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Interview
Kathleen's
Background:
Direct musical influences?
My family, music teachers and musicians from my youth, and jazz
musicians that I have played and sang with.
Family?
My parents made sure that my four siblings and myself had piano lessons
and played instruments in the school band. At home, we all sang with
Daddy, as one of us played the piano. My father loves to sing and he
knows all kinds of songs from various eras. He had me sit at the piano
and play them as soon as he thought I could accompany him. Little did I
know that so many of those songs could also be jazz tunes.
Lessons?
I started piano lessons at age 7 and continued through my early college
years. I received vocal instruction for contest solos in high school and
during a few semesters of college. I started trombone in 5th grade band.
During college, it was my major instrument and I received instruction
from Mike Mathews and John Leisenring.
Formal Education/Training?
I received a B.S. in Instrumental Education with a Vocal Certification
from Missouri Western State College, and a M.A. (with a jazz emphasis)
from University of Missouri-Kansas City.
Performance Experience as Singer, Pianist, Trombonist, etc.
(i.e., bandstand experience)?
I started singing and playing in church
during my early teens, and I played piano and sang with a country band
when I was 16. During my college years I performed in a southern gospel
quartet, a country rock band, various choirs, jazz bands and combos, a
salsa band and a rock horn band.
Since
college, I have performed with various Kansas City area musicians, such
as Pete Eye, Bram Wijnands, Rich Hill, Brian Hicks, Monte Musa, Kerry
Strayer and many other wonderful players as well. And of course, with
Bob Branstetter, Paul Smith, Rod Fleeman and Al Wiley. Down at the Lake
of the Ozarks, I perform with wonderful players such as Mike Vyrostek,
Bill Mack, and Randy Hamm. And in St. Joseph, of course, I have
performed with the Ray Alburn Big Band since 1990.
Stylistic
Influences:
Do you consider yourself a jazz singer?
Why? Mostly. I love the
freedom of jazz and I use that freedom in most cases. I aim for the
message of a song above all, and create new rhythms and melodies while
still maintaining the importance of lyrics.
Whose singing has "grabbed" your ear?
Sarah Vaughan, Ella Fitzgerald, Billie Holiday, Tony Bennett, Mel Torme,
Joe Williams, the Ink Spots, Jo Stafford, Judy Garland, Patsy Cline,
Mark Murphy, Irene Kral, James Taylor, Bonnie Raitt, Annie Ross and
Eddie Jefferson.
Why?
They are all masters of their craft.
What aspects?
The message of the lyrics comes
through no matter what. They may be great at changing rhythms, melodies,
scatting, etc. They truly make the listener believe that they are
singing to you, individually, the listener.
What are your thoughts about scatting vs. singing/interpreting
a song? I only scat on songs when I
feel it is appropriate. My scatting note choices and rapidity changes
according to the style in which a song is being played. When singing the
lyrics, I make sure the listener understands every word and believes
that message is coming straight from my heart. Even when changing the
melody or rhythm, I still maintain the priority of the message.
Career/Future:
Choosing to be a professional jazz singer is a big decision.
What are your motivations? I am a
lucky person. I get to work at something that I love. I must be creative
and entertaining. I am driven by my own expectations and the smiles of
an audience.
What are your aspirations?
Whatever happens happens. I am happy now and will be happy no matter
what.
Where would you like to be in 5 years?
I can say that I like to travel, so I’ll gladly take gigs elsewhere in
the world. And I always love coming home.
10 years? More of the same…
What's going on in your musical life right now?
I’m very busy playing and singing at many places with many different
people.
Kinds of
gigs? I am doing some singles on
voice and piano at restaurants and clubs, some voice and piano (with
left hand bass) on a dixieland combo, voice and trombone with a big
band, and singing with several different combos in clubs.
Writing? A few ideas are
rolling around in there. They will pop out when they’re ready.
Who are you working with?
The Ray Alburn Big Band in St. Joseph and Pete Eye, Bob Branstetter, Al
Wiley, Paul Smith, Rod Fleeman, Rich Hill, Bryan Hicks, and Kerry
Strayer and the New Kansas City Seven, all in the Kansas City area. At
the Lake of the Ozarks, I work with Bill Mack and West Side Jazz.
Are you teaching?
Yes.
If so, where?
At home, teaching private studio lessons.
Other musical activities?
At my church, I am the accompanist and director of several choral groups
and accompanist for the early service.
Questions
Pertaining to the Don't You Wonder? Release:
What is the overall significance of the date?
I was being prodded and kicked
into doing this by several people, including my husband Steve, my buddy
Leslye, Ray Alburn, Bob Branstetter and Paul Smith. I just wore down and
they won. The bruises are healing nicely. (Just kidding!)
What does it represent in terms of
your career, artistic evolution, etc.? Said another way, what does the
date document? In musical terms? In personal terms?
I want this to show that I can
approach many different styles of songs, from different time periods and
genres, and make them my own. I have grown musically and I want this to
document where I am right now. Hopefully, the listener will be
open-minded and appreciate the variety.
Was there a particular concept or motivation for the date?
It happened when it worked out for
all of us…and just to stop the endless prodding and kicking I was
receiving from people I love.
The group sounds tight, together, very musical, and in the
pocket. Anything on the specifics of the session would be useful. Why
these particular players? They are the
best, not only in their playing abilities, but also in their attitudes.
They all play from the heart and get along beautifully with each other.
And fortunately for me, they are great friends of mine.
What is your performing history with
each?
I have played duo gigs with Rod and combo
and big band gigs with Bob and Paul and Al.
Also, why this format, i.e., voice,
piano, guitar, bass and drums?
Being my first recording, this was the
format that we felt would show my vocal abilities best.
How did you (or any of the others)
help establish what clearly is a shared and very sympatico musical
vision? We all talked about choice of
songs and how to approach them. All of us created our arrangements.
What were the dynamics of the session like? First takes? Tenth
takes? The fellas are all pros, and
are quite used to the studio. I had done studio work, but it had mostly
been jingles and hold talk for advertisers. So, I was quite nervous on
the first day of the sessions. But I got over it. After it was all done,
I missed getting together with the guys.
The atmosphere in the studio? The
groove? Camaraderie?
Sound Trek studios felt really
comfortable to me. It was already “home” for the fellas, and Ron Ubel
did everything necessary to put me at ease. He’s a big gruff and lovable
teddy bear. (He’ll love that one!) We all had lots of laughs and fun,
yet still were perfectionists when it came to the sound we wanted,
individually and collectively.
As you look back to the recording date, what comes to mind?
It was so much fun and it was
great to be so focused on the little bitty details of each song. The
fellas were a blast and I am forever grateful for their support.
What got accomplished?
Exactly what we wanted…a sampling of my abilities in the very best
setting possible.
What's your own assessment?
This offers a great variety. Hopefully, people will be open to
everything on this offering, and like at least some of it. I just want
to help people enjoy themselves by giving them something different to
listen to.
Is there, perhaps, a particular teacher or mentor who should
be mentioned?
Ray Alburn has been such a supporter of
me since we met. He has always pushed for me and has encouraged me in
difficult days. He’s a great musician with so much heart and dedication
to the music. I love him lots. |
