#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