EXCLUSIVE: CARI COLE - JO-NA WILLIAMS - GARY CHOWEN - GUNNAR PETERSON
THE LOOK BOOK
VOCAL HEALTH ADELE MAXWELL HOW TO GET BOOKED AT MUSIC FESTIVALS (Part 2)
July - August - September 2013
10 BEST AFFORDABLE MICROPHONES
FASHION & WARDROBE STYLIST
LE BALCON CABARET
STEPHANIE CAPRARA MARK GORDON
THE VOICE INSTRUCTOR FOR STARS
12 EDITOR 16 WIRE
10 Best Affordable Microphones for the Home Studio The Vocalist - APPS 7 Essential Social Media Marketing Tips for Singers & Bands
22 HEADLINER Miguel
48 VOCALIST PROFILE
54 VOCAL CARE
Take care of your Voice
Cari Cole Dave Stroud Top 10 Commandment for Vocalists
66 VOCALIST IN RANGE Leona Lewis Christina Aguilera Barbara Streisand Cher
Spicy Foods: The Voice Changer? Vocal Cord Surgery: The Diet Aftermath Has Adele Been A Bad Girl? Maxwellâ&#x20AC;&#x2122;s Vocal Challenge
2 LETTER 82
THE VOCALIST BIZ
TIPS FOR VOCALISTS: Ottawa Blues Festival - Event Coordinator Mark Gordon Update On Music Fest: How To get Booked at Music Festivals (Part 2)
Interview with Attorney Jo-Na Williams
94 VOCALIST FITNESS
Gunnard Peterson: A Personal Trainer to the Stars
100 VOCALIST INSTYLE
126 THE SUMMER VOCALIST EXCLUSIVE INTERVIEWS Lalah Hathaway Elisapie Isaac Nuela Charles
160 Vocal Recipes and Culinary Repertoires: Davide Bazzali,
Italian Chef-Tenor extraordinaire
Jordan Stolch: Fashion & Wardrobe Stylist The Look Book by Erika Footman Interview With Session Singer Emma Robbins Interview With Hair Stylist Gary Chowen
162 LE BALCON CABARET 166 MUSIC FESTIVALS 172 VOCALIST RESOURCES
PUBLISHER / EDITOR: Samuel Biks firstname.lastname@example.org ASSOCIATE PUBLISHER: Jennifer Meade email@example.com JUNIOR EDITOR: Kalika Hastings firstname.lastname@example.org ADVERTISING MANAGER DEPARTMENT email@example.com ART DIRECTOR SENIOR: BBMC Marketing and Promotion ART DIRECTOR: Besher Al Maleh MARKETING ASSISTANT: Julie Parenteau - firstname.lastname@example.org PUBLIC RELATIONS (PR): Marie Gagne-Fournier email@example.com CONTRIBUTORS: Jennifer Meade, Kalika Hastings, Andy Fidel, Malik Shaheed, Diva Devodee, Megan Closs, Erika Footman, Joel Falconer, Susanne Currid, Nana Yeboah. Luisa De Armas, Ethan Vestby, Christa Miller, Darren Gallop, Megan Smith & Kathy Alexander (Voice Council Mgazine) . COVER: Credit Photo Celine Dion /Alix Malka © Feeling Productions Inc CREDIT IMAGES: Miguel (DEV GILLESPIE/Miguel/ Mark Edward Nero); Lalah Hathaway (Derek Blanks /Lalah Hathaway); Isaac Elisapie (Renaud Philippe/Isaac Elispie/ Raphaël Ouellet/ Isabelle Long); Nuela Charles (Nuela Charles); Stephanie Caprara (Stephanie Caprara); Cari Cole (Cari Cole); Dave Stroud (Dave Stroud); Gary Chowen (Gary Chowen); Gunnar Peterson (Gunnar Peterson); Jordan Stolch (Jordan Stolch); Mark Gordon (Mark Gordon); Jo-Na Williams (Jo-Na Williams); Leona Lewis (Leona Lewis); Christina Aguilera (Christina Aguilera); Barbara Streisand (Steve Schapiro/ Barbara Streisand); Sher (Sher); Adele (Adele); Maxwell (Maxwell); Depeche Mode (Depeche Mode); Nicky Minaj (Nicky Minaj); Les Nubians (Les Nubians); Le Balcon (Le Blacon).
QUESTIONS or FEEDBACK Email Info: firstname.lastname@example.org
TVM: 372 Ste Catherine West. Suite 121. Mtl QC H3B 1A5
t felt like just yesterday that I was writing the editor’s letter for the spring issue. Wow! How time passes so quickly. First I just want to say thank you and send a shout out to all TVM readers. Thank you so much for your love and support, I’m overjoyed and motivated when I read your comments on how The Vocalist Magazine is inspiring you to move to higher heights as vocalists. This is the reason why we created the magazine: to educate and adorn vocalists on vocal health, care, business and style, while keeping you updated with the latest gear and equipment! A lot has happened since the release of the spring issue. We are now in a content share partnership with The Voice Council Magazine. This is something to truly celebrate! As we were putting the final touches on the summer issue, what amazes me is the diversity of each vocalist and specialist that we have come into contact with, thus far. They all share stories about their purpose, passion and dedication. Whether from an emerging to an established vocalist, from an icon to an entertainment lawyer, a vocal coach, or a festival organizer. This issue continues to live up to the vision expressed by our featured vocalists. From the First Daughter of Soul Miss Lalah Hathaway, Grammy winner Miguel, Juno winner Elisapie Isaac a luminous vocalist and songwriter, and Nuela Charles a vocalist with soul, and many more. We are honored to feature Celine Dion as our Icon. She’s an ideal example for vocalists, proving what convic-
tion, dedication, passion, compassion, and hard work begets. She reflects all that we believe in and promote at The Vocalist Magazine. Renowned for her technically skilled and powerful vocals, she has released over 40 albums and is the best-selling female vocalist worldwide of all time. Where would a career like that of our Icon be without a dedicated team of specialists to support, form and mold her into the artist she is today? In this issue we feature some key professionals that you must have in your entourage if you want to be successful in your music career. Entertainment Lawyer Jo-Na Williams explains why there is no such thing as overnight success. Cari Cole a Vocal Coach and Career Consultant gives tips on how to stop shredding your vocal cords. David Stroud, one of the best voice instructors in the U.S. gives insight on what makes a great vocalist. And Gunnar Peterson, a personal trainer to the stars, tells us how to keep it real when it comes to fitness. From sharing moments with our guest interviewees, feeling a sense of purpose and knowledge from our contributors, gaining a touch of style from the Look Book, and tips from Jordan Stolch: Fashion & Wardrobe Stylist and Hair Stylist Gary Chowen. This is what The Vocalist Magazine is about, a Universe of information and inspiration for vocalists everywhere. Have a good read!
Jennifer Meade 12
Co-founder of The Vocalist Magazine email@example.com
The Vocalist - Microphones Rode Classic II
Shure Beta 58A M-Audio Nova
might not be fair to include the Rode Classic II on this list, because it does have a steeper price tag, but if you’re looking for quality over quantity this is a good choice. While many places sell this mic for $1,800 to $2,000, I’ve seen it going for about $800-900, so again, shop around and find a good deal. I’ve used this for rock vocals and on distorted guitars, but even artists like Snoop Dogg have used and loved this microphone. You can use it on acoustic instruments of all sorts and even drum overheads (though you better have a sturdy stand—this thing is solid!). One of the best mics for its price, in my opinion, and well worth every penny of your budget.
Another offering from one of the most well-known microphone manufacturers in the world, the Rode NTK Microphone can be had for about $300 to $400. It’s well worth it for this cardioid condenser that has been designed with the budget musician in mind: sensitive enough for the studio, but tough enough to withstand a go at your next show. It’ll do everything from vocals to acoustic instruments.
This large capsule condenser is about $130 and does a good job for the price— it’s probably a fair bit better than the Behringer C1. I don’t actually own one so I haven’t been able to test it rigorously, but enough trusted producers tell me it’s got great bang for buck that I need to list it here. I spent a few hours with it during one project and the Nova shouldn’t be missing from any list the C1 is on.
Prices for this baby swing where between $100 and $ If you’re buying an SM58 cause it’s a cheap vocal m opposed to a cheap multi pose mic, and you’ve got a tra hundred in your budget may want to consider the S Beta 58A instead. It’s co ered by many to be far sup to the SM58 for vocal app tions, though I haven’t h much good news for the on other instruments.
10 Best Affordab for the Hom Technica AT2020USB
The Audio Technica AT2020USB Condenser USB Microphone can be had from anywhere between $100 and $150. It’s an excellent microphone specifically designed so that home users and project studios can get the most from their money, and can record everything from vocals to acoustic instruments to strings and drum overheads (and it has been engineered to be light enough to use it in this manner).
served me well in the p won’t get you anywhere n of the NTK, but for home and it does it fairly well. home recorders won’t ha cally treated, so you won much of a difference be next (the room is the mos equipment you can inves
any$200. 8 bemic, as i-puran ext, you Shure onsidperior plicaheard Beta
The popular Shure SM58 Vocal Microphone is a dynamic mic that can also be had for about $100, and cuts the budget nicely because you can use this baby live and in the studio. While there are better microphones out there for studio recording, this’ll give you a decent vocal sound on a small budget with nice boosts in all the right places. It’s also good for distorted guitars (though the 57 is usually the best choice here). Many heavier artists use the 58 for their vocals even when they’re in expensive studios because of the amount of screaming it can take without distorting. If you’ve got a singer who is only comfortable singing with the microphone in hand, not on a stand, this is also a good choice. I’ve had good experiences using the SM58 on backing vocals, even when I’ve got a U87 or Rode Classic on the lead.
The NT3 Condenser Microphone can be had for about $200 —sometimes it’s closer to $300. This microphone is great for acoustic guitars, percussion and drums—particularly those with a lot of high end, since these don’t catch as much bass. It’s also a pretty good choice for vocals, unless you’re recording a bass or baritone singer.
ble Microphones me Studio
By Joel Falconer - www.audio.tutsplus.com
Shure KSM27 Behringer C-1
I’m almost embarrassed to say it, but if the NTK is too expensive for you, the Behringer C-1 is a decent replacement and has past. It’s around $100. It near the tone and quality recording it does the job It’s fair to say that most ave their rooms acoustin’t be able to pick up as etween this mic and the st important bit of studio st in, by the way).
Shure SM57 F o r about $100 give or take, you can pick up a Shure SM57 Microphone (you can double that price for the popular two-packs, or the SM57/58 combo packs). Though I have no real evidence, I’ve heard reputable producers say that Lenny Kravitz uses the 57 on everything, from drums to guitars to voice. This is also the go-to microphone for distorted guitars, no matter what your budget is.
Another offering from one of the most well-known microphone manufacturers in the world, the Shure KSM27 Microphone can be had for about $300 to $400. It’s well worth it for this cardioid condenser that has been designed with the budget musician in mind: sensitive enough for the studio, but tough enough to withstand a go at your next show. It’ll do everything from vocals to acoustic instruments.
The Vocalist - APPS
Microphone + Recording
Magic Mic is real-time (low latency) Vocoder and Voice Changer. You can convert your voice from Mic or recorded file. (the maximum recording time is 30sec). Converts your voice from microphone directly. The output is headphone jack or receiver. When you start playing recorded file without the headphones, the output is built-in speaker.
Microphone + Recording turns your iOS device into a microphone. Plug the output of deviceâ&#x20AC;&#x2122;s headphone jack into powered speakers, a mixing console, home stereo, etc and start the show. Record yourself while using microphone. Backup records using iTunes USB file sharing, over WIFI or by email. Share recordings on Facebook, Twitter, Tumbir and Foursquare with SoundCloud. Manage recording, rename, delete or replay. Two Graphics Modes: Graphic equalizer and old school microphone. Mute Button - for use with an external cable only. Microphone + Recording works with or without an external cable.
Audio Memos - The Voice Recorder MP3 Recorder Free
Audio Memos is a professionally made audio recorder. It has an amazingly intuitive interface, which is easy to use and full of powerful features. Use it in interviews, lectures, music session, briefings, and simplify your recording tasks. With Audio Memos, you get an amazing recorder that fits most needs. High end users can then use in-app purchases to extend its functionalities even further.
#1 Recording App. Thousands are using MP3 Recorder for their daily uses. Not just a recorder, MP3 Recorder is equipped with a builtin advanced MP3 Converter. That makes this app very special yet useful for our daily recording usage. As such, we also build a mailing function in the app, ready for any sharing purpose. This utility could be used at your office, your school or your home. All are recorded in mp3 format, without any need of an external converter.
7 Essential Social Media Marketing Tips for Singers & Bands According to Susanne Currid
Be Constant & Stay Authentic...essentially, donâ&#x20AC;&#x2122;t just post/tweet to your fans when you have something to promote/sell to them. Consider this; if people only talk to you when they want something, itâ&#x20AC;&#x2122;s not a total surprise when your relationship is nonexistent. If you keep it real with your fans on a regular basis, let them know more about you, ask to know more about them, basically nurture a real relationship with them, you will build loyalty that could last a lifetime. Increase Post Quality...put your individuality on display by sharing who you are and what matters to you. Let your fans know that you are a real person, just like they are in order to further connect with them. Connect with Influencers...make sure you are cognoscente of the top music journalists, television personalities, and twitter friendly bloggers who influence the audience you are trying to reach and connect with them via social media. It is much easier to begin a relationship with them on Twitter by retweeting their content. Be creative!. Maybe add a supportive catchy comment to the post of that influential personality that integrates/promotes a current project of yours. Build Buzz...take advantage of the wonderful opportunity to promote all things about you and post something to start building the hype surrounding the upcoming release of your single, album, performance at a great new venue, fragrance launch, etc. Remember, your FB postings or tweets show up on the news feeds of your audience. Make sure you post at various times throughout the day with fresh news and exclusives to keep that fire burning.
Susanne Currid is a marketing & social media consultant, trainer, social media speaker, and author in the UK. She offers advice to individuals seeking the success that leads to sold out performances. Social media has become a vital new opportunity to spread the word about that great new singer who, thus far, only performs locally and increase their fan base. Record companies or key personalities, tend to take notice of individuals who put themselves out there and are visible... does Justin Bieber sound familiar to anyone? Be Easy to find...your first priority should be to make sure you fans are able to easily find you on social media. Ensure that you have, at bear minimum, a Facebook and Twitter account that links to your website, SoundCloud, blog, MySpace profile, Pinterest, and or Instagram that provides your audience with more, constantly updated information and images about you and your music. Apparently, Twitter and Facebook profiles achieve high visibility in search engine results, so having profiles on those sites increases your chances of people...perhaps the right people, finding you. Connect with your fans...you should be trying to encourage your fans to like your Facebook (FB) page, which is a great opportunity to stay connected. Pages that you like on FB automatically show up on each individualâ&#x20AC;&#x2122;s news feed. Your audience is provided with constant breaking news about you. Also, there is a way for artists to connect their FB and Twitter so a person does not necessarily have to subscribe to that artists Twitter page. An incentive, you may want to consider, is to allow fans to listen to a special track in exchange for their support, aka a like on FB.
By Malik Sha
Written by Nan Credit Images 22
na Yeboah - Miguel
VOCALIST HEADLINER 23
iguel Jontel Pimentel, who now goes by the mononym Miguel, is setting the world on fire with his critically acclaimed sophomore album Kaleidoscope Dream which has an old school, Soul/R&B vibe à la Marvin Gaye with some fresh syncopated beats that will make your heart pound. Taking a break from touring with Alicia Keys and fresh off of his Grammy win for Best R&B Song ‘Adorn’, Miguel sat down in Montreal for an interview with Malik Shaheed to reminisce on his musical and fashion influences, strengthening his craft and everything in between that makes up his kaleidoscope dream.
â&#x20AC;&#x153;Be like water you know, be ever changing, ever evolving; be able to, adapt...â&#x20AC;?
Malik: Congratulations on your success!
What were your influences growing up, which artists and what do they mean to you?
Miguel: Thanks, man.
Malik: It’s very refreshing to hear a Soul/ R&B artist in Canada. So how’s everything going for you? Miguel: It’s been tremendously fun. It’s been fun... you know we put Kaleidoscope Dream, my sophomore album, out last year in October and the ride since then has just been phenomenal. From the success of ‘Adorn’, the first single, and performing at the Grammys, winning a Grammy this year for ‘Adorn’... it’s been a tremendous blessing man, so I’m having a good time. We’re here on tour with Alicia Keys, it’s my first time in Montreal.
Malik: Is it? Welcome. Miguel: Yeah, it’s been a pleasure.
Malik: I want to talk to you about your hit single ‘Adorn’ what state of mind were you in when you wrote that song?
Miguel: Man, there’s so many. Between obvious influences like Marvin Gaye, or Prince, there’s David Bowie, and there’s Freddie Mercury and Sting and the Police and Queen, of course, the Beatles which I think is another, fairly obvious influence. But then there’s nonmusical influences like Bruce Lee.
Malik: Why Bruce Lee? Miguel: Man, I’m a huge fan of Bruce Lee because of his philosophy. I mean he was a philosophy major in College, graduated with philosophy degrees and I think his philosophies on life, are the reason why he was so diligent in his practice and developing his own style. His perspective philosophically, I think, has everything to do with his style. That classic interview of him just being like, you put water in a cup it becomes the cup. Be like water you know, be ever changing, ever evolving; be able to, adapt. Be adaptable, you know what I’m saying? I think that was his whole thing! You know, it’s just like being able to adapt and that’s why he was the greatest. So that’s why he’s one of my favourites and an influence, definitely. So, you know, writers, poets so on and so forth, definitely.
Miguel: I’m sure you’ve been here before you know? Malik: Like we like to say, I feel your fashion You’re gone for too long, you miss your girl. Even if style is avant-gardiste, it’s ahead of its time. you’re single or whatever, people have experienced that. You miss that somebody and that’s where I was, Miguel: Thank-You. I just missed my girl. I hadn’t seen her in too long and I was on a plane and the first line of the song goes, “these lips can’t wait to taste your skin” so that’s, pret- Malik: Tell us about your whole fashion ty much where it came from. It’s one of those songs swag? Even what you have on today, it’s I don’t really remember writing, it almost wrote itself pretty interesting. and here I am. Miguel: Cool, yeah (laughs as he looks down at his Malik: And what about your single ‘Do You’ outfit) it’s evolved. I’m a huge fan of fashion and I’ve which is very interesting also, where did always been a huge fan of fashion. I won’t say that I’m the best, I don’t have the best style, but it’s getthat whole idea come from? ting better (laughs) and the reason why I say that is because I really have a genuine interest and I do Miguel: Umm...I think it’s pretty self-explanatory research. I’m really interested in why trends became (laughs). I mean, the music that I put out, if you look trends and the cultural circumstances that have influback, or if you know anything about my music, I’m enced trends. You know what I’m saying? Doing that a fairly, direct person. I pretty much say what I feel. research, you kind of get to see how those cultural, You know, songs like ‘Quickie’ or ‘Sure Thing’ is very economic details have influenced designers to crestraight forward, it’s a bit more poetic but, I mean, I ate silhouettes that empower women or make women would like to say I’m one of those guys who gets away feel more edgy or just kind of rebellious. I think, that with saying some pretty outlandish things. And I think now, I’ve been able to tailor my style to feel, like it’s it’s just because I say what I mean and I mean what I my own. I don’t think I’ve been more comfortable or say. ‘Do You,’ is one of those songs where that’s just more confident in what I wear than I am right now. I what I was thinking, that was the question, here it is. would describe my style as being edgy and kind of counterculture. Before, I think I was trying my hand Malik: Like I said at the beginning, it’s so at a more futuristic type of vibe and I don’t know, you refreshing to hear a Soul/R&B artist today. just try things and you grow; we’re ever evolving.
I’ll be honest with you, I’ve never taken vocal lessons until we started touring. I didn’t realize how important, really understanding the mechanics of your voice...
“As musical as I am and as musical as my instincts are, I can honestly tell you, I can’t read music. That’s something that I want to do...” 30
Malik: Being on tour and having a successful Los Angeles who have been just doing it for a long album, you get very busy. Is there some- time. I’m excited for it to blow up again. thing that you’ve always wanted to do in life Malik: How is it to compare acting and mubut you haven’t had a chance yet to do? sic? One thing about actors is they’re always Miguel: I suppose there are plenty of things in life that practicing to improve their craft. What does I’d like to do. But, I see them happening, only because Miguel do in order to elevate his craft? I want them so bad. I mean, I’ve always just liked the idea of going to a remote island and swimming with just really cool people. I wanna do the things that the average human being has not experienced. Not because they can’t, because some people just don’t like to take risks. I think life is about risks, we’re defined by the risks we’re willing to take. Why not? I wanna live an extraordinary life; I just wanna do things that are rare. I think that’s what’s cool.
Miguel: I’ll be honest with you, I’ve never taken vocal lessons until we started touring. I didn’t realize how important, really understanding the mechanics of your voice and how that can contribute or take away from how powerful you are, or how powerful you come across on stage. So, I’ve been working really hard with my vocal coach to expand my range and strengthen those weak points. It’s a never ending process, whatever you do, you should always be ever Malik: What’s the coolest thing a fan has learning. If you love it, you’re going to strive to learn more about it right? Know as much as you can, and ever done for you? so it’s been that and just training my ear on chords Miguel: Coolest thing a fan has ever done for me? Oh, and things like that. As musical as I am and as musical that’s tough, that’s really tough. You know what? I’ll as my instincts are, I can honestly tell you, I can’t read be honest with you, something as simple as saying ex- music. That’s something that I want to do, it’s a skill cuse me, is probably one of the coolest things a fan that I feel is necessary at this point in my life, because could do. I was raised to be polite and I think, when I I want to do more. I want to produce and executive am in the middle of like eating, it’s been a long day, I produce A&R. I just want to be able to communicate have done tons of promo and all I wanna do is just eat with musicians in a way that streamlines the confuand someone says come here or doesn’t even say ex- sion, so I can be very direct. So, just little things like cuse me? That is so irritating, you know what I mean? that...ever learning, man. It’s the human part of me. It’s like yo, could you just say excuse me? Little things like that, goes a long Malik: Other than music and fashion, that way. I really appreciate that. you have a love for, what other passions do
Malik: You’re from L.A., right?
Miguel: I grew up playing sports; my father played sports his entire life and raised me to play sports. I still love to play basketball and football, as you would call it here, as my father would call it in Spanish. But yeah, when I can, I play as much as I can.
Miguel: Born and raised.
Malik: It’s interesting because you always hear about Hollywood movies in L.A., but what is the L.A. music scene like? We don’t Malik: What would you like to see yourself hear much about it. doing in the next 5 years? Miguel: I’m excited for people to get more of an idea of the culture and the music scene that’s in Los Angeles. Interestingly, a lot of producers and musicians who were living in Atlanta or New York are moving back to Los Angeles. So I think it’s on its way, the resurgence of what LA music feels and looks and moves like, is gonna be more in the forefront, more understood and documented. But I think there’s a coolness to the artists in Los Angeles, especially ones born and raised there. Unfortunately, because Los Angeles is so huge, it’s easy to be self contained and not be so like, we’re all together, we’re all repping. I think, right now, it’s becoming more and more like that again. I’m excited. Between Jhené Aiko, Kendrick, Schoolboy, AbSoul; artists who’ve been doing it out there. J*Davey and myself and so many more artists who are from
Miguel: The next 5 years, I would really like to executive produce. Executive produce at least 5 successful albums and not necessarily R&B albums, but I’d love for them to be impactful in the artist’s career and culturally. I intend on touring the world. Today is my very first time in Montreal, which, you’re awesome. We’ll tour Australia, and hopefully Tokyo and Japan and China....I think, end of the year. So hopefully, I’m touring more of the world. I’d love to tour South Africa in the next 5 years and more fashion collaborations. I’m working on a few collaborations now I’m really excited about.
Malik: Which Ones?
â&#x20AC;&#x153;I think the ultimate achievement for any form of art is that it transcends time. â&#x20AC;?
Miguel: I can’t tell you...there’s one that’s out now though, ‘DeerDana’ which is a Brooklyn based designer and she has a t-shirt line. We just released three collaborations, one is with Sade in the front, the other one is myself and the last one is ah....I can’t think of her name. Grace Jones, excuse me. That’s what happens when you don’t get any sleep, things that you know, you forget. If you haven’t had a chance to check those out, go to deerdana.com. Shameless self promotion (laughs)! Or if you’re in Los Angeles, New York or London you can go to Opening Ceremony.
Malik: Before you hit the stage, what is Miguel’s routine? Miguel: The only routine I do have, is to warm my voice up. There’s no cool way of warming your voice up. The coolest you can be is like, to warm your voice up with shades on. I’ve tried it every other way ‘cause otherwise, you just look and sound stupid. But I do that, I normally have an apple, to clear the palate and just in case I’m a little hungry, you know what I’m saying? There’s nothing worse than being on stage and thinking about food the entire time. It happens all the time! I’m up there singing ‘Adorn’ like, man, I can’t wait to eat dinner. The guys and I normally have a pre-show huddle, just to go out there and rock and have a good time; remind ourselves what we’re doing it for.
Malik: When people listen to your music, what would you like them to take away from it? Miguel: That’s tough. You know, I think the ultimate achievement for any form of art is that it transcends time. It’s relatable and relative beyond the years of the artist. So hopefully, when people listen to my music, it impacts their life and they relate it to something that stays with them for the rest of their life. That makes them feel something that they never want to forget and that they can always go back to, in their later years when they listen to the song. If it’s a sight or a smell or a person, a place or some experience, something special that’s what I want people to take away from my music. I want to be a part of other people’s lives, I want my music to be a part of other people’s lives in that way, so I’m always trying to create music that’s real to me with a real emotion, because I think that’s what makes music timeless. When you make an emotion tangible, I think that’s when it becomes timeless.
Malik: This is a fan question from Matthew Todd, who would like you to know that he loves your music. What singer would you love to work with that you have not worked with so far?
* Kaleidoscope Dream is in stores now and available online and if you enjoy it, be sure to check out Miguel’s debut album “All I Want Is You.”
Miguel: Matthew Todd, thanks for getting the music. One of my huge influences is Prince. I don’t want to sing next to him or near him because I would just look foolish, but if I could be in the studio, just to witness it, I think that would be a huge learning experience. It’d be really cool.
Malik: That would be an awesome collaboration. I would love to talk to you more and again, congratulations on your success and keep Soul/R&B music alive, we need that. Miguel: Thank you, I will do my very best, man.
“I think it bothers people to see people that are happy and successful. So they try to find what’s wrong with them.”
“I want to
“I started at 5 years old in the kitchen ta my family supporting me. I know where and I know exactly where I’m going.”
o conquer the world” Credit Photo
Credit photo: Getty Images
able with I’m from
â&#x20AC;&#x153;I have records in gold, in platinum, I have two Oscars, I have Grammys and so on.â&#x20AC;?
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h thing as aging, d knowledge. It’s hat beauty.”
“Never say that your life is to be a singer. You want to sing because it’s a part of your life. But if you don’t succeed as a singer, it doesn’t mean you don’t have a life and it’s over.”
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re is something as guided my s my wish to exd go farther, to aximum of my es, to the top of oals, my hopes my dreams.â&#x20AC;?
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Stephanie Caprara A Canadian R&B singer-songwriter By LUISA DE ARMAS 1. When did you know you were going to be a singer? I always liked music since I was a little girl. The first time I performed, I was 14, it was a school talent show and the experience I had on stage, it was like magic I never felt anything like that before. I remember being extremely nervous before going on that stage but as soon as the curtains opened it was like I was a different person, it was amazing and that’s when I knew: this is what I’m going to do for the rest of my life.
2. And what genre of music do you like to sing? I like everything; I like different genres of music. But I really feel my voice fits with Blues and R&B.
3. What is a typical practice like for you? I practice usually about three times a week religiously.
4. How would you describe your voice? My voice is strong; it’s got a little bit of a thinner quality. It’s very high pitch, I’m a high soprano. I have a very vast range, I like to sing high, I like to belt. It’s more of a sweet kind of high pitch type of voice.
5. What moves you to write songs? Usually it’s emotions, I mean it can be as simple as having a bad day, and you just wanna elaborate on that day, there’s inspiration in that or a simple love song, life struggles, anything can inspire me.
6. When you perform what message do you want people to get from you? To feel something, the important thing about songs is to send out a message. It’s not just about putting different words together; there’s gotta be a message there. It’s more than just rhyming words.
7. What is your overall vocal regime? I drink a lot of water, about two liters per day. I would say it’s very important. I eat a lot of vegetables, I stay away from fried food, sugar is no good. I live a very clean lifestyle.
8. How have your vocal practices changed since you first began recording and performing? When I first started, I set myself goals where I wanted to expand my range. Now I am comfortable with my voice, I’ve extended my range quite a bit so, when I warm up I use my range from A to Z.
“When I was youn to hang out with most of my time
ng, I did not have time h my friends...I spent practicing.”
9. What do you do vocally before a performance? I try to take some time to calm down. I try to breathe and stay calm and as soon as I set foot on the stage, I’m a different person. When I am on stage and I am singing I just feel the music, the words, I put myself into the song and just feel the emotion, I just go with it.
10. Who influences you vocally? Since I was a child Whitney Houston and Mariah Carey have been my favourites. Chaka Khan, Christina Aguilera, Alicia Keys, Beyonce of course. Prince is the greatest musician on earth, there’s no one like him. I listened to Michael Jackson growing up, my mom would drive me to school, and she would blast his music in the car.
11. Describe a typical vocal workout session? I usually start with a simple humming and then I’ll work my way up slowly and I’ll stay on the higher notes. I just like to play with my different voice qualities.
12. When are you vocally at your best? When I’m well rested. Because when I sing it’s more like a physical technique, so if I am well rested and energetic then my body is in good shape and I know that my voice is going to work.
13. When you record and when you perform live what are the vocal differences and demands? Honestly I truly enjoy both, being in the studio and on stage because there are different experiences and you learn from both experiences. I mean there’s things I’ve learned from people in the studio that have been different from working with a band on stage so everything is a learning experience.
14. For those who want to be singers, what advice would you give them? Practice is very important and if you are really passionate, you have to work hard. When I was young, I did not have time to hang out with my friends or go to parties or go to clubs, I did not do a lot of that. I spent most of my time practicing, on the weekends especially. I mean you got so much homework, so the weekends I would just spend hours practicing. It was my favorite thing to do. It sounds extreme but you have to sacrifice all of your time and your life completely to your art. For More on Stephanie Caprara - Please visit: http://www.reverbnation.com/stephaniecaprara
Taking Care of Your Voice 13 Easy steps to protect your voice and prevent problems:
Do not smoke. Exposure to smoke and other airborne particles can lead to throat cancers and at the very least is a continual irritation to the throat and vocal cords. Assistance with smoking cessation can be found on the internet or through your family physician.
Avoid noxious fumes, allergens, and secondary smoke.
Keep yourself hydrated. You should drink 8 glasses of water a day. If you drink caffeine or perform strenuous physical activity, you’ll need more. Chewing gum and sucking on hard candies will also help. You should keep your environment humid.
Avoid caffeine and alcohol. These cause the body to lose water and have a high acid content.
Treat Gastroespohageal Reflux Disease (GERD) if present. Avoid loud or prolonged voice use.
7 8 9 10
Do not clear throat.
“Warm up” vocal muscles prior to prolonged use.
Get plenty of sleep. Avoid over the counter antihistamines that cause dryness.
Avoid lozenges and sprays containing menthol or phenol that dry and irritate the throat.
Rest your voice after vigorous use. Avoid excessive social voice use if you have increased your performance or rehearsal schedule.
Use a microphone where you need to project your voice or if you are being treated for hoarseness.
Care of Your Professional Voice 5 Things you can do to keep your voice strong and healthy as well:
1. MAINTAIN ADEQUATE HYDRATION: 64 ounces a day is highly recommended to maintain hydration. Research indicates adequate hydration allows vocal cords to vibrate with less “push’ from the lungs.
WARM UP AND COOL DOWN YOUR VOICE: If you are going to make a presentation, sing, or speak for prolonged periods of time, warming up your voice is important. Easy glides and lip trills for warm up and humming to cool down.
CONSIDER AMPLIFICATION: Important to use amplification if you are recovering from an episode of vocal illness or if you are speaking / singing to a large group.
USE MONITORS WHEN PERFORMING: Monitor yourself while singing or performing
KNOW YOUR VOCAL RANGE: Occasionally you will find that you are singing or performing in a range that is not optimal for your voice. A voice coach or speech therapist can determine your range.
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By Kalika Hastings Picture Credits: Cari Cole
Techniques and strategies to develop a ‘rock-solid plan’ for becoming the best vocalist you can be. Here’s a sneak peak at some of the greatest vocal health secrets by a celebrity vocal coach. 58
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5 WAYS TO INSTANTLY STOP SHREADING YOUR VOCAL CORDS 1. Avoid constant throat clearing /coughing 2. Don’t glottal. Glottals happen when the edges of the vocal cords bang together in overclosure. 3. Get your voice out of your throat. Speaking low in your throat can cause nodules and granuloma. 4. Stop talking so loud! Don’t yell or talk excessively for long periods of time. Yelling and speaking for a long time is an immediate burnout and can ruin your singing voice . 5. Study vocal & breathing techniques. Find a great (not just a good) professional vocal coach who specializes in vocal disordersof vowels. For More on Cari Cole firstname.lastname@example.org www.caricolecom
STROUD By Andy Fidel With more than 25 years of experience, Dave Stroud is now one of the best
and most sought after voice instructors in the United States. Dave is a gifted
and passionate teacher. One who encourages his students to maintain their
vocal health, to develop their creativity, and to enrich their signature sound. According to his biography, he has worked with a wide range of renowned
artists, Broadway stars from Mamma Mia and The Lion King, Billboard Hot 100 recording artists, such as Justin Bieber, Jordin Sparks, or Daniel Bedingfield, but he also works with beginning vocal students. The Vocal-
ist Magazine â&#x20AC;&#x2122;s Andy Fidel recently sat down for an interview with Dave. 61
TVM: Can you describe what you do and how long you’ve been doing it? Dave: I started training singers in I believe, 87 or 88. Twenty-five years or so. To describe what I do: I am a voice coach. I’m a voice instructor. Maybe one of the best analysts. I’m like a personal trainer, but instead of physical fitness, it’s for vocals and vocal development. A lot of just keeping people strong and on the road, working and moving forward. TVM: In your opinion, what makes a good voice? Dave: Umm... a good voice or a good artist? TVM: A good voice. Dave: A good voice, ok. A good balanced voice is someone that has coordination. In a real simple way: from very low to very high in their range. To navigate through without creating any extra strain or stress, or
extra work on themselves. To me, having somebody who can sing from low to high without straining, stressing, cracking or anything is really not important if they don’t apply that to delivering a song. So, the next layer to this is how well they understand the nuances of the style they are in. So that they have a good reference for whatever style it is. Because each style, each genre, switching from jazz to R&B to pop to musical theatre, whatever, have a lot of their own subtleties that are super important. You need to understand the point of reference of that style so you can be authentic within that. So to me, someone with a good voice knows how to carry through like that.
TVM: How important are voice lessons for a singer? Dave: Umm... everybody is different. I think how important a voice lesson is to a singer depends. How important it is for somebody to get personal training or fitness and all that sort of stuff really depends on where they are in their life. How much they need to be encouraged and moved along to keep physical fitness happening. Singing is the same way. I know a lot of great singers that singing lessons actually reverse what they should be doing, which is being more creative. I think one of the biggest problems or one of the biggest myths about voice lessons is that everyone needs them. Everyone doesn’t need a voice lesson. You need to be in good shape with your voice to be able to control it, and have coordination and strength. But ultimately, what you need to be is someone who knows how to deliver a message. If voice lessons are getting in the way of you being creative, then it’s not
a good thing. Everybody is different. You need to weigh out where you’re at and what your needs are. It’s really important that voice lessons don’t get in the way of you being a free creative being. TVM: Which artists and personalities have you worked with? Dave: Let’s see. From the pop side, people like Jordin Sparks, Natasha Bedingfield, Adam Lambert, Allison Iraheta... I did a couple of sessions with Michael Jackson before he passed away. There’s a lot more, I just can’t remember them at the top of my head.
The Vocalist Magazine
TVM: Could you share with us your experience working with Justin Timberlake? Dave: (Laughs) sure. What he did was have me evaluate the best thing for all the artists on his label. So, we did a lesson. And then I started working with all the singers. Justin is incredibly focused, one of the most powerful presences. He is extremely polished in what he does. You can see it from his new album. He knows exactly where he needs to be. He’s an athlete! A vocal athlete. He stays on top of his game. His standards are very, very high. So any of the singers that were part of his label are really developed singers. TVM: For touring artists on the road, what daily routines do you recommend for their vocal health? Dave: The most important thing for an artist on the road is to get in a routine. Having structure in your life while you’re on the road is always difficult, but having
a daily routine—so we start with what time you get up. Physical exercise, sound check, making sure there’s a warm up before sound check, and down time, and then a good vocal warm up before going on. A good 20 to 30 minute vocal warm up, a little bit of down time, and then a 5 minute thrill before going on stage. So, the artists that I work with, the most important thing I do with them, is to make sure that they start feeling a regular routine for performance days. That’s what keeps them on track more than anything. The warm ups, the workouts and all that good stuff are really important to make sure their vocals are there. Just having that consistent performance day routine is what keeps the
long term: 4-6 weeks to 4-6 months on the road and staying healthy. TVM: How does an artist know they are damaging their voice? What are the warning signs? Dave: As a singer, you know when things are not at 100%. You know when you go on stage and you’re feeling just a little bit phlegmy or coarse, or not having as much agility in the voice. When an artist starts to feel even a slight amount of change, they need to figure out what’s happening. Maybe it’s a lack of sleep. Maybe it’s an environmental thing, some food, or whatever. If it starts to be consistent or to increase, then they’re starting to head toward something where they need to be concerned. If it lasts for a few more days or a week, they definitely need to start asking their managers and the people around them to get some help. Someone who can work with their voice.
If it still starts to move toward a heavy or sluggish direction, then what they need to do is make sure they find a voice doctor. Someone who can take a look and make sure there isn’t something that can be turned around quickly. Sometimes it’s reflex. Sometimes it’s just sleep, just not enough water. Once that starts to get heavy, heavy, heavy, then you start to overdo each performance. You start to create bad habits to get through the performance that then feed into that vicious cycle of creating vocal damage. So, it’s important just to catch it right in the beginning and find out what it is.
TVM: What is the most challenging part of your career, and how do you deal with it? Dave: Umm... the most challenging part of my career. Let’s see, goodness (laughs). I don’t really have any challenging parts. My career is awesome! I have a sort of blissed career, blessed life. But, I guess if there’s something challenging for me, it is that sometimes when I am working with an artist and they’re out on the road, we end up getting behind the eight ball as far as time goes. We get too many radio shows in the morning or too many meet and greets. I need to be working with them, consistently. What I mean by consistently is: I like to have a 20 minute workout with them or warm up before they go on stage. Those get pushed back because of the time it takes to do the interviews. The challenging part is to try to fit in the logistics and keep the artist on top of things at the same time. And the biggest challenge that I have in my career is when I’m dealing with an artist that has too many demands on their time and we go too many
days in a row without really being on top of it. TVM: And finally, from your experience in the music industry, what advice could you offer people looking to get where you are today? Dave: If I’m talking to a young voice teacher or a voice teacher who wants to build their career and move forward, the most important thing is to understand that you are part of a very big machine. Any artist that’s out on the road is dealing with a manager, a road manager, a publicist, a label, promoters, and all sorts of things. The voice teacher is a really important tool, but is also one person on a whole team. And they need to be part of that team. If a voice teacher wants to be part of the bigger picture, they need to understand what their role is and make sure they live within that role, and don’t overstep their boundaries as far as what they should be doing for an artist or a singer and what they shouldn’t. To be part of a big machine, you have to take in account all the other things going on.
Leona Lewis Vocal Type: Mezzo-soprano Vocal Range: 3 Octaves 3 notes and a semitone (C3- F#6) Whistle Register: Yes Longest Note: 12 seconds - â&#x20AC;&#x2DC;Over The Rainbowâ&#x20AC;&#x2122; (live) Vocal Pluses: Technical singer, with the dexterity to sing complex melisma and the stamina to hold notes
easily. The voice has an overarching sweet and light tone. The texture of the mid-range, and the head-voice can be alternated between a smoky timbre and a clearer one depending on choice. The chest voice is strongest and most resonate in its lower half (from a B4 to a C5) but is capable of extending up to a G5 where it becomes brighter, and lighter but with noticeably less resonance. Finally, the head voice is pure and rounded, sounding easily accessible and connected to the range as a whole.
Vocal Negatives: Control of low notes is shaky and sometimes higher belted notes are reached without mixing, leading to a harsher tone. The vibrato can also sound unwieldy at times.
Range Vocal Type: Mezzo- Soprano Vocal Range: 4 octaves. C3- C7 Whistle Register:Yes Longest Note: 20 seconds - â&#x20AC;&#x2DC;At lastâ&#x20AC;&#x2122; (live) Vocal Pluses: Christina Aguilera has a very nimble and dexterous voice that allows for incredible vocal runs and for her to able to jump between the different parts of her range with ease. Also has the stamina to hold notes for extended periods of time, with or without vibrato. The midrange is heavy and thick- more so in recent years- and it is where the voice is most comfortable. The texture of her voice, particularly her belted notes, is unique with a coarse, throaty edge to it when sung without mixing. This texture can be eliminated, producing a smoother tone, when the voice is mixed effectively but the sound produced is lighter and less resonate. The head voice can be either bright and piercing or delicate and airy, depending on what is called for artistically.
Vocal Negatives: The higher, coarser chest notes- above a C5- tends to be forced, pulled and unhealthy. Though it should be noted many fans site the sound produced as a plus to her voice, despite it being achieved via questionable vocal means. Although able to sing in the whistle register the notes produced tend be laboured and require a vocal run to access.
Barbra Streisand Vocal Type: Mezzo soprano Vocal Range: 3 octaves D3- D6 (notes in the video from the 2nd octave sound an octave above to me) Vocal Pluses: Brilliant technique that allows her excellent control over her instrument, meaning notes can be
hit and held with pinpoint accuracy with little pitch shift.
Her tone is malleable, being soft and sweet one moment and solid and crystal clear the next. She can also apply a unique narrow vibrato to dramatic effect. Her phrasing and her delivery is expressive and well thought out, and as such she has developed a vocal style that is wholly individual. Vocal Negatives:Can become nasal at times- less so as she has aged and her voice deepened.
Cher Vocal Type: Contralto Vocal Range: 3 octaves 2 notes and a semitone. C#3- F6 Vocal Pluses: Solid contralto voice,even in the higher octaves,with a dark,smoky tone,a soulful colouring and a range that is brilliantly connected. Cher has the vocal stamina to hold notes for extended periods of time, with or without the use of her a natural and easy vibrato. A vibrato that is predominately quick, but capable of being modified to make wider if desired. Cherâ&#x20AC;&#x2122;s belting technique is great, being well supported and mixed effectively. This makes it not only easier for her to reach higher fifth octave notes but it helps retain the fullness that is present in her lower range. For someone widely known for her low voice, Cherâ&#x20AC;&#x2122;s head voice is surprisingly robust, being bright and clear, with a weight to it.
Vocal Negatives: The heaviness of the voice makes it difficult to be flexible in its ornamentation melodies.
By Megan Smith
Spicy Foods: The Voice Changer?
By NANA O. YEBOAH
Spicy foods can make acid reflux worse, and people who have hoarseness from acid reflux are usually advised to avoid spicy foods, according to the American Academy of Otolaryngology.
You can now let out a slight sigh of relief because your beloved spicy food does not directly alter your golden voice. However, the downside is that spicy foods can cause acid reflux or coughing. . Spicy food interferes with the qualities of your voice that result from the movement of air across the vocal folds aka, the vocal cords. When you speak or sing, the vocal cords come together and work with the air in your lungs. Any kind of irritation with that air such as the coughing and acid reflux that may come with spicy food can cause hoarseness.
Acid reflux is an extremely painful process that occurs with a weakened sphincter which causes improper digestion. The acidity of delectable food, and spicy food is one of them, can cause the acid to come up from your stomach into your esophagus and, possibly into the back of your throat. The problem is that this process is very irritating to your vocal cords because it is quite sensitive to acid.
According to the Livestrong organization, hoarseness is most likely to be caused by laryngitis, or swelling of the vocal folds, from an infection or voice strain. Hoarseness may also result from overuse of the voice, lesions on the vocal folds or â&#x20AC;&#x201C; rarely â&#x20AC;&#x201C; bleeding into the vocal cords from the rupture of a blood vessel. Smoking and allergies may also cause hoarseness, but a common cause of this voice alteration is stomach acid reflux.
The good news is, acid reflux can actually be treated with various over-the-counter medication. However, in severe cases, sometimes a trip to your nearest pharmacy is not enough and you have to go to a doctor. At the end of the day, no one is saying that you can no longer enjoy the foods you love, in moderation, but you have to be aware of the possible consequences.
The Vocalist Magazine 74
How to Fix a Dry Throat | eHow.com
Christa Miller is a writing professional with expertise in massage therapy and health. Read more: http://www.livestrong.com/
Vocal Cord Surgery: The Diet Aftermath
By Megan Smith By NANA O. YEBOAH
he vocal cord is an integral instrument to a vocalist; without vocal health, dreams of becoming as successful as Mariah Carey are impossible. Vocal cord surgeries have gained prominence lately because great voices such as Adele, Steven Tyler, Lionel Richie, Julie Andrews, and Bjork have undergone treatment. According to Massachusetts General Hospital, where some of the performers mentioned were treated, voice care is crucial for all individuals, not just vocalists. Voice issues are not only reserved for singers, coaches, TV hosts or other vocal athletes. Voice issues can be a problem for any person who uses his or her voice on a regular basis such as parents, educators, politicians, executives, and managers. That could mean anyone could suffer from similar voice problems and yet the voice is taken for granted on a daily basis without necessarily realizing it. Losing oneâ&#x20AC;&#x2122;s primary form of communication can be devastating. It can be more devastating to not know where to go or who to turn to for information. After surgery, the healing process can be exceedingly trying but with the use of a strict and proper diet, recovery is definitively within reach. Georgetown University Hospital suggests that, right after surgery, a person should be well hydrated with fluids that will keep urine light yellow or clear in colour, such as water and sport drinks. If, for any rea-
son, you have issues drinking the liquids suggested, attempt thicker fluids that have more of a puddinglike consistency, such as shakes, cream soups, and nectars. Once you have the clear liquid meals under control, the Osborne Head & Neck Institute of California suggests that you progress to soft foods such as, pureed vegetables, ice cream, mashed potatoes and even mac & cheese. Increase your intake of the suggested liquids and soft foods with extreme caution and as tolerated. You basically need to be cognoscente of what you are putting into your mouth at this critical time. The good news is that, if all goes well, you should be able to resume your normal eating habits within days of the procedure, pending any strong recommendations from your surgeon of course. You still must remain active in your own health care by paying special attention to any possible side effects of vocal cord problems. Issues stemming from chronic acid reflux, stomach acid, gastric reflux symptoms such as heart burn and indigestion, which can cause further damage when you should be healing. Your doctor may suggest antacid medications and avoiding certain foods you may love, like citrus fruits, caffeine, alcohol, chocolate, fatty foods, mint, spicy foods and tomato-based foods.
Has Adele Been A Bad Girl?
She used to smoke. She has bad talking habits. Is Adele responsible for wrecking her own voice?
To an artist like Adele, whose voice and lyrics expresses so much raw emotion, the thought of having to hold back and sing cautiously in a concert must be repulsive. Also, having to cancel a concert because of a measly cold or sore throat can make a singer feel like a wimpy, self-absorbed fool.
One thing is for sure: blaming the singer with aloof accusations can ignore the big picture. Adele Adkins is, after all, a gifted and driven young artist who is paying a price for her high performance standards and a relentless schedule. Even with perfect training and health, it’s a lot to ask of your vocal folds to resonate with power and emotion all evening long, night after night. Like a professional athlete, a touring singer is asking her body to function at the threshold of its capabilities.
Another reason singers are not more careful when they are sick is because they’ve gotten away with it before. “When you are young,” says singing teacher Noreen Smith, “you can get away will all sorts of unbalanced vocalized sounds and your body will bounce back.” It could have been all of these reasons that contributed to Adele ignoring warning signals, piling symptoms upon symptoms and, finally, having to totally shut things down for a time.
A Challenge for All Singers
Clearly the way ahead is a combination of vocal rest and the development of good technique – but sometimes this can only be learned through the fire of life. Maybe we have to be ‘bad’ before we can learn to be ‘good’ – it’s just the way life works.
To survive under these circumstances, a singer must dedicate themselves to health and training, just like an athlete. The problem is, many singers don’t think about vocal health until, like Adele, their voice shuts off with a vocal fold haemorrhage. “Adele’s fans experience a deep kind of nourishment at her concerts,” says Speech Pathologist Joanna Cazden. “She, in turn, feels a bond with her audience during a show, which makes it horribly tempting to sacrifice herself, give more and more, ignoring the feeling that her voice isn’t working right.”
Some Lessons for All of Us
When you mix illness with a non-stop performance schedule, you get a wrecked voice. Yet there are techniques that can help Adele – and all of us singers cope with the stresses. Think, for example, of Adele’s sassy speaking voice. “One very common problem for singers is to be careless about how they talk,” says Cazden. “With interviews and so on, the offstage persona can seem just as important to maintain, so the vocal cords may be getting bruised and used-up from morning to night, not just during the music.” She says singers can weather more high-pressure singing if they use a balanced, resonant sound when chatting off stage and over coffee. This is why I’m going to think more about my voice use on – and off – stage.
Adele’s on-line apology to her fans describes several times when she performed despite being sick or when her voice did not feel right. “The vocal cords are extra-vulnerable to injury during that time,” says Cazden. To get an acceptable sound on swollen equipment, a singer has to push the voice, compromising their technique.
Why Didn’t She Hold Back? 78
Thanks for permission to reprint from VoiceCouncil Magazine (www.voicecouncil.com)
â&#x20AC;&#x153;One very common problem for singers is to be careless about how they talk,â&#x20AC;?
Thanks for permission to reprint from Thanks for permission to reprint from VoiceCouncil Magazine - www.voicecouncil.com he ocalist agazine Magazine - www.voicecouncil.com VoiceCouncil
Maxwellâ&#x20AC;&#x2122;s Vocal Challenge
By Megan Smith
Thanks for permission to reprint from VoiceCouncil Magazine - www.voicecouncil.com
Vocal hemorrhaging results when further stress causes blood vessels within the vocal cords to rupture and bleed, resulting in a vocal cord hemorrhage.
R&B singer Maxwell has been renowned since the early 1990s for his smooth and soulful vocal delivery, crooning out such Grammy Award-nominated tunes as “Pretty Wings,” “Love You,” “Lifetime,” “Matrimony: Maybe You,” “Fortunate” and “Whenever, Wherever, Whatever.” After completing several follow-up albums and taking an eight-year hiatus, Maxwell re-emerged with the platinum-selling “BLACKsummer’snight”. In 2012, the singer announced that he and his 11-piece band would embark on a six-day tour dubbed, “MaxwellTwoNight – M2N tour 2012.” It would include two nights in three cities – scheduled for Los Angeles, Atlanta and Newark – and would feature Maxwell’s discography in its entirety. But the tour was canceled.
In addition to vocal swelling and hemorrhaging, Maxwell was also said to be suffering from vocal cord edema – also known as Reinke’s edema. This is the bilateral swelling of the vocal folds as the result of fluid collection, creating an uneven, sac-like appearance. Singers with this condition typically have lowpitched, husky voices, using false vocal cords – either of the upper two vocal cords that are not involved in vocalization – for voice production. A biopsy of the vocal cord frequently helps diagnose it.
Case: Maxwell Common causes of Reinke’s Diagnosis: Vocal swelling Maxwell was forced to put the edema include smoking, gastroand hemorrhaging brakes on the six-concert stint after esophageal reflux, hormonal changes
A Vocal Challenge
developing vocal swelling and hemorrhaging. A statement posted to the singer’s website said doctors advised him to engage in complete vocal rest and undergo treatment for vocal cord edema and a vocal cord hemorrhage. “I know this sucks, but after many months of recording, I’ve temporarily damaged my voice,” Maxwell said in the statement. “I’ve had issues before during other tours but was able to power through.” According to doctors, “powering through” might have lead to more vocal problems for the singer.
and chronic voice abuse.
How do you recover from it?
According to Henry Hoffman, M.D., of the University of Iowa who has studied Reinke’s edema in depth, the first course of treatment is to remove the source of the irritant. This can be effective if done soon after development of the edema. Surgery is also an option and can result in some restoration of the voice but is ineffective in complete restoration to its original state –though surgical advances are being made involving robotics, limited access surgery and localized implants Hoffman said. Speech therapy is typically offered after the procedure for proper voice production.
What is vocal hemorrhaging and vocal cord edema? Vocal swelling occurs as a result of prolonged irritation, stress, fatigue, over use or over singing, causing the vocal cords to become inflamed and swollen.
OTTAWA BLUES FESTIVAL Event Coordinator Mark Gordon By KALIKA HASTINGS
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acted in a positive way every time they ordinator, I handle the negotiations, find Also, making sure that the local media are doing and get the artists on TV the lways make sure that we get local partand sponsors. I have a team of about five Arts Team. We have been able to get it now.
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the event that you are going to perform o the audience and also to the sponsors garner a crowd that sizeable and work m given. So I have to choose an artist that good thing is that I can put on multiple n to my local city, so I’ll put in an Ottawa ve an obligation to put in Canadian gos-
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Credit Image - http://www.metropolitaine.fr
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Pitching Festival Submissions: How to Get Booked at Music Festivals (Part Two) by Darren Gallop
Here are the information fields you want to enter for each lead:
OK, so lets say that you have all of the tools ready to go from part one of this series. Now it’s time to start pitching and getting booked for those festival shows. Remember, you are a sales person now! Whether you are a DIY artist, a manager or an agent, all of these jobs are about sales. The product is the band’s live performance and the potential clients are the festivals.
• • • • • • • •
Here are the 8 steps to getting booked in those festival slots: Track the Festivals you want to Book
This is where I recommend the use of a CRM or, if you are a marcatomusician.com user, you can use Marcato’s calendar, contacts manager and tasks to take charge of your festival booking mission. At the very minimum you can use an app like Address Book/Contacts on your Mac or Microsoft Outlook. In the sales world, a ‘lead’ is a potential customer or client. Your leads are festivals that you want your band to play.
Festival Name Festival Date Submission Deadline Submission links and process Key contacts at the festival Festival Website Twitter Handle Facebook URL
While you are entering this data make sure to follow the festival on Twitter and like them on Facebook. There are several sites online that have lists of festivals by genre or region. Another good way to find festivals is to look at future and past performance listings from similar artists that are where you are now or within a few career steps ahead of you. If you are a new artist you may not want to look at the agenda of platinum selling artists for ideas on where you can play. As you are entering festival data, make sure that you create categories, tags or folders so that you can organize festivals by region, size and attainability.
Credit Image - Festival de Jazz Montreal
Make a Festival Submission Timeline
scope of the festival? • Will the artist contribute to ticket sales? • Does the artist have a current recording or something on the horizon? • Does the artist have any buzz (i.e. articles in significant press)? • Are there other reputable festivals that are booking the artist or have booked the artist?
This is really simple. In your CRM, artist management software, or calendar, enter all of the submission dates for all of the priority festivals to which you want to submit. Some festivals require you to pay to submit. You want to be careful here to make sure that if you are paying to submit that you are hitting festivals where you have a decent chance of being selected. You can certainly be less selective with festivals who do not charge submission fees as the only cost is your time, unless they request physical submissioms.
Prepare Your Festival Submissions
Be careful, take your time, read everything and do as much research as you can about the submission. Provide the festival’s programming team with exactly what they are asking for. Double and triple check everything. It is amazing how often people do not include everything that is requested in the submission process. This is almost guaranteed to blow your chances of getting booked at the festival.
Make sure you use reminders in your calendar and set these reminders to notify you at least a week before the deadline as well as 24 hours before the deadline. Missing a deadline for an important submission is a bad feeling and when there is a lot going on it’s easy to do if you are not organized.
If you feel that the submission process does not give a lot of information about what you need to submit, it doesn’t hurt to email the festival and ask them any questions you have. DO NOT MAKE THIS A PITCH! Just ask questions about what they are looking for at their festival this year. What kind of music? What sort of content?
Rate Your Chances of Getting Booked
Evaluate your chances of success getting booked for each festival in your priority leads database. Here are some of the key things that are going to be decision factors for festivals: • Is the music at a calibre that is suitable for the festival? • Is the genre and style of the music within the
NOTE: Some festivals specifically ask on their submission page for artists not to email them. I would recommend not emailing these festivals as this is obviously something they are not interested in. Depending on how the festival accepts submissions, you should receive some form of confirmation that they have received your submission. If you do not receive a confirmation message, you might want to send a friendly email asking if they can confirm receipt of your submission. Being prepared and submitting well before the deadline is a good way to ensure that you’re still considered in the off chance your original submission isn’t received. Show ‘em the Love
Assuming that you have your social pages set up and active, it doesn’t hurt to show some love to the festivals where you want to get booked. For example, you can tweet “Just submitted to @marcatofestival. You can even tweet before you submit, for example: “Looking for help to decide which track to include on our submission to @marcatofestival“. You may even get some feedback from the festival. This twitter activity shows the festival that you are active with your social media, and are likely going to promote the event to your fan-base if you get the slot.
don’t. However, if they don’t specify, it doesn’t hurt to email them to let them know of something relevant that is going on in your career. Maybe your song is charting on college radio in their town, or you were recently nominated for some awards or invited to play some other festivals. You can also use twitter as a means to get this information into their hands. I do not recommend emailing persistently asking them if they have decided yet. This will probably draw attention to your submission, but not the kind of attention you want. I have done this in my early days and have gotten the “please stop emailing us” response. You don’t want to drive people to that point. It does not help them like you.
Networking and Showcasing
There are many regional, national and international music industry conferences and festivals all over the world that provide opportunities for showcasing artists to get in front of festival buyers. I highly recommend taking advantage of these opportunities. You’ll probably want to make a list of these in your CRM or Address Book under the tag or category Showcase Events.
Remember, your festival performance career takes years to develop. Each festival you land increases your chances to be booked by more festivals. So, although Bonaroo is not in the year 1 plan, if you persistently keep building your career and playing more and more Marcato Musician CEO Darren Gallop Leverage your Relafestivals you may get there by year tionships and Con3 or 4. Keep building your profile, improving your tacts music and growing your network and following the Once you have your list of priority festivals, walk above steps and you are guaranteed to see improvethrough the list with your team to see if you have ments. anyone in your network that can help you get noticed. Maybe someone you work with knows someone in the festival and can fire off a recommendation to their contact there. Ask a few of the closer folks in For More on Darren Gallop CEO of your extended network. Maybe there is a sound guy Marcato Festival that mixes you from time to time that also works at www.marcatodigital.com this festival and wouldn’t mind dropping a CD and or a recommendation to a decision maker. Having someone who can grab the attention of the festi- Sales Inquiries val team can draw some additional consideration to firstname.lastname@example.org your band. When there are 2000 submissions, a sol- (902) 539-9517 ext. 1 id recommendation from someone they know and trust can have a huge affect.
Follow-up Without Being a Pest
If the festival asks specifically to not email them,
Email: email@example.com (902) 539-9517 ext. 2
Do you ofte how exact an overnig A. William such thing Vocal artis ney, speci Williams e the formu and finally
By KALIKA HASTINGS - Cred 90
en find yourself wondering tly Beyoncé became such ght success? Well, Jo-Na ms will tell you, there is no g as an overnight success. st turned successful attorializing in entertainment, empowers her clients with ula for achieving success y realizing their dreams.
dit Images (Jo-Na Williams) 91
TVM: Tell us about yourself, and how long have you been practicing? I am an entertainment and business attorney, and I’m also a business coach for musicians. My life in the entertainment industry has been about 15 or so years, however I opened my practice in 2011. I was working for an entertainment litigation firm and I decided that it wasn’t the way that I necessarily wanted to practice law. I was much more interested in helping artists and musicians understand what they need to do from a legal perspective. In terms of what they need to do to protect themselves, how to create long term successful careers, understand the musical landscape in the current music model (the way that it is now). Because it’s a much different model than the years prior- with the information age and the disintegrating of the music industry. I decided that my real passion was helping musicians and artists understand how it is that they need to successfully navigate the current industry from a legal standpoint and also from a business standpoint. TVM: What are the key responsibilities of an entertainment lawyer? I review contracts, I draft them, I do business registrations, (helping them secure their business with a business entity), and I do a lot of advising. So that’s something different than most entertainment lawyers. I have strategy lessons with my clients as well, They are called Blueprint sessions. I will sit with a client for an hour and map out what their business plan and legal foundation needs to be based on what they currently have and what they need to have in order to create a monetary gain for themselves and advance their careers and keep their wealth protected. I do this because of my deep commitment to artists who are kinda doing this on their own and their wanting to know what it is that they need to do, or artists who are already established but they’ve had some run-ins or legal issues and they didn’t get proper advising or something like that. TVM: Who are some of the clients you have represented over the years? I can only speak about the ones that are currently on my site, because I can’t reveal the identity of anybody who hasn’t allowed me to. But I’ve worked with Celia Faussart of Les Nubians.... and I’ve worked with a couple of larger names but I can’t reveal their identity. And quite a few indie musicians- I’ve worked with people that do alternative
NUBIANS rock, jazz, soul and r&b. A current star that is just coming up now her name is Honey Larochelle, she is the protege of Roberta Flack, I’ve worked with her. Also from a business coaching perspective, I’ve worked with artists all over the world. I’ve worked with artists in Italy, Australia, Czech Republic and London. TVM: To potentially become a client of your firm, what do you look for in an artist? There’s quite a bit that I look for in an artist. Mainly I look for someone with a can-do attitude and a no-excuses approach to life. Those are two very important things for me to even consider taking you on, because the way that the music industry works now- there’s so many opportunities in the industry right now because of the fact that there hasn’t been one successful model that is implemented across the board. So there’s an opportunity for you to make your own way and create your own path, but what that also means is you have to eradicate the mentality that some big company is going to come and sign you as an artist. You should look at this as an opportunity for you to create your own path. I also look for people who are passionate about what they do, this is the most important fact in the music industry, because there’s a lot of hits your going to take. That is what is going to help you continue on this path even when the road is rocky. TVM: What is the most challenging part of your job? Umm... (pauses). I’m trying to think of what’s the political answer and what’s the ‘real deal answer’ (laughs).
I’m wondering if I am gonna be fluffy on this one or am I gonna keep it real... I would say the most challenging part of my job is dealing with people in the industry who have been in it for a long time and have a really jaded view of what has happened. Some of my colleagues have seen the collapse of the industry and they kind of have their blinders on in terms of what’s possible. But for me I don’t have those. I have an opportunity not an obstacle. For me, jumping into the unknown is what creates a fantastic opportunity for innovation. Dealing with the artists is not a challenge for me, especially because I was an artist so I get their brains (laughs). TVM: What factors should an artist consider when deciding whether to work with an attorney? I would say what they need to understand is that: you need to have legal council on your team, it is a necessity not an option. That’s the most important thing that artists need to understand because they try to do a lot of things on their own but they are not trained to understand legal language. I am (laughs)! You need to have someone on your side that can decipher these things for you. I’ve seen so many artists get into trouble that they really could have avoided. One word could have changed the entire trajectory of that deal. But they don’t understand that because they don’t speak that language and it’s ok. Attorneys don’t speak music language and artists don’t speak lawthat’s why you need each other. Also get somebody who knows entertainment law, because you can’t just have your family real estate lawyer look at a movie contract. Have a trained entertainment or music at-
Jo-Na A. Williams’ Blueprint: Some Food For Thought - On Your Way To The Top (By Nana O. Yeboah)
4 Essentials to Be a Star:
Vision, Dedication, Opportunity and Business Savvy Vision You must possess a clear vision of what you want and how you are going to make your dreams a reality. Williams believes that “it puts you in line with what you want and creates the connection between your desires and the steps you will take to achieve them.”
You have to keep learning and perfecting your craft in order to shine amongst a sea of equally talented people; you have to acquire a strong work ethic. Remember, if it is important to you, you will find the time to do it.
You have to step out of your comfort zone and take pride in your talent and share it! The eventual goal is probably worldwide domination, but Williams suggests starting small within your community. Begin to build a following where you live.
Protect yourself and your work by learning the law inside and out. Remember, there are people who actually go to school for years to learn the law, they are called lawyers. Hire one! Knowledge is power people, educate yourselves. At its core, Williams’ Blueprint acts as a guide and testament to the reality that nothing good in life is gained without believing in yourself, hard work, not being afraid to hear ‘no’, and having an understanding of the business that you long to become a part of. Williams provides you with the tools and it is now up to you to empower yourself and make it happen. For Further information on Jo-Na A. Williams Law, please check out her official website www.jawilliamslaw.com
torney who understands the industry because they will know what is standard and what is odd in the contract. TVM: Are there any other legal guidelines that you would recommend to an artist? Copyright your work. That’s pretty basic but make sure that you do that because the internet is one of those places that can be a friend or a foe when it comes to protecting your work and putting your work out there. You want to be able to have the freedom to put your work out on a larger scale and the only way you can do that is if you feel it is protected. It’s meant to be shared but shared under the guidelines of having it protected. Also, from the other perspective of being an entrepreneur in the music industry, you should definitely have a business coach or adviser. You need a guide that is going to help you along the way. Oprah has a business coach, I have a business coach. You have the product, but you also need someone who understands the business and marketing side. It’s also important to set up a business entity so that you can keep your personal expenses and the expenses of your company separate. It will protect you from personal liability if something happens. When you have a business entity, your company is entering contracts with people, not you personally (keep in mind this is sometimes not the case but it is important to have it rather than not). I’m not really sure how it works in Canada, but that’s how it is here in the United States. TVM: You mentioned before about the need to copyright your work as an artist, who holds the copyright license to a song? The artist, composer, record company, publisher, or all four? It depends on what it is that you have arranged and what is happening with the song itself. If you are an artist that created it all yourself then it would be you, but if you worked with a composer or a band- it depends. That’s not something that you can answer for every single artist because it’s different per song. I have some artists who create the lyrics and they need somebody to create the music, so it just depends. When you get to that place of having a finished product, you need to look at all of those pieces and figure out who did what. As far as publishing is concerned, musicians can be their own publishers or they can have larger publishers it just depends on what your situation is. I have artists that I currently work with that are registered with one of the performing rights organizations as a writer and publisher
of their own work so they get both sets of royalties in that sense. TVM: Who is responsible for making sure that the artist is receiving all royalties due on for the work they created? In the United States, the performing rights organizations are the ones that collect the royalties on behalf of the artists so that is: BMI, Ascap and Sesac. It is very important that you register so that you do get those royalties. Also you need to get your digital royalties as well- that organization is soundexchange.com (in the U.S.). They collect the digital royalties for internet streaming. They have over 100 million dollars that they need to distribute to artists that haven’t registered! They are designated by the government to collect those royalties. TVM: What are the most common mistakes and misconceptions musicians have when it comes to dealing with contracts? I don’t think that there are many misconceptions outside of thinking that they can do it on their own. I see a lot of artists thinking the music is just gonna speak for itself. Right now you need to understand how to market and brand yourself, and network and build your audience. All of these things are a part of being a musician right now. TVM: How legal and practical is mailing yourself a sealed envelope with a copy of your original work? It’s not. I do not recommend any artists doing that. In U.S. copyright law, if your work is in a fixed tangible form then technically it is copyrighted. But the courts have ruled that mailing things to yourself is not a viable way to establish the fact that you have a copyright. You need to register your work with the U.S. copyright office. Keep your stuff protected. It costs like 35 bucks, you could register your whole CD for 35 bucks. It’s better to do that then to look up and one day you find out that somebody is infringing on your work and you have no real way to prove that. TVM: Do you accept unsolicited material? If so, what factors do you consider when listening to submissions of this kind? I don’t take submissions because I don’t shop artist’s work. When attorneys do that, they are the one who take submissions. I personally only work with artists who have some legal issue that is coming up for them or they need help with their business registration or a contract drafted. And on the business coaching side of my company, I help artists get momentum in their career and hone their skills as being an entrepreneur in the music industry. So if you come to me and you want services, it has to be within that legal terrain or you’re interested in having a coach guide you along your career. TVM: How can our readers find out more about you? I’m all over the inter-webs (laughs).
Legal Disclaimer: This article is for information purposes only. It does NOT replace the advice administered by a licensed attorney in YOUR state based on your specific situation. Jo-Na Williams is an attorney in the United States licensed to practice law in the State of New York only.
A PERSONAL TRAINER FOR THE STARS
BY KALIKA HASTINGS
unnar Peterson is a world-renowned fitness expert and personal trainer, responsible for some of the best physiques in celeb-land including Halle Berry, Jennifer Lopez and Kim Kardashian, just to name a few. Peterson is not your typical trainer, clueless about the difficulties of being overweight; he has overcome his own battle with the bulge in his younger days. He is knowledgeable about weight and the necessity for vocalists (all people included) to maintain healthy lifestyles with proper diets and exercise. Particularly as a vocalist, there is no question that proper breathing techniques are critical. But how can you achieve this without the physical stamina? 97
TVM: What sparked your interest in training and how did you get started as a personal trainer and lifestyle coach? I was a fat kid. That’s how it sparked my interest. I mean I always did a lot of sports I just never made the correlation between eating. I wasn’t a good eater. I was a kid left to my devices. I was always active. It was when I started to put the correlation betweenworking out and controlling the weight- and I can curb the eating a little, it all just happened. And then my friends saw that I was in the gym all the time and they would ask me questions and they would want help. I was reading about everything. Anything that I could find, I would read about. One day a guy asked me to train him. I actually thought he wanted to work out with me, but he meant to train him. And so I did. I sort of put my toe in the water. TVM: In a Youtube video, where you are training Sylvester Stallone for the Expendables movie, you say “This is one of the few things in life that is completely fair, if you give it all, then you will get everything back”. How do you convince your clients of this, how can you help people to understand this? Umm... I don’t know that I can convince them of that. But I believe it, and I’ve seen it with myself. I actually discuss this with my kids all the time- that it’s the only thing that whatever you give, it’s gonna give you right back. So if you are 100% in the gym, you know your body can be 100%. Maybe not just towards working out, but towards all things health, if you give everything 100% you can have that health. Obviously if you have some kind of genetic disease or if you unfortunately get cancer, I’m not saying that. If you make good choices you can definitely avoid a lot of those things. TVM: What are some of your key workout tips for vocalists looking to get in shape fast? Start. I mean that’s the best one. For a lot of people, if their fitness history were a book, it would have a giant preface and would be a very short book. There’s so much lead up, and preamble and prep and shop, needing to buy the right stuff and have the equipment- it’s like ‘Dude get it done by now, what are you doing?’ I’m not saying it’s not that complicated obviously you’re putting something into your already scheduled schedule. You just have to decide, if it is your priority. I have a guy right now, honestly he’s
said ‘I’m so dialed in right now’ more times then he’s worked out with me. How much of a priority are you making it? You have to put it ahead and above everything. TVM: And what is the importance of functional training? I’m maybe one of the few who will cop to saying that I think aesthetics are a big motivator for a lot of people. A lot of people don’t want to say that because it comes across as narcissistic but at the end of the day we are a very visual society. It is hitting you before you even know it’s hitting you- in print, television, on your phone, computer, in magazines. People judge and they do look. I have to stop even my kids sometimes when they say something about someone physically I go ‘Hey hey you can’t do that- I mean I get it but that doesn’t mean anything about the person, let’s not look at it like that’. So I think that’s a big factor. But other than that, what you do in the gym should serve everything you do outside the gym. So if you have a brand new baby that you are picking up, putting down, putting on the changing table, your down on your hands and knees you should do things from a stamina standpoint to help you keep up, and from a movement pattern standpoint to answer that bell. Men shouldn’t just be doing curls and bench press and a woman shouldn’t just be doing lunges and kickbacks or running. Depending on who you are, I mean there’s anywhere between 650-850 muscles in the body and you gotta train as many of them as you can. TVM: What are the most exciting and most challenging aspects of your profession? Challenging is scheduling, far and away! It’s an ongoing process, it’s always shape shifting. If the people shape-shifted as much as the schedule shape-shifted you would be a very successful trainer (laughs). TVM: How many people are you training in a day? And do you have personal objectives for each person? I see seven, eight or nine people everyday. I write a workout for every person everyday based on a number of different criteria. Not just what they want but what they need and what I think they want.
TVM: And the most exciting part of your profession? The most exciting is watching the people get it. Watching somebody go ‘We went to London and our hotel gym was being renovated so we moved hotels, it was so great the gym was great, we did our workouts everyday’ And I’m like ‘Wow! You drank the Koolaid that’s awesome’ I love that. TVM: Tell us about some of the vocalists/athletes you have worked with and any memorable experiences. Every single day. I don’t know I mean I have them daily. I had a guy in today, major movie star who’s prepping for a movie right now and he was talking to me about the director and he said ‘If I were doing the movie, I would flip the story, instead of the guy supporting the woman in it, I would have the woman being the one
who is a little older and she supports the guy as he is up and coming.’ And I go ‘yeah and you could use a younger guy like this...’ And he goes that’s a perfect idea. So I said why don’t they look at the project like this and he says’ I don’t know that’s just me and you doing this in the gym and I go ‘no no no, that’s you doing this in the gym I just casted the guy’. To sit there and think that you are talking to a guy who has done 100 films and he’s an international star, I don’t know, those are fun moments to me. It’s fun to just see how the mind and the drive of very successful people just continues to churn. I love seeing their process. And that’s outside of the training. When it comes to training, seeing the pro athletes get it and get better, I mean I love that stuff. TVM: As a vocalist, how important is cardio exercise for maintaining vocal health and proper breathing techniques? Do you have any specific workout tips for singers? It depends on what kind of singer they are, if they’re about to tour or in the studio. It depends on a number of things. But especially if they have a very physical
show, like I’ve worked with some people who have a very physical show and for them the cardio aspect is big not just the duration but intensity and the peaks and being able to hit those peaks repeatedly that’s a lot like interval training. So it’s definitely important. TVM: What are some common mistakes people make when working out? I think guys sometimes try to do too much too soon. And I think that a lot of times women have this misconception that they should drop weight before they start working on the muscle. So they wan’t to do cardio before they go to the gym. Tome that’s really sort of like saying you’re going to clean up your house before the maid comes. At the end of the day you are probably not gonna do a great job of it and it’s ultimately just going to annoy the housekeeper.
TVM: What is the difference between working with a personal trainer as opposed to exercising on your own? It depends on your level. I mean if you’re brand new to it-I would give you two analogies. If you don’t play tennis, try getting a can of balls and two rackets and going out with your friend, and tell me how fun that is after about a minute or two. It’s not dissimilar from that at the gym. It’s funny just because you’ve heard about working out or you’ve seen pictures in magazines or seen it on TV you think you can go in there and just start firing away with no game plan no knowledge of how the body is going to respond. I mean I hire trainers when I travel... TVM: Are there any key diets or training tips that you adhere to and would recommend? I love using the weights, I think women should embrace that. You won’t get big, you will only get big if you eat big. Unless you are eating the weights, your weight is not gonna go up.
Fashion & Wardrobe Stylist By Andy Fidel Credit Photos: Jordan Stolch 104
“Clothing is so much
more than just clothing.” TVM: What do you love most about being a fashion and wardrobe stylist? Jordan: I love something so much bigger than the clothing. I love the idea of creating someone’s image, cultivating that for them. Clothing is so much more than just clothing. It speaks to who that person is, especially in music. I love that through the use of clothing, you’ll be able to create that for somebody. TVM: Who influences your style? Jordan: Right now I’m so influenced by A$AP Rocky. Not necessarily in his personal style, but what he is doing and the monumental changes he did in music, fashion and street fashion. He has so much control over that. It speaks to that partnership between fashion and music. I don’t think anybody has been doing that in a while now. He is really at the top of that game and from a business prospective that is the direction that I want to be in. TVM: What is a major fashion –doand -don’t- for summer 2013? Jordan: A major –do- is mix prints. That has been done for a while, but people are really realizing it now. Don’t be afraid to mix a floral with a plaid or a stripe. If it’s in the right colour tone, it can be done really well. For me, a personal major -don’t- are sneaker wedges. They’ve been done and done and done, and we don’t need it to be anymore (laughs). In my opinion, anything that is super trendy is always a major -don’t- because it will belong to tomorrow. If we’re in a more timeless sense that speaks to our personality, but that’s not so trend specific—I think that’s more of a fashion deal. TVM: How important is style for an artist in the music industry? Jordan: Style is so important! I would give, right now, the example
of Nicki Minaj and what she’s been doing. In the April issue of Elle, she finally came to a point where she realized that she didn’t need the costume and the make-up and she didn’t need the wig. She needed a style that reflected her. One people could relate to. But that was so beautiful and still feminine and wasn’t over the top. Ever since that point, her look has been more ‘everyday’. It is still beautiful and still speaks to who she is, but not so crazy. Fans, they want to be able to dress like that artist they love and they want to feel like they can relate to them. I think that’s something we sometimes miss. TVM: So when you are styling a vocalist, does their music influence your choices? Jordan: Absolutely! Their music obviously says so much about who they are and that translates into the way they want to dress. It’s a conversation I will always have with an artist as soon as I begin working with them. ‘What do you want to look like? What message do you want to convey? Who do you think is on point right now in fashion, and who isn’t?’ When you have the answers to those questions, you’re clear on the direction you want to take somebody in. TVM: Stylistically, do you stay on the safe side or do you take risks? Jordan: It’s always important to take risks, but taking risks within an artist’s believability: something still true to who they are. We want to do something that is genuine to somebody’s personality. I try to push the boundaries to an extent, but something that somebody is still comfortable in— you believe it when you see them on the red carpet wearing that. TVM: For a singer, what are some differences between an onstage style versus a street style?
Jordan: An onstage style has to be bolder. It has to read under the lights and it has to read on television. If it’s for a concert, it has to read from hundreds of thousands of those away. So something onstage has more of a costume feel. The artists that I worked with, it will be a bit more “costumey” only because it has to translate to a big audience. Street is the time to take more of a fashion risk. TVM: What is a major fashion faux pas for an artist on stage? Jordan: I’ve seen artists try to do things that they think other artists are doing or that other people are doing, and it’s not true to who they are. That never reads too well. Fans of an artist know them better than anyone else and they can tell when something is not genuine. Sticking true to your style, to your personal style, is the most important thing. I’ve seen a lot of artists who, for example, are so influenced by Kanye West and what he has done for fashion and street style. They want to adopt it themselves even though it’s not who they are. That reads in a second. I see it out here in L.A. so much because that kind of fashion is so prevalent here. TVM: What personalities have you worked with? Jordan: I’ve worked with every kind of personality (laughs). That’s part of the game and part of the job. I think that the more high profile you are as an artist, the higher the expectations are. For me, I try to bring the same level of work ethic to somebody who has been in this industry for 10 years as somebody who nobody knows who they are. Everybody wants to look amazing and everybody wants to feel amazing. That is the end goal at the end of the day, regardless of who you are.
CHER LLOYD 108
“Find the look you like... That is true to you and re-invent it! Make it your own...” TVM: Tell us about your experience working with Pink on her Truth About Love tour? Jordan: It was a very educational experience. I loved so much working with her and working with her crew. We did not only style her, but we styled all her dancers. The work that went to that was enormous. It was crazy!—a challenge. It makes you step up and shows you what it takes to really persevere in this industry. It’s great to be around people like Pink who are so talented and who inspires you to do your job better. To become better as a stylist or whoever you are in your team. She demands that level of excellence as she should and that pushes you to always be better. TVM Do you mind sharing with our readers how that opportunity arose? Jordan: (Laughs) the creative team that I worked with on Pink, I have worked with on other jobs before. The costume designer hired me as well as two other stylists from the Shania Twain show. We’ve all worked together in the past. I think the industry is very small here. Everything is about being great at what you do, but always about being a great person. Having a great work ethic and formulating strong relationships. When somebody sees that you do have talent, they’ll be willing to bring you onto other jobs because the industry is not as large as people believe it is. TVM: About Taylor Swift at the American Music Awards, did you know right away or did it take some time to figure out what she would wear? Jordan: No, we never know right away. We did go through a few drafts (laughs). There are so many
people involved in a project like that, so many creative people. We had a general idea. And again, that look that we did for her: the white dress was very similar to stuff she’s done in the past. The black was so different! But it was still believable to who she is as an artist. It still felt real for her and that was a big part of what we wanted to convey.
for up and coming singers? Jordan: Find the look you like. Find the look that is true to you and re-invent it! Find a way to make it your own and don’t be afraid to try things. Learn from the mistakes you made when things don’t work out stylistically. But don’t let that discourage you from doing bigger things.
TVM: Let’s talk about your creative process, how did you go about selecting a wardrobe for Cher Lloyd’s music video “Oath”? Jordan: I worked with a similar creative team to Taylor Swift’s. We took that beach idea which has been done so many times in the past and found a new way to bring fashion into it. For Cher, we really pushed fashion on her. That is what makes her stand out. We did a bathing suit on her and brought it in a new direction. We brought other accessories with it. With her, we always want to be a little ahead of the style game because she is willing to take risks.
TVM: What can we look forward from you in the future? Jordan: I have been hired as Cher’s full-time stylist. I will be styling her on a day to day basis. I’m very excited for that! We are shooting her next album cover very soon as well as her large campaign she’s doing with Ne-Yo. We are taking her fashion into a direction that none of her fans will anticipate. But they will love it! I am also working with some new singers from The Voice and I have a few other artists that are not signed yet, but I’m still passionate about. I’m just trying to be around emerging talent, learn from them, and let my stylistic abilities grow with them. Hopefully, make some amazing changes in fashion.
TVM: If you could work with any celebrity, living or dead, who would it be? Jordan: Right now, it’s still A$AP Rocky because he is my biggest influence. Somebody else in the industry that I want to work with is Mickey Drexler. If I ever had the opportunity to work with somebody as amazing as that I would be so honoured! In terms of style, I’d love to work with someone like Gwen Stefani. Right now, I’m really focusing on new talent and emerging talent, and bringing that sense of fashion out of them. More so than working with somebody who’s already established their style. TVM: Do you have any style tips
TVM: Do you have any advice for stylists wanting to get where you are right now? Jordan: It’s so important to intern, to be around other people who are established and to be a sponge. Learn as much as you can. Write everything you learn down and never underestimate meeting people. It takes one person to help you through a door. If you have the drive and the dedication and the skills, they will see that in you right away and they will help you. So I think, getting yourself out there and just being around talented people is the absolute best way you could learn.
THE LOOK BOOK By ERIKA FOOTMAN
IF NO ONE SEES YOU IN THE STUDIO, DOES IT REALLY MATTER WHAT YOU WEAR? An Interview with session singer Emma Robbins. Emma is one of the country’s finest jazz and soul singers. She has been at the top of her game for a long time and has worked with such stellar names as Michael Bolton, Ricky Gervais, Michael Ball, Harry Hill, Lenny Henry, Uriah Heep, Judy Tzuke… the list goes on. You may reckonize her as one third of Sheila’s Wheels, the sequined Sixties starlets who dress in pink and promote the insurance company of the same name. She is a mother and owns her own clothing shop… so who better to ask about session singing and fashion!! I spoke to Emma Robbins on a very warm summers day in May, just before she was about to host a BBQ! Here is what she had to say. *Erika Footman is Director at iMMa Sounds, Artist, backing singer, session singer, Top-line writer and vocal coaching, - www.officiallyerika.com
EF: Are looks and style important for a studio session singer? ER: Yes, well for me it is, although its hard to speak for other people. I suppose it depends how good you are as, I don’t think anyone would complain if Aretha Franklin turned up in her pajamas for a session!! However, I sing better when I look and feel nice. When I was younger I was intimidated by other session singers looking amazing in their expensive clothes, as those were the days when session singers could make a lot of money. Although I do think it can also be damaging if you dress up too much for sessions If you make too much of an effort people may not take you seriously too, as in a case of style over substance. Sometimes if you try too hard and look too desperate for the gig, it also puts people off sometimes when you try to look like you hadn’t tried hard it works well for you. It’s a fine line!! Emma then turns to her sister and asks her opinion as she is also a session singer & actress and here is what Amy Robbins had to say, AR: In any walk of show business if you look good – people deal with you better, it’s a subliminal thing.
EF: Emma, do you think that it makes a difference to the vocal performance? ER: Well funnily enough I find that when I am not in heels I don’t sing as well as when I am wearing heels, my performance changes. I think it may be to do with my posture. Also if you have greasy hair you don’t tend to feel as good about yourself. So yes, if you dress well and feel good then you are more on the ball. EF: you perform on stage with artists as well as doing a lot of studio work, do you dress differently for each respective job? ER: Absolutely, yes for live shows I would wear more figure hugging clothes to show off the body!! In the studio I would still be smart but casual. EF: Have you always had a strong sense of style? ER: Yes growing up we were quite poor, so I never had exciting clothes, but I remember clearly my favourite dress was a Laura Ashley dress and it was the best thing ever, was kind of hippy style, I felt great in it. Another favourite piece that sticks out in my memory was when I was a singer in the 80’s I bought this stunning beautiful orange leather jacket for about £300!! I went to the Duran Duran audition in it, I didn’t get the job, but I felt amazing in it!!
studio situation you can get hot and flustered. EF: Do you have any tips for other singers for when choosing an outfit for an audition? ER: Dress for the gig, so if it’s a rock gig, wear “rocky” clothes, if it’s a “pop” gig then wear something that suits the artist. For example Katie Leone, she looks perfect for Emeli Sande’s backing singer, trendy hair, trendy clothes she looks the part, she ‘s got the voice so she got the gig. EF: Do you have any tips for other singers for when choosing an outfit for the stage? ER: You don’t want to upstage artist, black is always a safe option yet can still show off your good assets. EF: Thank you Emma for your advice and thoughts, if people want to hear more about you and see you. Where can they find you?
EF: Where do you find inspiration and help to keep your look current and up to date? ER: My d a u g h ters & my niece, who is a successful TV Actress. I always see her in great things and it inspires me to keep my wardrobe up to date. ER: I have a friend, Rita Campbell she does a lot of sessions for dance tracks and she is always dressed very unstated, yet clubby as she gets a lot of last minute calls. If you are likely to get a call like this then it is important to be ready at any given moment. EF: Do you have any tips for other singers for when choosing an outfit for a studio session? ER: Wear something to keep you cool, in a difficult
Hair Stylist Gary Chowen
By KALIKA HASTINGS
Toronto native Gary Chowen is a hairstyling prodigy who began his career at the tender age of 13. By the age of 17 he was in Los Angeles as personal Hairdresser for Cher during her critically acclaimed comedy tour with Sonny Bono. Chowen’s wizardry with the brush is responsible for the best hair in some of our favourite award shows like the Gemini and Canadian Country Music Awards. With 48 years...and counting... of experience, Kalika Hastings managed to catch up with this tenured-style guru and get the 411 on the ins and outs of the hairstyling game.
neth in New York and Alexandre in Paris. My father knew this man and he said ‘Do you want a job after school? I can get you a job.’ And I said sure, you know I was thirteen years old. In those days hairdressers were like rock stars, they had long hair, they wore fabulous clothes and they had big convertible cars and women. So one thing led to another and then when I was 17 I got a job in Los Angeles as Cher’s hairdresser. I had met the people who produced that show when I was fifteen, they came up to Toronto, we did the Andy Williams summer replacement show. So that’s how I ended up in hairdressing. I just stayed with this company in L.A. for years and years, we did shows all over the world. It was a fabulous life, I’ve worked for so many fabulous TV shows and famous people, it’s endless.
TVM: How did you become a hair stylist? And why? There used to be a salon here called Caruso’s. In the 60’s there was only three very famous hair salons in the world. There was Caruso’s here in Toronto, Ken-
TVM: Where do you get your inspiration? From the people themselves. When you work with stars, you’re surrounded by so much talent that it certainly gives you the inspiration to create for them. It is something they demand from you, I mean they are
paying you good money. That’s a very difficult question. I mean people are born with it, you are born with a talent. It’s not something you can just pick up. You can’t decide one day your gonna become a painter or an actor, it’s something within. Creative people have something within them that is just a special little thing that God said ‘And you will be creative’ (laughs). Some people count numbers for a living and some people are creative. It’s just the nature of our planet and thank God for that.
a man who worked there named Lou Phillipi, a famous Hollywood makeup artist who did the Phantom of the Opera, the Wizard of Oz (the original) and this man took me under his wing and taught me this wonderful world of creating period pieces, so I learned how to make wigswhich is essential when you work with Cher because of all the costume changes, you don’t have time after each segment of the TV show to start doing the hair, you have to have a wig ready to slap on. The hairdresser is always the last person to get the artist, they have to go to costume and then makeup so hair is the last one. The stress is on a lot in that industry.
TVM: Which artists or personalities have you worked with? Oh my God. It’s just endless. I mean I spent six years with Cher. I have a list somewhere with everybody... From Dorothy Hamiil (famous skater), Jose Feliciano (seven time grammy winner)- a dear friend of mine. Burt Reynolds, Crystal Gayle, Ethel Merman. Off the top of my head- there’s just so many people over the years.
TVM: Do you follow the trends when styling your clients? Yeah definitely you have to. You gotta look at magazines and look at the kids on the street, watch what they’re wearing I mean that’s where fashion comes from nowadays. But then again, if a woman’s in your chair and she’s 50 years old, you can’t give her something that the kid on Queen street here is wearing (laughs). There is one secret to cutting hair: cut it the way it grows and it will look just fine. When you start to try to cut hair into a shape it doesn’t grow into- you lose. It’s gonna win every time. And you’ll have a very unhappy client in your chair.
TVM: What does a career as a hair stylist typically consist of, for example tell us about your experience working as Cher’s personal hairdresser? There’s a difference between hairdressers that work in salons and hairdressers that work in television and movies. In the TV and movie business, you can get a call at 2:00 AM from a producer saying ‘Hey we need a a wig from the 1930’s or a 17th C Renaissance period wig when you come in at eight in the morning.’ So you better have it available because time is money. Most people who work in the movie industry can’t cut hair, because they are basically just creating a look, getting the person camera ready. And people working in a salon can’t really do period pieces and all that so I was fortunate enough to have learned both. To this day I have a very successful hair salon here in Toronto in Yorkville. But I was very fortunate when I was young, I mean I went to work for Cher on the Sonny and Cher show when I was only seventeen years old, she was about nineteen I think. There was
TVM: What advice would you give aspiring hair stylists in terms of working with celebrities? Well first of all, it’s a very difficult market to crack. They don’t shoot as many shows as they used to in Canada. It’s a luck thing, you have to be at the right place at the right time and you have to have connections. And you get that through networking. You can tell production com panies that you;d come in and do their news people for free in the mornings or whatever to get your foot in the door.
‘Cuz there’s so many people who want to work with stars- but it’s not gonna happen. It’s one in a million. The business has changed so much, it’s hard to get into it. I would recommend to hairdressers: learn your craft and work in a salon. I was so fortunate, I had a job that thousands of hairdressers would want to do. TVM: What do you love about being a stylist? Meeting the people. There’s no doubt about it. I mean you meet people from all walks of life. You know if you need a great lawyer, they might be sitting in your chair. There’s just a great array of people that come to see you. I mean I have psychiatrists that come to see me for advise. As I tell people ‘I’m really not a hairdresser I’m a hairapist, because I’m there to give you hairapy’. I tell them sometimes the hair cutting is just something for me to do to occupy my time with something while I straighten your life out. I mean the stories and the stuff that you hear and see! I mean you just gotta ask yourself how do you people live (laughs)?! I mean I’ve been doing it for 48 years now, and I still got my sanity. Some people you just cant please them. I tell my clients ‘look I’ve got two hands, a pair of scissors and a comb. It’s a comb- not a magic wand people. You want a miracle? Go to church don’t bother me(laughs).’ TVM: How important is a stylist for an artist and how soon should an artist seek one? In the beginning if you’re trying to launch yourself as an artist, you want to try and get a certain look so it’s best to seek out a professional hairdresser and a wardrobe person. I have a girl now that I’m transforming I mean she could be the next Carol Brunnette, she sings, she dances, she acts. Through connections, I can get her to managers and people in the industry. So right now we are just transforming her look. So I think in the beginning you need to seek out professionals. I mean you can always alter your look along the way. If you’re a rock star, you need a rockish haircut, if you’re a classical singer, keep it simple. Nowadays the look is very important, because Autocorrect can easily fix your voice!
accomplish in your career? Yes! My book. I am half way through it and I am calling it Hairapy (chuckles). Cuz there’s just so many stories to tell about the people I’ve worked with and the experiences I’ve had in life. So that’s what people can expect from me. For years people have been pressuring me ‘You have to write a book of your stories’ Everything from spending evenings with Salvador Dali, I’ve been flown to Fiji to do a haircut on a private island and two weeks after I was there we totally forgot about the haircut and never got around to it until the day I was leaving for the airport. These people spent a lot of money to bring me to this island and they said ‘You know we haven’t got our haircut yet!’ and I said ‘Oh...’ so we ran down to the beach and they jumped in the water and I cut their hair and left for the airport and came home. So yeah, I got some stories for the book.
How To Style a Half UpDo Hair Tutorial “Old Hollywood Glamour” By Beauty Blogspot 1 - Using a large-barrel curling iron, create loose curls around your head from your ears down. 2 - Part your hair in the middle. Use your fingers to separate and loosen the curls. 3 - Starting halfway down the part, begin spritzing your roots with hairspray. Continue to the crown.
4 - Tease the sprayed hair with a fine-tooth comb, to create height and volume. TVM: Give your top 5 styling tips/products for aspiring artists? I do a television show here with hair products, and I’m changing all the time. I mean I work with them and I go into a store and I’m confused! I don’t know how in the hell normal people buy products (laughs). I mean what works on one person doesn’t work on the other. It’s trial and tribulation. If it doesn’t work throw it out. With shampoos, you can buy high end or low end. Hair builds up a resistance to a product so it’s best to try different shampoos. Winter months in Canadacream shampoos are better than liquid because they don’t have as much soap and detergent in them. TVM: Final question, what can we expect from you in the future? Is there anything else you would like to
5 - With a brush gently smooth the teased hair. Gather the sides up into a half ponytail. 6 - Secure the sides with pins, then use your fingers to gently shape curls into place. 7 - Put some shine spray and you are ready to go!
To Read More: http://beauty-tutorial.blogspot.ca
SAMJAM Music Presents
SAMJAM Music Presents In iTunes NOW!!!
By KALIKA HASTINGS
LALAH HA Credit Images: Lalah Hathaway
usy at work on Valentine’s Day with shows booked all throughout the week, Lalah Hathaway’s romantic voice is the perfect match for the occasion. I wondered if my morning call had woken her up the next day, it was hard to judge from her naturally calm voice and her quiet ‘Good morning’. Speaking from the Hyatt Regency Hotel in Atlanta, she tells me about her upcoming hectic schedule. With over twenty years of experience performing on stage, and five solo albums to her name, she admits “It’s one of my great joys in life to really make that contact with people”. Her solid musical foundation anchored by her legendary father Donny Hathaway, and reinforced by her education at Berklee College, Lalah holds her own as a solo vocalist. Our conversation reveals her newfound aspirations for the future of her career, something she hadn’t previously considered pursuing.
THE VOCALIST MAGAZINE
“I like the uniqueness of my voice. I feel like I haven’t heard anything else that sounds like it.”
TVM: How would you describe your voice? I don’t. I feel like when you try to describe a sound you really limit the possibilities that people experience. I think that it’s interesting listening to people describe a sound because people listen to things from their own point of view. So I don’t describe it because that kind of limits it.
TVM: How would you describe your music? Again, I don’t. I mean for people who don’t know what it is at all, I’ll say it’s soul or rhythm & blues music, but again I do so many different things and I get so many different people from different walks of life that say ‘Oh I feel you are a jazz or gospel singer’. So I kinda let people tell me what it is they hear, that’s the most important thing.
TVM: At what age would you say you discovered your passion? You know... I never discovered it, I was always doing it from the time I was two or three years old I was taking piano lessons and singing. There was never a realization, I was just always on this path, it was just the natural trajectory of my life.
TVM: Did you ever feel a certain amount of pressure to live up to your father’s (Donny Hathaway) legacy? No, never. The good thing about coming from the best that there ever was is that you can really rest in the comfort of knowing that nothing will ever beat that . So being on my path is fine.
TVM: How important was your training at Berklee College of Music for your profession? I think it was really important, I think that a lot of times people skip the education about the craft, thinking that it will be less natural or less gritty. But I feel like I’m the kid of two musicians, and two sort of music educators so for me it’s important to be educated in any field that I’m in. I really had a great time at Berklee and learned a lot of things and was exposed to a lot of things that I would not have been otherwise that informed my craft.
TVM: Is there a particular song or album that you feel most proud of, and why? No, I think for me it’s all sort of pages of the same book. So it’s kind of a continuum of the same experience that I keep having and keep wanting to express. So I don’t have a favorite. It just depends on the day and the mood. Where it all Begins, I would say is my most personal work, just because I was involved from the ground up on it in terms of the songs, the production, the recording,
“I’ve learned how to finesse things differently and how to treat my instrument in terms of the lows and the highs.”
engineering, all of that. So I would probably say that’s my most personal record to date.
TVM: Who influences you vocally? Hmm... A lot of people, a lot of instrumentalists. Gosh ... (pauses) That’s a long list (haha). You know, I grew up in the times when there were a lot of things on the radio. There was a really colorful and rich landscape of music on the radio to be influenced by. So I grew up with Chaka and Prince, Sticks and Kansas, Ella Fitzgerald, Louis Armstrong and Patti LaBelle, Aretha Franklin, and the Doobie Brothers, you know the arc of music was really wide. So I grew up with a lot of different kinds of influences, Dolly Parton and Willie Nelson, lots of different kinds of things.
TVM: Is there any difference vocally for you between recording in the studio and performing live? And which one do you prefer? Ya, it depends on the song and audience. I mean you can take the same song and play it in the studio and then play it live and you’re gonna get a completely different response each time live, which is the beauty of live music. I really do have an affinity for that- taking it to the audience and being able to interpret the story right there on the spot for people that need it or want it. But I also really love the studio experience of being able to create the picture that I want to create and having it be perfect in my mind you know having the time to take it and make it exactly what I want it to be. So there’s two different sides of the same coin.
TVM: Tell me about any challenges you face TVM: What is your aim when you perform? as a solo vocalist. What do you want to do for your fans? There is the occasion where I might look at a group and think well that might be interesting. There’s the occasion when I’m playing with a different ensemble than my own, like Kirk Whalum or Marcus Miller, and I think ‘Oh that would be nice to be able to play back a bit’. I don’t know what the challenges are, but I really do feel like the path that I’m on is correct, I am a solo artist. I do think it is fun though to be included in groups, you know I play with Take Six, I call it Take Seven when I’m there (laughs). It’s a fun thing to do but I think I’m on a solo path.
TVM: What is your overall vocal regime?
(Pauses)... I want to transport them. I want them to be completely and fully protected like they are on a cloud for that hour and a half. I want them to feel like they are floating or escaping, and there is not a trouble in the world. They can laugh, they can cry, they can be whatever they want to in that moment when they are siting there with me and they feel completely comfortable.
TVM: And where did you get your confidence to perform on stage in front of fans and in front of the camera?
Hmm...I don’t really have one. I’m kinda one of those people that is singing and talking all day, in some kind of way. My instrument is very gentle, so I try not to abuse it, my sound is kind of quiet. Marcus Miller taught me that I am an oboe and not a trumpet, so that resonates with me. I try to drink a lot of hot tea and water before a show, but other than that I don’t really have a regime. I have just started warming up with my singers, like they warm up- and just running scales like really simple things. I don’t really do a whole lot with my instrument, particularly on a show day.
It took years of doing. There was a time when I was 18, 19, 20 at Berklee and I would be performing and then mid-way in the song I would open my eyes and be facing the band and not looking at the audience. And I think that was because of shyness and the lack of experience- just not understanding how to relate to the crowd. But as I have done this over the last 20 years or so, it’s one of my great joys in life to really make that contact with people so the confidence really came in doing it.
Absolutely at night. I tell people if you call me for a session that starts at noon-you’re still gonna finish in a day, you would finish at the same time if you call at 10:00 o’clock at night. So at 10:00 o’clock at night you’re probably gonna get an hour session, whereas at noon it’s probably gonna take three to four hours. So I think that since I don’t do anything extra special with my voice except talking and living all day which is my warm up- it’s really warm at night for me.
It’s huge to me. I mean I had a website in 1998, which is lalahhathaway.com, so it was kind of like Facebook before there was Facebook for us. I would talk to the fans in different cities everyday and find out what songs they want to hear and just kinda keep that constant contact and that for me is a natural thing to do as well. I have a lot of fun communicating with people, Tweeting and Facebooking and all that stuff. And I do all my own social media.
TVM: How important do you find social netTVM: So when would you say that you are working as a platform for artists to connect with their fans and build a relationship? vocally at your best?
THE VOCALIST MAGAZINE
“I think t
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TVM: On a more practical note, do you find what you eat affects your voice? No. The thing I have found in the last six months or so is that sometimes if we have two shows, I won’t eat between sets like I would a year or two years ago because it makes me slower now then it did a couple years ago. So I try not to eat heavy before a show but other than that what I eat does not affect my sound.
that’s just kind of a nice tea. My friend Rahsaan Patterson makes this concoction which I have if I’m with him. I don’t know what’s in it but it’s like a salad dressing, it’s got all kinds of pepper and honey and lemon- I don’t even know what’s in it. I just call it his ‘before show-salad-dressing’ (laughs) so I’ll have that if I’m with him. But if it’s just me it’s gonna be cold water or hot water with lemon, honey and ginger.
TVM: How have your vocal practices changed TVM: Is there a particular beverage that you since you first began recording and performing? have before a performance? Umm.. I try to have a little tea. One of the singers that works with me, his name is Jason, he makes this concoction, it’s really just honey and lemon and sometimes we get lucky and have some fresh ginger, but
They really haven’t. I think they have just developed. I don’t know that they’ve changed. I’m definitely more in tuned to my instrument than I was 20 or 30 years ago. I basically do the same things that I did now and
THE VOCALIST MAGAZINE
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THE VOCALIST MAGAZINE then. I have a lot of the same approaches. I’ve learned how to finesse things differently and how to treat my instrument in terms of the lows and the highs. But other than that, it’s about the same.
TVM: What is a typical rehearsal like for you? Um... There’s usually more laughter than actual rehearsing. And rehearsal is kind of a luxury that we don’t always get, ‘cuz it’s hard to get all the guys together at one time and everybody is working... But a typical rehearsal would be that we are just running the sound check where we run the songs and we talk down the songs. Rehearsal for me is not really for singing, it’s really to block the band out.
TVM: Do you feel a connection between physical workouts and vocal workouts? I do. My good friend Donald Lawrence tells me that he works out and it really makes a difference. I realized that if you start working on your stamina and breathing, it absolutely makes a difference because your body is your instrument. Years ago I remember I was traveling with Al Jarreau and he would get on the treadmill before every show, and I didn’t understand why, it’s increasingly clear that your whole body is your instrument, and you have to keep it in tune somehow. So I absolutely see the correlation.
TVM: What do you like most about your voice? I like the uniqueness of my voice. I feel like I haven’t heard anything else that sounds like it, I mean that’s kind of an obvious statement, but not so obvious. I like the fact that people now instantly when they are hearing me, and that nothing else sounds like it.
TVM: And what differentiates you from other vocalists? Umm... Other than everything? (Laughs). Really my experience and my sound, my pedigree and my nature and my nurturing. You know it’s all kind of one thing existentially speaking- what separates me is who I am and what I bring to the table- and all of that informs my craft and my art.
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? Well you know I started over 20 years ago. And that was a time when you could record your voice on a cassette and get a record deal and a record label- which doesn’t even exist anymore (laughs). But that was a different time. I don’t know how people do it anymore, I think that the landscape has changed so much. I mean you could actually make a song or record on your iPhone and put it on iTunes in a week. So I think that while there are less opportunities for people to do it in the way that I did, I think there are more opportunities to do it independently and I think that that’s a good thing.
TVM: And where would you like to be in your career five years from now? Interesting. You know it’s interesting, I’m really developing a desire to do television which I don’t know how that fits in with the music part of it but it really feels like something that would be fun and something that I would like to do. I would still like to be making records, there are a lot of different types of records I would like to make like a jazz and gospel record. And some other cool little project records I think would be really fun. So hopefully working and you know traveling all over the world, just on a bigger scale.
By KALIKA HASTINGS Credit Images ELISAPIE
ISAAC A well-rounded trilingual communicator, Elisapie Isaac expresses herself freely in her native language of Inuktituk, as well as in English and French throughout her musical projects. Her natural gift of conveyance shines through whether in radio, television but especially in her documentary, If the Weather Permits. She was born in Saluit, Quebec to an Inuk mother and a father from Newfoundland and was adopted by Inuit parents. Never letting go of her roots, Elisapie embraces her Aboriginal culture in her music, sometimes combining poetic lyrics in Inuktituk with contemporary pop instrumentals. From her first album, Taima in 2005 which won her a Juno Award (a duo project with guitarist and composer Alain Auger), to her next solo album, There Will Be Stars and finally Travelling Love in 2011, Elisapie confesses that she is still on her path of musical discovery. She reveals to me her (well-deserved) confidence and sense of freedom to delve into new experimental projects in the future.
â&#x20AC;&#x153;It takes a while for me to wake up. So in the morning I am just in a quiet mode.â&#x20AC;? 142
TVM: How would you describe your voice? I think there’s a lot of base in it but I can also make very high notes. I was told by this guy who does experiments and all sorts of weird stuff with his voice that I have a very big range. Not in terms of the style of music but just the technicality of it. So I think my voice is tainted with a lot of emotion because I really find a way to contract the muscles in my throat. I think that’s what makes the personality of a singer. It’s not so much about what they’re feeling but more the way they use their muscles in the throat that allows emotion to pass through. I think it’s quite fascinating.
TVM: How would you describe your music? I think my music is very free, in the sense that even after my third album, I still don’t know what style of music I do. Because I don’t think I have only one style. I am very much in love with folk music, that’s something that really touches me. It’s very natural for me to go in that melancholy/Americana style of music. It is something very special, pure and simple. And yet I really love pop music, I have an interest in making pop music. Not just because pop is popular I think it’s important for me to have that possibility to go there because I feel that it frees me. For me, pop music sometimes takes me out of my comfort zone. So I definitely flirt between pop and folk roots. My next album, which will be my fourth, will probably be a bit tainted with folk but also with experimental sounds that I’ve never explored before- kind of psychedelic but very roots at the same time. But I don’t really know...(laughs) I will just follow my instincts.
TVM: At what age would you say you discovered your passion? It might have been in my teen years. My friend would make me sing and she would be so curious- asking me why is it that I sing well, how is it that I have the right pitch? She would say ‘It’s like your throat is made differently and you have the right pitch all the time.’ It was funny because we were definitely not exposed to a lot of music, there was no music school around. So I think it was when she said to me ‘Elisapie you have a unique voice and you have a talent in singing, you should acknowledge this’. But at the same time I’ve been singing for - I don’t even know when it started, I guess my mother just recognized that I liked singing so she would make me sing in school or in front of the family. So it has always been part of my personality ever since I was a young child.
TVM: How important is it for you to write songs in your native language Inuktitut?
I think that with time, I realized the importance of it. Before, I didn’t want to focus on that obligation. Because like I said, I like pop music and modern music - I don’t make traditional music at all. So it was kind of hard for me to let people know that I can sing in any language I want and I can make an album purely just in English. But yet I guess I realized that I don’t think I can make a purely English album (like my last album had two songs that are bilingual) I just can’t leave out my language. I realize the importance of it now that I feel free and not obligated. Language is a big issueespecially here in Quebec. I think people are paranoid about their identity, so I realized that I want to write in my language because it’s beautiful and mysterious. It’s a nice tool to have a language that is very rare with it’s own imagery. And it’s fun to mix it with modern music.
TVM:What moves you to write songs? I definitely cannot write when I am feeling down because I just don’t have the energy and I just wanna stay depressed or feel sad (laughs). I don’t really go ‘Oh I’m gonna take the guitar and maybe I’m gonna feel better’. But once you get out of that it is much easier to take the guitar and express myself, it’s like going to see a shrink or something (laughs). I talk to my guitar and I express melodies and from there I may get a line or two and I just stay in that very sensitive emotional state. So it’s usually after having realized something or lived something, after the climax the music comes with ease. It’s usually very personal, I think other people just sit down and write songs but for me it’s really a step in a greater process, when I’m living through intense things. It could be a love story or I just met a guy, or I feel like I’m being rejected ... I don’t know (laughs).
TVM: Tell me about the challenges as a solo vocalist? I don’t really see myself as an interpreter. I think I am a bit insecure when I am told to sing a certain cover song, if I’m not really connected or personally touched by it. I have a hard time singing without my personal touch. It’s really hard for me. I’ve learned that it’s not my field. I guess that would be the most challenging. But right now I am in a good place, things are going well. It’s fun to have musicians that are able to sing almost as good as me, in the sense that they know how to harmonize, so I have two musicians that co-wrote some of the songs with me from the latest album so we are very close to the songs. The vocals in the album are based on our connection vocally. So it’s a lot of fun to be surrounded by musicians who are really sensitive to that. Other than that I definitely would have been more talented with instruments, I’m really lazy when it comes to instruments, but I use my voice as an instrument, so I guess that’s my excuse (laughs).
INTERVIEW TVM: Who influences you vocally? Hmm... I have many influences. It’s very hard for me to say who exactly. A lot of bands... like Fleet Foxes (pauses). It goes from different extremes like Davendra Banhart who is totally really soft and airy but sometimes uses his voice in a very funny way. I think he is very free as a singer, he is definitely one of my favorite vocalists because he just makes me laugh and realize that we shouldn’t take singing so seriously. We should have more fun with it and be goofballs sometimes and not be shy about it but yet be very sensual and soft. So I think that he is totally extreme but so real and so honest.
TVM: What is your overall vocal regime? I am definitely not the most outspoken person when I wake up in the morning. Naturally, it takes a while for me to wake up (laughs). So in the morning I am just in a quiet mode. I am not very disciplined I am definitely one of those people that naturally find a way to ease my voice before performances. I mean I try not to speak too much, because the more stressed I am the more my voice is going to crack. Of course I do about a fifteen minute vocal exercise before each show. And during the winter time, when it’s really dry and cold I might have a little bit of whisky (laughs), just a little bit not to get drunk or anything, nothing major.
that needs to see the connection happening, if I don’t feel it by mid-show, if we have a break or something I’ll be like ‘Ok we have a huge problem’. It’s not because of the people it’s because I’m not doing my job. So I’m pretty strict about it, but that’s what I love about live shows because you have that power and connection that is so real and raw. You have to fight each time and you feel so good when your body is so connected with your mind and spirit. It can be scary but once you go there you’re like ‘This is it, here we go.’
TVM: And where did you get your confidence to perform on stage in front of fans and in front of the camera? Umm... (pauses). It took a while, I mean I wasn’t already like that. But each artist is different, I guess I feel that’s where I can prove something within myself. I am a perfectionist there, on stage is where I feel I have the power for once. Because the rest of the time I feel like this little girl whose really shy and made up this world of hers that I am not so sure about sometimes. When I am on stage I feel as though I can connect myself and be strong and also be so fragile. To be able to live that with the audience is such an amazing thrill, so I decided I might as well have fun with it. I guess it’s not so much about confidence but more about needing that energy so much. So I guess it’s kind of like a drug (laughs). It’s easier for me to have that confidence because I need it so much.
TVM: So when would you say that you are vocally at your best (morning, evening, TVM: On a more practical note, what is a night)? typical rehearsal like for you? I guess it would be in the mid-afternoon, I think it’s a good time. Depending how you feel, to start a show at eight in the evening can be kind of hard, because you spend the whole day talking. But now I think that my body has definitely adopted to eight o’ clock shows (laughs).
TVM: What is your aim when you perform? What do you want to do for your fans? I want to go and steal their hearts! It’s really really important for me to capture them and go and get them. I’ve always said to my musicians ‘these guys don’t need to be paying thirty five dollars or whatever to see a show, they could be at home watching TV, they could be with their lover...’ You know, but they come out to see our performance, so I think it’s the job of the artist to go and fight and get them. I really don’t take my fans for granted. If they are not reacting, it’s my fault. That’s how I see it. I’m one of those people
We are very relaxed but at the same time- because a lot of the musicians wrote the songs with me and they sing with me- we are very emotional I guess. We are not so much about the technical side but we really perfect the vocals and harmony. So the rehearsal is very natural and flows nicely. An instrument is great but an instrument from your own body is quite nice. Rehearsals with my band are really fun because they get to sing, not just play instruments. Last rehearsal I was very emotional and I cried, I was going through stuff that was a little bit heavier than normal. So sometimes rehearsal makes you feel good because you can release your emotion or have fun and improvise.
TVM: Just like therapy... Yes! And you’re not in front of the crowd yet so you can pretty much let loose. It’s a ceremonial moment when you are just singing for yourself.
“You really need to believe in yourself, this can be hard to do when you are still searching for yourself.”
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TVM: And do you do any physical exercise? I should do more physical exercise. Like yesterday I ran (laughs), but I haven’t run for the last month. I try to eat well. I mean I have moments when I’m on tour and it’s harder because you’re not in your environment and your always in hotels and you go to these little places that don’t necessarily have the best healthy restaurants. So I try to have good eating habits, especially when the tour is starting. It could be as little as two or three extra pounds and I can really feel it, because I need to feel amazing on stage. It’s not just about how you look but also how you feel. An amazing Native singer woke me up one day when she said to me ‘Never gain more than two or three pounds of your natural weight’ I was like ‘Oh my God, she is crazy’. But I know the kind of performer that she is- it is not just about dancing or singing, when you look at her you’re inspired because she definitely took care of herself. I think when everything is well combined it is very powerful and inspiring. I am not very obsessed about weight, I think I have my natural weight and I am more and more comfortable with my body and its imperfections but I think feeling good on stage is definitely apart of giving a good show.
TVM: So would you say that you feel a connection between physical workouts and vocal workouts? Well no, I think that it’s more important for me to be singing well. I mean maybe one day I’ll be a bit more voluptuous and I’ll be singing away - it’s not about the weight or the body. For me I think it’s important for my wellbeing. When my mind is good my body is also. It all goes together. On stage I move around a lot, I mean I’m not dancing all the time but it’s fun to be able to be free and to dance and seduce, to go to all those places. So it’s important for me to feel good on stage.
TVM: And with all of your experiences, do you have any advice to give to those who want to be vocalists? In any field, if you want to be an actor or filmmaker or writer- when we are singing we tend to think that we should be like someone else but we are all so very different. And that’s what we are searching for when we are listening to music, we need to feel like we are moved. In order to have a talent to go and get people that are listening to your album I think you have to be very in-tuned and in-touch with who you are. That’s my belief as a vocalist. Because I’m convinced that everybody can sing (people don’t believe me). I mean people like Bob Dylan or Richard Desjardins they don’t have amazing voices and they are off pitch sometimes but they definitely do touch me so much. And you really need to believe in yourself, this can be hard to do when you are still searching for yourself. So I think that’s where I’m at now with my third album, I really feel the freedom to have more confidence to explore. I am getting to know more of who I am and I think you hear it in my voice. But it takes a while.
TVM: Where would you like to be in your career five years from now? I want to do another album or two. I want to do a lot of projects right now, more experimental small project albums and then a pop album. I also want to do my documentary project! I’m in my mid-thirties now so the next five years are just gonna be full of so much fun stuff. I feel really energetic about doing projects.
TVM: Well good luck with everything, it was really nice talking to you. You have such a calming voice I enjoyed listening to you. Aww good, it was a nice interview. Thank you and have a good night!
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E L A RLES
By LUISA DE ARMAS Credit Pictures: Nuela Charles
The Vocalist Magazine had the opportunity to interview Nuela Charles from Edmonton to Montreal via Skype. The interview lasted an hour and was held before Nuela left for her tour that started in Vancouver. Charles is a Canadian, Swiss and Kenyan born singer songwriter. She is currently living in Edmonton, Alberta. Her first full length album “A Different Kind of Fire” was nominated for a 2011 Western Canadian Music Award for Urban Recording and one of the tracks “Summer” received a TV licensing synch on the hit television show “Degrassi: Next Generation.” “Aware” was released October 23, 2012. Featuring the hit songs “Take It Or Leave It”, “The Good In Me,” “Final Round”, “Traveling Heart” and “Unfortunate Love” 150
INTERVIEW TVM: When did you know you were going to be a singer? Well I started singing at a young age. I used to be a dancer first. I started in choirs and really enjoyed it. Then when I got to high school I started to learn how to play the guitar and the piano. I just taught myself those instruments. At the time you could go on the Internet where you could find chord sheets of different songs, learn them and play along. That is how I developed as a musician. And once I graduated I ended up going to school for music and developed my songwriting and tried to find my sound because at that time there were a lot of female singers and a movement going on so I was trying- not necessarily to fit in but find my own sound within that. And it became jazzier and more experimental in my sound and then after graduation I moved to Vancouver to pursue music so I was there for about a year. It was good but it was a challenge, it was an expensive city to live in and a place to do my music, it was really hard so I ended up moving back to Edmonton where my family was. I started really seriously pursuing my music here, I put out an album and I was able to go on tour and then that’s where the ball really started rolling.
TVM: And what genre of music do you like to sing? I don’t have a favorite. I combine my influences and what I listen to because it expands from indie, rock and roll, R&B and alternative music. All of that comes together when I write my own songs so I really enjoy all types of genres but when it comes to what I do and what I sing it is influenced by alternative music and R&B vocally.
TVM: What moves you to write songs? I write everything. It is different every time, a lot of it is experienced and a lot of it, is not necessarily experienced by me but also by people around me and stories they share with me. It can be from a movie that moves me, I can write about the feeling I had whenever I saw it and just different ideas can pop out. Any ideas I have, I write down and when I’m sitting down I revisit them and see what comes out. But it’s never the same it’s always different.
TVM: What is a typical practice like for you? I usually rehearse with my band. We usually rehearse the songs. Vocally I’ve been using, a vocal processor TC Helicon Voicelive Touch, I use that for more reverb effects and delays. Just to add to the songs, because some of them have really haunting elements, vocally,
and I want to be able to recreate that in a live setting because in a studio you can do anything, so with this machine I can do that live. In rehearsal I use that and it is also more the music with the band that we rehearse than my vocals. So we don’t focus so much on me but the band as well.
TVM: How would you describe your voice? My voice has developed a lot. Going back to my first album and the songs in it, it’s not hard to sing them now but I can’t sing them the same as the recording just because my voice has changed a lot and grown a lot. So I feel it has developed over time and gotten a lot stronger. And I feel like sometimes it just has a mind of its own. Like I can rehearse something but then when it comes to the live performance and you have all that energy behind it, sometimes I can hit notes that I did not know I could hit or do add lips or different runs I had no idea I could actually do.
TVM: How would you describe your music? I call my music alternative soul just because it has a lot of elements of everything and it is not rooted in soul music but it has its own R&B soul element but it is not your typical R&B of the 90s. It is the soul of today, if you look at artists like Miguel whose music is R&B and soul but he also has incorporated so many elements like electronic sounds and effects on his vocals, with me it’s the same thing like I’m not just one genre, I’m trying to expand and reach outside the box.
TVM: When you perform what message do you want people to get from you? I think for me it’s more like if you want something you are going to have to work for it and that it’s kind of what I have been doing. For me no one has kind of given me anything for my music, everything I have done has been for myself. It’s a lot a lot of work and things have been slowly paying off and I think if you want something bad enough you go and get it. And I don’t necessarily express that in my live shows but it does come out in my everyday life. And my live shows are mainly about my songs and the message within those, each songs has its own message. I’m not going to dictate what each message is, it’s up to the audience to see what it means to them. It’s not going to be the same for everybody. I think that is what I like about it- what something means to me might not necessarily mean the same to you or someone else who listens to it. That is what I like about music it’s interpretive in so many ways.
TVM: For those who want to be singers and are starting out, what kind of vocal advice would you give them?
“I think before when I first started I didn’t take it as seriously, I just did little warm ups but it was not part of my routine.”
It is important to know what you want to accomplish because you can train just to be a singer. When you say singer that means so many different things. You can be an artist or a professional singer. There is different opportunities in each of those paths, so it’s important to know what your end goal it’s going to be and kind of start from there and work your way back and see everything you have to do to get to that point. My end goal is to be able to do this for the rest of my life and sustain myself financially as a performance artist. So it’s not just about me but also the band and the business side of thing which a lot of singers might not know about. But as I have been doing this and learning more, it has become less about the music and more about the business side which it’s sad but it’s the reality. So you have to be good at the business side to be able to get your music out there to the masses. It’s a lot, first your music has to be great before any of the business stuff begins.
TVM: What is your overall vocal regime? I don’t really have a set one. Like when it comes to performance I try to rest before and not to talk to anyone before performing. It is just automatic. I don’t talk before shows and sometimes even after because a lot happens, it’s exhausting. I sit down and do warm ups with my guitar. It changes every time too.
TVM: Do you find what you eat affects your vocal instrument? Yes. I usually don’t eat before a performance. I don’t have a specific diet. I don’t eat before because I’m afraid something might get stuck in my throat. And even in a performance drinking lot of water does not help me because I might have to burp so I stop because it affects my singing. I drink water before but that’s it.
TVM: When you record and when you perform live what are the vocal differences and demands? In the studio you are trying to get the best vocal take and to sound the best. Live, I’m still concerned about sounding great but you don’t think about the little technicalities. It’s more about the overall performance of the vocals. In the studio you can do it over and over again. Live you just do it once and do it as best as you can. So there are demands on both ends.
TVM: How has your vocal practices changed since you first began recording and performing? I think before when I first started I didn’t take it as seriously, I just did little warm ups but it was not part of my routine. As I developed, my voice has changed it has become important to keep my voice strong and able to do what I want to do. So there is a lot of practicing like tuning an instrument. Even if you want to practice the piano or the guitar, it’s the same thing with your voice, you have to keep it stronger and make sure when you are wearing it out and when to stop. Like if I am singing too hard or pushing it too hard it’s probably because I can’t hear it through the system so I just turn on the sound system higher so I can hear my voice. So I guess it is about learning tricks as well. It is a matter of discovering what works for you.
TVM: Which one do you prefer? (studio or live) 154
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Definitely live. There is something about the energy of singing at a live show for people that it’s different from in the studio. I noticed that recording my last album, I can hear in my head how I wanted to sound but the recreating in the studio was really hard and it would never turn out to be the way I wanted to but then if I would sing the song live it was different. So it’s just this mental state you have to get into which I definitely find hard in the studio so i prefer singing live.
TVM: Is your practice environment important to you? Why? One thing I can say is I can’t be around smoke. It’s a good thing you can’t smoke anywhere inside but just even outside I can’t be near that because it affects my throat. I make sure my rehearsing places do not have a trace of smoke. For rehearsal I need them to be peaceful and not chaotic.
TVM: When are you vocally at your best? Definitely in the evening not in the morning. I definitely prefer in the evening and I also feel my voice at that time it’s going to be naturally warmed up so it’s better.
TVM: What is one discovery you have made about yourself vocally and as a performer? I think I’ve discovered that I can do a lot more with my voice than I thought I would and I am more open to experimenting with the different sounds my voice can make and not necessarily just singing words. Kind of weird experimenting sounds... So that’s been cool to see and fit into a show. So it’s not about making that the main thing of a song but to find how those can contribute instead of overbear.
TVM: How regularly do you workout vocally? I try at least once at a day. But that is trying. But usually in a week at least 4 or 5 times. That’s when I consciously sit down and work out on different things.
TVM: Describe a typical vocal workout session? For me it’s always really with an instrument and I’ll work with each song and make sure I’m singing the right melody and kind of doing trilling like instead of singing. I feel that helps a lot. I like hitting the notes. For me I just feel like playing the song acoustically because sometimes with the whole band you can get lost with what it is happening. So for me it’s better just sitting down with the piano and rehearsing.
Describe one challenge you constantly face in your practices? I mean it depends on what I have eaten before singing because sometimes I just don’t think about it when rehearsing. When it comes to performance I am very conscious about what I am eating but when rehearsing I might eat yogurt and then start rehearsing and that might not work. So my main challenge would be being conscious about what I am eating in a day to day basis.
LIVE VENUE To Get in Contact with Eva Ledoux Phone: 514.528.9766 - 1.888.528.9766 Email: firstname.lastname@example.org
Located in the Old Port, at 304 Rue Notre-Dame Est Montreal. Le Balcon is a distinguished cabaret-style venue, “A cross between a New York and Parisian” Find out what you need to get booked. By Ethan Vestby
he idea of a cabaret evokes more of a specialty classification; described as “A cross between a New York and Parisian cabaret”, Le Balcon, located in Montreal’s Old Port is one of the many established clubs of the city’s music scene. The club is open on Thursday, Friday and Saturday nights beginning at 5:30 PM for dinner, with a show from 8:00 PM until 10:00 PM, and Saturday until 11:00 PM. The performances are primarily of the soul, jazz, disco, pop and rock genres; examples of artists covered include Whitney Houston, Elvis Presley, The Beatles, Prince, The Rolling Stones and Barry White; rest assured that your favourite hits will be heard. The club exudes a strong sense of nostalgia- perhaps from the comfort of hearing a classic tune. It’s easier to get on the dance floor or sing along, or even just bask in its familiar presence while you talk with a friend.
Co-owner Eva Ledoux-Deguire, reveals their dream act would be Liza Minnelli, because “we feel she represents us, especially because of Cabaret”. It is clear from the decor and character of the club that retro fashioned performances are well suited. For artists who would like to perform at Le Balcon, make sure to send samples of your work, either: a CD, MP3, or online collection through MySpace or SoundCloud. Also, don’t forget a press kit explaining your intent, style and musical range- this will demonstrate whether you align with the club’s style or not. If you know any other artists who have performed there, you’ll have an instant advantage - many of their acts are booked through references. It’s a club with an emphasis on strong business relationships, so be sure to show off your networking skills. Overall, for talented performers with a familiarity of the classics from the 50’s through 80’s, Le Balcon will give you a warm welcome, an eager crowd, and surely a tasty meal.
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
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
Dawson City Music Festival www.dcfm.com Folks on The Rocks www.folksontherocks.com Frostbite Festival – YK www.frostbitefest.ca
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
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
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
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
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
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
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
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
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
Open in the early 80s, Club Soda has since become one of Montrealâ&#x20AC;&#x2122;s busiest and most popular venues. Aiming to give new artists and producers of all performance genres an audience, the clubâ&#x20AC;&#x2122;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
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
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
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
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
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
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
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
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
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
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 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
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 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
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
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
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 : 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.
Université du Québec à Montréal - UQAM
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 : 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.
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 Information:
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 Music Industry Association www.amia.ca Calgary Musicians’ Association – Local 547 www.calgarymusicians.org Edmonton Musicians’ Association – Local 390 www.afmedmonton.ca
Music Yukon www.musicyukon.com
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
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
tion – Local 467 –
tion – Local 384 – mber/384 Association – CIMA –
ssociation – a.ca
mpus Activity – COCA – Association – CRIA –
ssociation – Local 226 – mber/226 Ontario –
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
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
Music New Brunswick www.musicnb.org New Brunswick Musicians’ Association – Local 815 www.sjfn.nb.ca
tion – Local 682 –
Music PEI Funding www.musicpei.com Music PEI www.musicpei.com
Local 518 –
Newfoundland and Labrador
ocal 293 –
on – Local 279 –
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 –
ciation – Local 591– mber/591
m on – Local 149 –
ians’ – Local 566– mber/566
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