“What would Betty Carter do?” An Interview with Alyssa Allgood
By Abigail Flowers
Alyssa Allgood is an award-winning jazz vocalist, composer, arranger and educator from Chicago. She recently released her fourth album, “From Here”, with internationally renowned musicians John Patitucci, Kendrick Scott, Geoffrey Keezer and Greg Ward. Ahead of her first performance at Rudy’s Jazz Room with Jimmy Sullivan on Sunday, July 21st (purchase tickets here), she answered a few of my questions. There are a number of highlights for me in her responses, but my favorite was her advice to young people interested in pursuing music. It’s included in context below, but here’s some of what she said (emphases mine):
“It can take many, many attempts to land the “gig” (performance, teaching job, grant, etc.). Keep focusing on you - develop your sound, your approach, the way you represent yourself and then apply again, and again, and again.
Support your community. This music has always been about community, and it’s important to be part of whatever scene you’re in. Get out to support your fellow musicians and lift up the different voices, perspectives and approaches to the music around you. It’s especially important to remember that you are not alone in this music. There is a big, beautiful world of musicians who can provide inspiration and support, and who can be inspired and supported by you.”
Enjoy the rest of Alyssa’s interview below, and please come out to Rudy’s on Sunday the 20th to hear her for yourself!
Can you tell us some about your musical background—did you have a musical family, for example? Were there specific experiences, role models, albums, etc that cemented your love for music?
I’ve been involved with music since I was kid, singing with the jazz band, performing in musicals, and singing in choirs since junior high. I loved singing in all of those settings and remember being drawn specifically to jazz because it felt more real to me. I loved working with a band and being part of something that was bigger than myself (I still do!)
My parents are both jazz and blues fans and they have a deep love for music. My mom used to be a music therapist and studied music in college. My family has given me so much support and encouragement for my music throughout my life and I’m grateful for people who see what I do.
When I was 12 I started attending a vocal jazz camp run by Janice Borla at North Central College in Naperville. I went every summer for about 8 years and worked with great vocalists like Peter Eldridge, Jay Clayton and Rosana Eckert. I participated in classes about theory, history and performance techniques and attended faculty concerts every night. As a young singer, I loved watching singers perform and interact with a band. Each artist was so different and I was drawn to the individuality of the music.
Who were some notable teachers or mentors who have influenced you, and what has their impact been?
I completed my undergrad at North Central College. One of my biggest takeaways from this program was the expectation to be as prepared as everyone else on the bandstand. As a vocalist, this instilled a work ethic and identity that has served me well in my career.
I recently completed my masters at DePaul University and I was very influenced by the then program director Dana Hall, who is an incredible drummer, bandleader and composer. He helped me think more about my artistic intention and commitment to my vision. Going back to school as a professional allowed me to focus on specific skills and experiences. This program helped inspire my current focus on original music.
What does jazz mean to you, and/or how does it factor into the music you write or perform?
To me, jazz is an approach to life. It is an openness to those around you, a willingness to be fully present in a moment, a vulnerability to express yourself, and a confidence to stand in who you are. I love creating something that can never be recreated again. I love the freedom to explore where the music takes you, and where you can take the music. The rich harmonic and rhythmic language of jazz is prevalent in all of the music I write.
Who are some of your vocal influences or heroes?
I have a mural in my teaching office of my 8 ladies - Ella Fitzgerald, Billie Holiday, Sarah Vaughan, Carmen McRae, Dinah Washington, Shirely Horn, Betty Carter and Abbey Lincoln. I’ve absorbed so much from obsessively listening to these artists - everything from phrasing, timbre, lyric expression, swing feel, improvisation, feminine power, artistic vision, soulful expression, beauty, individuality and confidence.
The opening track on my new album is an original song I wrote in tribute to the great Betty Carter. Reading her story and doing a deep analysis of her music has inspired my commitment to myself and crafting my sound. She was fiercely committed to her vision and honoring her individual sound. She was also a vocalist who functioned like an instrumentalist. Her singing style was a catalyst for movement in the music, and you can hear on every recording how she interacts and creates music with the band. That is a major part of my own singing, and has influenced my identity as being part of the band and music, rather than a vocalist *with* a band.
How do you approach practice?
I honestly find the majority of my practice to be gig-specific nowadays, whether that’s learning new material, or reviewing songs for upcoming performances. However, I do keep the routine of musical skills such as solo transcription, piano, and sightreading up. I’m an active educator as well and I continue practicing playing vocal parts and analyzing ensemble arrangements.
What is your approach to composition?
I mostly write the chords, melody and lyrics at the same time. My first experience with songwriting was actually vocalese writing, so I developed an affinity for connecting words with rhythm and articulation. I find it much easier to write a lyric and melody together so I can craft the syllabic stress organically.
I play piano and always write at the piano. I find myself writing a lot of melodies with big jumps and ranges, and color tones. I don’t necessarily set out to write that way, but I think I’m drawn to instrumental melodies. And I’m just straight up obsessed with minor 11 chords, haha.
How do you deal with disappointment, “failure”, or setbacks as a musician?
Ooof, it never gets easier. First, I allow myself the time to feel my feelings. As musicians, we are vulnerable. We’re creating and expressing parts of ourselves for the world and asking the world to hear us and value us. It’s hard to hear “no” or oftentimes no answer at all when we’re putting our heart and soul into our music.
As I’ve begun focusing more on my original music, I’m learning to lean into the notion of finding my “tribe” or community that aligns with what I’m doing. Having a point of view in this music is important, but that may mean that your music won’t be for everyone. And sometimes a “no” isn’t even about your music, but about a million other considerations. So it’s important to try removing too much value or sense of self tied into these decisions (which believe me, I know is hard.)
Through honing in on my artistic vision recently, I’ve developed a sort of relentless spirit about booking and seeking out opportunities for myself. Sometimes it can still feel hard to embrace that as a woman, but I know that the best person to advocate for myself is me. I’ll sometimes think, “what would Betty Carter do?” And the answer is to keep pushing, keep seeking, keep driving. Although it can feel exhausting, I’m constantly sending out messages and researching venues. The more messages I put out, the more opportunities I have for it to lead to something.
And finally, sometimes the “no” makes me so determined to get a “yes” that I work harder and think differently about how I can land whatever opportunity I’m going after. I have a plaque on my desk that says, “you’re doing a great f***ing job” because sometimes I just need that reminder, ha!
What advice would you give to a young person who’s interested in pursuing a career in music?
This business is a long game. It can take many, many attempts to land the “gig” (performance, teaching job, grant, etc.). Keep focusing on you - develop your sound, your approach, the way you represent yourself and then apply again, and again, and again.
Support your community. This music has always been about community, and it’s important to be part of whatever scene you’re in. Get out to support your fellow musicians and lift up the different voices, perspectives and approaches to the music around you. It’s especially important to remember that you are not alone in this music. There is a big, beautiful world of musicians who can provide inspiration and support, and who can be inspired and supported by you.
I’d love to hear what your experience with vocal competitions has been. What did you gain, what were the challenges, and what would you recommend to folks considering applying?
When I first started doing competitions I went in with a mentality that each one could be my big break. And I was crushed when I didn’t win. Although competitions certainly can lead to bigger things, I don’t find it healthy or reasonable to put that kind of pressure on these experiences. All art is subjective, especially an artform that privileges individuality and self-expression.
Competitions are a great way to polish your presentation and develop your “elevator pitch” as a musician. You have to develop the ability to represent yourself in a short amount of time (maybe 2-3 songs). This requires knowing what you do best, selecting songs that exemplify this, and harnessing the confidence to step into that moment.
What original composition are you most proud of and why? How does it represent you?
Brave Little Flower has become my signature song. It’s the first song that made me believe in my voice as a composer, and it’s an empowering lyric about growing beyond your situation. The song has two distinct sections - a major section with a broken swing/open triplet feel, and a minor section with a gospel 6/8 feel. The main lyric is, “where you are planted does not define you, for your roots spread much further and carry your truth.”
I write a lot about self-love and self-actualization, much of the stories from my own experiences. As a female vocalist and songwriter, I want to offer different kinds of narratives in this music. Romantic love is great and beautiful, but there’s been so many songs written about that. What about learning to love yourself? Finding your voice? Believing in who you are? And how do those things impact the way you view the world?
Brave Little Flower is my first published vocal jazz ensemble arrangement, too. It’s been performed by college and high school groups around the US. I’m proud to see younger vocalists singing messages of empowerment. I aspire to bring uplifting messages and positive change to my audience, both as listeners and fellow musicians.
Can you talk about collaborating with instrumentalists? Tips for band communication, relationships that have been beneficial to you, favorite instrument to duet with... Anything really!
It’s probably become clear in my other responses, but I really identify as a jazz musician first whose instrument is the voice. What that means to me is I am involved in all aspects of the music, from writing and arranging, to interacting and moving the music forward in real time. Throughout history, jazz singers have been seen as something different than the band, and I really don’t stand for that.
I admire and respect my instrumental counterparts and have taken time to learn their language, from describing grooves and voicings, to transcribing instrumentalists. I’ve also spent time learning common expressions in the music so I can communicate form, endings, etc. quickly and clearly. As a vocalist, I’m often the bandleader, and it’s important that my skills as a frontwoman are clear and confident.
I LOVE it when a rhythm section interacts and really gets in there to create music together. Sometimes people assume that as a vocalist I want more of a “back up” band, but I want to be part of the music just like a horn player. I really appreciate instrumentalists who support my musical vision by opening up, taking chances, and growing the music in the moment with me. My working band in Chicago has been incredibly supportive of my vision. We’ve been touring together the last few months and every time we get on stage it feels electric.
Spotlight On: Nicole Zuraitis
by Abigail Flowers
Grammy winning vocalist, composer, and pianist Nicole Zuraitis will be performing at Rudy’s Jazz Room on Monday, May 13th at 6PM. Tickets are available here. She will be joined by Nashville favorites Jonathan Rogerson (guitar) and Jimmy Sullivan (bass).
Ahead of her performance (and before she headed off to Europe for tour), I was able to talk with Nicole on the phone about her musical background, her advice to young musicians, and more. She was funny, gracious, candid, and kind. So much of her story is relatable to all musicians, yet her success serves as inspiration for those carving their own paths.
Since our conversation a few weeks ago, I’ve been haunted by a particular statement she made about confidence. You can see the full exchange below, but she said that when she wonders if she ought to just hire someone with more experience in a certain area, she asks herself, “Where is the proof that I don’t know how to do this?” That helps her push forward in the creative process and take more risks. As someone who struggles with self doubt (and I know many women and other folks in our community can relate), this has been an incredible encouragement to me. We’re often capable of more than we realize, but don’t give ourselves permission to try. I hope you’ll find this conversation with Nicole as inspiring as I did, and I hope you’re able to enjoy her performance in person on May 13th.
AF: I would love to know about some of your musical influences—even those who’ve influenced your sound indirectly.
NZ: Carole King, for sure, and Stevie Wonder are two big songwriters for me that are super influential. And also Sara Bareilles. But then I also always loved Gershwin. I love the Great American Songbook—Irving Berlin, Cole Porter, those kinds of songs. I consider myself an old soul, like I loved theater growing up. I loved being able to see a Lerner and Loewe show and then all of a sudden hear Ella Fitzgerald sing “Almost Like Being in Love”.
I’ve always thought good music is good music. I never was a fan of just one particular genre; I really loved everything. I’ve always gotten obsessed with one song, as opposed to an entire album—I don’t know if you can relate to that.
AF: YES! And that really came across in listening to your music. Like the first track off of your most recent album is so blues—those influences really come across—and then I found your covers of “Jolene” and “Tennessee Whiskey” and it’s like… She loves music.
NZ: I’m so glad that came across. And I always thought that was my Achilles heel for so many years, because I wasn’t able to be put in a box. And since I won the Grammy is the first time that I went, “wait a minute, I think I was rewarded for being authentically unique.” For so long, people couldn’t quite put words to what I was doing. But at least “jazz” has expanded enough that they’re like, “well, I can hear the influence of Black American Music in her, and that’s enough for us.”
AF: Jumping around a little bit, but I am so curious… Once you get a Grammy nomination, you’re so much more aware of the eyes and ears on you. Did you ever feel like you had to write for a certain audience? Does that kind of success make you feel greater permission to be creative, or is there ever any pressure to fit a certain sound?
NZ: That’s really the question, right? The first month after I won, I had so many things that I had already booked pre-Grammys that I had to fulfill, so I was just fulfilling commitments—I didn’t have a chance to think because we were on the road constantly. It had nothing to do with the Grammys, it was just stuff I had booked before. And then for a month after, I was just shocked. Like, what do I do? I won a jazz Grammy, it’s huge pressure. And then people said you should do a standards album! And I said no thank you. I mean, I’m going to do a covers EP that comes out in the fall or early winter, but then… I was kind of frozen because everyone was telling me what to do. And I finally said, wait a minute, I got myself here. What do I want to do? I write music, so… I had written music over the last year. Even as we were touring How Love Begins—I mean songwriters, we’re always writing. And this music is kind of a similar vibe. Someone will say, “it needs to be more cohesive… It needs to be more swing…” Well, How Love Begins is all over the place and it won, so what do you want from me? If it ain’t broke, don’t fix it! I’m rambling because I just had a huge coffee but to answer your question, the pressure is real. But I’m not writing the music for a Grammy. I’m writing it because I want people to hear it and I want other people to sing it. I don’t want the music to be just for me.
AF: I love that. That’s so interesting to me—it never even really crossed my mind because I don’t know that I’ve seen that sentiment a lot from contemporary writers.
NZ: I’m actually putting together a book of contemporary jazz songwriters, and that was happening pre-Grammy shenanigans. What I’ve found is… When you have big TikTok stars blowing up, and they’re getting millions and millions of streams, who’s profiting? Probably not the songwriter. Maybe their estate or Harry Fox. But we have amazing contemporary songwriters, and if we all sing each other’s songs, we can make a new songbook.
AF: I also think that because so much of our life is online these days, paper anything is what people are craving. The ability to hold a book in your hands and read music… Someone gave me a paper invite to her show last night and I was like… I’ll be there, simply because this isn’t an Instagram story. I have a friend who does symphonic pop and sells the scores to his stuff and it’s just beautiful that it invites people into the music in such a different way.
NZ: I love that! I think so too. I noticed that when vinyl came back. And I’ve been saying as a joke (but also not really a joke), “you think vinyl is coming back—CDs are coming back.” I just bought a cheap vinyl player and it had a CD player AND A CASSETTE PLAYER. And I mean people are still buying my records even if they don’t have a CD player because we put so much heart and soul into these things.
AF: Jumping around again. You sing, you write, you play piano. Have you always done all three equally or do you have a primary instrument?
NZ: Definitely voice. I taught myself how to play the piano, but I’m not really a soloist on piano. And I used to play the trombone (laughs) but that just kind of helped me grow as a musician.
AF: I’d love to hear your advice for young people getting into music. Any words of wisdom for folks starting out on that road? Or big lessons that you’ve learned?
NZ: I would say that one of the things that intimidated me about jazz until I was about 30 years old, I kid you not, was the improvisational factor. I feel like women in general, we don’t always feel permission to take a huge risk like that. So if you can find safe spaces where you can practice improvising with people that you trust… You know, sometimes we have to have permission to do that because it’s really scary to improvise. I mean, if you’re a beginning jazz musician, you need to learn the language of jazz and you have to transcribe solos in order to even know where to start with improv. But having a safe space to do that is really important, so calling sessions—and maybe people don’t get paid. If you’re just starting out, you’re just playing. You’re not on a stage, you’re not at a jam where you just play one song, you’re literally just spending 3 hours with people making music in a safe way. I think that’s huge, and it’s something we don’t do enough. But it’s something a did a LOT when I was first getting into jazz. I mean, we didn’t have any money! I was a nanny, my husband was a barista—he’s a drummer—but you know, you just go and play music, because that’s where you can take risks. And record it!
Once you get more established, try to keep women in the mix. That’s really important. There are female guitarists, female bassists, female drummers. Trying to keep an eye out for one another is really important. I’m sure that’s what you guys are doing with Nashville Women in Jazz.
AF: I’m curious to hear what you value musically. What elements of music are most compelling to you? Like I recently realized that growing up, I only loved blues. I skipped everything on the CD that didn’t have some undertone of blues. And vocal harmony is extremely compelling to me. What are elements of music that you really value? As a composer, and as a performer.
NZ: As a performer, I like people who are genuine on stage. You know like when you meet someone and they smile with their teeth but not their eyes… I feel like a lot of people are like that on stage, too. So something that’s compelling to me is someone who’s equally comfortable on-stage as off.
And then musically, I’m with you on the soul. That little bit of grit that you can’t put your finger on. I love complex harmony under a simple melody. I love anything that’s groove- or bass line-based. And then I just love a good story, and a good storyteller.
AF: I keep thinking, as I hear you speak, that I’m just so excited you’re coming to Nashville because… The more I learn about the songs that I love, I’m fascinated by the meeting of country music and what we would consider jazz. Like song form, there’s so much shared DNA, there’s so much shared history, and Nashville is a place where a lot of that history lives. I’m excited that you, as a genre-less creator, are coming back here.
NZ: It’s funny because I grew up listening to theater, rock and roll, jazz, country… Like those are my genres. And the root of all that is Black American Music. And the same thing goes for country music, as everyone is discovering now, thanks to Beyonce! And it’s all rooted in like a spiritual, blues, soulful sound that… You know, that can’t really be taught.
AF: What role does collaboration play in your creative process? Do you love it? Do you do it because you have to?
NZ: I love co-writing with the right person. I can swing to both sides of the pendulum—overbearing, or completely passive, depending on the person. So collaborating with the right person is really fun for songwriting. When it comes to my own music, I really take ownership. I make the decisions. And as I gear up to do my next record, thinking about hiring other producers… My gut just keeps saying, why? I can collaborate, but I like producing my own music. And I wouldn’t mind producing for other artists as well.
AF: Where does the confidence to do that come from? Is it just experience? What tells you, “I am qualified to lead this in every way.”
NZ: Confidence is never a word that someone would put on me—they wouldn’t say “Nicole” and “confident” together. My whole life has been me going, “is this okay? Am I doing this right?” You know?
AF: YES.
NZ: Now, with a little bit of external validation, I’m using my Socratic questioning when it comes to my next decisions. When I think, “I should hire other people who know more than me to do this,” I’m like… “Where’s the proof that you don’t know how to do it?”
AF: *mind melting*
NZ: That’s been a really crazy thing for me, because I’m not a naturally confident person. I doubt myself constantly. But right now, I have to be like… I think I know more than I give myself credit for. And here’s the proof of that. It’s a wild place to be. I desperately want other people to carry me, and… nobody’s carrying me. Nobody cares about us as much as we care about ourselves. I guess that’s my big lesson. You have to drive your own bus.
AF: How do you deal with disappointment, failure, or setbacks as a musician?
NZ: It fuels me. Like a healthy dose of competition has always been something that helps me keep powering on. And again, there’s that confidence thing. You would think that I’m a confident person, because every time I got rejection, which was 24 hours a day for 20 years… You’d think I’m saying, “well, I’m confident that I’m great!” But it was never confidence that I’m great, it’s just this nagging feeling that I had something to offer, and that the right people hadn’t seen it yet. My grandmother always used to say to me, “You’re a little bit different, Nicole. You learn a little bit differently, you do things at a different pace than other people, but you’re a special kid.” So maybe it’s the inner child listening to Grandma, like I might not do things the cookie cutter way, but Grandma said I’m special!
AF: This is a favorite question of mine. I have a friend who has a playlist called “I Definitely Don’t Want to Quit Music” and it’s those songs that bring you back to being a kid and what made you fall in love with music in the first place. What would be some songs on your playlist?
NZ: I have a playlist called “Inspiration” that is exactly that. The stuff for when I’m just like… why am I doing this? There are albums like Tapestry by Carole King, Blue by Joni Mitchell, Inner Visions by Stevie Wonder, Led Zeppelin—the one with “Stairway to Heaven” on it. Ella Fitzgerald, Nancy Wilson and Cannonball Adderley… Keely Smith and Louis Prima, that really fun kind of jazz. And then (laughing) all the Bing Crosby Christmas stuff.
AF: What about individual songs?
NZ: “The Dawntreader” by Joni Mitchell. I love the version of Brenda Russell’s “It’s Something” by Snarky Puppy and Lalah Hathaway—that always reminds me that music is amazing. And then “You Can Have Him”, that’s a Nina Simone cover of an Irving Berlin song. I like listening to Stravinsky, The Rake’s Progress, I like some classical in there. I could go on, but as you can see it’s pretty diverse.
You can learn more about Nicole at her website, https://www.nicolezmusic.com/.
Listen to her Grammy winning album, How Love Begins, on your favorite streaming platform (or buy it on CD, vinyl, or digital songbook).
Spotlight On: Colleen Orender
Nashville-based vocalist Colleen Orender will be performing at Rudy’s Jazz Room on January 24th, 2024 at 9PM. Ahead of her performance, she answered a few questions for Nashville Women in Jazz.
Visit her website at www.colleenorender.com or purchase tickets to her show by clicking here.
NWIJ: Can you tell us some about your musical background—were there specific role models or albums that cemented your love for music?
CO: I started singing with my Paw Paw when I was an infant. He was a country singer, and I started memorizing the Dolly Parton and Patsy Cline records he brought to me when I was about five years old. He told me if I wanted to be good I needed to sound like “that” so I think that was when I started practicing and trying to match the tone I heard.
NWIJ: Did you have formal music training? Were there any notable teachers who inspired or influenced you?
CO: I started playing piano when I was five, but I had a strong ear and honestly I leaned on that for most of my recitals, but I picked up a little bit of theory from those first years. I never had vocal training until I went to college as a musical theatre major. Growing up in my Paw Paws band, singing with Dolly records, singing in church, and listening to records was about it. I was cast in musicals from an early age, and I picked up a few tricks from the Music Directors in those shows along the way, so that was really my only formal knowledge. I knew harmony naturally and was performing regularly in competitions all over Florida.
NWIJ: How does jazz factor into the music you write and perform?
CO: My Great Grandmother was a Big Band singer and my Grandmother listened to swing, but I think the first time I heard jazz voices was from Musical Scores in musicals or soundtracks in movies and I really delved into loads of jazz records as a teen. When I found Josephine Baker, Ella Fitzgerald and Sarah Vaughn I fell in love with the interpretations of the voices and lyrics from the 20’s-40’s and I realized how the voice could be used as a true instrument in a song.
NWIJ: Who are some of your vocal influences or heroes?
CO: I’d say the style I sing has been influenced by an amalgamation of soul, jazz, pop, and country artists like Etta James, Bonnie Raitt, Nina Simone, Patsy Cline, Elvis, Ella, Gloria Estefan and many more.
NWIJ: How do you approach performance?
CO: I feel the energy exchange consistently through out a performance and lean into every drop. Telling a story is the most important thing to me and listening and pushing on the tension in the music between my musicians and my voice. We all work together and provide space.
NWIJ: What is your approach as a songwriter?
CO: I write with my voice and then get with my producer or another musicians and I write about what I hear and what I see in my daily life. Relationships, friends experiences in their relationships. I’m always receiving information around me and the muse is awake. Songs wake me up in my sleep often and I always keep my recorder close by.
NWIJ: How do you deal with disappointment, “failure”, or setbacks as a musician?
CO: You have to be a little crazy and a maniacal dreamer to even want to deal with the music business. Performance and sharing energy with an audience is like breathing to me, so I don’t really think about the down times. As long as I’m still handling the business emails and working toward new connections throughout the day I feel like goals are being met. Nothing in life is forever, all gigs must end and my theatre auditioning background made me durable against the word “no”. It’s just part of what I do.
NWIJ: What’s one of your favorite gigs you’ve done?
CO: One of the funnest was singing on the Tennis Channel for the Parabis Open to salute the local Marines. Five marines carried me to my position for fun and got to hang with Huey Lewis and the News and REO Speedwagon after that show.
NWIJ: What advice would you give to a young person who’s interested in pursuing a career in music?
CO: You have to be a mad dog about your dreams. No agent, manager, or perfect situation is coming to save you. It’s not the movies. It is all about hard work, and time seperates the doers from the talkers. No one ever booked a tour for me, made me sing for hours when I was a kid, moved me to Nashville to become a recording artist. I had to do it without blinking, and it doesn’t happen all at once. A million little different pieces of hard work and relationships come together to make an artist successful, and sometimes it takes decades to get there.
Spotlight On: Amanda Gardier
Saxophonist Amanda Gardier will be performing at Rudy’s Jazz Room on January 20th at 5:30 PM (tickets are available for purchase here). Ahead of her performance, she answered a few questions for Nashville Women in Jazz.
For more info, visit Amanda’s website: https://www.agardier.com/
NWIJ: Tell us a little bit about your musical background. Were there specific experiences, role models, albums, etc that cemented your love for music?
AG: I grew up in St. Charles, IL, which had a great band program. I was lucky to start playing saxophone in 5th grade and had the opportunity out to start playing in jazz band in 6th grade. My teachers exposed me to great recordings early on (Boss Tenors: Straight Ahead From Chicago - Gene Ammons and Sonny Stitt; Boss Tenors In Orbit - Gene Ammons and Sonny Stitt; Live at the Sands (Before Frank) - Count Basie; Life on Planet Groove - Maceo Parker, Cannonball Adderley Quintet in San Francisco), which really helped to develop my interest in the music.
NWIJ: Who were the most notable teachers who inspired or influenced you?
AG: I’ve been fortunate to have a number of influential teachers in my life. Doug Stone was my first and longtime saxophone teacher growing up. I was very thankful that he had me transcribing right away and wasn’t afraid to challenge me from a young age. I was also fortunate to have Chicago saxophonist John Wojciechowski as one of my band directors in high school. In college, I was also lucky to study with great saxophonists Tom Walsh and Walter Smith III.
NWIJ: What does jazz mean to you, and/or how does it factor into the music you write or perform?
AG: I really love that Jazz has always been a melting pot of musical and cultural influences. Over time, the music continues to evolve and grow and younger musicians bring in new, contemporary influences. As a composer, I try not to force ideas/styles and attempt to create music organically that is influenced by the music, art, and people that I’ve been exposed to.
NWIJ: Who are some of your saxophone heroes or influences?
AG: Some of my favorite alto saxophonists include Miguel Zenon, Kenny Garrett, Sonny Stitt, and Cannonball Adderley. I’ve definitely listened to and transcribed those four saxophonists the most out of everyone I listen to.
NWIJ: How do you approach practice?
AG: I play doubles regularly in my position with the Navy Band Commodores jazz ensemble, so I divide my time between saxophone, flute, clarinet, and piccolo. I devote the majority of my time to fundamentals on each instrument (long tones, articulation exercises, scale/intervalic shapes, etc). The rest of the time is spent learning and/or reviewing standards and improvising (often with a specific goal in mind - idea development, integrating a new lick or intervalic shape into my playing, working on a particular chord substitution, etc).
NWIJ: How do you approach performance?
AG: I don’t normally approach performances with a particular goal in mind (aside from playing well ). Luckily, I’ve never really had issues with “stage fright,” so I’m usually just excited to perform and looking forward to connecting with the other musicians and creating a meaningful experience for the audience.
NWIJ: Can you describe your approach to composition?
AG: My approach to composition varies. I’m often inspired by people and characters from TV/film. Sometimes, I’m able to just sit down and organically write out the music that comes to me (usually on piano, but occasionally on saxophone). Sometimes, my approach is a little more structured. For example, I’ll write a short motif, then write it out in retrograde, retrograde inversion, etc., then combine the results in a variety of ways until I like the way the song has turned out.
NWIJ: How do you deal with disappointment, “failure”, or setbacks as a musician?
AG: Generally, I try to make the choice to be positive and optimistic in both music and life. I just try to put in the work, be kind, and look ahead to the next opportunity if things don’t work out.
NWIJ: What are some unique gig experiences you’ve had?
AG: I have been fortunate to perform in Disneyland as a member of the Disneyland All-American College Band and I’ve gotten to travel and perform in a lot of unique places with the Navy Band Commodores.
NWIJ: What advice would you give to a young person who’s interested in pursuing a career in music?
AG: I personally recommend that young musicians focus on developing a diverse skill set if they are interested in pursuing music professionally. It is difficult to survive with a niche skill set nowadays (not only in music, but in most career fields). Learning to be flexible and developing a broad, yet thorough skill set will help young musicians get a lot of opportunities. Being capable of playing a variety of styles, playing doubles (as applicable), writing music, arranging music, etc. allows musicians to qualify for more opportunities and develop and successful and fulfilling career.
2023 Wrap-Up
A message from NWIJ Executive Director Alayna Renae:
“Hello Nashville Women in Jazz!
Over the years, this collective has met the needs of our community in various ways. We began as a support group; meeting up to share our experiences, resources, and guidance through the hardships that come with being a woman in the music industry. We started hosting jazz jams to provide an inclusive and encouraging space to grow in musicianship. Over the last year, I wanted to help us elevate our professionalism by providing free headshots and more equitable work opportunities for us. This is just the beginning.
I am committed to transforming the Nashville jazz scene into an inclusive place that centers marginalized identities and celebrates diversity that is multiracial, multigenerational, with multi-level musicianship. I know that we can do it together, but it’s going to take all of us.
Notable Accomplishments
Grew our membership by 210%!!! Raising membership from 20 to 62 people. Check out who’s signed up with us here - we encourage you to follow and hire each other!
Raised $850 to pay for and host our first free membership photoshoot
Hosted a residency at Liberty Commons providing 25 gigs for NWIJ
Hosted a residency at Urban Cowboy providing over 50 gigs for NWIJ
Launched our first public fundraiser, crowd-sourcing about $2,000 to support non-profit start up costs and host our first event series. (It is still live if you’d like to donate!)
Organized the first and second annual Femme Fatale series, incorporating over 15 musicians to shine a light on women in jazz, 10 femme and non-binary vendors, and a very special trans burlesque dancer to raise money for NWIJ efforts
Hosted multiple meet-ups to build community and musicianship
Developed a partnership with the Tennessee Performing Arts Center to establish a new residency
Developed a partnership with the Bankers Alley Hotel to become one of their preferred vendors for events
Performed for, and helped raise money, for Aftyn Behn’s election campaign- helping her to be elected as the first woman to represent TN House District 51 in over 50 years! She is currently the only woman serving in the TN House of Representatives and the youngest person to ever be elected!
This is a glimpse of the work we’ve accomplished this year. All of the partnerships and residencies we have established have taken an extensive amount of rate negotiations. We are holding the bar for venues to pay musicians equitably and pay attention to the demographics they’re hiring.
I am excited to announce that I wrote the first grant for Nashville Women in Jazz, which we have received! This money will fund a jazz jam that we will host on the last Tuesday of every month from January - May 2024. To make this successful it will take all of our efforts and collaboration!! Please stay tuned for more details!!!!
I thank everyone who has been a part of the journey of Nashville Women in Jazz over the last 5 years.
I’d be so grateful if you could respond to this email with any experiences you’ve gotten out of being a part of this collective this year.
Yours in community,
Alayna”