#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.