with the timbre of her voice. You can hear the jazz and soul influence in her scatting and musical riffing. 

Check out more of Jill Scott's music when you get a chance and if you guys have a new artist or group to check out, leave a comment below!

Performance: The Importance of Conveying Your Message

Performance. The most innate aspect of singing and yet the most difficult. This is something that I myself have struggled with for many years--it has taken me a long time to feel comfortable enough to open up on stage. This is the reason why I chose to write about this topic today. People may think that  being able to sing without any reservation in front of people should come easy to a vocalist, but many times this isn't the case. Vocalists are individuals too; each with their own flaws and issues to work on such as intonation, tension issues, breath control and performance anxiety. Therefore, I feel that it is essential that we discuss some different strategies on how to combat performance anxiety and thought processes to remember when approaching performing songs (that don't involve elaborate dance routines). One thing to keep in mind when practicing and preparing for performances or gigs is that a lot of the fears you experience on stage are only mental barriers that, if left unresolved, can be detrimental to your voice and the way you perform.

Performance Practicing Tips
1. Use a Mirror.
Most of the time the movements or facial expressions that you think are exaggerated and easy to see from a stage, are not. The only way to see how your performance will look in real time will be to watch yourself in a mirror. You can catch nervous tendencies, awkward body posture or movements and facial expression by looking in the mirror as you sing.

2. Record Yourself Performing and/or Practicing
This is like taking notes for a musician. It has all the benefits as the strategy of looking in the mirror, but you can go back later, "studying" further and more in-depth what you think you did wrong, what you did right, what aspects of your performance can be "kept" or "thrown" away. You should also take these recordings to your vocal instructor or tutor, who can really give you better insight on what aspects of your vocal performance you are excelling in and where you need to improve.

3. Go Easy On Yourself
You will make mistakes. Especially when learning new material that you have never sung before. This is all a part of the learning process. The important thing is that you learn from your mistakes (or aspects of your performance that you didn't like), try to practice and improve the next time, but move on. It is not emotionally or physically healthy to be hard on yourself or to develop unrealistic expectations.

4. Think About What You Are Singing/Saying to Your Audience
Try to be aware of the message you are trying to convey in each song you sing. Is it a sad piece? A song about realizing how much you love someone? Or is it am empowering song about loving yourself or standing up for what you believe in? Whatever the message, really think about the lyrics when you perform them. Practice speaking them out loud to yourself, using phrasing and inflection. Draw on your past experiences that you, family members or friends have had in the past. How did those situations or moments make you feel? What were you thinking? If you believe what you are saying or doing, others will believe you to and be drawn to your performance that much more.

5. Perform in Front of an Actual Audience
All the practicing and preparation you do doesn't compare to actually being in the moment up on that stage. You won't know what aspects of performing you really shine in until you are singing in front of people. If you have already started performing on stage, keep doing it. The only way to get better at performing on stage is to do it as much as possible. This helps you discover who you are as a performer.


When I was younger, I always had the most horrible time trying to sing in front of people. I would stiffen up like a board, no emotion on my face and just let the music flow out of my mouth. My nervous tendency was having my hands at my sides, balling my fists up, grabbing the sides of my clothes, be it pants or a dress. Audience members would say I sounded amazing, but I looked like I was miserable and uncomfortable. After some extensive training in front of a mirror, I was able to get rid of this nervous tendency, but I still had a mental barrier that kept me from connecting with my audience when I sang. As I got older, however, I decided to view my performances as conversations with the people in the seats instead of as someone who sang at the audience. By taking this approach, it made me more comfortable to be expressive on stage; as if I was just telling friends an interesting story. I still struggle with my stage presence and opening up when I'm on stage, but I've come a long way from that tense, little girl trying to sing to an audience. You can overcome any performance anxiety issues with enough practice and the right mental approach too. When you tell your friends about the great (or horrible) day you had, you use your hands, your voice rises and falls in volume, you walk around--you are immersed in that day, that story, that message. It should feel just as natural when you perform.

Hopefully this can help you in your preparation and practice for performances. Most of all, just have fun when you sing because the people in the audience came to see you and experience what you have to offer.  So enjoy it!

Feel free to leave a comment below!

#OnRepeat: Herbie Hancock & Cèu "Tempo de Amor"

This week #OnRepeat is Herbie Hancock and Cèu's song, "Tempo de Amor". Herbie Hancock is a pianist, composer and arranger who has recorded songs such as "Chameleon" and "Butterfly" (two of my favorites) and has played with musical greats like Miles Davis. I encourage anyone who has not heard of Herbie or his works to go research and listen to all of his music. I am a huge fan of Herbie's not only because of his music, but because his willingness to collaborate with many different musicians from varying genres from Stevie Wonder to Dave Matthews. He always has pushed through musical boundaries, striving to try new things.

The singer on this song, Cèu is a singer-songwriter from Brazil who blends electronic, Jazz, R&B, Hip-Hop, Soul and different traditional Brazilian musics, such as Samba and Choro to produce an eclectic, funky sound that is most definitely Cèu. Her voice is deep and smooth with a bit of a raspy-like quality that adds perfectly to her music. You should all check out "Lenda" and "Malemolência"--both of which I love and are good starter songs for Cèu's music.

"Tempo de Amor" is from the Herbie Hancock's "The Imagine Project" album, which focuses on themes of peace and global responsibility and because of its lyrics, this song sits well within these themes.  The first part of the song says:

"Ah, bem melhor seria
Poder viver em paz
Sem ter que sofrer
Sem ter que chorar
Sem ter que querer
Sem ter que se dar"

Which roughly translates to:

"Ah, how much better it would be

To be able to live in peace

Without having to suffer

Without having to cry

Without wanting

Without having to give"

Of course, part of the poetic imagery and profoundness gets lost in translation, but the song centers around the theme of the need for love in the world, in spite of everything; hence the title, "Tempo de Amor (Time for Love)". It is beautifully written--and timeless. 

I hope you guys all enjoy this song. This has been a favorite of mine since I performed it with a jazz ensemble during my undergraduate years. Be sure to check out more of Cèu and Herbie Hancock's music. 

If you guys have any new musicians or groups to check out, please feel free to leave a comment below!