R&B, Blues, and Jazz: Kissin' Cousins!

I'm writing this Note in response to a post yesterday I saw from a talented, professional musician who wrote negative comments about a Smooth Jazz artist, insinuating that this artist was not a "real" jazz musician because she played Blues-inspired licks in her soloing. I was trying to decide how to respond to this, since I myself am a Blues-inspired artist, currently learning about Jazz. I am also a lover of Smooth Jazz for the very reason the person was criticizing the other: it is a hybrid of Jazz, Blues-riffs, R&B, and Funk grooves - all the stuff I love! So I just have to defend the genre and the artist who was being criticized.

Let me start with a very, very brief history of Blues and Jazz.
Jazz and Blues both started around the turn of the century. Supposedly W.C. Handy discovered the Blues in 1903 and then wrote the first published Blues tune, "Memphis Blues" in 1912. Around the same time Jazz emerged in New Orleans around 1900. "In 1924 Armstrong joined Fletcher Henderson’s band in New York City, pushing the band in the direction of a hotter, more improvisatory style that helped to create the synthesis of jazz and ballroom dance music that would later be called swing. Although big bands relied heavily on arrangements of popular Tin Pan Alley songs, the blues—with its 12- bar structure, three-chord pattern, blue notes, and call-and-response patterns—also remained a mainstay of swing music. Of all the big bands, the one most closely associated with the blues tradition was led by the jazz pianist William “Count” Basie (1904–84)....

Alone among his many distinguished Tin Pan Alley contemporaries, Gershwin sought and achieved success in the world of concert music (“Rhapsody in Blue,” “An American in Paris”) as well as popular music. Together with his brother the lyricist Ira Gershwin, George composed scores of Tin Pan Alley classics, including standards like “I Got Rhythm,” “Fascinating Rhythm,” and “Oh, Lady Be Good!”
Both Gershwin’s popular songs and his “classical” works demonstrate a sophisticated incorporation of stylistic devices derived from African-American sources — such as syncopated rhythms and blue notes — that far surpasses the rather superficial use of such devices in most other white American music of the time. Gershwin’s greatest composition, Porgy and Bess (1935), which he called an “American folk opera,” represents his most thoroughgoing synthesis of European classical, mainstream popular, and African- American stylistic influences — a synthesis that remains his own but that also celebrates the wide diversity of American culture. Tin Pan Alley and the singing style known as crooning were important (if often unrecognized) influences on rhythm & blues and rock ’n’ roll during the 1950s and 1960s." (excerpts from American Popular Music by Waterman and Starr).

Thus, many Jazz artists and composer were influenced by the Blues.

I also read that in the early 20s, musicians were playing both Blues and Jazz - there was no dividing line. It was all in one big melting pot. From The Blues, the Martin Scorsese film and accompanying book: "No musician of note back then considered himself only a "blues" artist. This was the Jazz Age, after all, and the boundaries that historians would use later on to separate blues from jazz didn't exist in the 1920s. Nightclubs in black sections o northern cities like New York's Harlem featured jazz bands and blues singers on the same bill."

So my point is - we're all the same - kissing cousins so to speak - Jazz and Blues. Of course, over time, these genres have developed into individualized sub-genres: Bebop, Cool Jazz, Swing - Country Blues, Electric Blues, Texas Blues, Chicago Blues; and Blues and Jazz together created R&B when Big Band down-sized to create Jump Bands, that further evolved into Doo-Wop and then Rock and Roll. And R&B has its own sub-genres - Classic R&B, Funk, Soul, Smooth Jazz, and now Rap. It just keeps going.

I think every musician I know, including myself has had some hard times - even in Mezz Mezzrow's book Really The Blues he describes working in a nightclub that is raided and shut down - so the band is paid, not in cash, but in DUCKS that were meant to be on the restaurant's menu.
I myself worked at a club in LA, that after a grueling 5 hour gig with standing room only, was told I wouldn't be receiving the whole $250 because the owner had to pay taxes on the drinks that were sold and those taxes would be coming out of the band's pay. I'm sure there are many, many more horror stories of how musicians have been treated like second-class citizens - even though some of us have college-educations and/or have worked just as hard as those in other careers...

Today there are so many artists that blend many styles: Dinah Washington was a Jazz and Blues singer, Billie Holiday as well, Anita Baker is an R&B artist who sings Jazz, Karryn Allison is a Jazz singer who sings Blues, and what about artists that do it all: George Benson, Boz Scaggs - how about Robben Ford - master of all guitar styles. Chaka Khan can sing some mean R&B and Jazz. Yes, I'm partial to Blues/R&B sounds, but even I don't like it all. I'm not crazy about super-traditional Blues like Memphis Minnie, I don't care for some Hip-Hop. But I'm certainly not going to go around criticizing another individual's personal expression of his or her art form. It's all a matter of taste - we all deserve praise for what we bring to the table, not criticism. If you don't like it, change the channel on the radio!

Just my take....
Terri, lover of all music!

R&B Melismas (runs, riffs)

OK, a lot of R&B singers get a lot of flak about using too many notes in their singing. I've heard the term "over-souling" which implies "too much." Haha!

I do believe sometimes it is too much, especially if it over-shadows the melody. I guess it seems that some singers are more interested in showing off their voices than concentrating on the melody of the song or focusing on the lyrics of a song. And these elements are important to conveying the emotion and/or beauty of the song. But really melismatic singing is not such a new concept, and R&B singers are not the first to "show off" their chops.

Let me first define "melisma" - it really means to sing multiple notes over a single syllable. There are other terms used, such as riffing or runs. Either way, it's a bunch of notes!

Actually some of the earliest recorded examples we have of melismas are from monks in the church singing Gregorian chant, back in the Middle Ages (yeah, it's pretty old)!!
There was also plenty of melismatic singing going on back in the 1800s as well with "Bel Canto" singing, which was opera in which the singers would singing long "cadenzas" (melismas) to literally show off their "beautiful singing," which is the definition of "Bel Canto".

I think the earliest version of what we think of as melismas in today's R&B would be the fabulous singer and performer Jackie Wilson. Listen to his song "Lonely Teardrops" from 1958. I always had thought Stevie Wonder was the first to sing melismas, but after listening to Jackie Wilson, I hear some (not a lot) beginnings of multiple-note words being sung. I will keep researching and listening until I know for sure!

There of course was a lot going on between Gregorian chant, Bel Canto, and modern R&B. This is just "in a nutshell" so to speak. More to discover!

Keep Singing!

R&B - so much to learn!

I've been studying R&B lately - everything from looking through old Billboard charts, seeing the changes in R&B and vocal style from the 1940s, watching videos from the 40s, 50s and 60s, watching some of my favorite artists like Stevie Wonder, reading scholarly material such as Dr. Richard Ripani's study on R&B (which was originally published as his doctoral dissertation - not to be taken lightly!) The New Blue Music 1950-1999. I'm also reading simultaneously Dr. Craig Werner's study of Aretha Franklin, Stevie Wonder, and Curtis Mayfield in his book Higher Ground. Needless to say, my head is spinning!! But it's so weird, because I haven't been this excited about music in so long, to the point I want to stay up and read at night. And even weirder is the fact that Ripani's book is very theory-based - he studies the blues scale, its history, the blues form - in depth. He traces it back to its African roots and even explains heavier concepts, like Pythagoras' musical theories, and the way our Western ears hear scales in current times, as opposed to how they heard them in the Middle Ages, or even in the Baroque, for example. Things changed when the keyboard instrument became "well-tempered," which means it was divided evenly into twelve equally-spaced notes. (Bet you didn't know that it wasn't always that way!) I am truly blown away by these wonderful scholars' works. Wow!

R&B Singing, Competitions, and TV Shows

R&B Singing, Competitions, and TV Shows

There has been an abundance of singing competitions on TV ever since the advent of "American Idol" over a decade ago. And I think it's just great! Singing is a source of joy - even non-singers love to sing in the shower, sing in church and with family. No wonder those TV shows are so popular. And who doesn't love to hear a great singer sing a heart-felt song?

I guess that takes us to the question of "What is a great singer?" I suppose this is a question similar to "What is beautiful"? There of course are very many differences of opinion. Consider this: In the Middle Ages, a great singer certainly wouldn't be what you or I consider to be great today. Times change and opinions change. And some people never change - our parents think great singers are the singers from their generation, and might just think that your favorite singers can't sing worth a hoot! Right?

Well, just as "beauty is in the eye of the beholder," great singing can be in the ear of the listener - ha!

But I have to say it's more than just an opinion. There are some qualities that can be defined as "great" especially as we define it today (not like the monks would define it in the Middle Ages, or your parents for that matter). Here are a few things that we can put on the list:

- Technique - that is, studying with a teacher, learning the in's and out's of the voice and how it works, learning to use your instrument (and yes, the voice is an instrument) to the best of its capabilities, practicing to strengthen your voice, striving to reach new heights (and lows) vocally, stretching your abilities. If you can't study with a professional vocal coach, learn from books and CDs - there are plenty of books and CDs on vocal instruction (such as mine), and although it may not be quite as beneficial as one-on-one private instruction, there is much you can learn from reading and listening and applying technique offered in books and CDs.

- Emotional Expression - putting your heart and soul into your singing. No one wants to hear a bland, emotionless singer - boring!! I've sometimes wondered why certain singers have made it big, when they weren't great singers to begin with. Take Janice Joplin for instance - she's not a technically great singer, but she just oozed emotional expression. She put her heart into her singing 100% - in every single note! She held nothing back, which really is like exposing one's inner self. To be emotional in your singing, you must truly be connected to the song and FEEL it. If you can't feel it, then pick a different song! If you're bored, then the audience will be too...

- Listening - yes, your ears are just as important as your voice (there I said it!) If a singer gets on stage and over-sings (or as I like to call her - a "melismaniac"), then it seems that she is just singing for her own benefit, to hear herself sing, which is really very selfish! Remember, it is your job as the singer to help people to connect to the music, to feel what you're feeling, to get drawn in to the power of the song. It's really not about YOU...Keeping that in mind, if you use your ears, you learn to listen, to learn to give-and-take, to work with the band, to let others shine, to allow SILENCE in a song. Do you realize that silence can be the greatest emotional expression in a song? Listen to Aretha Franklin sing "Dr. Feelgood." She allows a TON of space, which creates emotional tension and release. It's not all just in your face. We all like the suspense of "what is she going to do now?" Singers who over-sing and use too many riffs and fill every hole in the music get boring, there's no suspense because we as listeners know exactly what's coming: more notes! Learn to be a giver to the song, nurture the song - it wants to be coddled and treated with love and affection - not trampled on by a thousand notes!

These are just a few of the basics of what makes a singer "great." But of course, tomorrow there could be a whole new set of things - it constantly changes!

I guess the most important thing is to sing from your heart, love it, and put your passion into it.

Turning criticism into positive

This business of music is a tough one - you've just got to have thick skin if you want to succeed. And you've got to know everything about everything - why limit yourself?

Yesterday was weird in that another voice teacher, someone who I had never heard of or met, and who had not read my book or listened to my CDs, posted some critical remarks about the fact that I was offering CDs with my book as a teaching tool. I do believe that there is a positive in every "negative." Sometimes it takes a while to make itself known, sometimes it happens immediately, especially is you are looking for it. I realized that this person's negative critique was a positive for me, because it gave me the opportunity to really express my philosophy regarding teaching, and to take pride in what I do, and to stand firm in my beliefs in what I know works. And now I am grateful for his negativity, because I've made it a positive!

So this is my opinion on instructional books and CDs:

- Some students can't or won't take private lessons. Yes, one-on-one instruction is always best (if the teacher knows what they're doing - if they don't, the teacher can CREATE problems). When I say a student "won't" take lessons, that doesn't mean because of financial considerations, that could mean a variety of reasons, money being one of them. But other reasons could include: the discipline that lessons require, practice, the time involved. Lessons do create a certain amount of anxiety (when knowing they have to face their teacher week-to-week), which can be a good thing because it can inspire a student to practice, and some students don't want that pressure. They prefer to learn at their own pace, or from a variety of sources, which is OK too. They may take a little bit of my style and combine it with something someone else suggested. I'm not saying my way is the only way. And each student and each teacher are unique individuals with their own personal style. There is not one way that will work for every single person. Thank goodness!

- Some students are using an instructional book/CD rather than a formal voice lesson because they want to learn about singing for their own enjoyment and personal satisfaction. Not everybody wants to go through the rigorous experience of professional singing - it's not for everyone. I would like to improve my violin skills, not to go out and perform onstage, but for my own pleasure. A book/CD is perfect for that because I'm not looking at violin playing as a serious endeavor, just something for fun. And that's OK too.

- Books/CDs such as mine are usually geared towards a particular "specialization." Mine is focused on R&B Singing. Here's an analogy: all doctors are under the "Doctor" umbrella, but some specialize in pediatrics, some in the study of bones, some in allergies, etc. You wouldn't go to a ear/nose/throat doctor for a pain in your foot, now would you? And you wouldn't want to study with a Broadway teacher if you wanted to sing R&B would you? They may be a great singer, but not teaching the style you want to learn.

Research each teacher and see what they specialize in. Also, The advantage of an instructional book/CD is that there may not be an R&B voice teacher such as myself in your city. So the book/CD is the next best thing!

So here's some advice when searching out a teacher or an instructional book/CD:

Research any potential teacher - check out their training and background. Do they have education? Have they studied the voice in a formal educational setting (i.e. a university with trained professionals)? Does the teacher have videos showing him/her singing? If they don't have videos showing that they can "practice what they preach," why would you want to study with them? Here's another comparison: I have a friend who wanted to learn to speak Italian, so she took Italian lessons from a native speaker. One-on-one lessons from a pro, right? Well, it so happened that the teacher didn't know how to be an effective teacher. It was not organized efficiently or expressed in a way that was clear for my friend to understand. So my friend dropped out of class. Me, on the other hand, learned basic Italian from a CD! It was easy - the speaker spoke the phrase and I repeated it slowly. That worked for me - and it came with a book so I could see it written out as well. So, the teacher is extremely important and HOW they teach. And in this case, the book/CD proved to be more valuable than than the teacher!

Another thing to consider is the teacher's teaching abilities. My voice teacher in college was a world-renowned voice teacher, yet she was older than me and probably couldn't do the things I could do vocally because of age. But she knew how to teach it, she knew how it worked. Sometimes the greatest teachers aren't the greatest performers. Take Chaka Khan for instance - one of the greatest living singers in the world. Would she be a great voice teacher? I don't know - maybe...Sometimes teachers who might not have the chops of a singer like Chaka Khan will invest years of practice, study, research, time, effort, and money, to learn everything they can. I believe that's one thing that makes a great teacher, not necessarily perfect "chops" but a knowledge of every tool available to help a student. My husband tells me that the coaches in professional football can't play as well as the players, but they still know how to coach them to make them better players..

And it was interesting that this morning I got up and there was an email from a former student, who stated that her new teacher had damaged her voice with some of the exercises she gave her. My student told me she was going to continue using my exercises because they worked for her, rather than her new teacher's exercises!

So learn everything you can from every source you can get your hands on. If you can study with a professional vocal coach - great! But research that teacher first, not only their education, but their singing ability and their ability to be an effective teacher. Remember, you have to find someone or a book/CD that fits in with YOUR interests. Now GO FOR IT!!

Click here to purchase the book Vocal and Stage Essentials for the Aspiring Female R&B Singer:
Amazon

our gifts to share

I saw a post today of a fellow musician who was complaining about his lack of success - no money, no gigs, no appreciation for his art, etc. The same things I've complained about a million times. But today I felt differently about it - maybe it was because I saw the truth in this person. It's always easier to see things in someone else's soul rather than in our own.
But I've learned a few things recently and wanted to share them, maybe they will help someone out there. And it's this: I feel that we've already "received" the gift. My friend I mentioned above was stating that he was upset, based on the feeling that he had not received the things he believes will make him happy: success, recognition, money, etc. He is essentially pounding his fists on the ground like a little child and saying "I want that" when what he has is "this". I've also heard people saying that they could do more, give more, once they receive this thing that they want.
But my idea is that you've already received it, so share it! If you are a musician, then you've already received this very precious gift, something that is uniquely yours. God created you and gave you this special talent - now it is your time to share it with the world. Quit making excuses and blaming the world or God or whatever for what you DON'T have - you've already got it! There is a concept which states if you are needy or desperate for something, your need will keep it from you. You have to practice "Non-attachment" in order to receive it - basically, you can't want it SO much. Life needs to be balanced and fulfilled with many things, not just one specific thing. It's called Letting Go and Letting God. If I am desperate for a particular outcome, I'm letting my own ego get in the way. There could be a million wonderful things waiting for me, but I'm so dead-set on it looking a particular way that I often miss out on these things. I try to have a well-rounded life, with many different avenues for joy, so that I am not attached to any particular one.
I've also seen many of my over-40 female friends, who are desperate for a relationship, crying that they never receive what they want, i.e. a man to share love with. But they already have the love in their hearts. They really just want the outlet in which to share it. We all want our gifts, which are all based in love, to be shared and make a difference in the world. If you have the desire to be loved, then you have the capability to love. So go out and love the world. There is no way you can tell me that there is not someone who could use a little love today. And giving fills up our hearts and makes us less desperate to receive that thing we "must have".

Life is a River

They say Life is like a river - maybe God is like a river too. I think music and songwriting are like a river - they flow easily and much good comes from them both. I think we can identify with the "river" analogy because it's been used so many times before. It's easy to think of the river as the source of all being - to get a cool drink of water, to swim and become clean, to float along, to jump in and have fun. And rivers supply water for villages and cities to survive, and for crops too. So they are the source of Life, literally. And as long as I keep the river flowing, all is well. But that's easier said than done. If God is the source of all life and accessible at all times, then why does it seem so difficult to manifest the things in my life that I want, to easily access that divine flow? Because the river gets blocked with old thoughts and behaviors. And it's my job to dredge those things up from the bottom and work through them. Maybe I don't even know they're there - but if I keep focusing on what I want, little by little, and letting go and letting God work them into my life - the obstacles will appear. They will float to the surface. Sometimes I wonder: why is it that I was focusing on a great music career, doing my work, visualizing, meditating, and then my house gets flooded? Because that is God saying "OK, you want a fabulous career, you've got to work on all that old stuff that's blocking the way". It may not seem that way at first, but in time, and with enough work and true desire to be receptive to seeing the "gift" in everything - it can all be worked through. So it is ALL God's work, even the stuff that appears to be "bad" are opportunities to work through them, to remove that log that has prevented the river to flow as it should.