#OnRepeat: Melody Gardot's "Our Love Is Easy"

This week, I've had Melody Gardot's "Our Love Is Easy" #OnRepeat. Most of Melody Gardot's music is great, but this song is one that I frequently come back to when I think of this musician.

Melody Gardot is a Grammy-nominated singer-songwriter from Philadelphia. She started taking music lessons at an early age, but began to teach herself how to play guitar when she was in a hospital bed for a year due to being hit by a car. Writing and playing music helped her to cope with her injuries, which included some short-term memory issues. Because of this, Melody frequently advocates for music therapy at universities, citing music as something that has aided her in her recovery. Her music is a blend of elements of Jazz, Blues, Pop, and Country music. Some of her most well-known songs are "Who Will Comfort Me," "Pretend I Don't Exist," and "Love Me Like a River Does."

"Our Love Is Easy" is reminiscent to me of music from James Bond films; sleek and subtle, yet extravagant. The lyrics are poignant and the lyrical imagery is beautiful, causing you to feel almost overwhelmed from the emotions that are being expressed in the words, yet Melody's voice is warm and intimate, giving the song the Jazz-like feel that is Gardot. I was immediately drawn in by the string arrangement in the beginning of the song and I couldn't stop replaying this song over and over.

Take a listen below:

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

Damaging Your Vocal Cords: What That Means for Your Voice

When talking to other musicians about shedding (practicing), many drummers, percussionists, and horn players tend to brag about being in a room for 6 to 8 hours straight with their instrument. However, as a vocalist, there have been very few times for myself where I practice more than 2 hours of singing because once you damage your vocal cords, you not only damage your singing voice, but your speaking voice as well.

Common Problems That Result From Overuse or Misuse

As stated in a blog post on themusicorum.com site, misuse of the vocal cords and overuse (or not resting and practicing too much) results in "Overuse Injuries, a term used to describe injuries that can present as anything from decreased range of motion to pain." For singers, this manifests in several ways: 

1. Laryngitis 
When you get a viral infection, you can lose your voice or become hoarse. Vocal cords swell and vibrate differently, resulting in laryngitis; the remedy is to drink lots of water and REST your voice. Even worse problems can occur if you don't rest (which is why singers shouldn't sing when they're sick).
2. Vocal Nodules, Polyps or Cysts
These bumps or lesions can also lead to hoarseness; vocal nodules can be cured with vocal therapy, as well as vocal rest to remedy the damage. Polyps or cysts, however, could possibly lead to minor surgery along with therapy and rest. 
3. Vocal Cord Hemorrhage 
When you suddenly lose your voice after shouting (or possibly straining your voice while singing) a blood vessel could rupture on the surface of one of the vocal cords, resulting in the tissue of the cord filling with blood. This is considered an emergency and you should consult a doctor immediately. 
4. Other Problems
Vocal Paralysis (a rare problem) is usually a neurological condition which can sometimes go away within months. 

This information is not here to scare you, but to make you more aware. Since we also use our voices to speak, we need to make sure we are extra careful when singing, whether practicing or performing. If you feel any pain or discomfort when singing, stop immediately and seek medical attention. 

Prevention is Key 

The way that we prevent injury is by learning proper technique and learning how to take breaks when practicing. Make sure to seek out a local vocal instructor or coach when learning the basics: proper breathing technique, proper posture, good vocal exercises, etc. Learning how to release all tension from your body, breath properly, and stand properly can prevent injury and problems such as the ones listed above. Also, knowing and listening to your own body can help you know, not only where you need to improve, but when to slow down or rest.

Did this information help? Have you experienced any other types of problems when practicing too much or straining your voice?

#OnRepeat: Dianne Reeves' "Tango"

This week I've had Dianne Reeves' song, "Tango," #OnRepeat. I've actually been listening to Dianne and have been aware of her for awhile, but it wasn't until I heard the recording and saw a live performance of this song, that I really started to take notice of her voice and performance style.

Dianne Reeves is a Jazz vocalist from Detroit, Michigan. She has performed and toured with musicians such as Billy Childs, Harry Belafonte, Esperanza Spalding, Richard Bona, Robert Glasper, Gregory Porter, and Lala Hathaway. She has won several Grammys and some of her most well-known songs are "River,""You Go To My Head,""How High the Moon."

The song, "Tango," consists mostly of riffs, licks and scatting performed by Dianne. The song starts out with Dianne singing a cappella in free rhythm, but in a flamenco-inspired style of singing, and slowly, other instruments join her. There are no lyrics for this song--more of a theme that Dianne and the other musicians return to throughout the piece--but Dianne's musical choices make the song very interesting. I was truly impressed with her range and how effortless her improvising appears.

Take a listen below:

If you have a new musician or group that you can't stop listening to, leave a comment below!

#OnRepeat: Cécile McLorin Salvant's "John Henry"

This week, I've had Cécile McLorin Savant's "John Henry," #OnRepeat. I always love discovering new vocalists who utilize their whole voice; it's refreshing to listen to a knowledgeable vocalist.

Cécile McLorin Savant is a singer-songwriter from Miami, Florida. She has studied classical voice and improvisation, spending a lot of time in France. Her music focuses mostly on unique interpretations of rare Jazz and Blues pieces, singing in English, French, and Spanish. I can't believe I haven't heard of Cécile before now; she received Grammy nominations in 2014 and 2015 for Best Jazz Vocal Album and she has several albums out already. Cécile also won the Thelonious Monk competition in 2010, a prestigious award for many aspiring, young musicians.

"John Henry" is a song based off the tall tale of John Henry, the African American folk hero who had the job of hammering drills into rock to make holes for explosives to make room for railroad building. The legend goes that John Henry's skill and strength is put to the test in a race against a steam-powered hammer; a competition which he won, but ultimately also killed him because his heart gave out from the immense work. Cécile conveys the ballad of John Henry perfectly, accessing the heavier, lower part of her range to imitate John Henry's speech and adding licks and riffs that are stylistic of a bluesy, folk song. The ease at which she uses space, phrasing, and range to convey musical messages is at times staggering and something that many vocalists aspire to. I encourage anyone who is looking for ways in which to access all parts of their range and voice to use Cécile's album, Woman Child, (along with all of her other music) as a good listening to reference.

Take a listen below:

Do you have a new musician or group that you can't get enough of? Leave a comment below!

#OnRepeat: Halie Loren's "Butterfly"

This week, I've had Halie Loren's "Butterfly" #OnRepeat. I just recently discovered this artist while at work (I love being in a place where you're exposed to new music all the time).

Halie Loren is a singer-songwriter who is originally from Alaska (not something you hear everyday), but moved to Oregon. She has won multiple awards for songwriting and some of her most well-known songs are "Thirsty," "C'est Si Bon," and "Sisters Song."

The song, "Butterfly," is a song about facing challenges and transforming because of those challenges. Loren's voice is reminiscent of Billie Holiday and even Norah Jones; her music blends Rock, Blues, Jazz, and elements of R&B music. Her performance style and lyrics give an air of being an "old soul" and her voice is a great blend of crisp clarity with sultry raspiness. However, I really admire her lyric writing for its elements of imagery and warm undertones. This song was beautifully arranged as well; the musical accompaniment compliments the lyrics very well.

Take a listen below:

Do you have any artists or groups whose lyrics inspire you? Leave a comment below!

#OnRepeat: Marisa Monte"s "Dança da Solidão"

This week, I've had Marisa Monte"s version of "Dança da Solidão" #OnRepeat. I've been recently getting back into listening to Brazilian music and I think this is the perfect vocalist to reintroduce myself back into the music with.

Marisa Monte is a singer from Brazil who sings mostly Pop and Rock music (Música Popular Brasileira). Her music is eclectic and distinct, and you can tell--Monte was classically trained, yet grew up around the sounds of the Portela samba school. She also plays ukulele, cavaquinho, and guitar while she sings. Much of her music blends popular musical influences such as Rock, Pop, and Blues, with that of traditional Afro-Brazilian musics such as Forro and Samba. Some of her most well-known songs are "Nú Com A Minha Música"and "Aquele Abraço."  

"Dança da Solidão" was originally composed by Paulinho da Viola, a famous Brazilian singer/songwriter who also played guitar, mandolin, and cavaquinho. The song talks about the solitude of dance and disappointment that comes with life and love. My interpretation of the words were that dance, like solitude, were the only things that could bring happiness and contentment, but then again, I'm not fluent in Portuguese and I didn't write the song. Either way, Monte's interpretation of this piece is absolutely haunting--the voicings that she chooses to play on her instrument and her choice of vibrato placement and embellishment adds just the right amount to this already beautiful song.

Take a listen below:

Are there any new artists or groups that you can't stop listening to? Leave a comment below!

Too Much or Too Little?:The Art of Musical Taste in Singing

One great thing about the holidays is all of the great holiday music that you get to listen to and all of the different interpretations of these holiday classics. Hey, I'm a vocalist and I love the holiday season--this was bound to be brought up at one point or another. Lately, I've found myself trying to actively listen to the music that I've been exposed to in regards to the musical taste of the musician or musicians performing.

What is taste?
The term isn't normally something that is referred to when you talk about your favorite vocalist or band with others, though it is something that you talk about, unknowingly.  Many musicians take about this on a daily basis, but coming up with an actual definition can be tricky since it is so hard to define. For the purpose of this post, though, here is a basic definition. Taste is each individual's musical instinct--when to add vocal affectations, dynamics, inflections on certain words, how you interact with different members of your band or audience, etc--that gives that musician their own unique sound or quality. This can differ slightly from song to song, set, or performance, but that underlying quality is always present. So, in other words, taste is choosing what and what isn't appropriate for each musical situation.

I believe that the most successful singers out there know just when and how to add the right amount of affectation, dynamics, or vocal riffs to their performance. Some of the most successful performers have made their career on exaggerating certain elements of their singing or performance--Celine Dion, Christina Aguilera, Madonna. However, there are also some very successful singers who stuck to their guns when it came to developing their own taste and sound: James Brown, Aretha Franklin, and Prince.


Too Little or Too Much?

Knowing when to add that extra note, hold a note longer than expected, or even add inflection on a word that normally wouldn't have any in a phrase is tricky.

1. Does it feel forced? If it doesn't feel comfortable, then it's probably too much. That being said, if you've never really performed, or even sung before, everything you try might feel weird. Which leads me to my next point.

2. Listen & Experiment. Find multiple versions of the song you're working on and take what you like from the singers you admire. Everyone copies or emulates others. After practicing the affectations or riffs that you've heard, try adding (or subtracting) your own ideas. Eventually, you'll find your own unique sound.

3. Remember that you're trying to connect and convey a message. First, try speaking the words before you sing them. What words do you put more emphasis on? Where do you naturally pause while speaking the words? Remember that, ultimately, you are trying to connect to others; to convey a message.

What musicians or groups do you think have great musical taste? Leave a comment below!