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22/1/10. Recently, my long term colleague and engineer Xfile, asked for suggestions for a workshop she was running - the subject was 10 things that every female singer-songwriter should know before going into the studio and recording a first CD. I submitted some potentially useful material based on my own experience. Here it is - I hope it's of interest:
10 Things every female singer-songwriter should know before recording her first CD:
1. Your vocal will only sound as good as the hours you've spent rehearsing it. There's nothing inherently magical about that mic or the reverb options, therefore practice and practice and practice that lead vocal - you have to live with the result for ever.
2. Forgive yourself for this not being your best work ever. It won't be - that's to come. it's just the beginning of the journey and can only be the best that you can be at this time. That's OK.
3. Hard as it is, try not to be ruled by budget, above all things. Do one song well rather than 5 tracks stressed out of your mind. One of the harshest (and truest) criticisms I got for my first CD was that it sounded cramped. It does - I was in a damn hurry and watching the clock every second. No wonder I sang fast - a ballad would have been a luxury.
4. Which leads to the next point. Every vibe you bring to the studio ends up on wax, even if subliminally. If you're stressed, that's what people will hear. If you're laid back, listeners will feel it. If you're angry, nervous, scared or depressed because the funding ran out - don't be surprised if punters start to feel subliminally uncomfortable when they listen.
5. Silence, in a song, speaks volumes, as do spaces, pauses. Don't feel bound to warble and play over the whole thing, just to show what you can do. Invite the listener in - don't assault them.
6. less is more. This is nearly always, universally true. Make sure your track, including the lyrics, the tempo the arrangement, is the 'kind of thing you'd listen to'. Does it make you feel like dancing? Or dreaming/chilling out? If any part of it makes you irritated or like a struggle, you may need to cut stuff.
7. however original you are as an artist, there is no shame in using other peoples songs - especially favourite songs of your heroes and heroines - as a template, especially when it comes to tempo and bpm.
8. If you have equipment at home, do a mockup first. An excellent way is layer up your song, at least the click, main instrumentation and vocal on an analogue 4 track, Jamman or Headrush multitrack unit or similar. Get used to the heart-in-mouth feeling of doing the ultimate take until the 'red light' anxiety starts to fade. If you're still anxious, forgive yourself - that feeling of 'oneness' of 'rightness' of 'I'm in my living roomness' once the tape is rolling - only comes with experience.
9. When listening to rough drafts/mixes/mockups, listen with 2 methods. (1) with surgeons precision, listening for every mistake and vocal nuance (2) next, listen in an ambient way with only half an ear - what do you feel? Do you want to tap your foot? Do you feel motivated, relaxed, romantic, restless, excited? This is what the average punter experiences - what they feel not what they hear. Be sure you're creating the vibe that you want, never mind all the little details, though obviously they're important - it's mainly you that hears them.
10. When your CD's complete, be really careful about just flinging it willy nilly in the marketplace. Protect yourself. Register immediately with PRS. Make sure you've protected your copyright and be really careful about opening yourself up to 'constructive criticism', especially from friends/family/other musicians. Resist temptation to play people unfinished stuff. If you ask for feedback many will use it as an opportunity to flex their muscles or fledgling journalistic skills, and it can be an uncomfortable experience. Don't feel that you have to let yourself be a punch bag in order to grow as an artist. If people (especially other musicians) patronise or disparage your work, know that it's more to do with them, not you and always focus on the positive. One good verbal protection I use when I submit my stuff to new ears is: 'I'm not looking for feedback, or contructive criticism thankyou. I know already about the strengths and weaknesses of this material - if you'd like to write a brief, positive review, you'd be welcome.That's all'.
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Isle of Wight Jazz Festival 2008. View Photos.
Jazz Night @ Stratford Theatre Royal. with guests Ayinke Martins and Trevor Watkis. Photos by Ben Amure. View Photos.
The Biddle Brothers Bar. View Photos.
Jenni Roditis Loft Salon.
Billed as 'funky piano and sharp songs', I appeared at Jenni Roditis Loft Salon. A magical atmosphere of artistic minds and souls. Jazzers, poets,songwriters and improvisers - all shared performances and swapped advice, support and feedback. I was impressed by the sheer quality of what I saw and others were impressed by me. In the absence of a publicist it's now time to share the collective comments about me. I'm not making this up, I promise! Er...here goes - guess they liked it!
''...FAYE 'ARE YOU READY TO ROCK?' PATTON FOLLOWED. SHE COOKED THE KEYS ON THE PIANO IN HER VERY OWN UNIQUE RECIPE OF FUNKY EXPRESSIONISM...''
'GLORIOUS...'
'SOULFULLY HOT...'
'IT SMACKED...!' (alriggghhhht!!)
'I FELT LIKE THE GODDESS WAS PLAYING...' (yes more of this please...)
'AS SOON AS YOU TOUCHED THE KEYS I FELT THIS WARM ENERGY...'
'VERY UNUSUAL, VERY GIFTED...'
'Next to come forward was Faye Patton, her youthful, gamine face and clear complexion nicely foiled by her NYC blouson style, bovver boots on dainty feet. She sat down to the piano and told us a bit about her performing experience: labelled too jazz for pop, too pop for jazz, too skilled for avante garde, getting up the noses of people who want to throw arpeggios and cool chords out of the window (who probably can't get the hang of them anyway). She played with the confidence of someone skilled who knows what she's doing, her inventive changes holding us with surprise and pleasure, the flutey voice full of subtlety and interest. After a hearty round of applause, at the end she told us how she gets discouraged by the Big Wide World and its reactions - or non-reaction - to her music. We all encouraged her to keep going. And Jenni put it best: "Today's oak is yesterday's nut that held it's ground!" Hold your ground, Faye! You're on your way!' © Alisha Sufit
(Thanks to all involved for such a great reception.x)
August 2005 German mini-tour of Konstanz and Donaueshingen.
This was a major and wonderful event of my Summer. I was booked to play the small but prestigious 'jazznacht' here in Southern Germany. I stayed with friends in Lake Konstanz where I played a warm-up gig at the Destille pub, then we traveled to the jazznacht a few days after. The impressive castle on top of volcanic plug that you can see in the photo gallery is not Donaueshingen. This is the Hohentwiel, a medieval fortress an hours drive from Lake Konstanz. Miles Davis played one of his last gigs at the jazz festival there, (held annually at the top of the fortress!) and I intend to be appearing there very soon, so watch this space....
March 2004 The Cobden Club. - We rocked!
In March 2004, Myself and my band did a gig at the prestigious Cobden Club in West London. We appeared as part of an industry showcase with other acts. We got told off for being too jazzy and therefore too LONNNGGG on stage. But we just couldn't help our jazzy selves...