The Vocalist Magazine (Spring 2013 ISSUE)

VOCALIST THE

MAGAZINE

April - May - June 2013

Tips For Vocalists

DAWN RICHARD

Vocal Health How To Get Booked at Music Festivals

JONAS

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Nelly Furtado

TEEDRA MOSES PASCAL MALKOUN MARIE CHRISTINE

“This is my best Interview...Ever” THE LOOK BOOK

HOUSE OF JAZZ

ANDRE MENARD

Montreal International Jazz Festival

Top 10 Things Vocalists Need To Stop Doing

SPRING ISSUE

ICON ICON 24

1 EDITOR LETTER 12 WIRE

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Latest Gears Latest Microphones Software for Vocalists

16 HEADLINER NELLY Furtado

26 ICON

SPRING

Mariah CAREY

40 VOCALIST IN RANGE Aretha Franklin Tina Turner Gwen Stefani Pink

44 VOCALIST INSIGHT

Top 10 Things for Vocalists Five Ways to kill a vocal track Top 10 Commandment for Vocalists

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VOCAL HEALTH

Remedy for sore throat and lost voice Celine Dion’s Viral Voice Steven TylerPopped Vocal Cord

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Cont

COVER

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HEADLINER

68 BOOKING SMART

Update On Music Fest How To get Booked Interview with Montreal International Jazz Festival co-fonder Andre Menard

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THE BIZ OF VOCALIST

Interview with Head Manager at Lone Wolf Entertainment Pascal Malkoun

SkinTo Tips The Look Book by Erika Footman Interview With Natascha Sohl

104 THE SPRING VOCALIST

EXCLUSIVES INTERVIEWS Jonas Dawn Richard Marie Christine Teedra Moses

ISSUE

86 VOCALIST INSTYLE

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142 House Of JAZZ 144 VOCALIST LIVE VENUES 148 VOCALIST RESOURCES

tents

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72 Publisher / Editor: Samuel Biks samuelbiks@yahoo.ca Associate Publisher: Jennifer Meade jamvocal@hotmail.com junior Editor: Kalika Hastings kalika.hastings@me.com Marketing / Advertising Manager samjam@me.com Art Director Senior: BBMC Marketing and Promotion Art Director: Besher Al Maleh Marketing and Promotion assistant : Julie Parenteau - samjam@me.com Public Relation (PR): Marie Gagne-Fournier samjam@me.com Contributors: Jennifer Meade, Kalika Hastings, Malik Shaheed, Diva Devodee, Megan Closs, Nick Eden, Erika Footman, Marie-Gagne Fournier, Elise Malmberg, MARIA KRISTINA D. SIUAGAN, East Coast Music, Megan Smith, Darren Gallop.

COVER: Credit Photo Nelly Furtado / Universal Music Credit Images - Nelly Furtado (Universal Music); Mariah Carey (Getty Images); Dawn Richard (Dimitry Loiseau); Teedra Moses (TVT Records, Maybach); Jonas (Crila); Marie-Christine (Siena Records, Marie-Christine); Lone Wolf Entertainment; International Montreal Jazz Festival; House of Jazz.

QUESTIONS or FEEDBACK Email Info: samjam@me.com Mail: 372 Ste Catherine West. Suite 121. Mtl QC H3B 1A5

VOCAL HEALTH

58 The Vocalist Magazine

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PRESIDENT’S LETTER

Vocalist and Co-founder of The Vocalist Magazine

Jennifer Meade

It all started with the vision of a vocalist / songwriter

who wanted to share her passion, bring vocalists together and give them a place where they can share their stories, create, aspire, and excel.

Over the past months I’ve seen The Vocalist Magazine evolve and it is a journey that allowed me to meet incredible people. Among them, my partner, visionary and co-founder Samuel Biks, the writers and The Vocalist Magazine’s team.

The vision behind this magazine, is to focus on vocalists. To give them a platform to share their experience, techniques and secrets. To communicate how they maintain their image and fashion style and what they eat before and after they sing.

In this issue we are pleased to feature Mariah Carey the Icon, for her contribution to the music business.

Vocalists who are always rising to another level perfecting their craft; Dawn Richard a gifted songstress, Jonas a rocker at heart, a Lioness Teedra Moses, and Marie-Christine a rising star with a sunny voice.

Our cover feature and Headliner, Nelly Furtado, one of Canada’s leading vocalist, businesswoman and a philantrophist.

It’s around this time of year when people begin to prepare for the festival season. A time that reminds us how essential music is in our everyday lives. So we had an opportunity to meet with Andre Menard co-founder and artistic director of the Montreal International Jazz festival, to get an insight and tips on how to book festival gigs.

My hope is that The Vocalist Magazine inspires vocalists to be the best they can.

This is our profession and our mission Elise Malmberg said it best: “Just because you’re a good singer doesn’t mean you’re a great vocalist. The best way to become a good vocalist is to know your voice — both its strengths and its weaknesses”. Good reading.

Jennifer Meade

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The Vocalist - Wire

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The Behringer MIX800 is a compact karaoke processor that lets you sing along with any track you connect to it via its RCA inputs. It has a voice-canceller function that is designed to remove the lead vocals on an existing track, allowing you to sing your own interpretation over the backing. Also included are vocal effects and EQ to enhance your vocal performance. The unit has two individual mic inputs so you can sing duets.

The TC-Helicon VoiceLive

TC-Helicon have produced another great vocal processor pedal – the VoiceLive Play. It offers more than 200 song and artist presets designed to help you sound like your favourite singers and can also create backing harmonies. It includes their adaptive tone feature to deal with EQ, compression and de-essing, and also a wide range of vocal effects designed to help you get your perfect vocal sound. The VoiceLive Play also offers pitch correction, phrase looping and an MP3 input with voicecancellation to help you quickly create backing tracks from your favourite songs to sing along to.

TC-Helicon have also announced the VoiceLive Play GTX which also offers additional guitar effects for singing guitarists.

More details: http://www.tc-helicon.com/products/voiceliveplay/

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IK Multimedia have shown off the iKlip – a universal microphone stand adapter for the iPad. Now it’s easy for you to use your iPad in any live setting or in the studio to display lyrics or musical notation. It has a multi-angle adjustable design, so you can securely position your iPad to your mic stand for optimal viewing and accessibility, while all controls, buttons and connection ports remain free from obstruction.

More details: http://www.ikmultimedia.com/ iklip/features/

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IK Multimedia iKlip

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Behringer MIX800 Karaoke Interface

Latest Gear

TC-Helicon VoiceLive Touch

The VoiceLive Touch is a versatile vocal processor that offers a vast array of sounds and creative possibilities to spice up your vocals. It also includes useful additional functions such as a guitar tuner and a ‘talk’ function that temporarily turns off the effects so you can talk to the audience in between songs. It has great sound quality and all the inputs and outputs to fill the needs of most users. If you are a singer who wants to experiment with live looping or you just want to add some magic to your live vocals with different effects The Boss VE-20 Stompbox and harmony generation, then the VoiceLive Touch is certainly worth checking out.

Manufacturer’s Website: http://www.tc-helicon.com Overall the Boss VE-20 is a very useful piece of kit for gigging vocalists. The quality of the effects is far better than found on most mixing consoles and will help you achieve a more professional sound on stage.

Compared to other similar units the sound quality VE-20 stands up well, however the lack of guitar or keyboard input makes things a little trickier for live use as you will often need to set up a separate preset for each song. The unit faces stiff competition from similar devices from TC-Helicon and Digitech that are arguably a little easier to use and have inputs for guitar or keyboard, allowing greater accuracy for harmony generation and pitch correction.

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VOCALIST SOFTWARE 2

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Synchro Arts Revoice Pro

At A Glance: Revoice Pro is stand-alone computer software for the studio that can automatically time-align and tune vocal doubles that you have recorded so that theyprecicely match your lead vocals. This can make vocal mixes sound much tighter as it is often hard to get the timing of two performances exactly the same. It can also be used on speech when you need to overdub dialogue in a video and want to keep the lip-sync spot on. Revoice Pro works with ANY professional Mac-based Digital Audio Editor including Pro Tools, Cubase, and Logic.

A VoiceCouncil Reviewer Says: Revoice Pro generally works extremely well, however in more extreme settings (and particular when used to match speech to a dub track), artefacts can appear and become slightly noticeable. The automatic doubler feature works well, although the best results will tend to be found when using another take and matching it to the lead track.

If you like idea of Revoice Pro but are put off by the price, Synchro Arts also produce a piece of software called VocALign that offers some of the same features found in Revoice Pro but costs close to half the price.

Manufacturers’ Website: http://www.synchroarts.com

Antares Auto-Tune EVO

At A Glance: Since its introduction in 1997, Auto-Tune has had a profound effect on how music is produced. Although, it cannot make a bad singer sound like a great singer; it has been used extensively to make vocal performances sound more ‘perfect’ by correcting selected off-pitch notes. The latest version aims to do this with minimal audible artifacts and it comes with a range of features to appeal to both novice and advanced users.

A VoiceCouncil Review Says: Even if you would never dream of using autotune on your lead vocals, the plug-in can be used more creatively, such as to create a double track effect on a duplicate of your lead vocal, or simply using it as a special effect on a particular line in a song. It also works well in tightening up backing vocals that are clashing with the main vocals. Nearly all vocals are treated with some effects processing such as reverb, delay, EQ, doubling, chorus and compression – so perhaps auto-tune can be seen as an extension of the effects world. It can certainly ruin the human element of a vocal recording if overdone (unless that’s your desired effect); however, when used carefully, it is a powerful tool that can put the finishing touches to your vocals, especially when there is no option to re-record the take.

Manufacturer’s Website: http://www.antarestech.com

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Singing Coach Unlimited

At a Glance: This software package is designed to help you to learn how sing in tune and stay in the right pitch. During lessons, the real-time Pitch Tracking Line traces the actual pitch sung and gives the singer visual feedback on the accuracy of each note. The lessons are mainly for beginners, so advanced and professional singers will find this package of little practical use.

High Notes: The Singing Coach software assesses your personal vocal range and then displays songs and exercises appropriate to your range that won’t strain your voice. The “compose mode” also allows you to create and follow your own songs and vocal exercises.

Off Pitch: Many reviewers found the cartoon animations annoying/childish and some users were disappointed with the limited selection of in-built songs— definitely not to everyone’s taste. The microphone headset (included) is flimsy; breakages seem to be a problem. A significant number of reviewers also reported installation and running problems.

More: “As it stands, Singing Coach Unlimited is a brave but ultimately flawed exercise that fails to realise that singing is supposed to be fun. Singing Coach, for the most part, isn’t”

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Recording Microphones 2

Earthworks SR40V Mic

Audix Fireball V, Beat-Boxing

At A Glance: The Audix Fireball V is a live dynamic microphone that is targeted at beatboxers and harmonica players. It is designed with a small body in order to make it easier to hold than a traditional microphone – for performers who like to cup their hands over the mic. Its frequency response is specifically tailored to suit beat-boxing (and harmonicas) rather than lead vocals and it also features an easy to use volume controller on its body.

A VoiceCouncil Reviewer Says: The Earthworks SR40V is possibly one of the best live vocal microphones money can buy and unfortunately this quality does not come cheap. On the other hand, if you are not going through a seriously high-end PA system the difference may be quite minimal when compared to a microphone costing a quarter of the price. It is also around twice the price of its main competition from Neumann, Sure, and Sennheiser, who all make great high-end live microphones that have been used by top artists for many years. If vocal quality is your only concern, then the Earthworks SR40V is unlikely to disappoint, however unless you are also planning to also use it as your main studio microphone, the price will make the SR40V hard to justify for the majority of singers.

Manufacturer’s Website: www.earthworksaudio.com

Voca list MICS

A VoiceCouncil Reviewer Says: The Fireball is probably a little too bass heavy to make it an ideal choice for live singing, however it could work okay for rapping and it can also be used on brass instruments or percussion.

The microphone is highly regarded by many beatboxers as it offers a sound that is better suited to their vocal style than a traditional vocal mic designed for singing. If you are looking for a mic for beat-boxing, the Audix Fireball is definitly worth trying out.

Manufacturers’ Website: http://www.audixusa.com

At A Glance: The Earthworks SR40V is a hand-held vocal condenser microphone that aims to offer the best performance on stage that money can buy. Its flat response produces a neutral sound so it can work well with all types of voices and it has a wide frequency range from 30Hz-40kHz so no detail is missed. The microphone produces a very accurate sound with fast transient response, meaning that it can be used both in the studio as well as on stage. It requires 48v phantom power and comes with a rugged plastic touring case.

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Blue Dragonfly Microphone At A Glance: The Dragonfly is a studio condenser microphone that manufacturers Blue say works particularly well for higher frequency instruments and is ideally suited for Alto and Soprano voices. It has a slightly bright and forward sound similar to other popular studio vocal microphones such as an AKG C12 or Neumann U47, combined with enhanced lows to add warmth to any source. The microphone has a cardioid pickup pattern and is powered by +48v phantom power.

A VoiceCouncil Reviewer Says: The Dragonfly is a great sounding mic at a competitive price; however its frequency response is far from flat and will not necessarily suit all instruments and voices. As well as being a good choice for recording vocals, it can also work well on a range of other sources including strings, highfrequency percussion such as cymbals and both electric and acoustic guitars. Sonically the top frequencies are on the bright side; however it still remains smooth and refrains from sounding harsh. Because the high and low frequencies are slightly boosted by the microphone, the midrange isn’t as forward as they are on some mics, so you probably would not want the Dragonfly to be your only microphone if you are recording lots of different instruments and voices. Overall, if you are looking for a mic with character then the Dragonfly is definitely worth auditioning.

Indestructible

NELLY FURTADO

By Malik Shaheed

Written by Jennifer Meade & Marie Gagne-Fournier Credit Images - Nelly Furtado

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VOCALIST HEADLINER

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INTERVIEW

Malik. Today we are hanging out with Nelly Fertado!

How are you today?

Nelly. I’m great! Nice to meet you!

the album, how would you describe the energy and the vibe of your album?

Nelly. The energy is spiritual on this album you know my first album was like more in the brain, the second album was in the heart, the third was in the body and this fourth english record it’s all about the spirit, it’s all about this joyful sort of adrenaline and this youthful kind of joy and it really comes out of the record. I fell like a lot of these songs are like soul food. The album feels to me like a hallelujah ‘cause I was in a really kind of place when I wrote it. I just got back from my first trip to Kenya in Africa with “Free the children”. I just meet all these people that inspired me so much.

That’s why all that vibrations is on the album.

Malik. You’re looking great, Nelly: Thank you!

Malik: what’s the secret?

Nelly. The secret?! Great hair and makeup team! (she laughs) No. I try not to stress I guess...Simple things right? Sleeping! Trying to. Water! I’m on tour now and it’s hard to sleep on the tour bus I have to say! So yeah! over the years there are little tricks you pick up.

Malik. Let’s talk about your new album The Spirit Indestructible. Why that title?

Nelly. Well you know I wrote the song Spirit Indestructible and it was like I couldn’t think of a better title I just thought this is powerful. I was reading a book, and I saw the straight words The-Spirit- Indestructible in reference to how we all have that within us. And the words jumped out at me from the page and I thought...Wow!..that’s a hot album title, and then I wrote the song that went with the album title. So sometimes or all the time it can be weird like that, they kinda come even before you’ve written the songs that’s what happened.

Malik. Ok and talking about Kenya in Africa I know, you’re working on building a school down there?

Nelly. Yeah! We’ve started building the school this year, on my second trip there, it’s called “Oleleschwa”.

Actually on this tour we are selling merchandise and all the proceeds goes to Oleleschwa. We have this special t-shirt called “The Spirit Indestructible”. It’s a high school for girls in the Maasai region. Basically the government education ends at grade 8 so they have to pay for high school. This school is like a boarding school for them to come. It’s focus on the community and all the different cultures coming together. Just enthusiastic girls who are excited to be at school. That inspired me and makes me think back when I was fifteen, kind of missing the bus on purpose to school.

Malik. I had a chance to listen to the 4 single from the 3 first albums, they are very different styles in

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“The energy is spiritual on this album.”

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“I’m most gratef for the people th I have around m in my caree

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ful hat me er.”

Malik. On this album you had a chance to be an executive producer. How was that, the roles and challenges to be an executive producer?

Nelly. Yeah it’s funny. Since I’ve begun my career, I’ve always been very invested in music. You know, taking part in production, even mixing, writing. Producing for other artist occasionally like I have with Dilan Murray as who’s on my label Nelstar. But exactly on producing this album what happened was that the album just took so long to record, it actually took me three years cause it’s the first record I made with Salaam Remi and I was taking these breaks and recording with other people. And then at the end I started recording with Rodney Jerkins so by the time it was all said and done it’s been three years.

I was the only executive producer, the only one who knows what material I had. I was kind of keeping it a secret from every one for a while. I just needed space you know.

Sometimes you just needed space to create.

It depends because sometimes I like working with somebody who just comes into the mix and you kind of trust him. Like on my spanish album I work very close with my A&R Andres Recio he helped me find all the duets, pick which songs was stronger and that’s really nice too. So I like working all different ways.

Malik. And on your song Big Hoops, you mentioned “that boy wanna feel my poison”.

What did he do to you?

Nelly. Ah ah! It’s from BBD and poison! All the lyrics are references to my favorite early 90’ songs so I’m gonna quiz you: You hear any other songs in there?

Malik. Yeah. I forgot what they were.

Nelly. Ah! ah I said “You got my rump rump shaking I’m another bad creation”. I got the Salt & Pepper reference: “don’t wanna talk about sex wanna express myself”. Double reference. What else? Anyways that was my playful way of paying tribute to this time in my life I was about 14 when my friends and I only listen to R&B and hip hop because I grew up in Victoria (BC) which is a little bit in the south of the border so we pick up all the Seattle stations and all the West Coast rap. We were so influenced by it and lived in this dream of R&B world where the music never ended. We were always dancing and singing. You know it was magical. So on that song I tried to capture that.

Malik. You did, you did!

Nelly. Thank you!

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Malik. And I saw you got two versions of the video also.

Nelly. I do yes Malik. Why was that?

Nelly. Because, to be honest, I wanted the street cut to come out first. But you know I am on a major label so sometimes the things don’t always come out the order you want them to, so the big fancy video comes out first which I really love too because it features my friends doing their native American dancing which I think make the video special.

But then the street video is fun too, cause we just kind of did it off the cuff like on a photo shoot day I did that with another friend of mine, Erin, and we just had a good time. I think the song had grit to it that I wanted a visual interpretation of it as well.

Malik. I know you worked on your Spanish album in the past and you’re working on a Portuguese album as well?

Nelly. I released Mi Plan in 2009 and it was an amazing experience, so much fun. I met many cool people. It was an amazing experience. And now my next thing is, yes a portuguese album I want to start working.

Malik. And how do you approach the song writing process?

Nelly. It’s kind of weird. It just kind of hits me, all of a sudden, the songs you sing at home you know when you are like washing your hair or washing dishes. Doing something, they morphe. One day they’ll be in English and one day I’ll wake up and all the set in Spanish is taking the main stage. And lately, Portuguese as been. Like I’m buying online Portuguese albums, I’m writing down ideas for song title in portuguese. It’s weird, it’s almost like seasons, I go through these seasonal as an artist songwriter. I’m entering into my Portuguese season.

Malik. You’ve been around for quite a while and a lot of artists have gone and disappeared. What is Nelly most grateful for?

Nelly. I am most grateful for the people that I have around me in my career, that have supported me through all. I’m just a person that thinks a lot and put a lot of thought into what I do and not everybody has patience for that right, cause it is a business. But for me, I’m always coming from an artistic angle, I’m always coming from a place of restrength rather than all speed you know. So I think I’m most grateful for my team, my management, people that I have around me that has just supported those changes. Because you

“My singing teacher always told me to avoid acidic things like lemon, orange, even tomato or things that are too spicy that’s really bad for the voice”.

know it’s not easy to market somebody like me. I’m not like a brand where people know what they are gonna buy when they buy a Nelly Furtado CD, they have no ideas what it might sound like. So I haven’t really developped that brand for myself, it’s just I belong to the brand of music so I’m more for those people that are really looking for a musical adventure every time. So I guess I’m most grateful for having those people around, that have let me be myself.

Malik. The industry has changed so much since 2000, what are the toughest or most challenging things for an artist today like yourself?

Nelly. That’s a good question and I think probably the process of promotion has changed a lot, there’s more cross-promotion, the way things are financed, so there’s a lot of cross branding and all those things. I mean that always existed, it’s just another level the way every things works. The other thing will probably be media, you have to be a little more careful with what you say in an interview, because someone will know five seconds later what you said. So it’s really changed. Before, you have to wait maybe 48 hours and it will be on BBC Wire. Today if I punch you, I’ll never punch you, it will be like in the whole front page.

Malik. And you will be in the front page of Instagram, Twitter..

Nelly. But, I will never do that!

Malik. Last question and this one is from The Vocalist Magazine. What do you eat before a performance?

Nelly. I have to say this is a very good interview, awesome interview, you are awesome! My singing teacher always said avoid acidic things sort of like lemon, orange, even tomato or things that are too spicy that’s really bad for the voice. And alcohol, you can’t drink alcohol and sing because it strips your vocal cords. And the other thing is, when you go to sleep at night and you have a performance the next day, you can’t eat three hours before you go to bed cause it’s doing the same thing, the acid strips your voice. They have showed it’s good to have proteins, chicken, fish, some vegetables, salad. Kind of eat a bigger meal like five hours before your show and maybe three hours eat something lighter and then kind of get out there. Otherwise your voice won’t be like completely warmed up. And I find help to do some breathing exercises to and physical exercise just to be completely warmed when you get out on stage.

Malik. I can’t ask more questions, I appreciate though!

Nelly. Thank you very much Malik. Stay the same Nelly. Thank you!

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INTERVIEW

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ARETHA FRANKLIN

http://blogs.suntimes.com/music/Aretha-A%20Woman_CMYK.jpg

VOCAL

Vocal Type: Mezzo-soprano Whistle Register: No Vocal Range: 3.5 G2- E6 (approx) Longest Note: 5 seconds (“old landmark�)

Vocal Pluses: Powerful, passionate voice, which is grounded in the Gospel tradition. Both a technical and an emotive singer, Aretha Franklin is able to sing complex vocal runs, that can span the top of her range right down to the bottom, as well as hold notes for lengths of time with ease.

Aretha Franklin has a well connected range, which appears to sound easily accessible both at the top and the bottom. The lower range is thick and weighty with a dark coloring and a slightly smoky timbre. The midrange begins to become more nasal, and lighter as it ascends into the belting range.

The belting range is incredibly elastic and powerful, having been known to hit a D6 when mixed with its head voice. This part of the range is characterful and easily attributable to Aretha Franklin, due in part to its quick vibrato and nasal tone. Though her voice becomes lighter as its frequency increases, it still retains its resonance and power up into its top reaches. Her flexibility and ease in this part of the range is almost unparalleled.

Vocal Negatives: The voice has become more nasal as she has aged which has lessened the power, and quality of the higher notes.

The Vocalist Magazine 40

Profile

TINA TURNER

www.turboimagehost.com

By Diva Devotee

RANGE Vocal Type: Contralto Vocal Range: 3 Octaves 4 notes and a semitone F2C#6 Whistle Register: No Vocal Pluses: Energetic and natural voice that has a character to it that is readily identifiable. Tina Turner’s exceptional control of her voice means it is capable of varied timbres and tones that give it great versatility, allowing it to adapt to many different genres of music. Her great technique has ultimately resulted in her still singing into her seventies.

The mastery of her lower range is mirrored in the belting range of the voice. Whereas previously it had a rasp and an edge to it- Respect- it has mellowed and smoothed as she has aged- Golden Eye.

Tina Turner sounds comfortable and at ease with second octave notes, which are reached seemingly effortlessly. The notes themselves are thick and full, with a husky quality to them. Her midrange is also thick and rounded with a warm and full timbre and is connected well to both the lower range and the belting range.

Vocal Negatives: Some of Tina Turner’s earlier trademark growls, grunts and raspy vocals were achieved via questionable technique, and no doubt the unhealthy lifestyle she led.

Tina Turner has the ability to sing high up into the fifth octave but her voice finds the most resonance at around C5. Surprisingly for someone with such a strong lower range, Tina Turner also has access to a mid-weight, but bright and piercing head voice.

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VOCAL

Profile

GWEN STEFANI

Vocal Type: Mezzo-Soprano Vocal Range: 3 Octaves D3-D6 Whistle Register: No Vocal Pluses: Instantly recognizable voice with a poppy and colourful tone that is well supported from the bottom to Middle of the voice and this is where it finds its most comfort. Gwen’s voice has managed to stay , relatively, in the same condition throughout her career (an aspect which is rare among most of todays singers).

The lower register, albeit lacking resonance, is very rounded, showing much control. The voice can easily mix into the upper belting register but Gwen stylistically often sings with a punky- throatier edge. The voice finds its ring within the middle of the belting register. The head register is light and agile, being able to instantly and seamlessly transition into it after a belted note.

Known for her unique trademark vibrato, Gwen’s voice is easily capable of transitioning from a solid belt to a Yodeling vocal wobble.

Vocal Negatives: Technique can be questionable at times. Her chest dominant belts can often sound heavy and strained due to the edgier sound she chooses. When performing live the key of her songs are often lowered so she can keep up with the band. Also, her head register is weak as it is often used merely for expression or exclamations; yet, can become much more resonant if properly executed. Also her Vibrato may not be to everyone’s taste.

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http://www.fantom-xp.com/wp_84__Gwen_Stefani_-_Retro_Style.html

PINK Vocal Type: Contralto Vocal Range: 3 octaves. B2- B5 (approx) Whistle Register: No Vocal Pluses: Weighty, thick lower range that is achieved without the need to resort to unhealthy vocal practices, like forcing the larynx down. The midrange is solid and dark, with a husky quality at times but can be sweetened and lightened if needed-Stop Falling.

The chest voice can achieve a raw sounding rasp while keeping the voice weighty and resonant, or can be thinned to achieve a purer tone. The head voice is solid and pronounced, with a brightness and clarity.

As well as the multitude of different timbres and colours available to Pink’s versatile voice, she also has the vocal dexterity to sing complex meslisma-Love Is Such A Crazy Thing- as well as hold notes for lengths of time without issue.

Vocal Negatives: When using the rockier edge to the voice Pink can sound unhealthy, also the head voice sounds disconnected and harder to access than the other parts of the range.

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http://www.wallsave.com/

RANGE

Top 10 Things Indie Artists Need To Stop Doing

By Nick Eden*

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Stop Chasing Trends

It seems easy to follow the hottest trend, but it can be just the opposite. Being an independent artist almost assures that you do not have the budget to compete with the majors’ seemingly endless budgets. Even in an ever-shrinking major label system, they still hold a financial grip on the music industry. Attempting to copycat the latest Usher or Lady Gaga record may be good for a few YouTube plays or even a few spins on the radio in your local market, but by the time you start to get off the ground the trend has usually passed. As an independent artist, you are in charge of your career. That being said, you may as well do the type of music that you like since you are the only person you answer to for now.

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Stop Chasing The Industry

The more you chase after the executives of the music industry, the more they will run. Yes, it is important to network, but if you stop chasing the industry and start chasing the fans, the industry will chase you. As you place more emphasis on your craft, your potential and current fans will gravitate more to you. The fans are the ones who will buy your records, come to your concerts, buy your merchandise, and most importantly, spread the word about you.

Park Ji Yoon in Studio

Alexis Nicole: The Art of Hard Work

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Stop Worrying About Failing

4

Stop Settling On Quality

As an artist you want every performance to be perfect. Whether in the studio or on stage, you want every note to be flawless. Unfortunately, life doesn’t work that way. That’s actually a good thing. The more you mess up, the more you can learn and not repeat the same mistakes. In addition to that, your imperfections humanize you to your supporters. They will feel your triumphs because they have seen your failures.

That kind of connection you can’t pay for.

It is an utter shame to see independent artists with quality music and horrible presentation. In this day and age, there are too many affordable options in terms of graphic design, video, packaging, and other factors in your album or single release. Some complain of not having a budget. A solution to that is to start small and work your way up. You may not have the money to hire a graphic designer, video director, and promoter all in the same month, but you can put a little to the side and start a plan of action based on priority. Making a plan and sticking to it is essential to this business, which leads to the next point.

The Vocalist Magazine 44

5

Stop Not Writing Things Down

The mind of a musical artist can go one thousand miles an hour. In order to capitalize on what could eventually be a groundbreaking idea, you must write everything down. If you prefer to keep a notebook, send yourself and email, or type a quick note into your phone or tablet, whatever you do, WRITE IT DOWN. This is an ever-changing industry. In addition to that, life seems to creep its way into your progression as an artist. This is why it is essential to write things down and adjust your plan as you go. It’s the only true way to adapt.

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Stop Being An Introvert

Don’t be afraid to collaborate with artists outside of your immediate circle. This is an opportunity to see how others may perform, record, write, or promote.

It’s also an opportunity to introduce yourself to their fan base as well as introducing them to yours. Who knows, you may be able to tour based on the combined fan bases.

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Stop Letting your Ego Hold You Back

You must take advantage of opportunities. No one knows exactly how they will, if ever, get their big break

Indie, Alternative and Rock Festivals

in the music business. That’s why it’s important to take advantage of every opportunity. Don’t turn down a possibly great opportunity just because it’s not how you picture your entrance into the music industry.

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Stop Strong-Arming Fans

You can’t bully people into liking your music. Sending out 15,000 tweets a day to people with links to your song and then getting mad at them for not responding is not going into the right direction. Some may listen and some may not, but that’s their right as a consumer. It doesn’t make them a “hater,” it simply makes them a person with the basic right to listen or not to listen. Furthermore, don’t get mad if they don’t like the music you do. Everyone isn’t going to be as passionate about your craft as you are, but that doesn’t give you the right to try to force them to be.

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Stop Not Following Up

Answering a text, tweet, email, or call should be almost second nature, especially if it’s relating to the advancement of your career. However, for some it’s just the opposite. Sometimes things may escape you,

but follow up is key to succeeding in the music industry, or any form of business for that matter. Even if you don’t have a direct answer right then, at least give the courtesy of acknowledging the person who is trying to work with you.

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Stop Making Excuses

Life happens. Now that we’ve got that out of the way, what are you going to do about it? Are you going to let your circumstances stop you from doing what it is you want to do? There are multiplatinum, Grammywinning artists who were homeless at one point, but it didn’t stop their progression. People usually make time and effort for the things that they want to do.

You have to go that extra mile. Whenever you feel like you’ve gone 100% for your craft, go 10% more. Stay up that extra hour answering emails, or planning out your next day. If you’ve gotten 100 “no thank you’s” from venues in your area, call 100 more. This business is not for the weak at heart, and there is an unnaturally large amount of rejection that comes with it, but it is possible. You just have to want it.

* Nick Eden is a singer/songwriter/R&B. He is a winner of the Steve Harvey New Star Project and has recently appeared on BET/Centric’s Apollo Live. Follow him on twitter @nickeden.

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Five Ways to Kill A Vocal Track

By Elise Malmberg*

Common causes and cures for vocal recording problems

Just because you’re a good singer doesn’t mean you’re a great vocalist. The truth is, a really good vocalist, regardless of natural ability, has an attitude and a point of view that merely “pretty” singers sometimes lack. The best way to become a good vocalist is to know your voice — both its strengths and its weaknesses. Don’t try to make your voice do things it wasn’t designed to do. When it comes to recording, there are even more potential vocal pitfalls. To help keep your vocal tracks alive and well in the studio, here are a few things to guard against.

Recording Studio | DJJONB

1

Trying Too Hard

Too much attention can smother an otherwise healthy vocal track. This type of fussiness takes many forms.

Over-rehearsal can make a vocal sound tired and uninspired. Focusing too much on technique — details of pitch, enunciation, and vibrato — can lead to the same end (and worse, make you sound like you’re auditioning for a dinner-theater production of Cats).

Over-emoting, or pushing too hard, often makes for ugly, strident tones. But a mannered, detached tone that lacks emotion and conviction can fall just as flat.

Simple anxiety can make some performers overextend or sound self-conscious. Staring down the barrel of a microphone can be a daunting experience; some singers get more nervous in the studio than they do onstage. If this is an issue for you, try singing with the lights off, or face away from the engineer. Record several takes back-to-back without stopping to listen or fix mistakes. Don’t think too much — just sing. A bit of reverb in your headphones can also help make you feel more confident, but don’t go overboard with the effect or it may cause pitch problems.

Speaking of trying too hard: Please, please, please don’t attempt to imitate another singer’s manner-

How to fix it: Warm up properly before singing, but

don’t wear out your voice before you begin tracking.

If you’re not getting what you want, take a break and try again later. Blowing out your voice and continuing to sing will get you nowhere, and could lead to permanent vocal damage.

2

Faulty Mic Technique

Choosing the right mic is just the beginning. You also have to learn how to use it properly. Proper mic technique can make a good vocal spectacular, while bad technique can make it unlistenable, or at the very least, add hours of work to your mix. Singing too close to the mic may produce a phenomenon known as “proximity effect,” which gives vocals a boomy, muffled quality Singing too far away from the mic is also problematic: The vocal becomes more diffuse, and is colored by the sound of the room in which it’s being recorded, giving you fewer options for later processing.

The Vocalist Magazine 46

Di’ja in the studio with her manager

isms, no matter how much you love them — it usually produces dire results. Sadly, it’s the singers who almost manage to sound like their idols that become particular targets of ridicule.

But worse than either of these, at least from an engineering viewpoint, is a vocal that fluctuates between too close and too far from the mic.

Dynamic variation in a vocal can be exciting. But without a bit of preparation and technical know-how, vocals meant to move from a whisper to a scream can end up more like an incomprehensible mutter to an intolerably distorted howl. Before recording, make sure the engineer knows the entire dynamic range of your performance. Test out the quietest and the loudest bits before tracking. The engineer may need to adjust input levels and compression in order to make sure the

cle of pantyhose-like mesh placed in front of the mic. (Actual pantyhose stretched over a bent coat hanger is a time-honored budget alternative.)

How to fix it: Maintain the proper distance from

the microphone — not too close, not too far. Aim problem consonants and deep breaths slightly above, below, or to the side of the mic. Learn to project and focus your voice so at least as much tone comes out as air. Correct unwanted low end with EQ, and tame sibilance with de-essing during the mix. Use a pop screen. Above all, be aware of your particular vocal tics, and adapt your mic technique to work with them.

young woman singing in studio

entire dynamic range can be captured without problems. As a vocalist, you can help in this process by moving slightly closer to the mic for quieter passages and moving back a bit for louder parts.

Speaking of breath, overloud breaths between phrases can distract from a vocal and make it sound overwrought, or even comical. If you tend to breathe really loudly, get into the habit of moving slightly off-mic for deep breaths.

There’s also the twin menace of sibilance — a nasty, high-endy “sss” sound that overwhelms the rest of the track whenever an “s” sound occurs — and outof-control plosives (those microphone-popping “p” sounds). Both problems distract from the meaning and emotion of the vocal, and can make an otherwise well-recorded track sound amateurish. But there are a few tricks that may help. Try softening your “s” sounds, and aim them slightly away from the mic. Instead of projecting “sh” sounds straight forward through your teeth, let them develop farther back, against the roof of your mouth. To tame plosives, try using less air to propel “p,” “b,” “d,” and “t” sounds out of your mouth, and move your lips slightly off-mic for these sounds.

Another extremely effective tool for reducing plosive problems is a pop shield or pop screen, basically a cir

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3

Criminal Comps

Thanks to digital audio, you no longer need a professional engineer to destroy your tracks — now anyone can do it! One surefire way to mangle a vocal is through overenthusiastic or inattentive digital editing. When creating a comp, don’t use the exact same audio bits too many times through the course of the song. For example, pasting out the “best” chorus again and again pretty much guarantees that your listeners will tune out. Even if it’s unconscious, people know when they’re hearing the same thing over and over. Keep it fresh by using slightly different takes of sections that repeat.

Also be aware of the differences in vocal tone and room sound between different vocal takes.

If a singer is warmed up, accustomed to singing for some length of time, and uses good mic technique, this problem can be minimized. If you must use vocal takes recorded on different days, try to make sure every other variable — mic placement, technique, room — remains the same. If the vocal tone changes dramatically as a recording session progresses, it makes for significantly fewer options

in the editing and mixing stage. In the final comp, tonal inconsistencies distract listeners away from the meaning and emotion of the song by forcing them to pay attention to these artificial-sounding transitions.

How to fix it: Try to work only with vocal takes that

are consistent in tone and room sound; too much tonal variation becomes a distraction. Learn to use fades (in, out, and crossfades), and know how to shift tiny slivers of audio in increments of a few milliseconds backwards and forwards in time. Listen to the overall track, both soloed and in context, with and without dija-in-studio

varying vocal effects throughout an entire song make for really boring music. One key element that makes good vocals sound human and, um, believable is the tiny fluctuations in pitch that naturally occur in an expressive performance. A track that’s tuned to total perfection can sound more dead than alive.

Besides the issue of expressiveness, there’s another reason not to over-rely on pitch correction: It changes the actual sound of the voice, and usually not for the better. Simply put, too much pitch correction makes vocals sound fake Pitch correction is a great tool, and one that most audio engineers use in moderation. But if every single note in a vocal needs work, you might be better off starting over with a fresh performance.

How to fix it: Use effects to enhance what’s already

there, not hide it. Unless your vocal actually is a cat turd, don’t bury it! Be aware of the conventions of the type of music you’re trying to do, and choose effects that work with that style. Use pitch correction as sparingly as possible, and start with the least aggressive settings. If just one note in a phrase is really off, isolate and retune only that note, not the entire section.

5

Misguided Arrangements and Production headphones. Don’t just zero in on pops and inconsistencies — listen for emotional persuasiveness and fluidity of expression in the track as a whole.

4

Effects Abuse

Too much (or too little) processing can ruin a potentially great vocal. Who hasn’t heard a beautiful soprano voice caked with so much reverb it turns to mush? Or an excessively distorted, incomprehensible Trent Reznor wannabe? Or the nasal, mosquito-like whine of an over-compressed, over-EQed pop diva?

A common mistake among vocalists who lack confidence in their abilities is to mask their vocals by overprocessing and burying them in the track. If you’re not confident enough to let your voice take the spotlight, your audience might not be convinced you’re worth listening to. Try to reserve the most dramatic effects for the moments of greatest impact in a song.

Say you want your voice to soar off into space at the end of the second chorus: Instead of cranking your reverb’s “God’s Bathroom” setting to 100% for the entire phrase, start off with a modest level and boost it just at the very end — and don’t forget to reduce the level again before the third verse. Overblown, un-

Think of the vocal as a narrative. If parts of the story you’re trying to tell are missing or indecipherable, you’ve failed to get your point across to your listeners. Your vocal needs to be loud enough to command attention, but not annoyingly loud. If the voice is breathy, try using extra compression to give it focus.

If it’s nasal or brassy, try softening the edges slightly with reverb or delay. If the voice is on the thin side, it may need support from vocal harmonies and/or other instruments.

The Vocal Point

The primary purpose of a song’s vocal track is to communicate emotions and words as directly and immediately as possible. Vocalists are largely responsible for the mood and meaning of songs; ideally, the moment the singer opens his or her mouth, we’re transfixed by the sound that comes out.

If that’s not happening, try to find out why. Chances are it’s something that can be fixed through practice, technical help, or just plain self-assurance. As with any instrument, the more you know about your voice, the better you’ll be able to express yourself. * Elise Malmberg has been involved in music and media for more than 20

years.

She

has worked in independent record distribution, in maga-

zine publishing, and as a marketing director for high-tech and audio industry companies. In addition to writing and editing music and audio articles,

Elise composes music for films, animation, installations, and She has recorded and produced five CDs under various names, and is co-creator of fictional independent label Clubbo Records. ads.

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JESSE J

49 Credit Image - Micheal Bowles / Rex Features

The Ten Commandments of Singing

By MARIA KRISTINA D. SIUAGAN

Tips For Vocalists and Aspiring Singers voice and vocal cords to “recharge” and regain Do: Thou shall follow a vocal warm- your strength. You can do it by dedicating at least two

up routine and abstain from abusive vocal activities.

Rationale: Singing without warming up, shouting on top of your voice, talking without rest, and other similar deeds are some of the many detrimental practices most singer do with their voices. These will cause too much pressure and strain to your vocal cords which can jeopardize the integrity of their membranes. Periodic exposure to these activities can also lead to inflammation or formation of nodules and polyps which are common causes of temporary or permanent loss of voice.

Remedy: Prevention of vocal abuse is the rule of the thumb. Singers are required to warm-up their voices at least ten to twenty minutes before doing an actual singing performance. Basically, there are a number of vocal warm-ups singers could use to prep up their voices. Personally, I find doing lip trills the most useful. You also have to allot some time to allow

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days of rest in a week to let your vocal cords relax from your week-long singing engagements.

And lastly, avoid talking too loud. Make sure to speak in a properly modulated voice and permit rests in between speeches or conversations.

Do: Thou shall eat healthy and maintain proper nutrition.

Proper nutrition enables you to acquire the needed energy, vitamins, and minerals to maintain strength, improve immunity, and ward off disease-causing pathogens. And as a singer, you would need that kind of body that’s always in its perfect condition to give every show your best and total performance. Meanwhile, singers should also consume vitamin C-rich food products. Vitamin C boosts your body’s immunity.

music-models-headphones-girl-lying-down/

Do: Thou shall get enough sleep.

Singers need enough sleep. Preferably, at least eight www.glogster.com

hours. So the question now is, “why do singers should get enough meaningful sleep”? Remember that when you sing, you use your vocal cords in a greater level than when you use them for doing usual talks or conversations. When you sing, they vibrate and exert more.

Just as how the body recharges and repairs inconsistencies through rest and sleep, the same mechanism applies to your vocal cords as well. In addition, you always have to remember that your body functions in conjunction to your singing. If you are deprived of sleep, your body lacks the necessary energy to focus and respond to singing and breathing techniques. The inability to execute proper singing methods due to lack of focus and energy deprivation can jeopardize your overall performance.

• Drinking ice cold thirst-quenchers, whether it is water, juice, or any other fluids, is like torturing your ‘vocal instrument’. Too much cold will cause vasoconstriction to the blood vessels of your vocal cords which, in turn, will make them restrained or stiff; thus hampering the innate stretching capacity of your vocal cords. And as you try singing in this condition, you are just putting your voice in to grave danger.

• Too much caffeine is a no-no to every singer because it causes dehydration which pulls off the needed moisture away from your vocal cords. In turn, this would make them viscous and inelastic which limits their vibrating capacity during singing.

Do’t:

Thou shall not consume dairy products, milk, chocolate, or any sweets before an upcoming performance.

As much as possible, singers should refrain from eating and drinking too much sweets, chocolates, milk, or dairy products. Wanna know the common denominator of all these food? Well, these are all mucousforming delights my darlings. And you wouldn’t want too much mucous in your throat and vocal cords because it would surely prevent you from singing at your best. Moreover, mucous secretions accumulating in your throat might also cause irritation which can lead to infection or inflammation.

Do’t:

Thou shall be careful on what you drinks.

Alcoholic beverages, ice cold thirst-quenchers, and caffeine-rich concoctions are the top three things you MUST AVOID drinking regardless whether you have an upcoming performance or none. You might ask, “WHY NOT?” Well here are some pertinent answers for you to ponder on: Alcoholic beverages are composed of strong chemicals which can damage the mucosal lining of your internal neck structures, particularly your throat and vocal cords. The belief that having a little “shot” of whisky before proceeding on a performance makes you perform better is NEVER true. It even makes your throat dry which might initiate vigorous coughing and pressure that can cause potential trauma to your vocal cords.

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MARIA KRISTINA D. SIUAGAN, also known as Tina is a freelance blogger writing and sharing about healthy, fun, rockish, and useful stuff.

http://writernurse.wordpress.com/about/

Do: cise.

Thou shall engage to regular exer-

Okay here’s what most singers don’t know about: Once you go onstage, you don’t just sing. You communicate and PERFORM. If you’ll be up there just to render some tunes, your audience should have stayed home and listened to a radio instead. If you want to be a singer, you have to be an entertainer as well. On every song number, you should execute everything at the topmost performance level. That means there would be times when you have to dance and move a lot. No matter how long or short your song numbers are, it is very important to develop stamina to stay energetic on stage. And you can only do that by keeping your body physically fit and healthy. Moreover, physical exercises are good ways to warm up before a performance. You don’t necessarily have to be going to the gym. You can simply do some routine brisk walking or jogging every morning or afternoon.

Just see to it that you maintain an active lifestyle.

Do:

practice.

Thou shall have constant singing

Engaging to constant singing exercises and routines not only makes you ready for any short-notice performances. It also keeps your vocal cords healthy by strengthening them with progressive vocal exercises.

Do:

Thou shall use proper breathing techniques

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Employing proper breathing techniques and exercises would help you boost your singing or vocal power even more. Primarily, singing is highly dependent on how much control the singer can provide to his airflow. When this flow of air is maintained at a steady pace, the singer’s vocal tone would be stronger, smoother, and more consistent.

Do’t:

Thou shall not sing and perform during sickness.

Yes, all singers and performers know that by heart.

While it’s admirable for a singer to push himself to the limits, however, it’s not always the case especially if you’re overly sick. Performing onstage during a period of illness will not only jeopardize your performance but your health as well. If you experience even minor disorders which involve your airways or throat, it could be very difficult to produce your usual singing voice. In occasions when you have colds or severe flu, too much pressure would be required in order to fulfil the ‘duties’ of singing. This should not be the case because it would surely put your singing voice or vocal cords at risk. Moreover, performing while you’re severely ill will greatly affect your level and manner of singing and performance. And your inability to execute your act well on stage will surely disappoint your audience.

Do: Thou shall always give his 100%.

Make sure that you give your EVERYTHING in each performance that you undertake, as if it is your last.

http://www.punchstock.com

Credit Image - www.self.com

NICKY MINAJ

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R

VOCAL HEALTH

www.performancevoice.com

F AS TH RO & AL OS VO ICE

By Me

By Megan g Smith an Sm it

When your throat is sore, raw and irritated, it could be the cause of a medical condition such as laryngitis, the flu or strep throat. But when you can’t speak above a whisper, your sore throat could also be caused by overexertion -- singing too loud or cheering too much at a sports game, for example. Talk to your doctor to rule out any serious medical complications; if he approves, use home remedies and over-the-counter care to treat your sore throat and lost voice.

HOME REMEDIES

Before trying any prescription or over-the-counter treatment, soothe your throat with home remedies.

Drink at least eight glasses of water each day, and drink plenty of warm liquids like chicken broth and herbal tea to moisten the vocal cords. Use a humidifier to add moisture to the air while you sleep -- when you breathe in, the water vapor soothes and moistens your vocal folds. If you don’t have a humidifier, concentrate on breathing through your nose. Your nostrils warm the air, creating a tiny humidifier in your body, according to “The Doctors Book of Home Remedies.

When you’ve lost your voice, resist the urge to speak.

The more you stress your vocal cords, the longer it will take for your voice to return.

HERBAL REMEDIES

Some herbs, infused into herbal teas and throat lozenges, are purported by holistic specialists to soothe sore throat symptoms. These herbal remedies are not proven to be effective by doctors, but they could be worth a try. Sage, licorice root, slippery elm, androg-

raphis and serrapeptase are common herbal remedies to reduce sore throat pain. Herbal remedies are not recommended for children, pregnant women or individuals who take prescription medication.

OVER-THE-COUNTER CARE

Store-bought sore throat remedies, like throat lozenges and sprays, might temporarily reduce sore throat pain, but they don’t reduce the duration of your illness. Additionally, over-the-counter pain medication like acetaminophen or ibuprofen reduce swelling and pain in the throat -- take each dose exactly as recommended on the label’s instructions.

WARNINGS

In rare cases, a sore throat may be the cause of a very serious condition such as a throat tumor. If you have difficulty swallowing, you hear a noise when you breathe or you are coughing up blood, consult your doctor immediately. Consult your doctor if your sore throat and difficulty speaking continue for longer than five days

The Vocalist Magazine 58

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RE

ME FO DY R SO RE OA T

ST

How to Fix a Dry Throat | eHow.com

Credit Image - http://www.wallpaperhdphoto.com

Coach Corner

VOCAL HEALTH

C

By Megan Gloss Case: Celine Dion Diagnosis: Viral illness resulting in weakened vocal cords

However, after following doctor’s orders and resting her voice, Dion returned for her next run of Las Vegas shows.

The Canadian-born pop diva known for her soaring chops and crystal clear precision was set to headline a series of performances at The Colosseum at Caesar’s Palace when she was forced to cancel 10 shows due to experiencing weakness in her right vocal cord.

She headed to Los Angeles for an examination at the UCLA Medical Center, where a doctor advised the singer to rest her voice for six to eight weeks.

In Her Own Words

“I tried to sing at my sound check, and I had no control of my voice whatsoever,” said Dion. “We thought that after a few days rest I would improve, but it wasn’t getting any better. I guess it was worse than I thought.” “Obviously this is the worst thing for a singer … not being able to do your shows,” Dion added. “I feel worse knowing that I’m disappointing my fans. I’m so sorry. I hope they forgive me.”

The cause of the vocal trouble? A viral illness had weakened Dion’s voice.

How Viral Illnesses Affect the Voice

According to Christopher Y. Chang, MD, head of Fauquier ENT Consultants, when a virus infects the mucosa of the upper airway, it causes inflammation of the mucosa lining including the vocal cords. With inflammation, the vocal cords swell. In the most common cases, the voice might take on a breathy, raspy or strained timbre, or show changes in volume or pitch. The range of the voice can be noticeably lower and decreased due to swelling and can tire quickly.

“That’s why with laryngitis, the pitch of the voice decreases and it becomes more effortful to talk,” Chang said. “To use an analogy, think of a violin string where the thicker string has a deeper pitch than a thin string.

It also takes more power to play the thicker string.

Megan Gloss is a classically trained singer and journalist based in the United States. E-mail her at mgloss@mchsi.com

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Thanks for permission to reprint from VoiceCouncil Magazine (www.voicecouncil.com)

Celine Dion’s Viral Voice

m.

“I tried to sing at my sound check, and I had no control of my voice whatsoever,” Viral Voice Recovery.

If you’ve experienced cold or flu-like symptoms for longer than 5-7 days with no improvement, a trip to the doctor might be an order. The common cold generally will start to dissipate within this time. Lingering illnesses point toward the possibility of an infection, according to doctors. With a common cold, the voice often will improve on its own with adequate rest and plenty of fluids to keep the vocal cords hydrated and help loosen and flush away phlegm.

Credit Image -Alix Malka

For viral infections, doctors might prescribe an antibiotic to help treat the infection; however, many vocal professionals warn against those medicines that have the ability to dry out the vocal cords.

They advise singers to either meet it with plenty of water or request an antibiotic that won’t dry you out. In either scenario, doctors’ orders include vocal rest. “With talking/singing during active laryngitis, further trauma may occur to the vocal cord lining promoting even more inflammation and swelling. It may also lead to another vocal disorder known as muscle tension dysphonia.” “Voice rest is absolutely important for vocal recovery as quickly as possible,” Chang said.

The Vocalist Magazine 61

VOCAL HEALTH

Dream Switche

By Megan Gloss

STEVEN TYLER Case: Aerosmith front man Steven Tyler Diagnosis: Popped vocal cord blood vessel Six months into Aerosmith’s “Rockin’ the Joint” tour, the legendary Steve Tyler’s distinctive voice fell raspy, shrill and hoarse. Now Tyler was opened wide on a Massachusetts General Hospital operating table.

A laser was taking aim down the pipes of the iconic singer whose vocals immortalized the rock anthems, “Dream On” and “Walk This Way.”

of his voice, signature cascading andSmith all, and By squeals Megan jumped back into headlining one of rock ‘n’ roll’s most dominant and long-reigning bands.

How Vocal Fold Blood Vessels Pop

er’s right vocal cord.

According to Steven Zeitels, the surgeon who operated on Tyler and developed the innovative surgery that restored the singer’s voice, extensive and repetitive use of the voice frequently –without proper technique— can lead to this kind of vocal injury. If not treated, or allowed adequate time to rest and heal, blood vessels within the vocal cords can pop, resulting in bleeding and a hoarse quality in the voice.

The cause? Nearly 33 years of repetitive, high-impact vocalizing from Tyler’s trademark, high-pitched belt.

“You have a situation where a singer sings extensively, they often rupture small blood vessels from the forces of using their voice in such a high-impact voice,” said Zeitels.

Surgery

“If it happens over and over again, you have abnormal vessels that are predisposed to breaking again.

If you get blood into the vocal fold, under the membrane, you are very hoarse.”

The reason? A popped blood vessel on the sing-

Aerosmith was forced to cancel its remaining tour dates, while Tyler took part in experimental microsurgery, which used a pulsating laser to control bleeding and repair the ruptured cord without further damaging the surrounding membrane. It was said to revolutionize otherwise irreversible vocal cord injuries by allowing singers to emerge fully recovered. Tyler gave audiences an up close and personal endoscopic look at the procedure, documented on the National Geographic series, “The Incredible Human Machine.”

Following the surgery, Tyler was ordered to 2-3 weeks of strict vocal rest. He fully regained the use

How You Can Avoid this Injury?

1 - Avoid Strain.

2 - Develop a healthy technique.

3 - Warm up.

4 - Drink plenty of water.

5 - Rest.

The Vocalist Magazine 62

Credit Image - Reuters

m On – ed Off?

TIPS FOR VOCALISTS

MUSIC CONFERENCE TIPS By

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tC As o a Vocalist music conferences can be a great chance to meet key indust people, and make solid connec There are the key things you ca really enhance your experience at th and capitalize on the opportunities tha the above are just a few you ca

1.Realize that conferences can make for long days. Make point and get something to eat and let your brain rest.

2. If you want to meet with any speakers make sure to arrange t busy. Try and set up something via e-mail even if it is just to let them k their schedule more open.

3. Research the panels and speakers in advance to ensure that they apply to yo 4. If you are in a band try and get at least two members to attend, this way if there are information you can learn from both.

5. Try to keep you questions short and precise.

6. Don’t be afraid to ask a question. If you don’t have time or a chance to ask them during the panel th

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S FOR VOCALISTS

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c try ctions. an do to hese events at they present, an do.

this in advance as they are likely to be know you would like to talk, they may keep

ou and will keep you interested. two panels you want to attend or that may have important

hey will likely to be glad to spare a few minutes afterwards to answer it.

Credit Image - http://www.metropolitaine.fr

e sure to take a break at some

How To Get Booked at

by Darren Gallop

Landing festival gigs is one of the most attainable ways to get your live show in front of larger crowds. Every artist and manager should want to know how to get booked at music festivals.

because these applications or the artists submitting them: * Are not a style or genre that the festival even programs (failure to research the events you’re applying to is a great way to NOT get booked at music festivals) * Are not ready (if you’ve only played shows in your home town and haven’t released a professional recording you are probably not ready to hit the festival scene) * Do not have the tools and marketing collateral to properly pitch * Do not know how to pitch

The fact is, most festival artistic directors start their planning by securing their headliners.

Then they start to fill the other slots with up and coming talent, even musicians they’ve never heard of before.

These slots are fairly competitive. The larger the profile of the festival the more competition there is. It’s not uncommon to see as many as 1000 submissions for a small/medium-sized festival and upwards of 20,000 for larger international events. In both cases these submissions compete for anywhere from 20 to 400 performance slots.

All of these submissions are automatically and rapidly declined, sometimes even before festival staff has a chance to hear your music.

The objective of this article is to educate DIY artists and emerging managers and agents on the tools and processes that answer the question of how to get booked at music festivals and dramatically improve their festival booking success rate.

It may sound discouraging but 20% to 75% of these submissions are an instant “NO! NOT A CHANCE!” You can avoid being instantly rejected by understanding WHY festival programmers ignore so many applications. It’s usually

The Vocalist Magazine 68

t

1. Be Awesome

Credit Image - Festival de Jazz Montreal

Music Festivals (Part 1)

There are professionals that can write your bio for somewhere in the $150 to $300 range.

If you want to get booked at music festivals, you need to stand out. This means more than just ‘don’t suck’. Your songs need to be great and your live performance has to be memorable. If you’re not there yet you may be better off spending your time writing, producing, rehearsing and gigging in small clubs for a while longer.

3. Have Really Good Recordings

Having a great recording is an awesome tool. You don’t need a full album or even an EP to get booked at music festivals, a few great tracks can do the job.

You want to have these tracks somewhere online (Soundcloud or Bandcamp) where they can be easily streamed and/or downloaded. If possible, you should have physical copies set aside for special situations.

I often see bands that have great tunes and play them very well but lack engagement with their live show. Remember you are not just selling your music or yourself — it’s really your live show that festival promoters are interested in. Having a killer live show is a great way to get booked at music festivals.

4. Make Headlines

Recognition in the press is a powerful thing. The more relevant the source the more powerful the article and the more weight it carries when trying to get booked at music festivals. A small community or college paper will not be as significant as a review in Pitchfork or Billboard. A press strategy and publicist can be one of the most important elements of your overall business and marketing plan.

2. Keep Your Bio Short and Sweet

Don’t start off with where you went to school and the life stories of each band member.

What is your story?

How is it relevant?

What does your music sound like?

Who are your key influences?

What are the most relevant highlights of your career?

Darren Gallop is the CEO of Marcato Musician. www. marcatomusician.com

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This can be one of the most powerful tools you can ever invest in. Even if someone hears your CD and loves it, there’s no guarantee that your live performance is great.

Here is an example from a series of videos that cost me about $2,000 to produce start to finish. I built them to sell an emerging artist for opening slots on major tours and to get booked at music festivals in the Canadian market. It has been about 14 months since these videos where produced and the artist has secured many high profile performance slots (including opening for rock band Heart on a 30-day tour) which has paid for the cost of this video over and over. I also made an additional series that represented what the artist does live with her full band: This can be done at a cheaper rate if you have friends that can help or the time and skills to deal with some of the production yourself. The production value does not necessarily have to be this high to achieve similar goals, though if you can afford to spend on quality it doesn’t hurt.

In both of these videos I opted for a controlled environment instead of doing this at a live show because I wanted the ability to do each song a few times and ensure the best camera angles. I also had limited time to work with due to the artists touring schedule. An actual live show in a cool venue with an audience that’s really digging it is even more effective but also creates several variables that are less controllable. I have had bad experiences with other acts where we are doing a live show and then during the song that I really wanted to capture the guitar crapped out and then it kind of fell apart. (I suggest if you are going for the actual live show recording route to plan to record 2 or more evenings to ensure you get what you need.)

5 and 1/2. Be an Opportunist

When we landed the opening tour with Heart, I hired someone to come in with an HD video recorder at a show in a major venue and set up my ProTools Mbox with a feed from the board and a stereo mic pattern in the room. This cost me $300 and has become another great sales and marketing tool: Bottom line, having some great live content can drastically eliminate risk from the festival’s perspective and makes it easier to get booked at music festivals.

6. Look Good in Pictures

A few hundred dollars for some professional photography will go a long way to portray a professional image. Unprofessional artists rarely get booked at music festivals! Try to come up with a theme or an idea. Pick a cool location, look the part you’re playing, and look like you are all on the same team. Don’t

Credit Image - http://marcatofestival.com

5. Live Audio/Video Samples

Marcato Musician CEO Darren Gallop dress like you are going to your buddy’s house to drink beer and watch football. Live shots can be great too — I recommend a bit of both.

7. Have a Solid Social Media Presence

Social media presence is key in building your music career this day and age, and helps when trying to get booked at music festivals. Many indie labels, major labels, promoters and agents go straight to your online presence. It shows them how serious you are about your success and what your fan base is like.

8. Customer Relationship Management (CRM)

Your product is your band’s live performance and your customers are music festivals. Basically, you are looking for a software system (it can be web-based or desktop), or if you are old school some form of Rolodex or agenda/contact book combination. You can even use the tools you have on your Mac or PC like iCal or Outlook to create reminders and your address book to keep notes of your communication with people.

You want something to keep track of every festival you want to play, the people that you encounter that work at the festival, your conversations with these people and follow-up plans.

Now Put These Tips to Work!

Darren Gallop is CEO of artist and festival management software company Marcato Digital Solutions.

He can be reached at marcatodigital.com

INTERVIEW

M Fe rem of in ou bo

ANDRE

By KALIKA HASTINGS 72

TVM: Can you tell us a bit about yourself and how you got involved in the Montreal International Jazz Festival?

Well I was there from the start, we were already concert promoters. And then we needed a summer job (laughs). Montreal was very quiet on the concert scene, there was almost nothing happening. So when we did the first Jazz Festival, we had a series of concerts at Place des Nations, and the two first ones were jazz concerts. In between those two, we did smaller shows in another venue at the old Expo 67 site. This is how the first year of the Jazz Fest took off. So I’ve been involved from the very start of the Jazz Festival.

TVM: What do you love most about what you do?

Montreal Jazz estival’s Artistic Director, minisces on the history f the biggest Music Event n the World and answers ur questions on how to get ooked.

E MENARD

S - Credit Images (Montreal Jazz Festival) 73

(Laughs) Uhh...Well to go see live music almost every night of my life. I go see about 300-400 concerts per year, in many musical genres (not only jazz). I see lots of Rock n’ Roll concerts, Heavy Metal, Musicals, French chansons. This is the center of my nighttime activity, the rest of the time I am a bureaucrat sitting in an office speaking to people on the phone, doing emails (chuckles). So my favorite part is by far the night time part. And then I run the Metropolis, this is my main job in life.

I run all the concert halls for Spectra, be it the Metropolis, Astral. I’ve been involved in Spectra for the twenty-five years that it’s been open. I was the general director there so yeah it’s a life spent on the live music scene.

TVM: Tell me about the evolution of the Jazz Festival from its beginnings 30 years ago until now. What has changed and what has stayed the same?

Well like I said, the Montreal summer was very quiet. And since the inception of the Jazz Festival, lots of events have been added. Now you have what we call the Summer of Festivals in Montreal, which was not there in the beginning. So when we started there was no such thing as competition (laughs), since it was only the Jazz Festival. So if we speak of context, it has evolved a lot. If we speak of content, in the first years, the Jazz Festival had about ten concerts and it was all about jazz. But then throughout the years (but very rapidly) we diversified the content to have some kind of a more colorful, more complete palette to include blues and world music and some other music.

Credit Image - http://www.hafifmuzik.org

INTERVIEW

Sharon Jones TVM: As the cofounder and artistic director of the festival what exactly is your role?

Well, in the first years obviously Alain Simard and myself, we did the whole program by ourselves.

Now there’s a group of people who work with us, about five people in the programming department, so I don’t really coordinate their work on a day-to-day basis, but I try to retain a certain vision and motivation to keep things happening and challenging for ourselves as well, not to stick to a formula and do the same thing over and over. So that’s why from year to year we won’t be using the same concert halls all the time. Obviously we have the main halls that we use all the time like Place des Arts and the Metropolis.

But it’s a program that is really on the move, based on opportunities and ideas we have that can fit with the different venues we are using.

So year and year out, there is about ten or twelve venues, all varying in size and style from young underground clubs, to mainstream concert halls. It’s trying to retain that vision and the excitement that is really my main goal in this job. I can say that each time I am pretty

excited each time it starts. I can’t wait for the festival to take off, as soon as there’s live music in the festival, I don’t mind doing meetings and seeing our sponsors and all that in the daytime, but at night you won’t see me sitting in a restaurant discussing with people. I try to get into as many shows as I can.

TVM: What has been the biggest success with the festival? What are you most proud of?

Well I think that the way that Montrealers are so proud and protective towards the Festival. We have never had a bad incidence on the site, because the crowds are very supportive of the Festival and they want it to thrive. So the relationship between Montrealers and the Festival is something that I really enjoy, and the fact that people have come to trust our taste. We know that for some artists that are not really known in the market, but when we go out and say ‘this artist is really worth trying’ people put a lot of trust in us and this is a form of mutual respect. And I think that this is really our crowing achievement, to get a crowd to trust our

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taste, and they get to be a bit more adventurous which is fantastic.

TVM: What is the most challenging part of the event for you?

Umm.. Well to try and renew our content and keep it exciting is obviously a challenge. And that’s not even a department that I am really concerned with but when you invite those huge crowds in the streets of downtown to keep the whole process pleasant, peaceful, family oriented, enjoyable, exhilarating (chuckles) this is also a big challenge. Because modern life in a big city does not call for those utopian visions that we have for the Festival, and still they prevail.

So this is something that I really cherish and I think it’s a challenge to retain but I think it’s a nice one.

TVM: You must receive numerous requests from bands and artists, how do you deal with this?

We’ve never had to deal with artists that are really touchy and bazar with their requests. I mean sometimes some need more attention, people like T. Jarrett is really fussy. But in general, we don’t have

Trumbone Shorty

extravagant demands. In terms of whatever we have to supply to make them happy, that’s not a big deal. In festival season, we are not alone, there are many other festivals, so the artist must come in and go pretty quick sometimes.

So you need to coordinate, at least while they are here, all the transport and everything. It can be challenging because there is about 3, 000 of them coming into the city in about ten days, but like I said, it’s not extravagant. It just comes with the law of the land during the festival season. You need to have very good infrastructure in terms of transport and coordination, to make sure that every body gets to the right place at the right time and leave the city rapidly. So this requires a preparation with the immigration department, this is a real challenge, because sometimes you don’t always have all the details that you need way in advance. Some people are last minute to tell us there timing-so this can become quite tense at some times. But we are a very experienced team, the Festival is in it’s 33rd year, some people have been with us for twenty-five years, so obviously they know what it entails.

Um... It depends. Normally we do deal with recording artists. Because before discovering them-like we very pretentiously say sometimes (laughs)- they have to discover themselves. So it’s not for totally inexperienced artists to play at the Jazz Festival. But we have other stages where we don’t have any tickets to sell, this allow us to hire bands that do not have a huge reputation. We receive all kind of music and we try to listen to everything and we go to music conventions as well, and then we make our selections. But it’s not all based on professionalism and numbers. Obviously when an artist has recorded- and these days it’s not like it used to be, you don’t have to get a record deal to make a record (laughs)- But you need some experience. You don’t just throw anybody on stage just for the sake of it, because it can be pretty traumatic for an artist who is just beginning to be faced with a crowd that is really indifferent. The free crowds outdoors are pretty nice, a good public. But it’s not because they are a free crowd that they are uneducated- quite the opposite- especially in Montreal after all these years. Crowds are enthusiastic , but they are not naive. They want to hear a quality performance.

Credit Image - http://invadenola.com

TVM: How experienced/ inexperienced does an artist have to be in order to be booked?

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INTERVIEW

TVM: So what sort of things does that mean you are looking for in an artist?

Well, originality, freshness. Even those that have a very long career- it depends, some people will repeat their formula and it’s normal because you don’t ask Tony Bennet to come out with a totally renewed show every year because he has standards and staples of a big repertoire. But for those who are younger, new artists, obviously you don’t want to see them doing the same performance over and over. So when they have an active recording career and we can follow their evolution, obviously we don’t mind having them as often as we can because they are still in that phase where they have something new to showcase every year.

TVM: What major artists are you hoping to book for this year?

Well there are some that we have booked that we are happy to have: Aretha Franklin, it is the second time she will do the Festival. We have this double bill of vintage pianist and singers, Dr. John and Dion Russel, who are artists that are very respected, they are going to do two nights at Theatre Maisonneuve, that I am very happy with. Uh, George Minson is returning. The last time he played for us, he has a large orchestra, and the music that he played that night (from the late 50’s, early 60’s) was all music from my childhood that I would hear on my parents radio. I thought he was so fantastic, because he really did them to the letter, it was beautiful. Um...

She & Him are booked, very happy with that. Belle & Sebastian as well. Trumbone Shorty from New Orleans.

Oliver Jones is gonna do solo concerts. And then a lot of jazz people, obviously Ravi Coltrane, Courtney Pine from England, we have an old time band from New Orleans , we have not had that kind of repertoire band for a while now, and also Sharon Jones at the Metropolis.

TVM: What are your biggest hopes for the Jazz Festival this year? Anything in particular you want to accomplish that may be different from previous years?

Umm... (pauses). I would not say that there is any difference from previous years at this point... Next year we have the 35th so obviously we are going to draw some funny cards for the 35th but this one will have a very large encompassing program. It’s hard to say at this point- the program is about 2/3 of the way there, but we still have lot of empty slots to fill (chuckles). But what I am looking forward to most is the day that we open.

Because the whole feeling is like you are building this big jumbo jet and you keep wondering (even if you are very experienced) is it gonna take off? Is it gonna go in the air? Then on the first day when you hear all the engines ‘Vrommm” (sound effect) and the thing takes off and it’s up there for ten or eleven days. It’s still a bit of a mystery that all these people convene at the same place to have a good time and listen to music. The fact is that the whole free portion of the Festival creates some kind of magic for Montreal, but we have to think of the individuals there because it is not groups that attend, it’s a bunch of individuals and families. But still there is no separation or VIP area in the Festival, the unemployed guy gets to stand next to stand next to the president of the sponsor company (chuckles). There is something very democratic and like I said earlier, utopian. Music is for everyone to enjoy. . So I hope to share this for many more years to come.

TVM: And lastly, what do you hope the Festival will do for the audience?

Like I said, always pleasant, full of discoveries. Obviously there are things that they come to see, because they know them and they love them, but the mix of a good time for the sake of seeing artists that you love and then discovering new artists that you never heard of, and then becoming a fan. So we try to maintain a very opened mind towards the programming. And I hope the crowds can also retain that. Because without an open mind there is no discovery or fun as far as I’m concerned. I think that being challenged and discovering new things and getting excited about them, that’s the main part of going to a festival or to organize one as well.

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ARETHA FRANKLIN

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Credit Image - http://www.buzzreactor.com

INTERVIEW

THE BIZ

PASCAL MALKOUN

By KALIKA MANAGER HASTINGS

Head Manager at Lone Wolf Entertainment Credit Images (Lone Wolf Entertainment) TVM: How did you get started in the music and entertainment industry?

Yeah, almost from the beginning, I met him at his first album launch. I believe it was in February of 2005. So in two weeks it’ll almost be about eight years.

It kinda happened by coincidence. I always wanted to be in the sports or entertainment business. But what happened was that a great friend of mine just so happened to get introduced to Karl Wolf and then he was asked to be his road manager. As time passed by, I got to become friends with Karl and his manager, and then they needed somebody for online marketing and promo, so my friend had suggested me. And they said ‘Oh yeah absolutely’, they knew what I was doing, I was actually in my last year of International Business at JMSB Concordia. So yeah, that’s basically how we got started. And then the previous manager no longer managed Karl, and my friend became his manager at one point we were kind of co-managing together, and then he decided to branch out and open up his own booking agency/management company.

So then after a while, Karl was like ‘Do you still wanna work together?’ and I said ‘Absolutely’, so that’s kinda how I became his manager.

TVM: So that was your first introduction into the music industry? You’ve never done anything before?

I had never done anything before. I always had a passion for music and entertainment and it just kind of fit in perfectly. Everything happens for a reason, you know (smiling).

TVM: You said you always had a passion for music, but did you see yourself ever actually being in the music business?

I always wanted to be somewhat of an agent. Either in the entertainment world or the sports world. My biggest inspiration came from the movie Jerry McGuire with Tom Cruise, ever since I was like 12 or 14 years old when I first watched it. And ever since I watched it, I kind of shifted my life and I was mesmerized by that movie, I was like ‘That’s what I wanna be’.

TVM: So you’ve been with Karl almost right from the beginning?

The Vocalist Magazine 78

TVM: Do you have a particular style as a manager?

You know what, I’m not a 9-5 kind of guy. I do whatever it take, if I have to work on Saturday’s and Sunday’s I will. Persistency, organization, and passion. Those are the three main things that drive me to do what I do. Just do great business, don’t burn your bridges, and go with your principles and beliefs. And don’t screw anybody on the way (laughs).

TVM: What are your responsibilities as an artist manager?

I am basically the between the artist and the record label. I make sure the marketing is done right, and the products are released in a timely manner, everything from codes to licenses and whatever paper work we need to cover. Also I ensure that my artist’s interest is always in mind, because you know record labels sometimes have several artists, and I wanna make sure he is always a priority. So that’s what I do on a record label side of things but at the same time my other responsibilities are to create opportunities to generate income such as touring, endorsement deals, all that stuff. Touring has always been a big part of our career. I have to make sure that Karl has the best opportunities whether it’s in Canada or Japan, middle East or the U.S. Always looking for new opportunities and coordinate tours and shows along with his booking agent. I am the liaison between the booking agent and the artist as well. One of my main roles right now is finding Karl a record deal in the U.S and in Europe. But mainly in the U.S. That’s like my biggest goal as we speak right now.

TVM: Is Karl Wolf the only artist that you manage?

No. I manage Craig Smart and a new artist Cassandra Debison, she is eighteen years old. I also manage Karl’s DJ, DJ Romeo AM.

Credit Image - http://ilovernbmusic.com

KARL WOLF

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TVM: Do they all have similar musical styles, or do you work with a diversified roster of artists?

Not really. I mean yes and no. They are all kind of Top 40 artists, so in that sense yes. But Craig has a like more mature sound that leads to a slightly older audience. And Cassandra is really gonna be like pop, radio, Top 40.

TVM: What do you look for in an artist?And what are some factors that determine whether you will or won’t manage an artist?

I look for the complete and total package. Meaning they have to have the talent, the voicel- but they also have to have the looks ‘cuz they need to be marketable. Also, they need to have a great personality for them to be easy to work with. So no matter how talented you are, or how cool looking you are, if you have a bad attitude, bad personality: nobody is gonna work with you. So you can throw all that out the window.

TVM: Tell us about the struggles you’ve had to face while earning your stripes within the music business?

That’s a good one. Yeah there has been struggles...

Like my biggest struggle is to get Karl a record deal in the U.S. and get things going. We had released “Africa” in 2010, in the U.S, independently. And it started reaching number 1’s here and there (Salt Lake City, Tulsa, some good radio stations in New York, Miami, L.A.) however, Universal Republic signed Karl, and after they did, they really didn’t do much with the record. So that was a real disappointment to us, and it was actually a struggle for us to keep things going and revive Karl’s career in the U.S. So that’s kinda been a constant struggle for us.

TVM: How about a struggle on a more personal level?

I guess I kinda had to learn from a learning curve that in this business you can’t always be nice. Even though on a personal level I consider myself to be a polite, nice guy. However in this business, when you are a nice guy its consider to be a weakness. So I had to learn the hard way. Like I’d be nice to some people and they would turn around and say ‘Oh this guy is soft, he’s weak’. So ever since, I learned ‘You wanna see weak? I’ll show you who’s hard or who’s weak”, so I’ve definitely hardened up over the years. So that’s been a struggle.

TVM: What are some mistakes you see artists making when approaching you, or for that matter, managers in general?

I get a lot of requests on Facebook, saying ‘Hey check out my song, I’m a rapper from Toronto, Vancouver, New York’. I would say a mistake is when they send a link that doesn’t work. Like I’ll be ready to click on it and then it doesn’t work and I’ll send them a message but I don’t know when the next time I will go on Facebook and check that particular message again.

So as an artist, you are putting yourself at a disadvantage, because it’s like ‘Ok this is your shot, make sure it works’ you know (laughs)? That’s one thing, and another one is make sure you have good material, that your music is good. Sometimes singers use autotune, even on their demos! I had somebody that sent me a package with her bio, CD and pictures. When I popped the CD in, it was auto-tuned. So it was like how am I suppose to hear your voice? So these are rookie mistakes that people do. And third of all: Don’t sound or look too desperate. If you are a star, you gotta act like one.

TVM: At what stage in his or her career should an artist solicit a manager ?

When they start having some serious material to look at, a good package, not just one song but a bunch of songs that they believe is ready to be marketed.

That’s when they should start looking for a manager.

Unless that person is discovered by a manager, and they say ‘Hey, I wanna develop you’, I think that’s really the best time. I mean you can always start and ask your friend to manage you, or your cousin, brother or sister. It’s just that for somebody to just go up to a credible manager, and they don’t have the material, the manager is gonna be like ‘I’m busy, why would I manage you over somebody else?’

TVM: What should an artist look for in a manager?

A manager and artist relationship is really. I hate saying this, but is kinda like having a girlfriend or boyfriend. You really need to get along on a personality point of view. You need to click in a way. You need to have the same goals and beliefs. You don’t wanna end up with a manager that you’re gonna have to argue and fight with everyday. So you need a manager that sees eye to eye with you and is moving in the same direction as you are. That’s number one, and number two, obviously, connections. And a manager that believes, somebody that will be there for you.

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“No matter how talented you are, or how good looking you are, if you have a bad attitude, bad personality: nobody is gonna work with you”.

TVM: What are the pros & cons of being an artist manager?

TVM: What advice can you give, to up-and-coming artists looking for some career guidance and leadership and a manager?

A pro is that you are independent. You don’t necessarily have a ‘boss’ scrutinizing everything you do. You organize your own schedule. And you are able to do whatever you need to do. So whatever ideas you have you can go ahead and do these things without having to go through a board of committee or red tape. As long as you have the artist on your side and he agrees with your plan then you can move forward. That’s one thing, second thing is touring. It’s fun. It’s nice to tour (since I’m still young). I actually tour with Karl wherever he goes. So that’s fun ‘cuz I get to meet new people, go to different places and travel to new countries.

The cons are kind of attached with the pros and kind of being on your own in a way. Because even though you don’t have a schedule, you can’t just go in the office, do you work and then shut off your computer at 5:00-6:00p.m. You’re always constantly working. So your mind is always working. So that can be tough, if you are trying to go on vacation or having personal/ family time. I would say that is the biggest con.

They need to persistent. Forget about the fluff and focus on the music. Forget about what kind of chains you have, or what kind of car you drive. What’s most important in this industry is the material that you are going to be releasing (your product) and I would say about 80% of your product is music, if not more. So make sure you work hard and release great music, the music will speak for itself. Everything else around that will just be fluff.

TVM: What advice can you give to people who may be interested in an Artist Management career?

Uhh...Yes I do (smiling). You gotta be organized and prepared for the worst. I really believe in Murphy’s Law “What can go wrong will go wrong’. So always prepare for the worst, be passionate about what you do and who you believe in. And if you’re looking for stability, don’t do this, go work in an office or the corporate world. Your work and success is really contingent on your artist’s performance so it’s definitely for someone who is adventurous and passionate about what you do. There might be some great months, and there might be some not-so-great months where you’re not touring and not really making money. So you need to take that into perspective before you get into this.

TVM: Where do you see yourself in five years?

I see myself still managing artists, but those artists have evolved into bigger artists. I’m hoping to grow with the artists. Especially Karl, just because I’ve been with him and believed in him since day one. So I’d love to see that project (even though it’s doing amazing right now) grow even bigger. Where we will stadiums all over the world.

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VOCALI

SKINS TO For Styling Fo

This is what I got from Skin, she has what she likes and she is not afraid to She goes for angles and silhouettes f thing, she wears something that will audience. Something that will becom to move in them and she knows how the clothes don’t wear her, she wear

COMFORT Don’t get anything that will make you feel uncomfortable on stage as that is the quickest way to ensure you have a bad gig.

Uncomfortable shoes are a definite no, when choosing clothes and shoes, think about how you will move on stage. However if you are wearing something uncomfortable, but you feel and look amazing in it, it will be worth it. Sometimes you have to suffer for fashion!!

BE BRAVE The stage is where you can be expressive, you can never be too showy on stage, you’ve got to be mad and it’s got to be fun!!

PEP T Steven Tyler

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Befo going on st to yourself, “I’m Say it, feel it, l

Credit Photo glamazondiaries

ISTYLE

By ERIKA FOOTMAN

TOP Tips or The Stage

s fantastic style, because she knows o wear things that may seem strange. for stage, she doesn’t wear just anyl make an impact on the eye of the me part of the show. She knows how w to make them look great. Meaning, rs the clothes.

CONFIDENCE The minute you put the outfit on you should know that that’s the one, never wear anything average, You gotta feel the rock star to be the Rock Star.

ATTITUDE

S

TALK

kin S kunk nsie

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Ana

ore tage, say m a rock star!” live it, be it!!

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Credit Photo (Djansezian/AP )

How you feel in the clothes is so important, make sure you feel great. If you walk on stage and you don’t feel comfortable it changes how you sing, you are so exposed as the singer. If you don’t feel amazing you can feel awkward and insecure.

THE LOOK BOOK

By ERIKA FOOTMAN

SKIN FROM SKUNK ANANSIE TALKS ABOUT HER FASHION INFLUENCES AND SENSE OF STYLE EF: Have you always had a strong sense of style?

S: I had no style at all when I was growing up, I wore what all the other black girls were wearing, shin length crepe dresses. I really got a strong sense of style from the age of 17, I went from child to adult overnight.

I went and studied at the London School of Furniture, after the first week of studying my whole style changed once I saw how amazing everyone looked, it was inspiring. I was a normal looking black girl and then I changed my hair, it went short and spiky, out came the baggy trousers and brothel creepers. I got a Saturday job and spent all my money on clothes.

This is when my fascination with black started, I got into The Cure, black make up and Gothic fashion.

have them in my wardrobe I get them out sometimes and make sure I can still wear them! Ha ha!!.

EF: Who were your style icons growing up?

S: I didn’t really have any style icons, but when I hit my early teens the person who stood out for me as a style icon was, Bob Marley and looking back my Grandma was too.

EF: Do you think look and style make a difference in the music industry?

S: Absolutely, it’s vital. Vitally important as people look to rock stars for fashion and style . Whether you are Lady Gaga, Patti Smith or Madonna, fans, the fashion world and everyday people are interested in what they are wearing. Artists have always been leaders of fashion and a lot of designers take what they see from artists for their own collection. I loved Patti Smith’s white shirt, leather jacket look, it’s still a classic look.

EF. Did you have a favourite outfit growing up?

S: Baggy pants definitely, in fact I still love baggy pants! I also have fond memories of these beige, corduroy dungarees. When I was 18 I had a pair of pink elephant corduroy trousers that I cut into shorts, I still

EF: What is your personal style now, how would you describe it?

S: Androgynous contemporary with a mix of classic style. I like it when my outfits are juxtaposed, angular hard cuts with soft beautiful fabrics. I like a jacket that you can do something with, that will never go out of fashion. Shoulders are important for me too, I like weird cut clothes that are angular and androgynous, yet comfortable and classic. I don’t buy into trends I like clothes that will last a life time and never be out of trend.

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EF: What is the hardest costume/clothing you’ve ever had to perform in?

S: A jacket I wore on the Wonderlustre Tour last year, was made of leather & had studs on it . When I wore it I would have to hold the microphone up to my mouth, it was so heavy it actually injured my shoulder – but it was really fab!

EF: One of my favourite items you have worn were your trousers made out of cassette tape when you headlined at Glastonbury. What has been your favourite outfit to perform in?

S: The first cat suit made for the Wonderlustre tour by the tailor, Michelle Warner, it was mine and Kim Howell’s design , we came up with idea and Michelle made it. The first one was amazing it was a perfect fit!

EF: Have you ever had any onstage wardrobe malfunctions?

S: Loads!! The trousers made of tape that you mentioned, lasted only two songs!! On the Wonderlustre tour I walked on stage and the zip broke on my trousers, I carried on but they kept falling down, so I announced it and back stage people were running about trying to find anything to hold them up! We managed to keep my trousers on with pins and gaffa tape!!

EF: Do you find fashion inspiration from travelling?

S: Yes I love shopping in different countries. I find it really interesting that in each country exclusive designer shops vary their stock, so what you find in Italy won’t necessarily be in the UK. I was in Bruxelles the other day and I went into the shop of Pierre Antoine Vettorello and bought a beautiful jacket., I find if you find weird clothes in black they go with anything!!

EF: You designed the “It takes blood and guts to be this cool – but I’m still just a cliché” T-shirt – has designing your merchandise ever inspired you to maybe start your own clothing line?

S: Yeah I would love to design T-Shirts a couple of weird accessories and maybe baseball caps. I’ve been wanting to do it for a while… In fact funny you should mention it as there maybe something in the pipeline for next year….

EF: What is the best piece you have bought on tour?

S: Ooooh such a hard question… So many…. I can’t answer, I have bought so much stuff on tour…. However, on the last tour I bought a Vivienne Westwood blanket coat , it’s a tartan coat blanket with sleeves and it wraps around your neck. Probably one of my favourite pieces. I also recently got given a Missoni fur cardigan although I didn’t realize it was fur at the time, until someone pointed it out to me ! However… it’s absolutely amazing!!!

EF: Do you have a favourite designer and are there any new and up and coming designers we should hear about?

S: I’m not sure about up and coming designers, but these are designers that I love and are under the radar; Heidi Ackerman is my absolute favourite. Also Kokon Tozai (KTZ) and I love David Koma’s coats and jackets.

SKIN

THE LOOK BOOK

INTERVIEW MAKE-UP ARTIST NATASCHA

PROFILE

NATASCHA SOHL Natascha Sohl, is a working singer. She writes and performs her own songs, has TV show synchs – such as The Hills and gigs live every weekend. She is also a make-up artist. This has always been her passion and now her profession hand in hand with her music. She mainly does makeup for musicians and performers. We caught up recently and she was happy to answer a few questions I had on how us singers can do our own make-up. She also agreed to give us some tips we can take to our next gig!

EF: When playing a gig is there anything you do differently with your make-up to everyday make-up?

NS: Yes, but it’s really important to still look like you, unless you have a specific ‘look’ that you’re going for.

You just really need to exaggerate things and be a

bit more over the top. I always use foundation when on stage, so you‘ve got a good base to work from – but use a good one that won’t sweat down your face when you’re rocking out!

EF: Would you use the same base make-up for photo shoot, video & live show?

NS: You can do but you have to be aware that when you’re on stage you’re at a distance, but for photos and video you will see any imperfection so you have to be a bit more subtle. I would always go a little lighter on foundation and make sure everything is really well blended – you don’t want to be able to see the make up on the skin, you just want the skin to look flawless! For live a heavier foundation that wont budge is essential. On stage lighting will wash you out so you can afford to go a bit heavier with things, but also be aware that some lighting may change the colour of lips sticks and eye colours.

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EF: I have found my own way of applying eyelashes now, but it took me a while, do you have a top tip for applying eye lashes?

NS: You just have to go for it a bit! People are always a bit nervous of putting on lashes but once you’ve got the knack it’s fine. I would say don’t put too much glue on the lash (glue in the eye really hurts!) and wait for a minute until it goes tacky before you try to put them on.

Don’t put them too close to the inner corners or it can be uncomfortable, and I use the end of a make up brush to press them in place. Also if you have an old eye-shadow brush that’s lost most of it’s bristles, keep it!! It’s really useful to put any extra glue on the edges if you need to!

Or get a really fine artists’ paint brush.

EF: Any tips on what colours we should use for skin tone, with eye shadow etc?

NS: With foundations you want to match the colour as closely as you can with your skin tone – you never really want to see that! Eye shadows that contrast the eye colour always look good. Olive and darker skins can generally get away with more vibrant colours, but it can also be down to personal style too. I have green eyes and wear a lot of greys, blacks, blues and purples. Blue eyes are good with greys and smokey colours, golds, and blues. Brown eyes are good for greens and golds but try to stay away from muddy colours.

EF: What make up products can you not live without?

NS: Boing Concealer and touché éclat.

EF: Is lighting important when applying make up?

NS: Yes good light is essential. Natural light is the best and you want the light source in front of you. I tend to move about and check in other lights when I’ve finished to make sure you’ve not missed anything!

EF: When trying to find a match for your skin tone with foundation is there any tips we should know about?

NS: Yes, match it to your face! It sounds obvious but a lot of people check it on the back of their hand, but your skin colour is different on your hand! Check it on your jaw line for the best colour match.

EF: Are there any tips that you think would be helpful for singers doing their own make-up?

NS: Yes, practice! Often if you’re doing make up at gigs, you might not have good lighting, or just have to make do with a toilet, or a corner backstage so make sure you know what you want to achieve and feel comfortable that you can do that. Go for something that makes you feel really good too, if you think you look good you’ll feel good!

Erika Footman is Director, iMMa Sounds, Artist, backing singer for MIKA, session singer, Top-line writer, vocal coaching. - She can be reached at: www.officiallyerika.com/

ERIKA FOOTMAN

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JONAS & THE MAS

SSIVE ATTRACTION

INTERVIEW

J INTERVIEW

JONAS

By KALIKA HASTINGS - Credit Images (Jonas)

Jonas Tomalty has been surrounded by music since his infancy.

His father a musician, spurred Jonas to walk in his footsteps to pursue his own dream in music. After releasing two successful studio albums and one compilation under the name Jonas, he is currently performing with his band Jonas & The Massive Attraction, whose first album, Big Slice, was released in 2010.

In this exclusive interview Jonas talk about his vocal surgery and how he got back on his feet, and shares with us his vocal regime and newfound awareness of his voice post-operation.

THE VOCALIST MAGAZINE TVM: How would you describe your voice?

Hmm...It’s a little bit choir boy gone Jack Daniels (laughs). A huge part of my technical training at the beginning of my career is thanks to the choir when I was in as a kid. It didn’t just teach me all the great things like working in groups, working with a director, and working on the road (because you travel quite a bit in the choir too), but it gave me a huge technical background to be able to build my tool box and be able to refer to those things, even at this point in my career with this style of music. It’s been really important to me, as I’ve progressed throughout high school I really dove more into the alternative hard rock musical genres. So I think ‘bad boy, choir boy’ would be the best way to describe my voice (chuckle).

TVM: How would you describe your music?

That’s another hard thing to answer. I mean, we are based on rock n’ roll, we are a rock n’ roll band but I think there are a lot of dynamics in this band, we’ve never really tried to pin ourselves down to one kind of rock n roll. It’s not just amplifiers on eleven. We also have different parts of that genre that we like to experiment with. We have other influences from different parts of the world that we bring into it too. So rock is kind of the base but where we go from there is ever evolving.

TVM: How do you describe your style (fashion)?

On stage, I just like to wear what I’m comfortable in. Im a T-Shirt and jeans guy. That’s always been my thing.

When I’m getting up there, we don’t really need to distract from what’s going on. Let the guys on lighting and backdrop take care of that stuff. We’re just up there to play rock n’ roll music and get everybody going. I like a good flashy showmen, as far as style goes, but in terms of myself I’m more comfortable wrapping a bandana around my wrist so that the pick stays in my hand from the sweat (chuckles). But that’s about as accessorized as I get. Off stage, I love to dress up! Any time I have the chance to wear a suit or get flashy in a suit and tie, I love that stuff too.

TVM:What moves you to write songs and is there a particular song that you feel most proud of from your Big Slice album and why?

(Pauses) I mean, it’s kind of like having a favorite baby.

You know, if you’ve got kids, you can’t have a favorite kid. You love them all the same. I suppose that there are some ‘children’ that I’ve lost contact with over the years, if you were (laughs). When an album is done, there are definitely some songs that we try live that just don’t work but they worked well on an album. There are definitely other songs that are like creepers on the album and we never thought they could be a single, but when

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we play it live we get this crazy reaction. There is such a difference between when it’s canned and when it’s live that you never know what’s gonna happen until you get onto the stage. There are certainly songs such as “The Deep End”, it’s one of those irreverent songs that are kind of anthemic and everybody gets into it. Everybody kind of feels that same message. I’m really into opposites like the idea of the Ying Yang. A lot of the tattoos I have on my body are bitonal, I actually have a Ying Yang, I have a flower and a pin. So I mean that song was this nice kind of happy melody with more melancholic lyric. I think that people are attracted to that when we’re playing it live. We always get this neat reaction from the crowd. But again, that changes. The next night, there’s another song that got me going’ and the crowd going’.

TVM: At what age would you say you discovered your passion?

Right off the top. I was four years old when I had my first memories of anything and those are also my first memories of wanting to take this on as a career. I mean you don’t really know what a career is when you’re four years old. I kind of relate it to ‘I want to be that guy’ like Peter Frampton Live.

It never stopped.

ts anywhere by their 100%...”

TVM: Who influences you vocally?

There is such a pool of different people who throughout the years have had an effect on me. It’s hard to pinpoint one, or even one area of music.

Everything from Andrea Bocelli to Scott Wailen of Snow Temple Pilots, Chris Cornell Sound Guard, to Robert Plant of Led Zeppelin and Jim Morrison. I would say those are the most predominant.

TVM: What is your overall vocal regime?

(Laughs) I definitely have to keep well hydrated during the day and drink lots of water. Because the vocal chord is such a little fussy tool. So drinking lots of water during the day, trying not to talk so much. Because you don’t talk with the same muscles that you use when you sing, and the talking can kind of tire your voice. So I mean, just doing a good vocal warm up throughout the day when you can and getting warmed up before going on stage.

And tryin’ to be a good boy on the road you know, staying away from the smoking and drinking and discotheques.

TVM: And do you smoke?

No, not really. I mean I have a very in and out relationship with it. Sometimes if I’ve had a couple of drinks, I’ll allow myself a little you know.

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THE VOCALIST MAGAZINE

INTERVIEW

“I treasure how fragile my voice can be.”

TVM: So when would you say that you are vocally at your best?

Before I continue, I want to give some props to a couple people. I’ve got a great ear, nose and throat doctor, Dr. Shagnon, who works out of The Montreal Jewish General, she has been a savior to me. Five years ago I had a couple vocal difficulties back to back, one was I had a stressed pal-lip that happened in the studio (I was a little bit sick and I pushed it too hard and I got a stressed pal-lip on my vocal chord that needed to be removed). She really helped me throughout the process. I trust this woman with my career; she went in there with a laser to my throat and put me on a regime. She sent me down to New York to Dr William Riley who is in Manhattan and he gave me an amazing rehab routine to get my voice back. It was very nerve racking knowing that someone’s going in there and they are cutting. It was a real safety net -having those two people in my life throughout the process. And a year later I had my tonsils removed at like 27-28 years old so that was another thing because those tonsils have been there your whole life and know you are reshaping your throat. I had a couple of experiences within one year that kind of shook me up a little bit, but because of those people, a great vocal warm-up routine and rehabilitation. I got back up on my feet. I actually sounded better after that, then I had previous to either of those operations.

TVM: Yes, I was curious to know whether you experienced a difference vocally in terms of before and after the surgery.

Ya...I had a little warm up routine before, but nothing as extensive. I think also the fact that post-operation I was a little bit more aware of what was going on in there because of the changes that had been made.

I kind of liken it to having a professional designer come and design your house for you you’re like ‘wow I didn’t even realize how ugly my house was’ (laughs).

So that’s where I’m at with that. I think I treasure how fragile my voice can be. I have a whole new appreciation for it.

TVM: Is there any difference vocally for you between recording in the studio and performing live? And which one do you prefer?

In the studio, you can redo it. You have a second chance. And you can work on your better conditions, and the temperature is right and you’re rested. In the studio you have a lot more opportunity to get the right take and to give yourself some luxury. When we’re touring out in Western Europe, half of those show-bars are smoky, we’re not getting rest, and we’re doing five shows back to back sometimes six in a row with no day off, doing interviews all day long. I mean it’s a battle zone for the vocal chords. Chances are, one of those nights in the five, we didn’t take it

easy and we’re still recovering from a party night. Or the opposite where we played a show and then we have a six o’clock a.m. radio interview that we have to perform on. You don’t really have a chance to recover and you get used to being at 70-80% vocally on the road all the time.

TVM: What is your aim when you perform? What do you want to do for your fans?

Ha-ha. Just to forget about everything and you know come in and clean the slate. Life can be very complicated at best. That’s why I like to perform because when I get on stage I forget about all that. I mean I don’t bring my bullshit to the stage and I hope that I can at least do the same thing for the people in the audience. Even if during the show, sometimes the lyrics can address those issues, music is a good therapy.

I think even when you’re thinking about those things and there’s a good sound track playing, life is a little easier to digest.

TVM: Tell me about your most memorable performance? What was special about it?

It’s so hard. We are really blessed that we get to move around a lot, in front of all sorts of different crowds and atmospheres. It’s hard to pinpoint one. Certainly, I look back at a couple really fun memories, but I can’t necessarily pick one. I mean touring with Van Halen, when we put our first album out in 2004 was huge. It was our first album Jonas, and a month later we were touring with those guys through the States. So that was definitely the school of rock n’ roll 101. But since then we have had so many memorable moments.

Headlining the Bell Centre was pretty wild. The most recent memory was laying Baus Pop in Holland and we got to share the stage with Patti Smith, The Cult, Tom Jones, Alanis Morrisette and Gavin Degraw all in the same day. So it was a pretty wild experience. But we are blessed, we know that we’re blessed that we get to do this everyday wake up and play rock n’ roll music for a living and put smiles on people’s faces.

TVM: Do you find what you eat affects your voice?

Yeah, absolutely. I have to stay away from dairy products. Being aware of what we’re eating on the road is definitely important. Diet is super important man, like I said keeping hydrated makes all the difference in the world. Drinking 2-3 liters of water a day. It makes all the difference in the world if I don’t put cream in my coffee or have cheese with lunch, my voice is much clearer.

TVM: What is your favorite drink before a performance?

I love herbal teas. Throat coat tea is the bomb. I like a good glass of cognac before I go on stage too. It

THE VOCALIST MAGAZINE clears my throat and my mind (smiling). It loosens up my throat, I do throat coat with honey and then I follow it up with a little cognac, I go back and forth. A good ten minute warm up, you don’t wanna do more than a ten minute warm up before you play. Any more than ten minutes and you just start tiring your voice out. And warm downs, like anything you do in athletics, you do a warm up, you perform, and then a warm down.

TVM: How have your vocal practices changed since you first began recording and performing?

I think the big difference was after I had some vocal rehab because that really broadened my vocal warm up. It wasn’t just about doing scales it was about how your jaw is sitting in your mouth, if your jaw is loose enough to make sure that you could move your jaw around, because if you tense up your jaw you’re tensing up everything in there. Also keeping your shoulders limber. Breathing exercises in different positions kind of like yoga positions, you’re opening up different parts of your rib cage so you can get the most out of your breath. Those kind of things have been keystones to my vocal recovery years ago.

TVM: What is a typical rehearsal like for you?

Well... To be perfectly honest with you we don’t really rehearse that much. I know that sounds terrible, I mean... we “jam”. We spend time in the studio live playing together and writing. But most of the time we’ll rehearse like three days in a row before a tour and then all of the rehearsing happens on stage. We usually start our tour with a date or two like in a smaller venue, kind of warm up gigs, intimate shows for fans and then we go out and play the festivals, stages, or show bars. Or tag on to somebody as an opener and do some arena gigs and if we screw up and see that we are doing something consistently bad and we have an idea that we wanna take somewhere, then it’s sound checked the next day and we do the rehearsal during sound check. A lot of bands really evolve like that, but we tend to evolve on stage.

TVM: Describe one challenge you constantly face in your practices?

Umm...Nothing particularly. We are a band that likes to -when we’re recording the album we do whatever we need to do to get the song, if it means recording it a semi tone higher, because it sounds better and then playing live a semi tone lower. I think anybody who is a fan of ours, who’s listen to our music, and played our music, or sang along to our music when they come to the shows they realize that we are a semi tone lower. With that said, most of these recordings are all recorded a semi tone lower too. Just because we’ve kind of adjusted all of the guitars and trained all of the instruments to play at that level that we are

comfortable at vocally. So yeah the challenge is just being able to play what we played on the album six nights in a row.

TVM: What do you like about your voice?

What do I like mostly about my voice? I’m a singer.

We’re never fully happy, there are always things that drive us crazy about our voices (laughs). I am forever just trying to make up for those things that drive me crazy about my voice. I don’t have time to concentrate on the things I like about my voice. I just try to find ways to go Sammy Hagar high and deep and sensual and emotional like Leonard Cohen. I am trying to find the best of those worlds. So I haven’t figured out what I love most about my voice yet.

TVM: What differentiates you from other vocalists?

I’ve never really compared myself to people in the vocal world; I’m an admirer of singers and real vocalists.

I still feel like a hack, I really do (smiling). I suppose I just try to sing every song that I can with the honesty that the song deserves. If it’s a bad boy biker rockin’ song with a lot of sexual innuendo in it, I try to keep it on that level. If it’s got more of an anthemic, deep rooted kind of vibe to it, I try to open up a little bit more.

TVM: In today’s competitive music industry what does it take to pursue singing as a career?

Well I think you almost answered it in the question: persistence, pursuing. Nobody got anywhere by quitting or not giving their 100%, by not having faith in themselves or faith in their project. That’s the only thing that sets you apart, persistency.

TVM: For those who want to be vocalists, what advice would you give them?

I mean it kind of goes back to that last question and answer, really persistence and balance and faith in what you’re doing. There’s a great quote, and I’m going to paraphrase because I don’t remember exactly, but: ‘The music industry is filled with liars, cheaters, criminals and crooks, and then there’s a down side’ (chuckles). And that’s the reality. The rewarding part is translating this amazing flash that you have at night when your head’s on the pillow and you go ’Oh that’s a great lyric, that’s a great vocal melody’. And then transmitting that into music, and transmitting that to an audience and making that chain, the full circle.

Once you start doing that and feeling that, then you know that’s the upside, the goal at the end of the rainbow.

TVM: How important is social networking for artists to engage with their fans?

“We’re blessed to wake up and play rock n’ roll...”

Umm...It’s super important to keep up to date. I think that the Internet and social networking has taken it’s share of bad criticism from artists, as we’ve all had to adjust to it. You know, like having access to our music for free was a little bit of whiplash. Because the industry itself has had to learn to readjust and figure out how we are going to be able to fund this thing.

With that said, it is an absolute blessing because more than ever an artist can have a conversation with their public and not just fly by during signings at the end with a quick hug or answer a quick question, that kind of thing. There are not just forums overnight that are filled with hundreds of questions that you can’t answer at the same time. Now we have a direct relationship and conversation with our base and I think it’s brilliant and I love it and I’m a big fan, I really try to keep up as much as I can too. Plus it’s great for our in between times, you know as singers we’ve gotta shut up during the day, we can’t talk all the time. I really like to take my down time to absorb myself in communicating and throwing some pictures up about what’s happening backstage.

TVM: Where would you like to be in your career 5 years from now? Anyone you would like to work with?

Umm.. (pauses) I always try to keep it on a per album basis, since I started cutting albums when I was 18 I realized that the record labels, and the management and the publicist and everybody around you have these long term goals. So I kinda let them do that, I don’t wanna bog myself down with a crazy long term goals. But they are and keep personal, on the business front, I mean it’s per album man. Right now I wanna finish this recording, I wanna get out on the road, we’ve got some European dates booked already, some Canadian dates booked for the summer.

We’re going with the flow with this. I think that if you want to keep a cool head and you wanna keep your wits about you, that’s the best answer.

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By KALIKA HASTINGS

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Credit Images (Dawn Richard)

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t was her early days in the library reading with her grandmother, where Dawn Richard’s inspiration for creating cinematic journeys through music first began. A former member of the musical group “Danity Kane”, and later joigning “Diddy-Dirty Money Group”, Richard brings a combination of experience and determination to her now solo craft. Born in New Orleans, Louisiana, her faith has enabled her to triumph through challenges, only to pursue her goals even harder. Dawn Richard’s latest album “GoldenHeart”, is the first among two others in a trilogy project. The narrative element of each song comes alive in theatrical music videos, with a blend of elegant choreography and passionate performances, earning her great respect as a solo vocalist. Our conversation uncovers her challenges, motivations and vocal techniques.

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“I always wanted my music to be similar to a novel...”

TVM: How would you describe your voice?

I think it’s timeless. It’s one of those signature tones. It has it’s own signature and style.

TVM: How would you describe your music?

Cinematic. It’s one of those storytelling type of journeys that you go on. It’s not necessarily a sound it’s more like an experience.

TVM: At what age would you say you discovered your passion?

When I could open my mouth and talk. My father was a musician, he played the piano and he sings. I used to listen to him sing. I knew then that I fell in love with music, because I heard it.

TVM: What moves you to write songs? And is there a particular song that you feel most proud of from your latest solo album GoldenHeart?

Um... Well my grandmother has a PhD in Library Science, so I grew up in her library, just reading all kinds of books. I’ve always liked to read books and stories.

Reading was always a really strong point in my life.

And I always wanted my music to be similar to that, more like a novel and less just like sounding like everything else. I think one of my favorite songs that embodies that is the title track off the album GoldenHeart, just the lyrical content is very similar to what I grew up loving. Stories I loved to read- going over Clair de Lune- one of my favorite classical pieces. And you know to be able to devote and make such a beautiful piece is just great for me, I’m really proud of that record.

TVM: Tell me about the challenges as a solo vocalist as opposed to being a part of a group like Danity Kane?

They both have different challenges. For example being in a group, my tone was already a little different from everyone else’s so I had to learn how to merge and make it blend with everyone. And that was really difficult because when you have such a distinct sound or tone, I was used to having my own sound for so long as a solo artist, I had to make it mix in and make it sound beautiful and not stand out. You know when you’re working on a solo piece it’s fine but when you’re working with your girls in harmony you have to

make sure that you don’t have one person standing out. So being a solo artist I don’t have that problem you know, I can keep my signature as potent and as beautiful and live as I want it. But there is also a challenge in getting people to understand that it is something distinct and something different. When we’re pushing the envelop with my producer Druski, doing the music that he’s doing and putting it on the track, sometimes it can be difficult to deal with people that say ‘I think they put an effect on it or it sounds like it’s over produced’. But sometimes it isn’t, it’s just that we blend our voices and the sounds go well together but they are distinct sounds and it makes for an interesting pair. I think it’s a trial to make it all make sense. So both are difficult.

TVM: Who influences you vocally?

I don’t really have any influences as far as vocally, I mean I have people that I listen to that I think are cool but they don’t really influence me. I do appreciate artists like Björk, you know who kind of has her own stratosphere, her own lane, her voice is absolutely beautiful. I can appreciate her voice, I have always appreciated how she managed to create her own style and do such beautiful pieces of work with her music.

TVM: What is your overall vocal regime?

Well everyday I do vocal exercises, every morning I have to warm it up. I have a husky voice so I have to open her up in the morning if not she will be very scratchy all day (laughs). So I exercise in the morning and then I wind down at night, because once you use your voice from speaking a lot, you have to make sure you do a warm down at the end. ‘Cuz I also stretch in the morning, for dancing purposes. I have to make sure everything is flexible and warm, so I do the same thing with my vocals and at night I warm down you make sure my muscles are still from using them so much.

TVM: So when would you say that you are vocally at your best (morning, evening, night)?

It depends on how much practice I get. If I get up early and I’m already moving and I have to perform early, by the time my exercises are done, I’m good.

I’m ready to go all day. Being on Making the Band, we had to be prepared at all times, so I’m pretty able to be prepared at anytime.

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INTERVIEW TVM: Is there any difference vocally for you between recording in the studio and performing live? And which one do you prefer?

Yeah, there’s a difference. I’m a little more flexible live than I am in the studio. I’ll do great things in the studio but I gotta be careful that I’m not losing people so much that they can’t follow it. But live, I’m always gonna change my ways, I love doing live.

I always have my own little things that I like to do live. I’m a bit more adventurous. I like to play with genre bending. Sometimes I’ll pick a rock approach, or maybe an alternative rock approach to a record. And then sometimes I’ll sing a record where I’ll add more to it and make it vocal. So I love the flexibility of being live, but I also have to be careful ‘cuz people want to hear it exactly how they hear it on the album.

TVM: What is your aim when you perform? What do you want to do for your fans?

I want to move them. I want them to feel like they’ve had a cathartic experienced, you know they were touched, they were moved. They feel that they can go out and conquer the world.

I want them to feel hopeful. That’s all that I can ask for. I want them to feel like they’ve sweated out their hair and feel like they’ve worked out for an hour at the gym because they’ve been dancing so hard.

TVM: You said in an interview on 106 & Park, about your Bombs music video that you wanted to establish yourself firstly as a vocalist but that you also wanted to demonstrate your layers as an artist and show off your dance abilities. How important is it for a vocalist to be involved in the choreography process?

Um... To each his own you know. I mean some artists don’t dance.

That’s not what their forte is. Some artists are just singers. But for me, I grew up dancing so for me dancing is just as important as singing. It’s imperative for me and my vision to make sure that my choreography is just as beautiful as the vocals. Just because I’ve put that into my work for a very long time.

TVM: And where did you get your confidence to perform on stage front of fans and in front of the camera?

Oh my mother and father! They are performers, they have been doing it their whole lives and I’ve watched them since I was a kid. So it was in me before I could even realize.

TVM: You currently have over one million followers on Twitter, how important do you think social networking has become for artists in terms of the connection they build with their fans?

It is imperative. I mean especially during a time where social media runs your brand. Like if you have a great YouTube page, you can market yourself and become a superstar, it’s a great time to really promote your vocal skills and talent. If you have that tool you should definitely used it.

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“Breathing is always an issue, I’ve had asthma my whole life and I never use it as an excuse.”

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“Make sure you study your craft.

Don’t just be a singer, be a vocalist...”

TVM: Do you find what you eat affects your voice?

Definitely. Any kind of dairy products like milk or cheese. If I have anything like that before I sing, I am definitely going to sound a mess.

TVM: Is there anything in particular that you eat before a show?

pending if I want to work on my legs... And that helps me with my breathing which then helps me with my vocals. Because everything I’m doing is from the diaphragm.

TVM: What do you like about your voice?

I probably won’t eat, I’ll drink tea. I love to cleanse everything. And I’ll maybe have a shot before, just to clear out everything. Just a small shot.

(Pauses)...Umm I love my tone, I love the versatility.

Like I love the fact that you know it has it’s own sound and body and I think that I don’t have to put a lot on it because it’s my tone. And I’m a middle alto, I got a great range but my bottom is a really beautiful sound.

TVM: How has your vocal practices changed since you first began recording and performing?

TVM: I agree. And what differentiates you from other vocalists?

Oh totally. They have totally evolved on all levels.

From having some imperfections with grading or scales not being as perfect as they should be to now it’s becoming something more comfortable. It’s not as difficult as it was before.

The fact that I have those things. A lot of female solo artists are alto sopranos, you know they got very high voices. Whereas there’s only a few of us that have that inner alto range and I think that’s what makes it beautiful and special.

TVM: What is a typical rehearsal like for you?

TVM: In today’s competitive music industry what does it take to pursue singing as a career? How did you follow your dreams and make it happen?

Um... I wake up early in the morning and I’ll do breathing exercises, I’ll do diatonic scales, and I’ll maybe go over my motor skills a little bit. Because I sometimes have an issue pronouncing words, I’m from New Orleans so I have some pronunciation issues (haha). So I always do my motor skills to make sure I get better at doing that. Because I have that accent, sometimes I speak fast and people don’t really know what I’m saying. So I’ll do that for about an hour or two hours.

And then when I’m winding down, I’ll do breathing, and just take it back down ‘cuz it’s been through so much work.

TVM: Describe one challenge you constantly face in your practices?

Breathing is always an issue, I’ve had asthma my whole life and I never use it as an excuse. I fought through it to not have to take medicine, so I’ve learned how to control my breathing. You know when you’re a dancer and you’re on stage, stamina is an issue. So I always try to focus on that. I try to hold my breath or hold my notes for at least thirty seconds to forty-five seconds.

I’m working harder to get that longer and I love challenges, it’s something I can get better at.

TVM: Do you feel a connection between physical workouts and vocal workouts?

Definitely, I’m a dancer so you know I take different classes, I’ll take modern, classical and jazz classes. It depends what part of my body I want to work out, sometimes I’ll take an afro-cuban class or tap de-

I wanted it. Hunger. You know what I mean, you say you’re gonna do it so you do it. It’s that simple and I’m not afraid to leap, I love to jump and I love to take risks.

TVM: For those who want to be vocalists, what advice would you give them?

Make sure you study your craft. Don’t just be a singer, be a vocalist. Like you guys represent here at the magazine. I mean really take care of your voice and understand that it’s a muscle and it can be moved, stretched and built. You know you can really make it something powerful if you take the time to really invest in it. If you do that, there’s nothing you can’t do.

The more you practice and work out you’ll be able to do things that you could never even imagine.

TVM: Where would you like to be in your career five years from now?

All over the world.

TVM: Any places in particular?

No I mean just like all over the world, like world domination. Like when people hear me on the radio they know that that’s our sound, we created that. That’s my voice.

INTERVIEW

M A R I E CHRISTINE

By KALIKA HASTINGS Credit Images (Marie Christine)

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A Vocalist with a Sunny Voice

Her beginnings as a classical pianist and vocalist in a Gospel choir has proved to be a solid foundation in Marie-Christine’s music career. Teaming up with Corey Hart, she released her Debut album “Walk in Beauty” in 2012. We had a chance to sit and talk with Marie-Christine over coffee about her collaboration with the legendary Stevie Wonder, and how she maintains balance in her career between the business, the artist and the vocalist.

TVM: How would you describe your music?

Soulful. My album is separated into two parts: Soul Red and Soul Blue. Soul Red is mostly pop oriented soul and Soul Blue is more retro and urban kind-of old school soul. So generally speaking, I would say soulful but obviously different kinds of soul...Different colors of soul.

TVM: At what age would you say you discovered your passion?

That’s kind of tough to answer, because music was always part of the household. I personally started really enjoying music when I started playing piano, I was 5 years old at that time. And I continued until I would say around twenty- after that I really focused on singing. I realized that taking piano lessons, going to school and working was just too much so I just focused on the singing.

TVM: What moves you to write songs? And is there a particular song that you feel most proud of from your Walk in Beauty album?

What moves me is my every day life, you know like sometimes I’ll just be like here in a coffee shop and looking at people and checking out their interactions or checking out my friends and thinking about what they’re going through in their live or relationships. Obviously my personal life also. And sometimes I just need something to release an emotion. Like if i’m really upset about a situation, instead of crying or being down all day - there’s a song on this album “Grey on a Sunny Day”. That morning I woke up and I was not in a good mood (for no particular reason) I just did not feel well...

You know there’s mornings like that so instead of crying a - I sat at the piano and that melody came and I wrote that song. So it’s like therapy, you know?

TVM: Tell me about your experience in Haiti?

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“I don’ t talk mu ch in the mo rning.”

Well...When I decided to go in Haiti it was my thirtieth birthday gift to myself to go and visit the country of my roots. I didn’t really think I was gonna shoot a video, it was to visit and meet relatives that I never met. And finally at the last minute I decided “you know I have this song called Port au Prince on my album... I’m going to Haiti....

Why not...?” (laughs). There was this camera crew following me and filming. So it was great, we met a lot of artists, Carnival’s musicians with the big horns, these guys are a really popular group in Haiti. And at the end, we were painting with a very cretive artist called Eugene.

He use recycle stuff from the garbage makes art with that. He’s the one that decided what we would do with the wall and he started painting. I felt really at home.

TVM: What was it like to collaborate with such a renowned vocalist like Stevie Wonder on your song “Keep on Running”?

It’s like a dream come true. He is a genius, I grew up listening to his music. I started my career in a show called “Generation Motown”,

and we did a lot of Stevie Wonder on that show. So I’m so grateful that I had the chance to collaborated with him on my album.

TVM: Tell me about the challenges you face as a solo vocalist?

There’s a lot of responsibilities, but that’s what being an indie vocalist is. You have to think of a lot of things. I don’t have a manager or an agent or a team behind me. So everything is thought of, I have to write charts, work on the arrangement of songs and determine set list for my gigs. It’s ok because at least you have control over what you are doing and you’re not leaving it to someone else to do it for you and then next thing you know you are not satisfied.

TVM: Who influences you vocally?

Yeah... Chaka Khan, I really enjoyed listening to En Vogue growing up.

I used to try to pick out every note that they would sing, that helped me today to do my own backup vocals. Um...Stevie Wonder, Whitney Houston, Mariah Carey. The best of the best.

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TVM: What is your overall vocal regime and when would you say that you are vocally at your best?

Umm... I would say mostly at night.

I’m really a night creature (smiles) My day starts with with silence. I don’t talk much in the morning. I’m not much of a morning person anyway (laughs). So I kinda stay in my bubble for a couple of hours. And then as the day goes on, I slowly start warming up my voice. I will sing while I’m cooking or cleaning, even if it’s not like a conscious vocal exercise, it’s part of my daily routine (laughs).

TVM: Is there any difference for you between recording in the studio and performing live? And which one do you prefer?

I’m more of a live performer. The studio is fun but you always wanna get the perfect take. When you’re live, there no turning back, the moment is done, its done. But in the studio, everybody wants it perfect, perfect, perfect. I find it really sad because, when you listen to old records like The Beatles, even Stevie Wonder, it’s not perfect you know

INTERVIEW there are some little things that today people would be like “Oh no you have redo it”, but that takes away fthe magic, and the human factor.

TVM: What is your aim for your fans when you perform?

Mostly, I want them to feel the emotion. There is this fan of mine who drove an hour and half to come to my show. I wasn’t aware at the time, but he had lost his son two months before. After the show he came to see me and said that he had such a good time and I was touched, but when he told me his story, it had even more meaning for me. So yeah to be able to do something for the people who support my art, to touch them, or make them feel good or release an emotion.

TVM: How did you get the confidence to perform on stage in front of fans?

A lot of work (laughs). I’m a shy person. During my first shows - it was like a test, for me to learn how to let go and have fun. Even till this day, if I’m just not feeling good or the public don’t enjoy the show it’s hard for me to stay focus.

So I had to work on it. And just with the experience, every show that I do, I get better. I recall an incident that happpened during a live show, I forgot what I was suppose to say and I was so embarrassed, and because I was stuttering, I couldn’t get back into it. But these lessons, you learn the hard way, and next thing you know you’re laughing about it a couple years later.

TVM: How important do you think social networking has become for artists in terms of the connection they build with their fans?

Very important. You have to do it almost everyday and connect with your fans. Post videos, communicate with them. it’s very important to post pictures and make them feel like they are part of your everyday life. It was Facebook, and then LInkedin, and now Twitter. I’d rather talk to a person face to face, but you have to follow the trend, use whatever communication tools are avalaible to reaching you core fans.

TVM: What do you eat before a performance?

The worst thing ever is to sing after having a big meal. Sometimes I don’t have a choice, you know like if I have to do sound check few minutes before the show, then you know I have to eat before, so I don’t faint on stage. Like the other day, the sound check was late, and I had a chicken salad, just something small but to keep me going during the show, that was ok. I didn’t I

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INTERVIEW burp too much while I was singing (laughs). But the worst is having a steak or something heavy, so if possible, I give myself 2-3 hours before a show. i drink the bravisimo tea, it’s really amazing for the vocals. Other than that, I drink a lot of water, I’m a water addict actually (smiling) I’m just so thirsty when I’m on stage. I think that’s good because to be dehydrated and sing is just the worst ever.

Umm.. I would say that now that I have my tricks and my technique, I don’t have to practice as much as I used to. Now that I’m actually making a living out of it, I sing a lot more anyway. Before when I was studying it, I was doing other stuff too like going to school and working and learning piano so I sang a little bit and I practiced before my class but that was it. Now I have to do soundcheck and practice with my band, and I write music so when I’m writing a song I’m singing, so I don’t have to practice as much. But before a show, I have to sing a lot more than on a regular day, just so that my voice is warmed up. That’s pretty much it...

TVM: What is a typical rehearsal like for you?

We usually talk for a bit before, like at least half an hour and then basically we start to rehearse. i prefer when everybody in the band is involve, all are accomplished musicians. My pianist Julie LaMontagne a winner of “the Adisq for Jazz Album of the Year”. - is an extremely talented jazz pianist, So they bring something and I isten to what everyone have to say. It’s really a group effort.

And it’s like that on stage, everybody has their moment to shine, it’s not all about me (laughs).

TVM: Describe one challenge you constantly face in your practices?

I would say what’s really challenging is finding a way to connect to each kind of public. Sometimes you have a group of people in front of you and you just can’t reach them. connect with them. So it’s a challenge, since with every show you have to start all over again and with different groups of people. Hmm.. And vocally I guess, being able to share the emotion every time. Like if you’re doing a show five nights a week, to be able to give the same performance every night, that’s difficult. When you go on tour, after a while you get exhausted,- with the traveling and interviews during the day. So after that, at the late night show, most of the time you’re already tired. (smiling).

TVM: Do you do any physical workouts? And Do you feel a connection between physical workouts and vocal workouts?

Yes. I don’t like going to the gym, but I do Bikram Yoga, I really enjoy that a lot, I love it. Just to be in the heat, and to stretch I love it so much. Besides that I play badminton with my pianist actually (laughs). What I like about working out with a friend is that you don’t even feel like you’re working out. And I love to go biking in the summer time. And talking connection, especially with breathing: the more that you’re in shape and you develop your cardio, the easier it is to sing. That’s why with Bikram Yoga it takes a lot of breathing to stay in that heat for an hour and a half, so it really helps a lot.

TVM: What do you like about your voice?

(Pause) Hmm... The range. I like being a mezzo soprano. I feel like I can flirt with different ranges - half way into soprano and halfway into almost alto you know.

So it’s fun, I get to play around a lot.

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TVM: How have your vocal practices changed since you first began recording and performing?

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TVM: And what differentiates you from other vocalists?

My tone. I don’t have a typical voice that you could mistake for somebody else. My voice has its own signature.

VM: In today’s competitive music industry what does it take to pursue singing as a career? How did you follow your dreams and make it happen?

A lot of determination and hard work. Oh and discipline. It is easy to say you’re an artist and you’ll go with the flow, but that’s not how it works. You really have to work and be a business person. I actually have office hours, like I’m in front of my computer at least 5 hours a day, doing business and sending e-mails and booking shows. it’s a lot of work. You just have to be conscious that you have to be self-sufficient you need the discipline and determination, you will succeed if you work a lot and work hard.

TVM: For those who want to be vocalists, what advice would you give them?

Don’t give up the fight. it is a very competitive business and you have to really want it and find what makes you different from the others. So it will be a hard fight, I’m not gonna make it pretty and pink and say that it’s easy, because it’s really not easy. But if you really love it and you’re really passionate about your work, that’s all you need. Work hard and it will pay off.

TVM: Where would you like to be in your career 5 years from now?

(Pause) Just to travel with my music more. Right now I’ve been traveling around Canada a lot and I really love traveling. I love going to exotic countries. I’ve been to China. But I’d really love to see other countries like Australia, Thailand, Japan, there’s lots of places I would like to go. With my music of course, not just vacation. I really enjoy getting to know different cultures.

I’m writing my second album now so maybe in five years I’ll be on tour with my third maybe, who knows (smiling). Probably with another baby (laughs) we’ll see.

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TEE MO

By KALIKA HASTIN

Credit Images - Teedra

Teedra Moses was ing mother Shirley fervor to her own fessionally. As Tee styling comes fro ferent ways.� Prio Moses was an ass until an incident She decided to fol recording of her d In anticipation of Lioness. The Voca up close and per with us her jour lenges, victories,

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TVM: How would you describe your voice?

I think my voice is strong but sweet.

TVM: How would you describe your music?

My music is sexy soul. It is hip hop driven but very musical at the same time.

TVM: At what age would you say you discovered your passion?

Probably somewhere around 4th or 5th grade.

I went to a Catholic school in New Orleans and I had a music teacher by the name of Mrs. Chatters. We had a choir, and you just realize when you’re singing with other people that not everybody sings on key. A lot of the songs she taught us, I would come home and sing in my bed all night, and my brothers and sisters would scream because I would sing all night. I wasn’t aware that it was something I wanted to do for the rest of my life but I was aware of how good it made me feel to hear my voice, even though it probably didn’t sound as good as I thought it did (laughs).

NGS

a Moses

s born and raised to a gospel singy Moses. She brought some of that style when she began singing proedra herself expressed; “My vocal om the 8o’s I can sing a lot of difor to becoming a recording artist, sistant celebrity wardrobe stylist that happened on a video shoot. llow her passion, which led to the debut album Complex Simplicity. the release of her next album The alist magazine got a chance to get rsonal with Teedra as she shares rney to success, her vocal chaland most importantly her heart.

TVM: Tell me about your transition from being a celebrity stylist to a vocalist. How did that happen?

Being a stylist was never a passion of mine.

My best friend Nodja Mckenzie, she started out early on assisting someone and quickly became a key stylist. And shortly after, I was working at an architectural firm in marketing, and I lost my job. The job search wasn’t goin’ so well and she said ‘Hey why don’t you come and work with me’ and that’s kind of how that happened. And as we went on, we worked with a lot of different people, and made a lot of money, but I started feeling like I didn’t really wanna do it anymore. My children’s father was living with me, and there was a situation where we had to break up abruptly and I moved out.

So I’m thinking ‘How am I gonna take care of these kids by myself?’ And then it came to mind that I should probably sing, because I like to do it. And that’s kinda how that started. I start singing to take care of the kids. Actually I asked God for a way to take care of my kids and somehow it popped into my head that I could sing and write songs. And it all kind of started.

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TVM:What moves you to write songs ...and is there a particular song that you feel most proud of?

I think the song that is most honest, is the song I wrote for my mother on the debut album called Shirley Song. It’s probably the most honest song I ever wrote. I’m moved by the things I see, things I feel. I just speak my language. At this point, I write the track, sometimes I develop a song from scratch with the producers. But I’m always moved by whatever’s on my brain at that moment, whatever’s in my heart at that moment. I don’t really try to figure out what I’m gonna write about or think of concepts, whatever triggers me that’s what I give and that’s kinda like my process of writing.

TVM: What kind of pressure did you feel signing to Rick Ross’s record label Maybach Music Group as their first female artist?

Umm...I didn’t feel any pressure actually. We never really made everything official. So I was just floatin’,

he says like you know ‘You’re gonna be the female’ and I’m like ‘OK’.

But we never really made anything official so I just kept doing exactly what I had been doing. Working on my music and getting my music to my audience the best way I knew how without a major push behind me, you know, independently. Doing as many shows as I can, to get to my audience, just continuing doin’ the same thing.

TVM: As a former stylist, how important is it for an artist to make an image for themselves?

I think it is very important. An image goes beyond visual, it is what people think of when they think of you. Your style should be true to who you are so you can carry it forever. Even as you reinvent yourself, or times change, it should belike I think Mary J. Blige has done a great job of her image always being what you think of Mary J. Blige.

I think it’s very important because you have to have something that makes you stand out in an industry with so many people.

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TVM: Now that yo’ve moved on to being a solo artist , tell me about any challenges you face.

(Pause) There’s probably a lot of them. I just don’t really recognize them as that. Being a solo artist that is really head strong with a clear vision of who I am and what I’m doin’- I don’t compromise that.

You know, writing for myself, being in control of my image, pretty much executive producing my projects. I guess the challenge is that sometimes people want more control. I guess they make it seem like they want artists out here that are true artists that have a very clear vision of what their doing, but what it all boils down to is that a head strong woman is a nuisance. So I think that probably becomes one of my challenges, but I don;t really think of it like that. I’m so blessed, a challenge to me is just another way for me to be closer to God. So I don’t really trip off of that. I persevere, I keep doin’ what I love to do so nothing gets to the point of seeming like a struggle.

“I persevere, keep doin’ what I love to do so nothing gets to the point of seeming like a struggle.”

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“Being a stylist was never a passion of mine.”

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TVM: Who influences you vocally?

Uh... Plenty of people, at different times. Vocally, I love Angela Winbush because she throws her voice with emotion, she uses her crescendo a lot. She is just really a passionate singer- a great writerbut a passionate singer. As well as Sade, who I really think people overlook as a vocalist because her vocal style is so unique. Not that I want to sound like her, but the fact that she has something so unique to her. The moment she opens her mouth, you know it’s Sade. Because it’s not about the theatrics of her voice or the tricks or how many rhymes she can do. It’s just about that tone and pronunciation that moves her voice. And I think another vocalist that I would have to say is Nina Simone because her voice is so warm. Almost for the same reasons that I love Sade, her voice will never bother you. It’s just a great tone. I’m really impressed and influenced by singers with great tones.

that. I’m just more comfortable at night. I mean I can pretty much get myself to a comfortable place with my voice at any point.

TVM: Is there any difference vocally for you between recording in the studio and performing live?

And which one do you prefer?

Yes. There is a difference. I project and I sing far more powerful when I’m on stage. In the studio, I’m really concentrating so much more on the tone. Even when I sing power-

I have these objectives: Number one, I want to have fun. Because if we’re havin’ fun and we project that then it’s easy for people to have fun which is my next objective. I want people to enjoy themselves. I don’t care how many people are in the audience, whether it’s ten to three or four thousand. I want them to feel like it was very intimate to them, like they connected and had a great time and they felt like they got to know me as a person. And lastly, if there’s anybody that happened to come with a friend, or I’m

TVM: What is your overall vocal regime?

I don’t really have one. I don’t care for my voice very much (chuckles).

I’m not very good at taking care of my voice. I don’t know- there’s nothing I do when I go in the studio. it’s more about vibe to me when in the studio, I can always go back and figure out vocally what I may have done wrong or right or whatever. Because it’s more about the writing and the mood. When I go on stage - I normally drink cognac, honey and lemon before I go on stage. It’s great because it clears any flem that’s in my throat and it gives me a little turn up for the shows so it’s cool.

TVM: So when would you say that you are vocally at your best?

Umm... I think I’m probably better in the evening. I mean I’ve done morning shows and I sing just fine.

I just really do not like morning like

ful, I’m really conscious of my tone being really solid. I would say I prefer live singing just because it’s in the moment, it’s true, it’s honest, it’s not something you can redo, at that moment whatever happens, happens, TVM: What is your aim when you perform?

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doing a show that is opening for somebody else’s audience- I want to win people over. I want people to leave and inquire about ‘who is this person’. They didn’t know who she was but when she gets on stage she gives an energy that draws them in to me as an artist.

INTERVIEW TVM: And where did you get your confidence to perform on stage?

Just by doing it (laughs). I had no confidence before. I rarely watch back my own shows, I’ve only watched like the first couple. And I remember thinking ‘wow you look like a deer caught in headlights!’ ‘cuz I came out just doin’ it. Like my eyes were wide open. So much energy rushes through me when it’s time to get on stage. And there’s a certain amount of nervousness in the beginning that definitely shaves off by the time you’re at the end of the first song. But I remember being like ‘Just do it. Go.’ And I think the more and more I’ve done it- I’ve done it now for almost ten years- The first time I got on stage was right after I was signed. And I was signed before I had ever performed in front of people. So over the times of doing it, it just makes it so much easier. You know how to read a crowd, how to influence a crowd with the way you feel. So it just makes you so much more comfortable. Practice definitely - I don’t know if it makes perfectbut it definitely allows you to have confidence.

TVM: And how important do you find social networking as a platform for artists to connect with their fans and build a relationship?

Very important to me because my fans push me. Not a label, not sponsors. My fans push me, they are the reason I can talk to you right now. And I don’t really like to say fans, I just say ‘friends of the music’ ‘cuz if they just met me on the street they may not like me, who knows? But they like my music for sure. So people that like my music are very important. I try to be as honest as I can on social network.

I’m not a big “Facebooker”. I can’t do all of them at one time. So I’m into Instagram right now, I was into MySpace, then Facebook came - I never really got into it, them Twitter came out - I got into Twitter.

Then Instagram - you know so like I leave one for the other. But I find it amazing that people are friends of

my music. Not that I don’t think I’m good- I think the music is goodbut I’ve never truly been a fan like that. Prince is probably the closest person I have ever had this kind of infatuation for, then after meeting him like 2 or 3 times, it was like ‘OK’ (laughs). I don’t understand the relationship of being a fanatic so I’m really appreciative of it. Because I can’t even fathom being a serious fan of someone.

centrate on something too much, you can mess it up. So my practices are more so just making sure that I warm my throat by signing before I have to sing. I don’t really take it super serious. Unless I really have to I don’t go on vocal rest and all that stuff. I kinda just go with the flow.

TVM: On a more practical note, do you find what you eat affects your voice?

A rehearsal for me is more so for my band. I’m not a super rehearsed person, because I want to give you what’s in the moment. If I feel like doing something a different way that day then that’s what I wanna do. If I feel like bending a note this way, then that’s what I wanna do. I wanna give you what’s in the moment rather then something that’s super contrived. So if I go to Philly and then L.A., or New York or D.C. , I probably got three different shows.

I find that eating before I sing affects my voice. Mainly because it takes my wind. I can’t really feel my diaphragm when I eat. But I don’t think it’s too much of what I eat. I mean it could be. Like they say dairy is no good and all these different things or whatever. But I don’t pay attention enough. ‘Cuz I don’t take my voice that serious.

And I probably should but I’m just not that kind of person.

TVM: You mentioned previously that you drink cognac and lemon before a show, is there anything else?

I drink cognac, lemon and honey. I also drink a lot of apple cider and water. Ithink I might start doin’ that a lot more when I’m on the road so I don’t have to drink as much cognac (laughs). Because that can become a problem at some point.

I think I’m gonna start putting that into my regime when I start doing shows so I won’t have to drink so much cognac (chuckles).

TVM: How have your vocal practices changed since you first began recording and performing?

I had none when I first started. And then somewhere of the first quarter of me starting I wen’t to see a vocal coach one day and I saw some of the things she taught me.

But I didn’t really want to go heavy into the things she was teaching me ‘cuz I didn’t want to loose my sound. Sometimes when you con-

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TVM: What is a typical rehearsal like for you?

TVM: Do you work out physically?

Yeah. I took a long break for like a year I would do it sporadically.

Ever since I was in tenth grade in high school I’ve been someone that works out, but the last year and a half I kind of slacked off a bit. More than anything I do a lot of cardio, I used to do a lot of squats and the elliptical and stuff like that.

I exercise beyond more than just for vanity and wanting to look a certain way. I workout for health and mental reasons. So I walk a lot, and I do yoga and I do small Pilates moves, just for toning and cardio for my wind. A lot of times I bring my music.

TVM: Do you feel a connection between physical workouts and vocal workouts?

I feel a connection between physical workouts and performing, I do more performing than anything.

So I feel like if you do a lot of cardio then you’re ready. When you are in a position where you have exercised your diaphragm and got your cardio up- when you get on

INTERVIEW stage and that adrenaline is running through you, it’s not as hard.

But when I don’t it’s kinda tough and I gotta pace myself more and sometimes my vocals are not as crispy as I’d like them to be because my wind is not good.

TVM: What do you like about your voice?

(Pause) Umm... What I like most about my voice is what I like most about other singers voices. It’s the tone and the ability to be able to project and sing strong but also be able to sing sweet. ‘Cuz some people that have very powerful voices can’t really sing sweet and soft.

And some people that have very sweet and soft voices can’t sing very powerful . I don’t have the most powerful voice but I can still push. Like I think Beyonce, she is one of those people that can give you power but still come back down to make a sweet sound with her voice and I think that’s what I like in most people’s voices : just the ability to have great tones to be able to sing soft and strong.

don’t want to work as hard. I’m the kind of person that will go and sing and do whatever. I think that being unique and working hard is the most important thing for having a career in this business and willing to try whatever comes your way as long as you find it beneficial for you, knowing your craft, and being good of course is always helpful (nobody wants to hear somebody sing that can’t).

TVM: Tell us about your upcoming album The Lioness. How has that experience been? And what can we expect?

and it’s modern at the same time.

For my first project I was nostalgic for the eighties because my mother had just passed, and I can remember when she wasn’t sick and we all lived in New Orleans, it was just a good time to revert back to. I haven’t been in love for a very long time, I’ve been focused on being a mother and a professional and a singer for years now. I think that musically I always revert back to the sound that’s most comfortable for me. My music is always really just about me. And I hate that I have to say that, but I gotta be honest I don’t really make music

TVM: And what differentiates you from other vocalists?

Uh, my vocal styling comes from the 80’s kinda. I can sing a lot of different ways, but when I find myself most comfortable is when I’m not doing so many runs as much as just singing with a swing. Kinda like a little stocado. Sometimes it’s very punchy and I don’t find too many other current singers that have that kind of style.

TVM: In today’s competitive music industry what does it take to pursue singing as a career? How did you follow your dreams and make it happen?

Umm... I can’t tell you that I’m an expert in that area. I can only tell you for me, like being unique and a hard worker. Because there’s lots of talented people out here, but a lot of people don’t have an originality.

There’s a lot of people that may be very original and talented but they

That experience has been long.

I’ve been working on it for years.

But it’s definitely gone from The Young Lioness - to The Lioness to The Lioness: Lover, Believer, Dreamer, Thinker. It is definitely a very clear representation of where I know I am and where I think a lot of other women are. It’s a place of wanting love and needing love, but not being weak , still being strong.

Vocally, it’s very sweet. I’m singing from my heart and singing passionately. Lyrically it’s slick, you know because I’m a pretty witty person, I’m one of those spicy Black women (laughs). So it comes across in the record. Musically, its definitely hip hop, sexy soul driven,

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for other people, I make it for me.

TVM: Where would you like to be in your career five years from now?

Five years from now I would like to be international. I’ve been blessed to be able to go to different places with my music outside of the U.S.A. A lot of people really aspire to be really huge in America, but I more so aspire to being really huge everywhere else, because I love to travel and see different cultures.

So five years from now I want my sound to be something that is definitely my own and something that has crossed over internationally.

“it’s definitely gone from The Young Lioness to The Lioness to The Lioness: Lover, Believer, Dreamer, Thinker.”

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139

LIVE VENUE

By KALIKA HASTINGS

Credit Image - http://www.atelier630.com

Located at 2060 Aylmer Street, House of Jazz in Montreal is a restaurant with live jazz performances every weekend night. With it’s long history, the resto/ lounge is finally ready to franchise out to major international cities such as New York and Paris.

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Credit Image - http://houseofjazz.ca

The extravagant floor-to-ceiling mirrored entrance of House of Jazz is really just a tease compared to the dramatic decor that awaits inside the resto/ lounge. Who to praise but the eccentric owner, Georges Durst, an avid antique collector, and exceptional business entrepreneur whose signature sense of decor is not far from extravganza.

“I picked every piece,” said Durst enthusiastically about his involvement in the decorating process.

Its romantic atmosphere with dazzling chandeliers, cozy banquettes, and impressive art pieces: from paintings to bronze statues and antique lamps, It is no Among the talented array of featured artists, are none other than Liza Minelli, Tony Bennett, Charlie Biddle, Ranee Lee, Oliver Jones and Oscar Peterson. Of course new talent is always welcomed, however an ability to entertain the audience is as important as a great voice. From jazz to soul, funk, retro and even Latin rhythms, a diversified selection of musical genres can be enjoyed at different times. “I’ve seen a lot of vocalists come and go, but what I would say to young vocalists is don’t give up your dream, because it is only your dreams that will make you successful,” said Durst.

For up-and-coming artists looking to be booked, there is no escaping social media. Mr. Durst pays close attention to the number of fans on your social networking pages such as Facebook and Twitter.

If the number is promising, there is a likely chance

there is no wonder it is frequented by sixty percent couples (young and old alike). The peculiar levels of seating elevation (four to be exact), along with the dimly lit ambiance resembles an old-style Chicago gentleman’s club.

As for the menu, the star is the classic Pork Ribs and Chicken combination with a traditional side order of fries and coleslaw. The fairly priced cocktail selection will also likely impress, with 6, 000 martinis sold in just the last year, their popularity is deliciously deserved. to appear on stage. Today, most of the promotion is done through radio advertisements, e-mails and social media announcements.

Located at 2060 Aylmer Street, the House of Jazz caters mainly to hotel visitors in the area and long-time regulars. With it’s long history in Montreal since 1980, the resto/ lounge is finally ready to franchise out to major international cities such as New York and Paris.

Not only is the attractive setting enough to lure you back for a second look, but the talented performances and savory menu all contribute to the magic of the place. For over thirty years the House of Jazz has drawn in incredible performers and a devoted clientele. If you’re looking for a night of full entertainment you’re sure to find it here.

Le Cagibi

A premiere, intimate venue for music and art, this licensed Plateau district establishment also serves as a cozy bistro and cafe, serving coffee, sweet treats, breakfast, light lunch and late-night snacks.

Local, regional and national music acts are showcased.

Address: 5490 St. Laurent.

Telephone: 1 514 509-1199

Pub Saint-Ciboire

Located on rue Saint-Denis in an area full of popular French bars and clubs, Pub Saint-Ciboire is popular among fans of Quebecbrewed beers as it offers 12 local lagers and ales on tap including Blanche de Chambly, Belle Gueule and Boreale. For a very Quebec experience, visitors can try out a tasty Quebec brews while watching one of the local bands that play at the pub on a regular basis.

Address: 1693, rue Saint-Denis Telephone: 1 514 843-6360

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House of Jazz

A landmark since 1968, this live music club brings the best of emerging regional artists and well-known international jazz performers to downtown Montreal.

Louisiana-style culinary offerings are featured, in addition to extensive cocktail selections and terrace dining.

Address: 2060 Aylmer St. Telephone: 1 514 842-8656

Metropolis

This concert venue in downtown Montreal has a capacity of 2300 people and often gets packed to the rafters during performances by artists such as Beck, David Bowie, Ben Harper and Jean Leloup. When not being used for a show, the venue transforms into a nightclub.

Address: 59, rue Sainte-Catherine Est Telephone: 1 514 844-3500

Club Soda

Open in the early 80s, Club Soda has since become one of Montreal’s busiest and most popular venues.

Aiming to give new artists and producers of all performance genres an audience, the club’s stage has been graced by many now-famous performers such as the Tragically Hip, Jann Arden, Soundgarden, Chris Isaak, Oasis and Canadian comedy troupe Kids in the Hall.

Address: 1225, boulevard Saint-Laurent Telephone: 1 514 286-1010

Club Lambi

Filled with local in-the-know music fans, Club Lambi is one of the venues for the Pop Montreal indie music festival. The club boasts a friendly atmosphere and hosts up-and-coming and on-the-verge bands and artists.

Address: 4465, boulevard Saint-Laurent Telephone: 1 514 583-5098

Cafe thEATre

Live music, art exhibitions, weekend brunches and comprehensive cafe and bar services are hallmarks of this downtown bistro, which features menus of comfort foods for breakfast, lunch and dinner.

Address: 1832 Ste-Catherine E. Telephone: 1 514 564-4440

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LIVE VENUE

La Casa del Popolo

La Casa del Popolo is not only a fair trade cafe offering light snacks. It is also a bar, a live music venue and a gallery.

Address: 4848, boulevard Saint-Laurent Telephone: 1 514 284-3804

Modavie

Nestled in the historic quarter and offering live jazz performances seven-nights-a-week, this bar and restaurant features a menu of Mediterranean-inspired selections, extensive cocktail offerings and large-group menu options.

Address: 1 St. Paul St. West.

Telephone: 1 514 287-9582

Theatre Plaza

local rock acts as well as bands from across Canada and the US. The club also hosts DJ nights when the music played includes hardcore, punk, rock, alternative and old school depending on the night.

Address: 2031, rue Saint-Denis Telephone: 1 514 844-1301

La Tulipe

Since the 1920s Theatre Plaza has worn many hats. From a bowling alley to an illegal Asian karaoke bar. Today it boasts a newly refurbished look and hosts and hosts some of the hottest bands around.

Address: 6505 rue. St-Hubert Telephone: 1 514 278-6419

Located in the Dominion Theatre, a heritage building constructed in 1913, La Tulipe is a former movie theatre that is now used as a concert venue. Visitors can expect to see rock shows, French-speaking singers, jazz concerts and musical reviews.

Address: 4530 avenue Papineau Telephone: 1 514 529-5000

La Sala Rossa

Upstairs Jazz Bar & Grill

Run by the same people as Casa del Popolo (and located right across the street), La Sala Rossa is a restaurant serving Spanish tapas and paella as well as a weekend brunch. The club portion puts on a range of entertainment including cabarets, breakdance competitions, live bands and more. The venue often hosts some of the world’s most popular indie rock bands.

Address: 4848 boulevard SaintLaurent Telephone: 1 514 284-0122

Cafe Campus

Having moved to rue Prince-Arthur after receiving noise complaints from the neighbours at the previous location, Cafe Campus is better than ever with three floors and live shows that see the club packed to the rafters. The venue also puts on theme nights such as retro Tuesdays, Blues Wednesdays and Francophone Sundays.

Address: 57, rue Prince-Arthur Est Telephone: 1 514 844-1010

Cafe Chaos

One of Montreal’s many live music venues, Cafe Chaos presents

Located downtown and a vibrant venue on Montreal’s jazz scene, this bar and grill features nightly live music and a menu of North American classics.

Extensive cocktail offerings and late-night dining services are available.

Address: 1254 Mackay St. Telephone: 1 514 931-6808

Bell Centre

Home of the Montreal Canadiens hockey team, the Bell Centre also hosts a number of big-name music artists making stops in Montreal during world tours. Past and futures bands and performers at the Bell Centre include The Cult, Red Hot Chili Peppers, Coldplay, Madonna and U2.

Address: 1260, rue De la Gauchetiere Telephone: 1 514 790-1245

Bar Chez CloClo

Located in the Plaza St-Hubert district, this casual bar and lounge features live music acts, karaoke nights, social dancing and DJ dance parties.

Address: 6944, rue St-Hubert.

Telephone: 1 514 727-0308

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Foufounes Electriques

An alternative club with style, Les Foufounes Electriques features two beer gardens, three dance floors and a daily happy hour that lasts from 4 pm to 6 pm. The club hosts live rock, hardcore and industrial bands and also puts on club nights such as GoGo Tuesdays, Under Attack Wednesdays, Sweet n Sour Thursdays and Electrik Saturdays. Music includes alternative, old school punk, rock n roll, hardcore, hip hop, 80s rock, pop and ska depending on the night Address: 87, rue Sainte-Catherine Est Telephone: 1 514 844-5539

Le Divan Orange

Le Divan Orange is a newcomer on Montreal’s live music scene but has nonetheless become a favourite among those looking to discover some cool new talent. The club hosts both English- and French-speaking bands that represent a range of music genres.

Address: 4234, boulevard SaintLaurent Telephone: 1 514 840-9190

Grumpy’s Bar

Grumpy’s is a live music bar that offers different themes each night of the week. Various nights include 80’s Goodness Sundays, Grumpy’s Happy Mondays, Jazz Night open jams on Wednesdays, Moonshine on Thursday bluegrass and old-time jams, live bands on Saturdays and more.

Address: 1242, rue Bishop Telephone: 1 514 866-9010

Le Theatre Corona

Le Theatre Corona is mainly used for theatre performances and musicals but also occasionally hosts popular bands Arcade Fire.

Address: 2490, rue Notre-Dame Ouest Telephone: 1 514 931-2088

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Les Bobards

Live music is the hallmark of this club, which showcases an eclectic mix of performances, including reggae, hip-hop and world music. Daily happy hour and nightly DJ dances are also hosted.

Address: 4328 Boul St-Laurent.

Telephone: 1 514 987-1174

Le Petit Medley

Live, local talent hits the stage weekly at this casual pub and lounge, which features complete bar services and a menu of pubstyle favorites. Complimentary wireless Internet is also available to patrons.

Address: 6206 rue St-Hubert.

Telephone: 1 514 271-7887

Le National

Le National concert hall presents a range of local and international music artists and bands.

The popular C’est Extra and Pop 80 nights are held, here and the space can be rented for special events such as concerts, product launches and corporate parties.

Address: 1220, rue Sainte-Catherine Est Telephone: 1 514 845-2014

Le Gainzbar

Located in the heart of Plaza StHurbert, this casual lounge features a weekly line-up of live jazz performances, an ambient social atmosphere and extensive bar services.

Address: 6289 St-Hubert.

Telephone: 1 514 272-3753

Le Rendez-Vous

In addition to operating as a tea house, this casual bistro also features dining for lunch and dinner and hosts weekly live dinnermusic events. The on-site boutique also carries an extensive selection of tea sets, tea pots and other brewing essentials.

Address: 1348, rue Fleury Est. Telephone: 1 514 384-5695

Montreal

MUSIC EDUCATION McGill University - Schulich School of Music

Description : Intensive and complete jazz program, including theory and practical instructions.

Wide variety of venues to perform, including McGill University and various restaurants & jazz clubs.

Université de Montréal

Description : We have a jazz guitar & jazz vocal ensemble, a latin combo, and a jazz history course.

UQAM offers a popular music program allowing a vast array of musical styles (popular song, jazz, world music, rock, folk, country, etc.)

University Laval - Faculty of Music (Québec)

Description : Our jazz program distinguishes itself in that it not only takes into consideration jazz music from the 1940s to the 1970s but also, fusion and contemporary jazz music from the 1970s to today. A number of styles are thus covered, such as ragtime, swing, be-bop, hard-bop, free-jazz, acid-jazz, funk, fusion, latin, etc. The program follows the evolution of jazz all the while adapting to the new styles that can attach themselves to these. Of course, the blues and the jazz standards remain the classic repertoire and the basis of teaching.

Description : We offer popular and jazz programs including piano, bass, guitar, drums, trumpet, trombone, saxophone & voice.

University of Sherbrooke - Faculty of Music

Description : Our jazz program allows students to perform standards, to improvise, arrange, compose, teach and use the technology.

Université du Québec à Montréal - UQAM

The Vocalist Magazine 148

University Bishop (Lennoxville)

Description : Jazz & blues guitar...standards & jazz repertoire 1930-2000, improvisation & combo coaching + jazz history in a small, friendly & relaxed atmosphere, jazz concert(s) & masterslass(s) with invited artists every year.

Cégep Saint-Laurent (Montréal)

Description : It’s tradition, the diversity of it’s ensembles, the recording studios & the music department of the Cégep de Saint-Laurent all join together to allow the student to develop many aspects such as interpretation, composing and arranging in a unique environnement. Québec’s largest music department, the first to teach jazz, the first music department to give a technical music program, the first Cégep to offer double DEC.

Cégep Marie-Victorin (Montréal)

Description : Concerts given by students in training - in and outside of the cégep. Stage Band and many ensemble possibilities and quality auditive training. A new music pavillion equipped with the latest technology. A team of teachers specialized in their field and recognised in the jazz world.

Vast choice of large ensembles.

Cégep Drummondville (Drummondville)

Description : The Cégep de Drummondville is the only college institution to offer these four programs : Pre-university Music DEC, DEC - Professional Technique Music & Song, AEC in Creation & Sound Mixing as well as Mixing and Recording.

Segal Centre for Performing Arts

Description : Group music courses for teenagers.

Different genres: jazz, rock, blues, pop. Guitar, bass guitar, saxophone and drum courses. Students are eventually matched with students from other groups in order to introduce students to playing in a group. Beginner and intermediate levels. We also offer coaching to either existing or newly created Rock bands or Jazz combos (all ages). Courses in music history (including the All American Song Book history class) as well as a guitar class are available for adults.

Cégep Alma (Alma)

Description : Arranging & writing, drums & percussions, saxophone, keyboards & piano, voice , doublebass, electric guitar & horns. Improvisation et instrumental comprehension, musical groups productions, specialized music pavillion, professional recording studio, 2 concert halls.

JAM VOCAL Online Singing Lessons via Skype All Vocal Styles from Amateur to Professional For Informations:

jamvocal@hotmail.com

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MUSIC FESTIVALS

British Columbia

Burnaby Blues and Roots Festival – BC www.burnabybluesfestival.com Filberg Festival – BC www.filbergfestival.com Harmony Arts Festival – BC www.harmonyarts.net Harrison Festival of the Arts – BC www.harrisonfestival.com Hornby Festival – BC www.hornbyfestival.bc.ca Kaslo Jazz Festival – BC www.kaslojazzfest.com Maple Ridge Jazz and Blues Festival – BC www.jazzblues.ca Mission Folk Festival – BC www.missionmusicfolkfestival.ca Nakusp Music Festival – BC www.nakuspmusicfest.ca Salmon Arm Roots and Blues Festival – BC www.rootsandblues.ca Vancouver Folk Music Festival – BC www.thefestival.bc.ca Vancouver Island MusicFest – BC www.islandmusicfest.com Vancouver Jazz Festival – BC www.coastaljazz.ca Victoria Jazz Festival – BC www.vicjazz.bc.ca

Alberta

Calgary Blues & Roots Festival – AB www.calgarybluesfest.com Calgary Folk Festival – AB www.calgaryfolkfest.com Canmore Folk Music Festival – AB www.canmorefolkfestival.com Edmonton Folk Festival – AB www.edmontonfolkfest.org Jazz City International Music Festival – AB www.edmontonjazz.com Sled Island – AB www.sledisland.com

Yukon

Dawson City Music Festival www.dcfm.com Folks on The Rocks www.folksontherocks.com Frostbite Festival – YK www.frostbitefest.ca

Saskatchewan

Saskatoon Jazz Festival – SK www.saskjazz.com Arts Without Borders Festival – SK www.artswithoutborders.ca Cathedral Village Arts Festival – SK www.cathedralartsfestival.ca Craven Country Jamboree – SK www.cravencountryjamboree.com

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Festival of Words – SK www.festivalofwords.com Gateway Music Festival – SK www.gatewayfestival.ca Midsummer’s Art Festival – SK www.fortquappelle.com Northern Lights Bluegrass Festival – SK www.northerlightsbluegrass.ca Regina Folk Festival – SK www.reginafolkfestival.com Saskatoon Folkfest –SK www.saskatoonfolkfest.ca SaskTel Saskatchewan Jazz Festival www.SaskJazz.com

www.pfbofolkfest.com Shelter Valley Folk Festival – ON www.sheltervalley.com Summerfolk – On www.summerfolk.org SunFest – ON www.sunfest.on.ca Thunder Bay Blues Festival – ON www.tbayblues.ca Toronto Jazz Festival – ON www.torontojazz.com Trout Forest Music Festival – ON www.troutfest.com

Manitoba

Festival D’Ete – QC www.infofestival.com Montreal Jazz Festival – QC www.montrealjazzfest.com Rimouski Jazz Festival – QC www.festijazzrimouski.com Montreal Reggae Festival www.montrealinternationalreggaefestival.com Les FrancoFolies de Montréal www.francofolies.com Pop Montreal indie-rock festival www.popmontreal.com FestiBlues international de Montréal www.festiblues.com Montreal High Lights Festival www.montrealenlumiere.com Osheaga rock festival www.osheaga.com Mutek Mutek electronic music festival www.mutek.org

Back Forty Festival – MB www.back40folkfest.com Brandon Folk Music & Art Festival – MB www.brandonfolkfestival.com Dauphin’s Countryfest – MB www.countryfest.ca Festival du Voyageur – MB www.festivalvoyageur.mb.ca Fire n Water Music Festival –MB www.firenwater.ca Great Woods Music Festival – MB www.greatwoodspark.com Manito Ahbee: MB www.manitoahbee.com Prairie’s Edge Bluegrass Festival – MB www.folkjam.org Festival of Sound – MB www.sendandreceive.org Winnipeg Folk Festival – MB www.winnipegfolkfestival.ca Winnipeg Jazz Festival – MB www.jazzwinnipeg.com

Ontario

Eaglewood Folk Festival – ON www.eaglewoodfolk.com Harbourfront Centre – ON www.harbourfrontcentre.com Hillside Festival – ON www.hillsidefestival.ca Live from the Rock – ON www.livefromtherock.com Mariposa Folk Festival – ON www.mariposafolk.com Ontario Council of Folk Festivals – ON www.ocff.ca Ottawa Folk Festival – ON www.ottawafolk.org Ottawa Blues Festival – ON www.ottawabluesfest.ca Ottawa Jazz Festival – ON www.ottawajazzfestival.com Peterborough Folk Festival – ON

Quebec

Nova Scotia

Atlantic Jazz Festival www.jazzeast.com Celtic Colours International Festival www.celtic-colours.com Deep Roots Music Festival www.deeprootsmusic.ca Evolve Festival www.evolvefestival.com Kempt Shore Old Time Blue Grass Festival www.ns.sympatico.ca Lunenburg Harbour Folk Festival www.folkharbour.com

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National/Regional

Canadian Academy of Recording Arts and Sciences – CARAS www.caras.ca Canadian Arts Presenting Association www.capacoa.ca Canadian Country Music Association www.ccma.org Canadian Federation of Musicians – CFM www.afmcanada.org East Coast Music Association – ECMA www.ecma.org Music Managers Forum – MMF www.musicmanagersforum.ca Songwriters Association of Canada – SAC www.songwriters.ca Urban Music Association of Canada www.umac.ca Breakout West – formerly Western Canadian Music Awards www.breakoutwest.ca

Provincial British Columbia

Music BC www.musicbc.org Vancouver Musicians’ Association – Local 145 www.vma145.ca Victoria Musicians’ Association – Local 247 www.afm247.com

Alberta

Alberta Music Industry Association www.amia.ca Calgary Musicians’ Association – Local 547 www.calgarymusicians.org Edmonton Musicians’ Association – Local 390 www.afmedmonton.ca

Yukon

Music Yukon www.musicyukon.com

Saskatchewan

Regina Musicians’ Association – Local 446 www.wearethemusic.org Saskatoon Musicians’ Association – Local 553 www.afm.org/locals/info/number/553 Sask Music www.saskmusic.org Saskatchewan Country Music Association www.scma.sk.ca

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Tra Ontario

Brantford Musicians’ Associat www.brantfordmusicians.org Brockville Musicians’ Associat www.afm.org/locals/info/num Canadian Independent Music www.cima.org Canadian Music Publishers As www.musicpublisherscanada Canadian Music Week www.canadianmusicfest.com Canadian Organization of Cam www.coca.org Canadian Recording Industry www.cria.ca Central Ontario Musicians’ Ass www.afm.org/locals/info/num Country Music Association of www.cmaoontario.ca Hamilton Musicians’ Guild – Lo www.hamiltonmusicians.org Huntsville Musicians’ Associat www.huntsvillemusicians.org Kingston Musicians’ Union – L www.kingstonmusicians.org London Musicians’ Associatio www.londonmusicians.com Music & Film In Motion – www.thinknorth.ca Musicians’ Association of Otta www.musiciansassociation180 Niagara Region Musicians’ As www.afm298.org Ontario Council of Folk Festiv www.ocff.org Organization of Canadian Sym www.ocsm-omosc.org Sault Ste Marie Musicians’ Ass www.afm.org/locals/info/num Stratford Musicians’ Associati www.stratfordmusicians.org Sudbury Federation of Musici www.sudburymusicians.org Thunder Bay Musicians’ Assoc www.afm.org/locals/info/num Toronto Blues Society www.torontobluessociety.com Toronto Musicians’ Associatio www.torontomusicians.org Windsor Federation of Musici www.afm.org/locals/info/num

ade

tion – Local 467 –

tion – Local 384 – mber/384 Association – CIMA –

ssociation – a.ca

mpus Activity – COCA – Association – CRIA –

ssociation – Local 226 – mber/226 Ontario –

ocal 293 –

tion – Local 682 –

Local 518 –

on – Local 279 –

Quebec

Association quebecoise de l’industrie du disque, du spectacle et de la video www.adisq.com Quebec City Office www.afm.org/locals/info/number/406 Quebec Musicians’ Guild – Local 406 www.afm.org/locals/info/number/406

Nova Scotia

Atlantic Federation of Musicians – Local 571 www.afm.org/locals/info/number/571 Cape Breton Professional Musicians’ Association – Local 355 www.afm.org/locals/info/number/355 Music Nova Scotia www.musicnovascotia.ca

New Brunswick

Music New Brunswick www.musicnb.org New Brunswick Musicians’ Association – Local 815 www.sjfn.nb.ca

PEI

Music PEI Funding www.musicpei.com Music PEI www.musicpei.com

Newfoundland and Labrador

Music NL (Newfoundland and Labrador) www.musicnl.ca Newfoundland and Labrador Musicians’ Association – Local 820 www.nlmusicians.com

awa-Gatineau – Local 180 – 0.org ssociation – Local 298 –

vals – OCFF –

mphony Musicians (OCSM) –

sociation – Local 276 – mber/276 ion – Local 418 –

ians – Local 290 –

Associations

ciation – Local 591– mber/591

m on – Local 149 –

ians’ – Local 566– mber/566

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