Savory Soul

For pure musical catharsis, There is just no substitute for some jazzy, funk-infused R&B served up on a platter of old school soul.

If your hostess happens to be a sassy diva with a pocketful of throwback Peggy Lee attitude, then so much the better.

That thought came to me as I watched Andria Simone perform at the Drake hotel in Toronto last month.

Now, any reality TV viewer knows there is no shortage of cute girls who can sing. Some may even convey profound angst about the boy who took her friend to prom, or how they’re “Never ever, ever, ever” going to get back together. But if there is one gaping hole in the current cruise-ship shmorgasbord of music, it’s that ever-elusive quality: Soul. We know it when we hear it in any genre. It can exist in the tiniest little inflection, but it’ll makes your ears stand at attention, and is a precious element that can only be unearthed from deep beneath the surface.

So when I showed up at a bar that holds a hundred or so people, and saw a cheeky, 25 year-old white girl with the pipes of a much larger woman, singing Sam Cooke, Etta James and Amy Winehouse, mixed seamlessly with her own material, I was feeling it.

The vibe was laid out by a group of young musicians with some very old spirits. 3 horns, a bass, drums, guitarist playing licks right out of a 70s porn flick, and a deceptively rhythmic keyboardist kept the energy high, but it was Simone’s stirring tone and fiery stage presence that kept our focus center-stage.

Raphael Saadiq, who produced Joss Stone’s first album, was eventually moved to record one of my favorite CDs of the new millenium, The Way I See It, in 2008. It contained original songs inspired by the sounds of Motown, Stax and 70s Phillysoul, and he might have experienced re-invigorated musings if he had seen what that audience was privileged to witness. And that was on a Wednesday night.

My enthusiasm may be intensified by having watched too many wannabe stars perform uninspired covers, only slightly less self-indulgent than their own original material. Occasionally, we come across someone who possesses the talent coupled with the passion and maturity to produce something authentic, and when we do, it is undeniable.

An important part of any artist’s work is their attitude. Simone remarks that her musical taste was odd from a young age when her peers were listening to the Backstreet Boys, and she was drawn to sounds from the 50s, 60s and 70s. It would be years before she could muster the courage to become a singer, and says she never gave any thought to being famous, or even to any specific genre. She simply followed her passion, accepting failure as an occupational hazard, and adds “I’m a lover of all sounds, but when you black out on stage, and have everyone tell you that it’s Soul music, then I guess that’s just what’s meant to come out of me.”

Therein lies the dichotomy of her charisma. On stage, we see a confident performer who introduces the drummer sitting behind her as “the guy with the best seat in the house”, but continues her impromptu chatter, painting herself into an awkward corner, from which she simply shrugs, and waves in the next track. That one honest moment exposes the vulnerability for which she is unapologetic, and segues into a soul-baring ballad.

That’s what makes her the real deal. She revels as much in her strengths as she does in her imperfections, and that, ladies and gentlemen, is what puts the “blues” in Rhythm & Blues.

Andria studied flute, piano, voice, and writes her own songs. With the expert team of Demetri James and Greg Kavanagh in her corner, she recently released her debut EP, Nothing Comes Easy, and that’s not just a title, it’s a maxim. Andria plainly says “If your life is a breeze, you’re probably not living it right. Fear just means it’s worth it.”

Breeze through the fear, sista. Breeze throught the fear.

Check out her video for Do What I Want here, and stay-tuned for more Andria Simone.

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The Music In Me

People often ask me if I like what I do.

As it pertains to writing about music, the answer is unequivocally "Yes!".

Unfortunately, writing about music as I do, does not guarantee great financial rewards, so I am often forced to prostitute myself by doing less glamorous work, or what is commonly referred to as a "day job".

I blame my parents, or more appropriately, their generation. You see, North America in the 60s was rife with immigrants laying roots in a land that would afford their children a better future. Most were not willing to gamble with that future, which meant they placed great value on very specific education.

"Oh? You'd like to be an actor, a musician, a writer? Well, I'd like to live in a diamond-encrusted mansion with servants and pets who poop 24 karat gold, but that's not reality now, is it?"

No, the antiquated immigrant mentality was to aggressively encourage vocations that ensured security, passion be damned. Happiness was decadence. Humour was for the silly, or the drunk.

We know we should support our children and guide them to cultivate their inherent skills so that when they encounter the inevitable obstacle, they may be equipped to overcome.

It's taught in schools, preached in temples, proclaimed on commercials, and acted out in after-school specials.

"Just do it". - Nike

"Win from Within" - Gatorade

"Shlemiel, shlimazel, hossenpfeffer incorporated.....We're gonna do it!" - Laverne & Shirley

We all believe...until we don't.

So on a February evening, amidst a crowd of commuters scrambling to a basketball game at The Air Canada Centre in Toronto, I see a young woman expertly playing a familiar concerto on the violin. While one might question the venue for such a recital, more interesting was the sign before her that read:

"Just had baby #2, GRADUATED from the University of Toronto,

AND got into OISE (U of T's Ontario Institute for Studies in Education).

Please, help children's violin instructor pay for 1 Last Year of University."

My music writer's curiosity got the best of me, and I handed her my card.

Her name is Kiki Dubé,  a moniker that stuck when her sister Karina tried to say "Kristin".

Kiki's interest in music began when her father Ian, a scientist from Trinidad, showed her the effects of music on the human brain. Fascinated, the child decided to master the violin, at the age of 3.

Ian, and Kiki's mother, Margrete, detected promise in their youngster, and enrolled her into the Royal Conservatory of Music. There, she studied the Suzuki Method under Viennese instructor, Clara Schranz, who eventually founded the Toronto Children's Institute for Music and the Arts. By the time she was 12, Kiki was playing guitar, piano, singing, and teaching classes at TCI.

Eventually, she would take her violin to the streets of Toronto for practice, and by 17, busking would finance her studies at the University of Toronto.

"People would tell me I was talented", Kiki says, "And I just tell them that I did my homework (and loved it). Learning violin is like anything else:  It requires a little practice every day. I tell my students that in order to excel at anything, you must push yourself, even more so during difficult times when you want to quit."

The turning point for Kiki came as an 8th grade student of the York School in Toronto. Her extra-curricular requirements led her to volunteer with veterans at Sunnybrook hospital. She was paired with a wheelchair-bound man who served in both world wars. He had been committed to hospital against his will, and despite sharing a room with 3 others, he was alone in the world. The once formidable soldier could now barely speak or see, was unwilling to participate in activities, and was visibly unhappy. Their only connection was that he too had played violin during the war. The 12 year-old girl knew nothing but to play hers, despite being ignored. On her next visit, she did the same as he stared out the window, seemingly unimpressed and emotionless. For weeks, Kiki continued her private concerts, until eventually witnessing a sign in the form of a single tear streaming down his cheek, a scant grin, or the occasional stifled giggle. On subsequent visits, she would be greeted with a smile, and the staff informed her that he had begun interacting and showing great signs of vigor. She took him for walks, he shared his photo albums, and her visits continued after that school year, and the few that followed. Upon his death, Kiki discovered his wish for her to play at his funeral, but by the time the staff were able to contact her, she had missed it. She was devastated.

It would be years before Kiki realized the gift she had been able to give. While teaching music, she would earn her students' trust and build their confidence during struggles with peer groups, bullying, and general adolescent angst.  She decided to pursue Music Therapy, but even that will have to wait until she finishes Teacher's college.

In 2004, a 21 year-old Kiki planned to complete her 4-year undergraduate program in 5 years, while maintaining 30 students at TCI. She majored in Music, with a double minor in Political Science and Psychology. At 25, she and husband Colin became pregnant, and Kiki would write exams while 7 months pregnant. Baby Owen was born on February 23rd, 2008, and his devoted mother postponed her plans for 2 years, while Colin completed his Bachelor of Music degree from U of T.

Kiki re-enrolled in December of 2009, unaware that history might repeat, but her fall semester and second trimester would be one and the same. Determined to earn her degree, Kiki undertook a heavier course-load, and when baby Madison arrived on February 8th, 2011,  her mom still had 6 weeks to conclude. Kiki nursed her way through straight A's.

Some will say that she does not represent the norm, and is probably a genius, but clearly, Kiki knew one thing instinctively: That for her, a life without music was no life at all.

There is a delicate lyric from Charles Aznavour's 'La Bohème', which states simply, "Nous avions tous du genie", in reference to his youth when "We all possessed some form of genius".

So instead of analyzing probabilities, Kiki worked her way through each day, gradually uncovering her genius within.

Ostensibly, this musical mom sets the best example for her young. "Love and dedication equal success.", she remarks. "It's better to live your passion than to trade it for an uninspired paycheck. The goal... is happiness."

Timing be damned, Kiki and Colin will have their 3rd child just weeks into her fall semester at OISE.

Congratulations!

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Jazz Be Nimble

In the music "business", art is often eclipsed by commercialism, and these days, I find myself growing partial to songs that showcase vocals and instrumentation over electronic enhancements.

I recently touched upon artists who present a retro sound that appeals to my nostalgia and longing for a modicum of purity.

This type of player is perhaps not exposed as readily as Lady Avril Cyrus Bieber, but hey, if ye seeketh, ye shall find.

One of the most flexible and enduring genres of music is Jazz. Probably because it is more an element of DNA than species unto itself. Jazz can serve as condiment, single course, or an entire meal. (I checked, and the use of 2 separate metaphors to illustrate a point is perfectly acceptable when exercised with caution. I promise not to abuse the priviliege.)

Jazz evolved from elements of African and European music, and distinguished itself with the use

of blue notes, improvisation, and what I call "creative timing".

Broadly put, Jazz marked the beginning of every modern musical style we hear today, because it's free-flowing style shattered aristocratic barriers, allowing music to be played, and appreciated by the working-class.

The fact that its origins coincided with the advent of the record player is perhaps a book unto itself.

For now, I direct my focus to the singer.

Early Jazz singers were musical desperados who bent the rules to express longing, angst or even elation to which everyday people could relate. This is no small historical footnote. The style mirrored society's yearning for equality, inclusion and change, but most importantly, freedom.

It was this opening of Pandora's musical box that would ultimately unleash the raw sounds of dirty blues, country twang, raspy soul, and even shrieking rock.

The most important element for a vocalist then became emotion: the ones they felt, and the ones their music evoked.

We all recognize the names of Billie Holiday and Ella Fitzgerald, as well as Louis Armstrong and Tony Bennett, but by the time I was growing up, these names were hardly synonymous with "cool".

So I quote from Ecclesiastes 1:9 "What has been will be again, what has been done will be done

again; there is nothing new under the sun." (And the good book don't never lie! Can I get a "Amen"?)

The fact remains that these crooners were the hippest of the hip. I submit into evidence the success of artists like Harry Connick Jr., Michael Bublé, and Amy Winehouse, but there are artists all over the world injecting their own brand of Jazziness into their sound, not just "en homage" to the old, but in order to create an ever-evolving hybrid of "mojo music". So while Jazz itself may not be new, it can give way to something fresh, and even sexy.

Allow me to unite you with some current and future stars. Some took the time to speak with me, and others require little introduction. Check them out, and support them by buying their music on-line or (gasp!) on CD.

Corinne Bailey Rae: It smells like soul to me, but it's her innate "Jazzification" that puts the hot-sauce on the burger. Her 2007 work with Herbie Hancock won her a Grammy forBest Contemporary Jazz album, and her vocal style can't escape comparisons to the likes of Billie Holiday or even Nina Simone. Still, I don't believe she sees herself as a Jazz singer. In the early 90s, this pre-teen, classical violinist discovered Rock guitar. By 15, her all-girl band in hometown Leeds was almost signed to Heavy Metal label, Roadrunner Records. It was during a college job at a local bar where she met Jason, the saxophonist who put the "Rae" in her name, and the Jazz

in her heart. When your ears are in need of a treat, her latest EP contains some iconic covers including Marley's Is This Love, and the only version (except for Sly Stone's) of Que Sera Sera that I could ever listen to.

Sophie Berkal-Sarbit: I first wrote about this girl 2 years ago when she was a precocious 19 year-old with a 40s throwback sound. Now, she's 21 and singing Halleluyah! I mean, she literally just recorded a cover of Leonard Cohen's Halleluyah. The most refreshing thing about such a talented young woman whose name should be bigger, is that despite a decent national following, she remains unaffected by the attention. She genuinely enjoys the journey of growth to which she recently added songwriting. She seems to love the process, so we can eventually expect more than just the old jazz standards she does so well. I see the makings of a female Michael Bublé, only (and I can say this now that she's 21), just a little bit sexier. Click

here to see her vid. http://www.youtube.com/watch?v=1YaLcliEnPw

Tia Brazda: Her talent, style, and attitude are all befitting of stardom, but Canada is sometimes like a bar by the airport on a Monday night. Sadly, heavy rotation on the CBC hardly guarantees fame and fortune. Now, this is not your grandma's sleepy Jazz. This girl is effervescent. Seeing Tia perform is like watching a rainbow come alive. All this girl needs is a microphone and a few beating hearts to captivate. She has no self-imposed musical boundaries, but watch her get sassy to a boogie-woogie, big band groove, and your enthusiasm cannot be contained. While Brazda's music is decidedly Jazzy, she has, and will again color outside the lines. Her new EP, Cabin Fever celebrates its release at Toronto's Cadillac Lounge on February 11th, so check out her video, and follow up with the live experience, which in her own words, is a "Swingin' riot"!

Peter Cincotti: This musical prodigy was discovered by Harry Connick Jr., who had him join his Atlantic City show when he (Cincotti) was just 7 years old. Cincotti is a classically-trained pianist who is also an impressive singer and songwriter. Now in his late 20s, his looks and sharp fashion-sense have put him in an elite group of desirable males in the Jazz community. That said,

his music is more of a jazz-tinged classic rock, but in the end, it's just really good music.

http://www.youtube.com/watch?v=4P3rYn4YdWY&ob=av2e

Alexia Coley: I just have the

feeling that this girl is on the cusp of breakout stardom. In fact, she won last summer's Big Chill Bar Competition, a 6 week festival in Bristol, England. The first time I heard her sing, I felt the 70s soul vibe of a Gladys Knight or maybe a female Al Green. The jazzy ingredient is really in her phrasing, and the way she takes her time to ride a note as if she's deciding how she feels about the story she's telling, and how it's going to end. Like a woman who knows she's beautiful, but whose heart can still be broken, her songs are slick, yet with a translucent vulnerability. She has paid her dues and performed with some major names. The only thing left is for the right label to snatch her up and make her one of them. http://www.youtube.com/watch?v=qkhtAY5mwGY

Tamela D'Amico: They call her "Sinatra in Heels", and just like "Ol' Blue Eyes", this renaissance woman of the arts also acts and directs, but her voice is the juicy fruit beneath the peel. The tiresome trend of gratuitous vocal gymnastics makes it so refreshing to observe

Tamela's respect for melody. Her vocal placement is Streisand-esque at times, but her style evokes the strong feminine mystique of a Peggy Lee. She says, "I only know how to sing from the center of my soul. I want to wrap my voice around you like an embrace, and give it to you as a genuine gift."

And it is that very sentiment that emanates from every lyric she sings. D'amico is almost a purist compared to others on this list. She unabashedly performs old school Jazz, and it works for her both in personal style, and in musical appeal. Her album, Got A Little Story is available now, but keep your ears poised for her upcoming duet with the great Billy Vera, and all that will soon follow.http://www.youtube.com/watch?v=txzJIqIAack

Imelda May: This wild and crazy Irish chick provides the perfect example of using jazz to create a unique and personal sound. Her hair and clothes are right out of the 50s, but her blues and rockabilly edge conjure the image of Big Mama Thornton, LaVern Baker and Joan Jett all getting drunk together and deciding to jam. A story on the web describes the night her father drove her to a gig after breaking up with her boyfriend. She was crying. Her father asks, "Is your heart broken?". She nods, and he says "Excellent. Now you can sing the blues." Now, that's a dad who knows how encourage art. To better understand this musical rarity, check out Johnny Got a Boom Boom, and take a break from the mundane. http://www.youtube.com/watch?v=ZucJAkzCNq8

John Pizzarelli: The son of guitar legend Bucky Pizzarelli first picked up his own at age 6. It

didn't hurt that as a teen, he was able to jam with guys like Benny Goodman, Les Paul, and Zoot Sims. (It doesn't matter if you know him. His name is Zoot. That's gotta count for something.) His pedigree also granted him an inherent musicality and a stage presence reminiscent of vintage Vegas Rat-Pack, probably because, as the oldest member of this list, he still remembers them.

Esperanza Spalding: Simply the best of the best. She is the rebirth of cool. Everything about her is natural. She's sexy without trying, writes original jazz, which many thought to be an oxymoron, and sings like a fallen angel, capable of just enough mischief to keep her interesting. That, coupled with her prodigious musical talent and tireless work ethic keeps her at the top of her game. Sure, it's easier when you spend every minute of your life doing the thing you love the most, but she doesn't take it for granted, she won't pander, and still earned the Grammy for "Best New Artist" whilst all eyes seemed pointed at Justin Beiber. You go, girl!

Sachal Vasandani: This guy is a versatile composer and arranger who has established himself as one of the top male vocalists in modern jazz. His ability to infuse just enough to make a pop song interesting has garnered high praise for his new release, Hi-Fly. The fact that his looks have been compared to yours truly can't hurt sales or hinder the large female presence at his shows. (I'm kidding, of course. I look a little younger.) http://www.youtube.com/watch?v=RLTLDaKJDro

So you see, Jazz is not dead. It can never die. It's like the proverbial soul that passes from one living form to the other. Sometimes, you will catch just a glimpse, and other times you'll be blinded by the light, but don't ever be fooled into thinking it's gone.

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Peace.