Monday, December 31, 2007
Tuesday, December 04, 2007
Young, Gifted and Brown (GMaG)
Sylvia Arthur gets the low down from the UK's premier female saxophonist, a sister who’s doing it for herself
Rising star YolanDa Brown is out to prove that beauty, brains and artistic bent can be a marketable combination in a mainstream music celebrity. The 25-year-old PhD student is set to create waves in the industry with her saxed-up versions of Pop R&B and diversity is her U.S.P. A self-taught saxophonist, Brown is not what you’d expect from your typical instrumentalist. Not known for their intellect, less still for their good looks and worse for their sobriety, fewer still stand out because of their gender. YolanDa Brown is the exception.
The East London born child of Jamaican parents began playing sax at the age of 13, having studied a number of other instruments previously. But there was something about the saxophone that held her attention, keeping her captive for the last twelve years. “I played the piano and the drums but I wasn’t getting the same satisfaction from them as they’re things that you play on whereas the saxophone is something you blow in to,” Brown says. “I put a lot of myself in to the sax. It’s my voice.” Here she explains what it’s like to be young, gifted and YolanDa Brown trying to make it on the UK music scene.
How would you describe your music?
My music is conversational because I play a lot on emotion. I play by ear. When I started learning the saxophone I was taught for the first three years but since then I’ve taught myself. So I play by ear. What I say is that the saxophone is my voice. If I could sing then I’d sing almost how I play. It’s music for everybody, something that everyone can understand. And it ranges from genres – R&B, soul, reggae, classical, jazz – so there’s a bit of everything in there.
Who’s your audience?
That’s a hard question because when I did my last solo concert there was such a wide range of people there. When I joined Black Grape Productions, the entertainment company that manage me, two years ago, I did a lot of comedy shows, charity events and big theatre events mainly in the Afro-Caribbean community. So I had quite a big following from that. Having promoted the concert we had people there who were jazz lovers, gospel people from the churches that I play at and also people of all ages. The youngest person there was about 6 all the way up to people’s grandmas. So, it’s everybody really. I play a range of music from the oldies to the new to my original pieces so it’s for everybody.
How do you choose what songs to perform?
I do sometimes look at the audience that I’m going to play to but I also like to take people out of their comfort zone. For example, I grew up at school playing a lot of jazz and I like the jazz standards – Ella Fitzgerald, Nina Simone, really moody. When I joined Black Grape that’s the kind of feel I was playing with and they were like, “Why don’t you try playing some R&B songs?” So I played Ne-Yo So Sick and My Love by Justin Timberlake and remixed those kinds of songs with my tip on it. Because I was going to all these comedy shows I’d play that for them, along with a jazz standard. You can imagine going to a comedy show playing a jazz standard and everyone’s like, “What’s going on here?” then playing an R&B track that everyone can identify with. So I always like to put some jazz in to anything I do.
How would you sum up the UK jazz scene?
I’m not involved in it as heavily as I could be. For me, I’ve taken the saxophone to places where it’s not usually seen or heard. I do play in jazz clubs like the 606 but the jazz scene for me is very underground. I’m a bit more contemporary and out there with the music. I’m not really following a scene. I’m just doing me.
Jazz musicians, instrumentalists at least, are predominantly male. What’s it like being a woman in the industry?
Its been interesting. I wouldn’t label myself as a jazz musician. I’ve been embraced more in the R&B and hip-hop industry than the jazz. The jazz scene, because it’s so underground, can be quite competitive and it’s more about what chops you have, what technique you have, who you’ve played with and things like that. I haven’t been embraced as warmly but now that I’m doing my second concert at the prestigious Cadagon Hall people are taking me for me. They’re not thinking, “She plays the saxophone, she should be playing like this.” They’re saying, “Wow, she’s doing this. This is her branding, this is her sound, this is her music, this is what she’s trying to communicate and we’ll embrace her like that.” I’ve got Soweto Kinch, who won the MOBO for Best Jazz Act, performing with me and he’s really open. That to me is a testament to how far I’ve come because at my first show I called many musicians that I wanted to appear on stage with me and they weren’t as open. Now everybody wants to take time to get to know me, which just proves that you just have to do it yourself and then the people will come to you.
You’re very well-educated. Why did you decide to pursue academia to such a high level?
This is a dilemma I’m going through at the moment. I love studying Management Science. It’s a passion and an interest that I have. I did my Masters and at the end of my dissertation I felt that there was so much more that I can do with this, that I still wasn’t finished. I applied to the Funding Council to get funding for my PhD and they said yes. I wasn’t doing it thinking I want to become a doctor or I want to lecture. I just felt that I haven’t finished with the work I’d started. With the music, after university I auditioned for Black Grape, which was a band at first that fragmented and they chose to market me as a solo artist. I went there not thinking that anything would come of it and all of a sudden out flourished this career. So both of them are my passions and interests but it’s always a struggle, a hard balance and a double-life sometimes. For me, I need to finish the PhD but I’d love to pursue the music after that and then maybe go back in to it.
Are you working on an album and when can we expect it?
Yes. I’ve released an EP which is called Finding My Voice and I’m working on an album at the moment. There are a lot of ideas that I’ve been writing but it’s also about finding the right producers to work with as well. It’s all in the pipeline at the moment but I’m working with people that complement my sound. So, we’ve been moving forward with it and it’s going well so hopefully mid-next year I’ll have something out there.
Rising star YolanDa Brown is out to prove that beauty, brains and artistic bent can be a marketable combination in a mainstream music celebrity. The 25-year-old PhD student is set to create waves in the industry with her saxed-up versions of Pop R&B and diversity is her U.S.P. A self-taught saxophonist, Brown is not what you’d expect from your typical instrumentalist. Not known for their intellect, less still for their good looks and worse for their sobriety, fewer still stand out because of their gender. YolanDa Brown is the exception.
The East London born child of Jamaican parents began playing sax at the age of 13, having studied a number of other instruments previously. But there was something about the saxophone that held her attention, keeping her captive for the last twelve years. “I played the piano and the drums but I wasn’t getting the same satisfaction from them as they’re things that you play on whereas the saxophone is something you blow in to,” Brown says. “I put a lot of myself in to the sax. It’s my voice.” Here she explains what it’s like to be young, gifted and YolanDa Brown trying to make it on the UK music scene.
How would you describe your music?
My music is conversational because I play a lot on emotion. I play by ear. When I started learning the saxophone I was taught for the first three years but since then I’ve taught myself. So I play by ear. What I say is that the saxophone is my voice. If I could sing then I’d sing almost how I play. It’s music for everybody, something that everyone can understand. And it ranges from genres – R&B, soul, reggae, classical, jazz – so there’s a bit of everything in there.
Who’s your audience?
That’s a hard question because when I did my last solo concert there was such a wide range of people there. When I joined Black Grape Productions, the entertainment company that manage me, two years ago, I did a lot of comedy shows, charity events and big theatre events mainly in the Afro-Caribbean community. So I had quite a big following from that. Having promoted the concert we had people there who were jazz lovers, gospel people from the churches that I play at and also people of all ages. The youngest person there was about 6 all the way up to people’s grandmas. So, it’s everybody really. I play a range of music from the oldies to the new to my original pieces so it’s for everybody.
How do you choose what songs to perform?
I do sometimes look at the audience that I’m going to play to but I also like to take people out of their comfort zone. For example, I grew up at school playing a lot of jazz and I like the jazz standards – Ella Fitzgerald, Nina Simone, really moody. When I joined Black Grape that’s the kind of feel I was playing with and they were like, “Why don’t you try playing some R&B songs?” So I played Ne-Yo So Sick and My Love by Justin Timberlake and remixed those kinds of songs with my tip on it. Because I was going to all these comedy shows I’d play that for them, along with a jazz standard. You can imagine going to a comedy show playing a jazz standard and everyone’s like, “What’s going on here?” then playing an R&B track that everyone can identify with. So I always like to put some jazz in to anything I do.
How would you sum up the UK jazz scene?
I’m not involved in it as heavily as I could be. For me, I’ve taken the saxophone to places where it’s not usually seen or heard. I do play in jazz clubs like the 606 but the jazz scene for me is very underground. I’m a bit more contemporary and out there with the music. I’m not really following a scene. I’m just doing me.
Jazz musicians, instrumentalists at least, are predominantly male. What’s it like being a woman in the industry?
Its been interesting. I wouldn’t label myself as a jazz musician. I’ve been embraced more in the R&B and hip-hop industry than the jazz. The jazz scene, because it’s so underground, can be quite competitive and it’s more about what chops you have, what technique you have, who you’ve played with and things like that. I haven’t been embraced as warmly but now that I’m doing my second concert at the prestigious Cadagon Hall people are taking me for me. They’re not thinking, “She plays the saxophone, she should be playing like this.” They’re saying, “Wow, she’s doing this. This is her branding, this is her sound, this is her music, this is what she’s trying to communicate and we’ll embrace her like that.” I’ve got Soweto Kinch, who won the MOBO for Best Jazz Act, performing with me and he’s really open. That to me is a testament to how far I’ve come because at my first show I called many musicians that I wanted to appear on stage with me and they weren’t as open. Now everybody wants to take time to get to know me, which just proves that you just have to do it yourself and then the people will come to you.
You’re very well-educated. Why did you decide to pursue academia to such a high level?
This is a dilemma I’m going through at the moment. I love studying Management Science. It’s a passion and an interest that I have. I did my Masters and at the end of my dissertation I felt that there was so much more that I can do with this, that I still wasn’t finished. I applied to the Funding Council to get funding for my PhD and they said yes. I wasn’t doing it thinking I want to become a doctor or I want to lecture. I just felt that I haven’t finished with the work I’d started. With the music, after university I auditioned for Black Grape, which was a band at first that fragmented and they chose to market me as a solo artist. I went there not thinking that anything would come of it and all of a sudden out flourished this career. So both of them are my passions and interests but it’s always a struggle, a hard balance and a double-life sometimes. For me, I need to finish the PhD but I’d love to pursue the music after that and then maybe go back in to it.
Are you working on an album and when can we expect it?
Yes. I’ve released an EP which is called Finding My Voice and I’m working on an album at the moment. There are a lot of ideas that I’ve been writing but it’s also about finding the right producers to work with as well. It’s all in the pipeline at the moment but I’m working with people that complement my sound. So, we’ve been moving forward with it and it’s going well so hopefully mid-next year I’ll have something out there.
Saturday, December 01, 2007
Soul Survivor (GMaG)
Sylvia Arthur talks to soul singer Rahsaan Patterson about his new album, surviving the music industry and coming out stronger.
The Real Thing
If you haven’t heard from Rahsaan Patterson in a while that’s because you’ve not been listening. The prolific singer-songwriter - an old-school favourite on the neo-soul scene - has recently released his fourth album in ten years, not bad going for an artist who’s been independent for the last three. With immense vocal talent and the ability to perform live like no one else, you’d think Patterson’s story of life in the music industry would read like a fairytale. Not so. His ascent up the industry ladder has taken many twists and turns.
The highly-respected vocalist and producer has been in the spotlight for over a decade with his 1997 major label debut Rahsaan Patterson introducing his unique sound to the soul-loving masses. The release produced the moderate hits Stop By and Where You Are but what the album lacked in sales it made up for in quality. This helped secure Patterson a fan base that has remained loyal throughout the years. After releasing his sophomore set Love in Stereo two years later, which featured the radio-friendly jam Get Here, Patterson again impressed critics with his Stevie Wonder-influenced style but failed to dent commercially. Seven years after first signing with the label, Patterson parted ways with MCA but instead of wallowing in self-pity he decided to take control of his own destiny.
In 2004 he independently released After Hours on Dome Records in the UK and on his own label Artistry in the US. “I really had no choice but to go the independent route at the time,” Patterson concedes, “because when MCA was no longer a label under the Universal banner I had to figure out what I was gonna do with my manager at the time. Luckily MCA gave me my master of the After Hours album so that really gave me the incentive to do it independently. After seven years with MCA I felt a need for a fresh start. The record industry and the major labels and all the shit that comes with it was pretty annoying and I wasn’t looking to do that again.” On this third album - After Hours - the music only got better with Patterson achieving new heights in his quest for musical distinction. Free from the burden of major label sales expectations Patterson was uninhibited and excelled at doing what he does best – making honest, eclectic soul that’s as tight and varied as anything that his contemporaries are producing. And he’s remained consistent. Patterson is one of the hardest working men in the business. While many of the artists he started out with ten years ago have been lost in ether – some shunning the industry altogether and others suffering the same fate as he initially did – Patterson has managed to continue writing, producing and releasing new music. “I don’t really think about what everybody else is doing. I’m just me,” says Patterson. “I just stay on my path and when I’m inspired I make music. And I’ve been lucky enough to have a path that allows me to continuously make music and have it released. I persevere and keep it moving and I try to constantly be inspired.”
Freedom
Patterson’s independence from MCA couldn’t have come at a better time. With the advent of iTunes and the digital music revolution allowing greater freedom for both consumers and artists it became easier to get music to the people. For artists like Patterson, who choose or have no choice but to be independent, the arrival of new technology has changed the game for the better. “Its been a blessing because it’s great to have another outlet rather than just the retail stores that can be difficult to get in to. But I think the industry has changed to a point where it’s forcing the music industry to pay attention to independent artists who are doing it themselves. And it gives us an opportunity to be heard and to do more shows and let our music reach people.” Ironically, Patterson has re-entered the world of big industry business through the back door. “I’m actually on Sony BMG with my group, SugaRush Beat Company in the UK,” he admits. “But major record companies are really all the same. Thus far I’m already seeing and feeling the same shit that I used to go through with MCA but what’s different now is that I know the difference so I don’t react to it. I don’t let myself be affected by it and just take it as it is. It’s interesting. I don’t know if I’d sign to a major as a solo artist though. Doing it this way just kind of makes it fun because I’m also in a group with other people and I don’t have to take all of it alone.”
Child star
Patterson was born thirty-three years ago in the Bronx, New York to a religious Pentecostal – Baptist family. He started singing in his church choir at the age of six before moving to California to pursue a career as a child actor. In 1984, after being discovered performing in a school play, Patterson was chosen to star in a leading role in the television series Kids Incorporated, which featured other young entertainers who would grow up to be big names in show business including Fergie from the Black Eyed Peas, singer Shanice and Saved by the Bell star Mario Lopez. But it was music that was Patterson’s real passion. When his time on Kids came to an end he began working as a session singer, performing back-up for various artists. But it was as a producer that Patterson really came to the fore. Having produced hits for the likes of teenage superstars Brandy and Tevin Campbell, as well as industry vets including Jody Watley and others, Patterson caught the attention of executives at MCA and showed himself to be as good outside the booth as inside. And so began his journey to where he is today, to his fourth album Wines and Spirits, a wholly different proposition to his first, musically and spiritually. “The difference between Wines and Spirits and previous albums is just life experiences,” Patterson reveals. “I started writing my first album when I was 18 and it was released when I was 23 and that album pretty much captured those experiences from 18 to 23. Love in Stereo captured 23 to 25. After Hours captured 25 to 29. This album showcases a bit of the last 3 to 4 years of my life but also the last ten years of being a recording artist and the trials and tribulations that all come with it – the perks, the downsides and all that stuff.”
Wines and Spirits
On Wines and Spirits, his latest release, Patterson hooked up with his old songwriting partner, Keith Crouch who assisted with duties on his original effort ten years previously. Although they hadn’t worked together since 1997, the synergy between the two was instant. The partnership was heightened by a personal bereavement that both men suffered. Patterson lost his father during the recording of his After Hours album while Crouch’s father had also passed during the pair’s songwriting hiatus. The double tragedy was the catalyst for their renewed songwriting partnership. So was it a case of coming full circle on this record? Patterson thinks so. “Yeah, that was definitely the idea in working with Keith Crouch again,” he says. “He and I hadn’t worked together since the first album in ’97 and he had suffered the loss of his father as well. And I knew that whatever we would do in the studio would allow us to resonate and connect on another level from having had that experience that we would connect in a way which we hadn’t before.” The pair’s re-connection obviously worked, the result of which is an expansive and engaging twelve track album that critics and fans alike agree is Patterson’s best yet.
Legendary comparisons
On Wines and Spirits Patterson confirms his status as a musical powerhouse and his vocal versatility continues to draw comparisons to legendary artists from Stevie Wonder to Al Green. In probably the most famous accolade to have been given to the singer during his career, writer Jason King called Patterson the “supernatural love child of Chaka Khan and Al Jarreau.” So, how does it feel to be compared to two of the genre’s most celebrated living legends? “It’s extremely flattering, an honour and at times it feels obvious that it should be that way because they have basically affected my entire being and have taught me how to do what I do. But I don’t walk around thinking about it and allowing those comparisons to dictate what I’m doing or how I feel as an artist. That’s not really the point. And I think I’m also related to those people because of the art of it and the way I communicate through my art. It’s a little more than just the voice. That’s the surface level and the obvious part but when you go deeper again all of those artists have taught me how to be the artist that I am.”
Rahsaan’s alter ego
And that artist is a diverse one. Patterson is clearly a man who likes to keep himself busy. Aside from the constant writing, recording and touring of his own material he also finds time to perform with his group, SugaRush Beat Company, which is made up of Australian music producer Jarrad ‘Jaz’ Rogers, Danish soul singer Ida Corr and Patterson. The music, like the group, is an eclectic hybrid of funk, soul, new wave, pop and dance and has been compared to Outkast and Prince in terms of style. And Patterson loves the variety. Being in SugaRush allows him to indulge a side of his personality that he only scratches the surface of with his own music. “SugaRush probably goes deeper in to the area in which this album Wines and Spirits goes to. Vocally it’s a lot more aggressive. Definitely it’s a lot more fast-paced. It gives me another opportunity and vehicle to showcase my songwriting and keeps me broad as far as genre is concerned. And it’s fun. It’s artistic and something else to do outside of the ordinary. It keeps it exciting for me and hopefully it will keep it exciting for people who are interested in what I’m doing.”
So what’s next for everyone’s favourite soul singer?
“I’m gonna be back in the UK at some point because the SugaRush album is coming out in March and we have to do promotion for that. And then in the States I’ll be touring at the top of the year and I have to go to Japan for a tour there. So just continuously working, doing shows, feeling vibes, making records, challenging myself musically and growing as an artist and growing as a musician.”
The Real Thing
If you haven’t heard from Rahsaan Patterson in a while that’s because you’ve not been listening. The prolific singer-songwriter - an old-school favourite on the neo-soul scene - has recently released his fourth album in ten years, not bad going for an artist who’s been independent for the last three. With immense vocal talent and the ability to perform live like no one else, you’d think Patterson’s story of life in the music industry would read like a fairytale. Not so. His ascent up the industry ladder has taken many twists and turns.
The highly-respected vocalist and producer has been in the spotlight for over a decade with his 1997 major label debut Rahsaan Patterson introducing his unique sound to the soul-loving masses. The release produced the moderate hits Stop By and Where You Are but what the album lacked in sales it made up for in quality. This helped secure Patterson a fan base that has remained loyal throughout the years. After releasing his sophomore set Love in Stereo two years later, which featured the radio-friendly jam Get Here, Patterson again impressed critics with his Stevie Wonder-influenced style but failed to dent commercially. Seven years after first signing with the label, Patterson parted ways with MCA but instead of wallowing in self-pity he decided to take control of his own destiny.
In 2004 he independently released After Hours on Dome Records in the UK and on his own label Artistry in the US. “I really had no choice but to go the independent route at the time,” Patterson concedes, “because when MCA was no longer a label under the Universal banner I had to figure out what I was gonna do with my manager at the time. Luckily MCA gave me my master of the After Hours album so that really gave me the incentive to do it independently. After seven years with MCA I felt a need for a fresh start. The record industry and the major labels and all the shit that comes with it was pretty annoying and I wasn’t looking to do that again.” On this third album - After Hours - the music only got better with Patterson achieving new heights in his quest for musical distinction. Free from the burden of major label sales expectations Patterson was uninhibited and excelled at doing what he does best – making honest, eclectic soul that’s as tight and varied as anything that his contemporaries are producing. And he’s remained consistent. Patterson is one of the hardest working men in the business. While many of the artists he started out with ten years ago have been lost in ether – some shunning the industry altogether and others suffering the same fate as he initially did – Patterson has managed to continue writing, producing and releasing new music. “I don’t really think about what everybody else is doing. I’m just me,” says Patterson. “I just stay on my path and when I’m inspired I make music. And I’ve been lucky enough to have a path that allows me to continuously make music and have it released. I persevere and keep it moving and I try to constantly be inspired.”
Freedom
Patterson’s independence from MCA couldn’t have come at a better time. With the advent of iTunes and the digital music revolution allowing greater freedom for both consumers and artists it became easier to get music to the people. For artists like Patterson, who choose or have no choice but to be independent, the arrival of new technology has changed the game for the better. “Its been a blessing because it’s great to have another outlet rather than just the retail stores that can be difficult to get in to. But I think the industry has changed to a point where it’s forcing the music industry to pay attention to independent artists who are doing it themselves. And it gives us an opportunity to be heard and to do more shows and let our music reach people.” Ironically, Patterson has re-entered the world of big industry business through the back door. “I’m actually on Sony BMG with my group, SugaRush Beat Company in the UK,” he admits. “But major record companies are really all the same. Thus far I’m already seeing and feeling the same shit that I used to go through with MCA but what’s different now is that I know the difference so I don’t react to it. I don’t let myself be affected by it and just take it as it is. It’s interesting. I don’t know if I’d sign to a major as a solo artist though. Doing it this way just kind of makes it fun because I’m also in a group with other people and I don’t have to take all of it alone.”
Child star
Patterson was born thirty-three years ago in the Bronx, New York to a religious Pentecostal – Baptist family. He started singing in his church choir at the age of six before moving to California to pursue a career as a child actor. In 1984, after being discovered performing in a school play, Patterson was chosen to star in a leading role in the television series Kids Incorporated, which featured other young entertainers who would grow up to be big names in show business including Fergie from the Black Eyed Peas, singer Shanice and Saved by the Bell star Mario Lopez. But it was music that was Patterson’s real passion. When his time on Kids came to an end he began working as a session singer, performing back-up for various artists. But it was as a producer that Patterson really came to the fore. Having produced hits for the likes of teenage superstars Brandy and Tevin Campbell, as well as industry vets including Jody Watley and others, Patterson caught the attention of executives at MCA and showed himself to be as good outside the booth as inside. And so began his journey to where he is today, to his fourth album Wines and Spirits, a wholly different proposition to his first, musically and spiritually. “The difference between Wines and Spirits and previous albums is just life experiences,” Patterson reveals. “I started writing my first album when I was 18 and it was released when I was 23 and that album pretty much captured those experiences from 18 to 23. Love in Stereo captured 23 to 25. After Hours captured 25 to 29. This album showcases a bit of the last 3 to 4 years of my life but also the last ten years of being a recording artist and the trials and tribulations that all come with it – the perks, the downsides and all that stuff.”
Wines and Spirits
On Wines and Spirits, his latest release, Patterson hooked up with his old songwriting partner, Keith Crouch who assisted with duties on his original effort ten years previously. Although they hadn’t worked together since 1997, the synergy between the two was instant. The partnership was heightened by a personal bereavement that both men suffered. Patterson lost his father during the recording of his After Hours album while Crouch’s father had also passed during the pair’s songwriting hiatus. The double tragedy was the catalyst for their renewed songwriting partnership. So was it a case of coming full circle on this record? Patterson thinks so. “Yeah, that was definitely the idea in working with Keith Crouch again,” he says. “He and I hadn’t worked together since the first album in ’97 and he had suffered the loss of his father as well. And I knew that whatever we would do in the studio would allow us to resonate and connect on another level from having had that experience that we would connect in a way which we hadn’t before.” The pair’s re-connection obviously worked, the result of which is an expansive and engaging twelve track album that critics and fans alike agree is Patterson’s best yet.
Legendary comparisons
On Wines and Spirits Patterson confirms his status as a musical powerhouse and his vocal versatility continues to draw comparisons to legendary artists from Stevie Wonder to Al Green. In probably the most famous accolade to have been given to the singer during his career, writer Jason King called Patterson the “supernatural love child of Chaka Khan and Al Jarreau.” So, how does it feel to be compared to two of the genre’s most celebrated living legends? “It’s extremely flattering, an honour and at times it feels obvious that it should be that way because they have basically affected my entire being and have taught me how to do what I do. But I don’t walk around thinking about it and allowing those comparisons to dictate what I’m doing or how I feel as an artist. That’s not really the point. And I think I’m also related to those people because of the art of it and the way I communicate through my art. It’s a little more than just the voice. That’s the surface level and the obvious part but when you go deeper again all of those artists have taught me how to be the artist that I am.”
Rahsaan’s alter ego
And that artist is a diverse one. Patterson is clearly a man who likes to keep himself busy. Aside from the constant writing, recording and touring of his own material he also finds time to perform with his group, SugaRush Beat Company, which is made up of Australian music producer Jarrad ‘Jaz’ Rogers, Danish soul singer Ida Corr and Patterson. The music, like the group, is an eclectic hybrid of funk, soul, new wave, pop and dance and has been compared to Outkast and Prince in terms of style. And Patterson loves the variety. Being in SugaRush allows him to indulge a side of his personality that he only scratches the surface of with his own music. “SugaRush probably goes deeper in to the area in which this album Wines and Spirits goes to. Vocally it’s a lot more aggressive. Definitely it’s a lot more fast-paced. It gives me another opportunity and vehicle to showcase my songwriting and keeps me broad as far as genre is concerned. And it’s fun. It’s artistic and something else to do outside of the ordinary. It keeps it exciting for me and hopefully it will keep it exciting for people who are interested in what I’m doing.”
So what’s next for everyone’s favourite soul singer?
“I’m gonna be back in the UK at some point because the SugaRush album is coming out in March and we have to do promotion for that. And then in the States I’ll be touring at the top of the year and I have to go to Japan for a tour there. So just continuously working, doing shows, feeling vibes, making records, challenging myself musically and growing as an artist and growing as a musician.”
Fire in the dark: Mos Def live
Dante Smith, the brilliant rapper that is Mos Def was in town last week to showcase some tracks from his forthcoming album The Ecstatic and run through a selection of his greatest hits. Playing two sold-out shows at London's Shepherd's Bush Empire and Islington Academy, Mos worked his knowledgeable crowd in to a frenzy with classic cuts like Umi Says, Ms Fat Booty and Sex, Love and Money. Despite coming on stage at approx. 10.30pm on a Sunday night, Mos gave a solid performance in front of an audience that was clearly in awe of the talented Brooklynite. After the poorly-received The New Danger and True Magic Mos appears to have returned to form as one of the finest and most credible MCs in the game. Support was ably provided by London's own Pyrelli and Swedish-American hip-hop group OneSelf.
On another note, today I had the pleasure of interviewing an unusual rising star in the shape of British saxophonist YolanDa Brown. Brown is different because not only is she a black female instrumentalist in a male-dominated genre but she's also highly-educated. The 25 year old musician is studying for a PhD as well as regularly performing on the tour circuit and working on her debut album. Check out http://www.sylviaarthur.co.uk/ for more info on this woman to watch.
Until next week...
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