What is your sound and approach to music?

My sound is universal. It changes from record to record, project to show, and to the next concert and the next artist I get to work with. I’ve sung with country artist, sung in Spanish, Portuguese, French, and German. I’ve learned how to sing madrigals, classical choirs, gospel music (of course) and jazz vocals. My sound winds up being what the listener needs to hear. People always compare us and we never do. So I would never say I sing like Donny but, but I’ve been compared. I have also grown to enjoy listening to my own recordings, which was not always the case.

The first album I bought was….

My first recorded vocal LP was Roy Hamilton, and Dina Washington when I was ordering LP’s from the Columbia record club. Early Dionne Warwick, Gerry Mulligan, 101 Strings, I was always all over the place.

I knew I wanted to be a musician when…

When all of my heroes were from Detroit and I lived in Cleveland. The Miracles, the Temps, The Four Tops and the Supremes all would come through and do a concert for the teens in the local R&B club called Leo’s Casino. They’d work for us as hard as they did for the adults, if not harder. This took place on Sundays after church at about 2-3 in the afternoon. I remember having mocktails with little umbrellas in the drinks.

Who are your teachers or influences to your sound?

A woman named Gladys Davenport from my first church home and, all the adult singers that were around during that learning period. Barbara Collier from another church, and the kids at the Cleveland C.G.I.C. all made me want to stretch and work on my instrument. My dear High School teacher Eileen Fogarty! She was so thrilled when I ran into her on the campus of Kent State; I was there for orientation to college. But never attended my dad and eye had a big fight I moved out and landed the First National Touring Company of Hair a year later.

Do you have a specific teaching approach?

I like teaching from the need of the student. I first insist they learn to practice with my vocal warm up app Vocalease, and then we break down the exercises and the reasons for doing each one. Afterward moving on to their request for better breathe control, or better pitch training, and ear training, to performing and even acting. The artist intention is the most important thing. All kind of artists. Afterward I ask them to sing their material, favorite song, or something they are struggling with and we break it down applying the principles we’d previously covered.

How have you benefited from the experience with your students?

I could write pages on the benefits of teaching, as well as performing. But teaching has given me a self-confidence that was not always there. Knowing I can pass on what I’ve learned and that that information translates to the student gives me chills, and endless joy. I have gotten to watch students do their first concert, win contest, beat the demons of recording and conquer fears. You just can’t beat the feeling that gives you!

How does your dream band look like?

I have to say I love various bands, but my band when they are playing the Baked Potato, and we are on, is the best on earth I can get for my money. Diverse, soulful, attentive and extremely musical soloists.

Tell me your best road or studio memory: Your best or worst experience?

Imagine you are Ronan Keating from Ireland and you are hooked up with Burt Bacharach to record a live album with orchestra band and singers, (of which I am one). All Keating’s tunes are about break-ups and here you are, planning to get divorced. You arrive to the studio and the event begins and suddenly you breakdown in a puddle of sorrow over the meaning of the material and have to shut down the session because you can’t go on! Not really funny, but a true story. Burt was a gem through it all. I sang with Marlena Jeter, and Lynne Fiddmont. We gave him exactly what he wanted, and eventually Ronan pulled it together to finish the work. Never heard it, but just looked it up and there is a review from BBC.

Favorite recording studios you worked at?

Ocean way in Los Angeles
Capital records Studio A
Old A&M studios (now Henning studios)

Which are your favorite venues or locations?

I have a fondness for Blossom Music Festival, as it was my first big professional concert with the Cleveland Orchestra Chorus, later with James Taylor.

What is your favorite recording in your discography and why?

One favorite of mine is Sabor for the amazing sound and the all-original material. Then I love “Live at the Baked Potato”, because my live show seems to be better than my recordings and we finally captured that!

What do you think is the most important thing that you are contributing musically?

I would have to say my voice. It is my gift and my way to heal the world, calm wounded souls, and delight the spirit.

Did you know…

I am openly gay, and proud

Music you are listening to right now…

Lalah Hathaway all recordings
Jill Scott, all recordings
Donnie Hathaway Live
Leela James latest recording

Desert Island picks

Bernard Igner
Arnold McCuller Live at the baked Potato
The Best of Chaka Kahn
Valerie Simpson
Bill Withers Live at Carnegie Hall

How would you describe the state of music today? Across the board genres R&B-Pop-Jazz.

I find it strange but interesting. There is still life in new artist with integrity, but what it takes to make a living is so much harder.
I like Corinne Bailey Rae, John Legend (sometimes), D’Angelo, Anthony Hamilton, Jill Scott. But even they are getting old and played out. Today’s R&B is not that moving to me. The Lyrics and melodies are very weak. Songs are mostly about shock and sex. Love Jahiem!

Tell me a little about any special event that you felt good about that you were involved in over the last season?

I was asked to perform at the National Black Aids Event in LA at the Writers Guild where I worked for a number of lovely special people who would not normally get to her my music.

What are some of the essential requirements you believe to keep pop/jazz/soul music, and any well-written music alive and growing?

To further the education of the artists who are making this music. Not shows like the Voice, and American Idol. Those kids usually have it much harder thinking they have reached stardom from these venues. We need more Esperanza Spaulding’s and artist that break the mold. Jonelle Monet. Bruno Mars, but there have not been any good bands like EWF or the Isley Brothers.

What is your greatest fear when you perform?

My greatest fear is that I will not always sing in tune because of the monitors or the moment, which can sometimes take you out of the moment. If I stay in the moment I am fearless. When I get in my head I run into trouble.

What is your favorite song to sing to or around the house that stays in your mind?

“What’s good about goodbye,” by Dionne Warwick

What is your favorite period of music…that stays in your mind?

The Motown era!

By day…what do you do?

Exercise, walks read and meditate. Rehearsing, sessions, event planning, etc.

If I weren’t a musician I would be

an Interior Designer or Architect.