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In the thread of my recent post on “Great Black Singers,” I was asked the question, where do reggae singers fit in. That was a very good question, and perhaps an inevitable one in a case where there was an absence of reggae stars in my thread on great black singers.
The problem, for me at least, is that genres such as reggae, calypso, soca and hip hop do not demand much from a singer or musician, and so much is not required by performers in those styles. Classical music, jazz and American gospel music, on the other hand, impose immense standards on singers and musicians, which is why, for example, African-American gospel is such a fertile field for discussing great singers.
Now, there are various criteria that one can use for evaluating singers. Each of us reading this thread has his or her own set of criteria, I’m sure, and it is hoped that this thread will encourage responses from the regular readers here on what they use to evaluate greatness in singers and musicians.
For me, range is one of several criteria, and one only has to listen to a singer like Melba Moore (remember that 1980s hit, “Lean On Me” where her classical training was displayed?), or to someone like Maria Carey to see the impact that the ability to hit very high notes can have on the listener. As a little boy, I was always fascinated by Patti LaBelle and the Bluebell’s rendition of “Somewhere Over the Rainbow” because of what Patti did in that song.
On the other hand, singers like Anita Baker and Mary J. Blige show us so well that alto singers can be outstanding too! Popular alto singers like Baker and Blige never ever touch high notes, yet they touch us with the beauty of their work in the same way that Melba Moore and Maria Carey do. The same things apply in the case of male singers. So, while range is an important measuring stick, the paradox here is that lack of wide range is not necessarily a drawback.
A next criterion of mine is creativity; the ability to be flexible with ones voice. Remember an oldie from the 1960s called “Broken Hearted Melody,” by Sarah Vaughn? Listen to how she plays with that song, with the result being one of the most beautiful pieces ever recorded in pop music history.
Vocal creativity is vital in jazz, and to some lesser extent, in African-American gospel and R&B. Do you recall the impact made by Take-6 when they first emerged? Here were guys who were literally using their voices as jazz instruments, singing not merely your regular three-note harmony, but using their complex harmonies to give the illusion of extended and altered chords! This was not some silky, beautiful Boyz II Men harmonizers! These guys were taking harmony way beyond the woo-bop level, and to this day I remain a huge fan of Take-6. In my opinion, Take-6 is without question the greatest singing group I have ever heard!
Turning now to the music itself, have any of you readers watched the new Morgan Heritage DVD live recording of their “You Don’t Haffi Dread”? Check out that lead guitarist. I have no idea who he is, and my guess is that he’s an African American dreadlocked musician hired for this European tour in order to provide a rock-edge to the group’s sound. His accurate, solid rock style and finger-tapping harmonics reminds me of another outstanding dreadlocked lead guitarist I had seen accompanying Shine Head at a Kingston concert back in either the late 1980s or early 1990s.
I have always felt that having a rock fusion feel to our reggae music would contribute immensely to success abroad, particularly in rock-crazy Europe. This feeling is bolstered by what Chris Blackwell did to Bob Marley’s “Concrete Jungle” back in the 1970s.
Anyway, as far as instrumentalists are concerned, my criteria are:
(a) Technique (chops) on the instrument;
(b) Speed and accuracy
(c) Knowledge of chords
(d) Knowledge and usage of notes and scales
(e) Taste
The problem, for me at least, is that genres such as reggae, calypso, soca and hip hop do not demand much from a singer or musician, and so much is not required by performers in those styles. Classical music, jazz and American gospel music, on the other hand, impose immense standards on singers and musicians, which is why, for example, African-American gospel is such a fertile field for discussing great singers.
Now, there are various criteria that one can use for evaluating singers. Each of us reading this thread has his or her own set of criteria, I’m sure, and it is hoped that this thread will encourage responses from the regular readers here on what they use to evaluate greatness in singers and musicians.
For me, range is one of several criteria, and one only has to listen to a singer like Melba Moore (remember that 1980s hit, “Lean On Me” where her classical training was displayed?), or to someone like Maria Carey to see the impact that the ability to hit very high notes can have on the listener. As a little boy, I was always fascinated by Patti LaBelle and the Bluebell’s rendition of “Somewhere Over the Rainbow” because of what Patti did in that song.
On the other hand, singers like Anita Baker and Mary J. Blige show us so well that alto singers can be outstanding too! Popular alto singers like Baker and Blige never ever touch high notes, yet they touch us with the beauty of their work in the same way that Melba Moore and Maria Carey do. The same things apply in the case of male singers. So, while range is an important measuring stick, the paradox here is that lack of wide range is not necessarily a drawback.
A next criterion of mine is creativity; the ability to be flexible with ones voice. Remember an oldie from the 1960s called “Broken Hearted Melody,” by Sarah Vaughn? Listen to how she plays with that song, with the result being one of the most beautiful pieces ever recorded in pop music history.
Vocal creativity is vital in jazz, and to some lesser extent, in African-American gospel and R&B. Do you recall the impact made by Take-6 when they first emerged? Here were guys who were literally using their voices as jazz instruments, singing not merely your regular three-note harmony, but using their complex harmonies to give the illusion of extended and altered chords! This was not some silky, beautiful Boyz II Men harmonizers! These guys were taking harmony way beyond the woo-bop level, and to this day I remain a huge fan of Take-6. In my opinion, Take-6 is without question the greatest singing group I have ever heard!
Turning now to the music itself, have any of you readers watched the new Morgan Heritage DVD live recording of their “You Don’t Haffi Dread”? Check out that lead guitarist. I have no idea who he is, and my guess is that he’s an African American dreadlocked musician hired for this European tour in order to provide a rock-edge to the group’s sound. His accurate, solid rock style and finger-tapping harmonics reminds me of another outstanding dreadlocked lead guitarist I had seen accompanying Shine Head at a Kingston concert back in either the late 1980s or early 1990s.
I have always felt that having a rock fusion feel to our reggae music would contribute immensely to success abroad, particularly in rock-crazy Europe. This feeling is bolstered by what Chris Blackwell did to Bob Marley’s “Concrete Jungle” back in the 1970s.
Anyway, as far as instrumentalists are concerned, my criteria are:
(a) Technique (chops) on the instrument;
(b) Speed and accuracy
(c) Knowledge of chords
(d) Knowledge and usage of notes and scales
(e) Taste
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