“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.
