NJW Divas Hit Grand Slam

 

In baseball a grand slam is when a player hits a home run with three runners on base, scoring four runs for the team.

Maybe the metaphor doesn't exactly fit, but it sure feels like that's what happened this week. In the short space of six days, four young vocalists, all products of the Jazz Workshop's educational process, gave stellar performances and made their school proud.

The week started with Annie Sellick's performance and lecture Sunday on the life and music of Anita O'Day, at the NJW & Frist Center's Jazz on the Move series. Annie, one of NJW's first vocal students, now has six CD's to her credit and a busy schedule of national and international touring and teaching. Annie has long cited O'Day as a major influence, and you could always hear this in her work. Sunday's event, however, gave her the chance to dig deeper into O'Day's style. The result was a tour de force, reminiscent of Anita O'Day's own electrifying performances back in the day. You can read areview by John Pitcher in Artnownashville.com.

On Thursday, vocalist Monica Ramey and pianist Beegie Adair made their second appearance at New York's Birdland. Monica is one of NJW's most recent "graduates," and her style and vocal performance skills have been causing waves on the local and national jazz scene. We don't have clips from this latest club appearance, but you'll be interested in Ron Wynn's recent piece in the Scene -- and in this video clip from a duo performance by Monica and Beegie last September at the Jazz Cave.



Then Friday brought back-to-back performances by Liz Johnson and the Jazz Cave and April Caspari, in her CD release party at the Listening Room.

Liz, also one of the Workshop's charter students, has just completed her third CD, and has been performing, recording, and teaching part-time for the past several years. Since last fall she's been working on a Masters degree in commercial music at Belmont, and continues to teach voice at Vanderbilt and at NJW. The capacity crowd at the Jazz Cave Friday evening witnessed her step up her game, with a level of vocal fluidity and control that held the audience in thrall. Tom Knox was there to record the audio and Graham Gerdeman captured the video, so you'll be able to see and hear some of it for yourself if you missed it. Meanwhile, you can read Ron Wynn's review of the performance at Artnownashville.com.

April's new CD, "Something Beautiful," is a perfect example of being grounded in the jazz tradition without being a slave to it. A Nashville resident for the past seven years, April spent at least four of those years at NJW taking just about every vocal class offered and attending every performance she could. While her first CD consisted of jazz standards, her latest CD, produced by Giovanni Rodriguez, showcases her original compositions and is a wonderful smorgasbord of R&B, blues, and hip-hop. Helping her with the CD release party was a who's who of local contemporary artists, including Giovanni, Jerry Navarro, Paul Horton, and James DaSilva. All indications are that the event was a smashing success!

April's project shows the way that a jazz education informs all aspects of an artist's work. There's sometimes a misconception that the Jazz Workshop, in emphasizing mainstream jazz in its course offerings, wants to keep students chained to the past. In fact, jazz is a constantly evolving art form. An artist needs a grounding in the basics before she can develop and push the boundaries. Knowing "the tradition" allows the student to improvise within a structure and develop a mastery of phrasing, time, and tone applicable to any musical genre.

So why has the Jazz Workshop's vocal department has been so successful in turning out a string of fine young artists? (Besides the four mentioned here, Christina Watson, Rachael Price, and J'Nae Fincannon come to mind.) One reason may be the remarkable range of course offerings and and another the breadth of the vocal faculty, which includes Ron Browning and Margaret Rose for Vocal Technique; Christina Watson and Lori Mechem for instruction in basic jazz vocal repertoire; and Connye Florance and Sandra Dudley for advanced performance skills. Annie Sellick and Liz Johnson also contribute their talents on a regular basis and Jeff Hall, recently departed for Baltimore, elevated the vocal department through his teaching of vocal ensemble skills and arrangements. The late Charles Dungey was a formidable influence during his lifetime, and his legacy lives on in the work of his students and in a scholarship established in his honor.

The week's events show jazz education at its best -- master teachers passing on their knowledge and training to those who will be the next generation of jazz educators. We couldn't be prouder of all of them.

Posted by Nashville Jazz Workshop at 11:12 AM      

 

 

Nashville duo Monica Ramey and Beegie Adair return to NY's jazz mecca Birdland 

by RON WYNN

There are a handful of clubs whose names immediately elicit memories of historic concerts and amazing performances. Such a hallowed hall is Birdland, now located at 315 W. 44th Street in New York, created in 1949 as a shrine to legendary alto saxophonist Charlie Parker. It has survived multiple relocations and periodic closings, and remains a mecca for jazz acts large or small.

This Thursday night, Jan. 26, one of Music City's premier duos returns to the famous site. Pianist Beegie Adair has made acclaimed LPs celebrating the compositions of Cole Porter and Johnny Mercer and songs made famous by Fred Astaire and Frank Sinatra. Adair will again be joined by vocalist Monica Ramey, whose debut CD Make Someone Happy established her among Nashville's finest, most versatile jazz vocalists. The duo will be performing at 6 p.m. EST prior to a performance by Tierney Sutton, hailed by Jazz Times and DownBeat as an A-lister among current female jazz singers.

While acknowledging that last year's Birdland debut was a thrill, Ramey says things are a bit different now. "I'm much more confident going in this time, though it is still quite exciting and a bit intimidating," Ramey says. "I hadn't spent a lot of time in New York before, and Beegie was quite a help. She prepared me for what to expect. This time I know more about the place, and am more calm about playing there. They really made us feel welcome. They were so warm and enthusiastic."

"They did everything to make it easy for us," Adair adds. "They made sure our guests were well treated. It is really the greatest place to work. The bartenders and waiters are very careful and respectful. They don't shake or blend anything during performances, and no one is going around to tables and asking people for orders while music is playing. You get a piano that is in great shape and in tune. The people all around you are really listening to what you're playing and are very encouraging. It is a refreshing place to play, a club that really respects the music and musicians."

The duo have a song list ready, but Ramey says it may be trimmed depending on how things go. "We have a little flexibility built in there," Ramey explains. "Once we get started, we may drop or add something, depending on the flow and feel. Last time it went so well, I think we ended up doing almost everything on our list."

Thursday's Birdland date continues a collaboration now in its fifth year between Adair and Ramey. Beegie Adair's extensive experience in jazz clubs, studios, with radio and TV orchestras, and all types of groups both local and national, dates back decades. She recalls such famous names as Hank Garland and Boots Randolph, and talks fondly about the days when jazz was played in downtown establishments, and she thought nothing of sitting in for hours at black clubs on Jefferson Street.

Ramey, another shining example of the Nashville Jazz Workshop's mentoring and training acumen, has been a Music City resident since 2000. But she's been singing since childhood. Ramey studied Music Performance at Indiana State University and was one of the ISU Jazz Singers. She met Adair during an NJW workshop.

"I was in this workshop and Beegie was doing the evaluation," Ramey recalls. "I was really scared of what she was going to say."

"I remember she sounded like a lark, she really could sing," Adair adds.

According to Adair, her partner has a really good ear. "She can hear things in a song and do things vocally that give me a lot of freedom as an accompanist. There are so many singers who have pitch problems. She's also a really hard worker. She pays attention and always strives for the right sound. Of course, she's studied under Sandra (Dudley), so you know she's gotten really good instruction."

"Beegie is a vocalist's pianist," Ramey responds when asked what she likes about working with Adair. "She knows lyrics. She's thoughtful about musical conversations, and she creates so many avenues. If I just take the right approach, I know she'll provide me with what I need."

"There are not many singers who can hear those harmonic opportunities if the pianist takes them," Adair says. "There are some singers I've played behind that never knew what to do if you tried to go in a different direction. Monica can make those moves. She really allows me to take a song in any direction."

Ramey and Adair will maintain busy schedules after their Birdland appearance. They are already comparing notes on songs for Ramey's second LP, which she begins recording later this year. It will be co-produced by Adair and NJW co-founder and bassist Roger Spencer, who's also a member of Adair's trio.

"When you have two people like Beegie and Roger producing, you really don't worry about any project," Ramey says. "I know the ideas that they'll bring to the session and the help that they'll give me will make it another success." The Adair trio, which also includes drummer Chris Brown, will be backing Ramey. In addition, the trio's new CD, The Real Thing, is also scheduled for release later this year. It will feature live performances recorded at the NJW's Jazz Cave.

But Thursday's Birdland show now takes center stage. "It's the type of thing you don't get used to, but you feel more at ease the second time," Ramey says.

"We're looking forward to seeing both old friends and new faces," Adair adds.

Sweet and sour notes from 2011's local jazz and blues 

by Ron Wynn | December 22, 2011

1. Nashville Jazz Workshop

Fresh off celebrating their 10-year anniversary in September of 2010, one of the country's most unique institutions provided another year of vital classes, exclusive services and frequently spectacular concerts. A multi-purpose entity that combines education and advocacy, the NJW's many highlights included reunion concerts from Marvin Stamm and Tamir Hendleman, a show spotlighting the talents of onetime Freedom Rider and musician Ernest "Rip" Patton, and a visit from show-tune royalty Alan & Marilyn Bergman. Co-founders pianist Lori Mechem and bassist Roger Spencer maintain an incredible schedule of teaching and playing, while supervising a faculty consisting of numerous topflight players and performers. They also lent their rhythm section talents to many memorable shows, among them a powerhouse set by MTSU professor Don Aliquo done in the classic "blowing session" tradition. The "Snap on 2 & 4" series, plus the Contemporary Jazz Masters lineup, were other recurring highlights. Late in the year NJW issued two more in their series of first-rate recordings, one devoted to jazz vocals, the other spotlighting tenor saxophonist Evan Cobb. Things aren't slowing down in 2012 either. An early big event marks the return of peerless vocalist Monica Ramey and ace pianist Beegie Adair to Birdland, the New York mecca that doesn't invite lightweights once, let alone twice.

Now that the trend of aging rockers cutting albums of show tunes and standards seems thankfully to have run its course, we're back to vocalists with a real feel for and understanding of the jazz tradition doing them justice. Nashville's Monica Ramey is a shining example. Her excellent release Make Someone Happy offers resourceful, soaring and engaging interpretations of material from The Great American Songbook.

Ramey, who'll appear Friday night at F. Scott's, credits her producers Nashville Jazz Workshop co-founders bassist Roger Spencer and pianist Lori Mechem — as well as vocal mentor Sandra Dudley and ace instrumentalists George Tidwell and Denis Solee — with giving her the guidance and assistance necessary to make memorable versions of classic and numbers.

"I was a member of the All American Grammy High School Jazz Band & Choir, which changed my musical life," Ramey recalls. "From that experience I knew my purpose was to do whatever I could to preserve jazz as a vital art form of our culture and society. I also give the Nashville Jazz Workshop immeasurable credit for my training and appreciation of jazz as well."

Ramey's been a Nashville resident since 2000 and a singer since childhood. Make Someone Happy features her rhythmically intense, sophisticated and strong renditions of such tunes as "Dream Dancing," "Tenderly," "Passion Flower," and "I Didn't Know What Time It Was." Her command of flow, tempo and pace (not to mention her understanding of approach in terms of storytelling and lyric emphasis) is impressive, and Ramey's list of top contributors includes special guest Beegie Adair, Roy Agee, Jame Hollihan, and the Lori Mechem Trio.

While she's a huge fan of classic songwriters such as Alan & Marilyn Bergman, Cy Coleman and Johnny Mercer, Ramey has intriguing plans for future projects that will incorporate the works of contemporary performers and songwriters.

"George Tidwell and I are working on a few pop and R&B arrangements for my book right now," Ramey adds. "I have a wish list of everyone from Stevie Wonder and Barbra Streisand to U2, Prince and others that I am anxious to sing. I love the idea of taking some of the tunes that I grew up listening to that are not jazz and marrying them into my world now."

She cites the NJW as vital to not only her career, but the development of jazz in the region overall. She's somewhat optimistic about the music's current state in Nashville, though she echoes sentiments constantly heard from area jazz singers and instrumentalists.

"What I've sadly discovered is the number of musicians struggling to make a living doing what they should be doing, playing music," Ramey says. "It's easy for venues to hire musicians who are eager to work versus those who are far superior, but want or need to be paid for their work.

"Beyond that, there are venues that appreciate the music but cannot afford the cost of hosting live jazz, and those who capitalize on having live music but don't want to pay the musicians properly. It makes it difficult for most of the great artists to play in town. Many take the work where they can get it or play on the road. It all contributes to keeping the jazz scene a secret."

What's promising, Ramey says, is the number of local business owners and musicians who advocate the integrity of the local musicians and the music.

"I believe most people and venue owners want to do the right thing," she says. "There are just so many moving business parts that make it all very complex and taxing. There are many folks who are eagerly watching the evolution of jazz and live music in Nashville."

Ramey's equally upbeat and excited about her future projects and plans. "You can expect a couple more albums in the near future, international peformance dates and must hear collaborations." she says. "I also want to share what I learn and know about music performance and the art of being an independent artist. More than anything I just want to keep making great music, working with world class musicians who challenge and inspire me. As always, I want to continue to give back to others who wouldn't otherwise have the opportunity to hear or learn jazz."

Monica Ramey appears 7 p.m. tonight at F. Scott's. Make Someone Happy is available on several websites, including Amazon and CD Baby.

Make Someone Happy, Monica Ramey, vocals.
"On her debut CD, Nashville singer Monica Ramey displays a velvety voice on a handful of choice tunes including infrequently heard ones like “Dream Dancing,” “You Hit the Spot,” “Passion Flower” and “Give Him the Ooh-la-la.” But the award winner was the opener, a Blossom Dearie tune called “Hey, John.” Carmen McRae’s version of it was a wake up call from the past, but Ramey comes darn close. Some sparkling arrangements for horns add some luster to the performance. Ramey has learned the lesson of never over-decorating a tune, something some singers seemingly never understand. I liked her a lot!"
Cognito, 2010; 46:20.

Your album is "Sparkling and Refreshing" and I am a FAN!

"I listen to your CD often and like it better each time. I particularly like "Goodbye is All That's Left to Say". A beautiful tune written and sang by some of my favorite people. Lori's solo is just beautiful."

 

Monica Ramey gives me the feeling that I can make it through any obstacle in life. Her music encompasses love, joy, sadness, hope, and humor. These are qualities that most artists strive for in their music, but few achieve. Monica presents the human experience, in such a beautiful way. Ladies and Gentleman, welcome to Monica Ramey.

"Your stage presence is that of a long-time jazz singer. It is so warm and amazing.  Your voice. Man, your voice. I was blown away! Just such an amazing gift to see & hear. 

Your choice of notes with your singing--this is a word I love to use with musicians--"Tasty". It was just right, so natural. You are a TRUE jazzer! It just naturally comes out of your soul."

"This is my favorite CD right now..I play it all the time!! Makes me happy!! You have a beautiful voice and I love the way you express yourself! Congrats!! Way to shine!"

"You did an outstanding job at your CD Release party introducing your new CD! The music you sang, with all of those wonderful musicians, was as good as it gets. Personally, I thought you demonstrated a "stage presence" that quite frankly, impressed me. Your voice and your delivery of each song was very professional and you appeared in complete control and confident. Great job!

The Nashville Jazz Workshop has another success."

"An artist with a cool, refreshing voice and style.  A project with songs that fit her like a glove and accompanied by seasoned professionals. Monica Ramey is a delight-to hear her is to know her!"

"Oh, Monica, your CD is simply brilliant. Not only is your voice wonderful -- even flawless, but also your diction and phrasing are impeccable. In some of the songs where I thought that I "knew"    the lyrics I was amazed to hear words that I never knew were there. But even more important (perhaps) you make the listener know what the song is about.

Of course, your outstanding phrasing is related to your phenomenal breath control. Whew. But I also love your -- well, in my language --"touch." I can feel smiles, frowns, disappointments, etc. simply in the way you "say" a word.

Well, my dear Monica, in essence: SUPERB."

"It is my extreme pleasure to admiringly and respectfully to tell you how proud and moved I am to have watched and listened as you've come into your own in the past two years. I remember when you first started talking about your cd and were dreaming about the songs you were going to select. I am so honored to know you, and the party of friends you used on your project. Lori, Roger, Chris, and James are not to be compared as the ultimate compliment to your gorgeous instrument! Not to mention my old friends George, Dennis, and Roy, the consummate and tastiest horn section EVER!!!  Congratulations, and YOU GO, GIRL!!!"

“I first heard Monica Ramey sing several years ago in a vocal class at The Nashville Jazz Workshop.  I pulled her aside to encourage her to take her talent seriously.  I soon realized that Monica didn’t really need to hear that from me.  She was already well focused on building the skills she’d need as a student of standards and jazz music. 

Monica has become quite a serious singer and fine interpreter of the Great American Songbook.  I’m sure you’ll agree upon hearing her debut release, Make Someone Happy.”

"Midwest native Monica Ramey's intellect, sophistication, honesty are on full display on her debut CD, "Make Someone Happy."  Ramey's voice floats on top of the music provided by some of Nashville's best including the Lori Mechem Trio, Denis Solee, Roy Agee, George Tidwell, James Hollihan and special guest Beegie Adair. "Make Someone Happy" is sexy, smart, fresh and full of swing.  Listening to this CD makes me happy, one listen and you'll be happy too."

"The American Songbook is truly the gift that keeps on giving, constantly reinventing itself with each new generation. It does my heart - and my ears! - so much good to hear Monica Ramey pick up the torch and run with it. Her theatrical roots combine with her obvious deep affection for the classic popular song to give us a freshly unique take on the material she's chosen for her debut. It's sassy, swinging and totally enjoyable. Looking forward to Volume II!"

"Make Someone Happy is like a meal that someone cooked for you with lots of love. You can taste the love."

"Let me say about Monica Ramey...
I have watched and listened to this woman grow by leaps and bounds over the last 4 years.  She is now the consummate professional... talented, creative, energetic & commited.
Anyone fortunate enough to hear this lovingly crafted album, her first solo effort, is in for a treat. You will be, as I was, totally enamoured by her charms. It is a pleasure and an honor to be a part of it. Way to go, Monica!"

January 23, 2008


Jazz singer studies for better improv

(Photo Caption) Monica Ramey, a student at the Nashville Jazz Workshop, said the curriculum there has helped her grow as a jazz vocalist. By day, she runs the Man and Woman of the Year campaign for the Leukemia and Lymphoma Society.

(ANGELA PATTERSON / THE TENNESSEAN)

Monica Ramey learns to refine performances at Nashville Jazz Workshop

By ANGELA PATTERSON
Staff Writer

When you see Monica Ramey step onto the stage, you're not quite sure what to expect.

But when the East Nashvillian opens her mouth, a smooth, velvety voice formed by years of study and countless performances comes tumbling out, putting her own fresh spin on jazz standards.

And if you ask the small-town girl from Francesville, Ind., she'll tell you that her four years of study at the Nashville Jazz Workshop have helped her transform into a true jazz vocalist, arming her with both the theory and practical know-how she needs to be successful on stage.

As she works on her first album this year, she hopes that it's not only a great album, but also the first of many more memorable musical experiences.

Ramey picks up energy, stage presence

One wouldn't necessarily think that a young girl from a town with 900 people would be listening to jazz. But thanks to her mother, who was a music teacher and musician, she'd been exposed to the genre from an early age.

""I grew up listening to a lot of singers who would sing Broadway tunes and standards," Ramey said. "I was always drawn to the clever and usually colorful lyrics more than anything. I didn't actually have much formal training in jazz until I started studying at the Nashville Jazz Workshop, which is where I've found my voice and direction, musically.

"I did a lot of theatre as a child, so I understood the importance of the lyric. Performing in a musical and performing jazz are two totally different things, but it was still a natural transition for me."

After performing all over Indiana, and becoming a standout singer in college, Ramey moved to Nashville in 2000. At first, she questioned if this was the place for her, but when she connected with the Nashville Jazz Workshop, she felt she'd found a home away from home in the Music City.

"People study here for various reasons. It's a safe place to learn, whether I'm gaining knowledge or enhancing what I already know," she said.

"The faculty here's seen it all. A lot of the time the curriculum at a college will teach theory, but it doesn't match what actually happens on a bandstand. That's what we learn here. You learn how to be a respected vocalist or musician."

Ironically, Ramey is not a big fan of public speaking, but when she steps onstage to sing, she's completely at ease.

"It's a rush to feed off of the energy of the musicians and the audience and when you're working with the right players — it's a workout," Ramey said. " You listen more intently and you're constantly exploring new ways to approach the tune. It makes a huge difference.

"When everyone is bringing something to the performance, you are able to give so much more and that is so incredibly fulfilling to me."

Classes help her, she helps workshop

Ramey said the classes at the Jazz Workshop have helped her to enhance her stage performance. Recently, she took her most fulfilling, and challenging, series of classes, which were focused on vocal improvisation.

"This was something new for me," Ramey said. "I was feeling good musically, and then I stepped into this and felt naked. It took a long time to adapt to this new atmosphere. I'm so proud that I was able to do it. For most vocalists, improvisation is not where you start.

"Now I hear tones differently — I appreciate what the instrumentalists are doing so much more. It was really a chance to branch out, and apply it to what I already know."

Feeling that the workshop has given her so much, she helps the organization prosper by writing grant requests and doing other development work.

"Monica's been an excellent student and leader," said Nashville Jazz Workshop co-founder Lori Mechem. "She's been a role model for younger and less experienced students. She's gone through all the classes, and she's developed into a very good singer."

Ramey's now ready to try another challenge: her first album. She said the album has a happier, more playful theme, thanks to the songs selected.

"Roger Spencer, co-founder of NJW, once told me that albums are simply snapshots of where you are, musically, at that time in your life," Ramey said. "So, I hope that everyone can listen and appreciate where I am, musically, at this time and be excited for what will come in the future.

"More than anything, though, I hope that people simply find joy in listening to the great music."