Top ten backing vocals

I have been spending lots of time this month working as a backing singer for 3 different groups: hip hop/soul group Hudson Airies, rock group VALL and pop punk band The Instants. (Click on the links to visit their myspace pages. Have a look at my gigs page to see when we're performing live.)

Backing singing is harder than it sounds! Although there aren't many words to remember, you've got to get your entries right, and if - heaven forbid - you do actually forget the words, there's no option to make them up, because someone else is singing them too! No scatting allowed.

So my top ten list for August is a compilation of backing singing performances that have caught my attention for various reasons. Sometimes the recording artist records their own, and sometimes it is an artist in their own right.

Top Ten Backing Vocals

1. Take That

Instead of just singing a harmony to the tune on a chorus, Take That use their backing vocals as additional parts. An extra set of lyrics is sometimes added - take, for example in the song Sure...

Lead Vocal: "It's not a game so don't play hard to get"

Backing vocal: "I'm tired of running after you"

This is quite an obvious example, but this kind of exchange of words and melodies happens regularly, making the backing vocals integral to the song. Believe it or not, if someone is having trouble writing backing vocal lines I always encourage them to listen to Take That!

2. Prince (for Prince)

Unbelievably talented musician Prince apparently plays most of the instruments on most of his recordings. His ridiculous vocal range means that he can do most backing vocals himself. When I was growing up and watching Top of the Pops regularly, Prince appeared to change his name to 'The Artist Formerly Known As Prince,' or TAFKAP. Apparently this is just a title the media created because he had in fact changed his name to an unpronounceable symbol:

In a modern world of smilies, I think I'll change my name to ;0)) . Call me TAFKASEH.

3. Prince (for Madonna)

Prince collaborated with Madonna on the album Like a Prayer. He co-wrote the track Love Song and sings backing vocals on it. On the same album, Prince also worked on one more track - Act of Contrition - which is Like a Prayer played backwards. An excellent idea for my next album! How about Drahn Ik Row or Eploe Pemos? (I know it's not exactly the same effect but it's the best I could do in the time given!)

4. Michael Jackson

An incredibly talented singer, Michael Jackson would record many of his own backing vocals. He also had a plethora of talented siblings to choose from. One of his backing singers in the 1990s was Sheryl Crow. Another interesting (or useless) fact: Michael Jackson was an Exeter City supporter.

5. Vivien Green – for Jill Scott on Later with Jools Holland Hip Hop Soul

As a teenager, when I first was becoming interested in music and singers, I discovered this DVD at a friend's house (No, I wasn't snooping around - we were watching it). It features brilliant live versions of songs such as Alicia Keys Falling, Mary J Blige Family Affair and Jill Scott Getting in the Way. Vivien Green appears as a backing singer for Jill Scott, and later on in the playlist as a performer in her own right with the breathtaking Fanatic.

It's an amazing collection of music - if you can ignore the need of Mr Holland to play a boogie-woogie solo over everyone's hip hop tune(?) - and there's a gem of an interview with Alicia Keys who treats the viewer to a spontaneous and unerringly passionate Never Can Say Goodbye.

6. Sarah Ellen Hughes

Ah, here I am again in my own top ten! This is because I'm extremely proud of my backing vocals on both of the original tunes of my album: Some People and Workin Hard (if you didn't get it earlier these are the backwards words in No. 2.)

While listening to the first mix with my drummer Darren, he dubbed the backings in the middle 8 of Some People the 'X-Factor moment,' and he can't resist singing them while sitting behind his drums on a gig. I should get him a mic. Thoughts, Darren?

7. Seal

One of the most beautiful arrangements of harmonies I've ever heard is on Kiss From A Rose from Seal's second album. In 1996 the song won 3 Grammy Awards - for Song of the Year, Record of the Year and Best Male Pop Vocal Performance. Surprisingly though, it only got to number 60 in the charts on its first release, but after being used under the credits for the film 'Batman Forever' it went straight to number 1.

8. Kurt Elling

On the album 'A Time For Love,' Kurt Elling records a wonderful multitrack version of Irving Berlin's The Best Things Happen When You Dance. It has inspired me to start a new group called 'Sector 7,' featuring jazz quartet and 3 vocalists, which will include new London jazz sensationKwabena Adjepong and London Jazz Vocalist Award nominee Emma Smith. I'm very excited and believe it will be the next big thing! So watch this space.

9. Rayne Fitton

Long before I had thoughts of becoming a professional singer, I would listen to my cousin, Rayne Fitton, singing and playing guitar with the various groups that she was in while still a UK resident. The most memorable of these groups for me was Johnson, signed to Sony for one beautiful album. The thing that made me listen most to Rayne was the fact that she never sang the tune when singing along to a song on tv or the radio... she would make up harmonies as she went. How did she do it?! I would marvel at this skill.

I do it a lot myself now - in practise for my backing vocals, or finding ideas for new arrangements of tunes - but whenever I find myself absently singing along to something in harmony I think of Rayne.

10. Jocelyn Brown

When preparing to sing at a wedding about 2 years ago, I was asked to learn the brilliant party tune Somebody Else's Guy. I went into HMV and bought 'Jocelyn Brown - The Hits.' The guy at the counter was amazed that Jocelyn Brown could have a Hits CD, given that she really has only this one notable song to her credit. However, as a backing singer and session vocalist, Jocelyn Brown has recorded some of the most memorable dance tunes of all time. Think Keep On Jumping, Love's Gonna Get You, the feel-good Always There and a stand-out version of Aint No Mountain High Enough, released in 1998. With a stack of top 20 UK hits and a long list of US number 1s, Jocelyn Brown is proof enough that the career of a backing singer can be as respected and lucrative as being the front woman.

PREVIOUS TOP TENS:
iPod Top Ten - click here to view

iPod Top Ten

The shuffle setting on the iPod is a marvellous thing. It’s not always totally random – the iPod will lean towards artists or albums it’s already selected in the current shuffle. Some shuffles can be a dud; some can be ideal. Here is my ideal iPod shuffle: iPod Top Ten.

1. Sting All This Time (album)
2. Silje Nergaard Paper Boats (from the album Darkness Out of Blue)
3. Stevie Wonder Natural Wonder (album)
4. Gill Manly Daydream (from the album With a Song In My Heart)
5. Tuck and Patti Tears of Joy (album)
6. Shirley Horn Here’s To Life (album)
7. Kurt Elling Nature Boy (from the album The Messenger)
8. Avishai Cohen Trio Gently Disturbed (album)
9. Neil Yates New Origins (album)
10. Sarah Ellen Hughes But Not For Me (from the album Darning the Dream)
    
    1) Sting All This Time (album)
    
    Recorded on September 11^th 2001, this album was released as a dedication to all who lost their lives in the terrorist attacks on that day. Despite the newsof the tragedy reaching the band before the show, concert went ahead as a tribute. You can detect some melancholy, but it’s an amazing testimony to how music can suspend ordinary emotions and take the listener and music-maker to another – better – place.
    In the setting of his home in Tuscany, Sting treatsan intimately-sized audience to a wicked melange of Sting/Police classics. Most have a jazzy twist – heaven for a jazz singer looking to freshen up a set full of Gershwin and Cole Porter. (Not that there’s anything wrong with G & CP, but with songs approaching 100 years old, it’s good to inject something new from time to time.)
    An assembly of musicians from Jason Rebello to Christian McBride indicate to the audience that they’re in safe hands.
    
    
    2) Silje Nergaard Paper Boats (from the album Darkness Out of Blue)
    
    A friend recommended this singer to me about a year ago and I’ve never looked back! This, her 9^th album, is entirely original material – (some other albums include jazz standards) – words by Mike McGurk and music by Nergaard, proof indeed that here is a wonderful musician as well as captivating singer.
    The start of this particular song is irresistibly simple – one note repeated 8 times, the harmony changing beneath, effortlessly resolved through the rest of the phrase. A pairing of lyrics and melody: beautifully woven together as if they were composed by the same mind.
    
    
    3) Stevie Wonder Natural Wonder (album)
    
    A treasury of astonishing vocals and a collection of some of the most important songs ever written, this double CD album captures a live concert in Japan, depicting Stevie Wonder at his genius best.
    The joy of a live gig is to hear familiar songs in new, innovative arrangements. This recording doesn’t disappoint. It changed the way I both sing his repertoire and listen to his music.
    4) Gill Manly Daydream (from the album With a Song In My Heart)
    
    Whilst wandering across the concourse at Kings Cross Station one day, this gorgeous tune came on my iPod. I stopped, turned up the volume, and listened intently, thoroughly happy. At the end, I skipped it back immediately and listened all over again.
    Gill Manly does a wonderful show: a tribute to Nina Simone (read my review of the show here) – so I’m going to use some of this column space to talk about Nina too. Despite being one of the world’s most important singers, I don’t really enjoy listening to Nina Simone, a feeling quite a number of singers I know share. However, there are four recordings that I can’t get enough of: Little Girl Blue, I Loves You Porgy, He Needs Me and, predictably, My Baby Just Cares For Me. Timeless.
    
    
    5) Tuck and Patti Tears of Joy (album)
    
    The first professional work I ever did as a jazz singer was a guitar duo in Lancaster. Since then, I’ve continued working with wonderful guitarists including Mark Townson, John Moore and Chris Allard. The ultimate guitar/voice pairing is Tuck Andress and Patti Cathcart. Tuck’s guitar playing defies belief and Patti’s vocals leave the ear wanting nothing, despite the lack of other instrumentalists. Check out the haunting Mad Mad Me, the rip-roaring I’ve Got Just About Everything, and a romantic version of – appropriately – My Romance.
    
    
    6) Shirley Horn Here’s To Life (album)
    
    Despite not being a jazz fan, my Dad bought this album for me on recommendation of Shirley Horn being a “jazz singer’s singer.” I fell in love immediately with the glorious strings – particularly an inverted pedal on violins at the beginning of the title track (an inverted pedal is a high note held for a significant length while the harmony changes beneath it). I was captivated by what Horn sang – or rather didn’t sing. Simplicity and silence speaks volumes.
    Upon listening to the album twice in a row, it made me want to immediately quit my job as a teacher and embark upon a jazz singing career. A few months later, that’s exactly what I did.
    
    
    7) Kurt Elling Nature Boy (from the album The Messenger)
    
    My shuffle wouldn’t be working properly if it didn’t land on one of the six Kurt Elling albums I have. This man made me rethink not only the way I was singing and performing, but what I wanted to achieve as a vocalist, as I’m sure he has for many a singer. I can’t pick a favourite album, but Nature Boy from The Messenger is worth listening to with undivided attention and the volume full-blast.
    8) Avishai Cohen Trio Gently Disturbed (album)
    
    I bought this album because it was playing in the jazz room at HMV. I was immediately captivated by the ambient sound, and on closer inspection I found it to be a fantastic collection of innovative compositions and brilliant musicianship, not only from bassist Cohen, but also Mark Guiliana on drums, and the brilliantly named Shai Maestro on piano.
    9) Neil Yates New Origins (album)
    
    Neil Yates is not only a terrific trumpeter, he’s also a brilliant composer. New Origins is an album largely inspired by places around where he lives on the North Welsh coast. It fuses jazz, folk and Celtic music, using the sound of the Bodhrán (pronounced bor-an) and whistles alongside more regular jazz instruments. He also sings on the last track. Magic.
    Neil doesn’t visit London often, but when he does, I always try to see him. The last time he was here, my sister Anna and I went, proudly wearing our t-shirts (think about it). Neil was well chuffed! We got a photo and a hug!
    New Origins is one of those albums I’ve listened to so much that I know it by heart. Certain chords make me swell; certain passages make me beam; certain solos make me gasp… still. The sound guy at The Crypt in Camberwell (www.jazzlive.co.uk) has been just as taken with the album. He’s played it every Friday in between sets for about the last 3 years.
    10) Sarah Ellen Hughes But Not For Me (from the album Darning the Dream)
    
    I would be doing something wrong if I didn’t take this self-promotional opportunity by the scruff of the neck. So the final track in this list is from my debut album Darning the Dream, available on Amazon, iTunes, HMV (are you clicking the links to buy it yet?)
    It is the curse of any jazz singer, and perhaps any musician, to be dissatisfied with a studio recording. It will never be good enough! At some point you have to close the lid and say “That’s as good as it’s going to get.”
    So it came as something of a pleasant surprise to report that when a recent shuffle landed on But Not For Me, I actually enjoyed listening to it! Perhaps it’s the drum solo, the wonderful contribution from Dave O’Higgins’s tenor, the lush vibes gluing it together, or perhaps it’s the fact that it’s not half bad! This particular track, above the rest of the album, made it on to the list because it was the first one that, when selected by shuffle, I didn’t skip it on. Instead, it made me smile. The others are growing on me too!
    
    

Learning to sing jazz

People have recently been asking me about my background in vocal training and how I came to be a jazz singer. I have never had any formal training, although in my late teens I had several lessons with a family friend (Alison Bryan) who taught me things about vowel pronounciation and breath control which shaped and improved my singing technique. This had a classical focus - Alison was not a jazz fan - but it was an essential and valuable education. I grew up in a household listening to Radio 3 and The Carpenters. Many jazz musicians spend their childhood with Ella Fitzgerald or Miles Davis in the background, but my parents - despite being excellent musicians themselves - were not into jazz, nor were they very knowledgeable on the subject (my Dad had never heard ‘My Funny Valentine’ until I sang it at a gig last year). It was when singing in The Orpheus Choir of North Herts, that one day we were rehearsing an arrangement of ‘Every Time We Say Goodbye’ and I remember thinking ‘This isn’t how it’s supposed to go!’ I longed to be freer with the melody - putting an emphasis on the important lyrics. The jazz was in me! My secondary school housed a jazz band (North Herts Youth Jazz Orchestra) for weekly rehearsals, and I joined as a flautist (although it started off as a way to kill time whilst waiting for a driving lesson. I soon changed my driving lesson time!). One day the singer was absent. I thought to myself, ‘Well, I can sing,’ but had never before sung jazz, or listened to anyone singing jazz, so I wish I’d thought twice before volunteering. The song was Billie Holiday’s beautiful ballad ‘Don’t Explain.’ I’m good at sight-reading, so I sang exactly what the copy said - complete with full semi-breves and crotchets rigidly in time. Where had my inner-jazzer gone?! The following week, the band’s singer returned and sang it properly. I was very embarrassed at the thought of my attempt! But still I didn’t learn. Another time the singer was absent and this time the song was ‘Wave,’ a Jobim bossa. The melody on the copy starts on a B above middle C, and quickly rises to a top G/A. As I shrieked out the notes, the bandleader stopped the rehearsal and quickly relegated me back to my flute seat. My first exposure to real jazz was hearing an old NYJO album - Shades of Blue and Green - which I found to be a fine record: exciting, moving, thrilling and awesome. By this time I had made new friends with other jazz musicians, and they introduced me to recordings of Natalie Cole, Carmen McCrae, Ella Fitzgerald, Peggy Lee and Sarah Vaughan. My jazz education had begun. It soon developed with the discovery of Nancy Wilson, Shirley Horn and Kurt Elling. As a professional I have had lessons from several singers whom I admire and find inspiring, including Claire Martin and Georgia Mancio. And still I continue to learn - at every gig I go to you’ll find me scribbling notes at particularly inspiring moments. I try to listen to a wide range of vocalists performing different genres, so that I might emulate the things I enjoy about what I’m listening to. Hopefully in the future, young singers will be listening to me for the same reason!