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Recently, Dr. Scott Martin taught a class at the University of Denver, 'To Air is Human,' and his class was invited to a special concert featuring Bobby McFerrin and his vocal group, Voicestra, at Denver's Boettcher Concert Hall. Dr. Martin and Academy teacher, Amparo Bellon-Champ, were given the opportunity to interview McFerrin on his journey into the 'vocal unknown.'
An Interview with Bobby McFerrin
By Amparo Bellon-Champ, Dr. L. Scott Martin, and
Sydney Hostetler
Recently, Grammy winner, innovative vocalist and conductor, Bobby McFerrin, was in town to perform with his vocal group, Voicestra, at Denver's Boettcher Concert Hall. McFerrin, best recognized for his A Cappella hit Don’t Worry, Be Happy, has developed his own unique style and form, approaching singing like a musician playing an instrument, using his whole body to create sounds most humans would never dream of making. Dr. Martin and teacher Amparo Bellon-Champ were granted a special interview with him to discuss his journey into the vocal unknown.
Academy: Your parents were both opera singers. Did you have any formal training in vocal music?
BM: I didn’t have any lessons with my parents. I just observed and listened as they taught. When I decided that I was a singer, I did ask them for vocal exercises that I could do which they gave me, but we never sat down and had anything resembling an hour lesson. I never sang through any arias. I was a composition major in college, so I studied a lot of classical theory. Piano was my instrument. Then I got a job as a working musician and have been on the road pretty much ever since.
Academy: What made you decide to go into this world that is so different than singing regular vocals?
BM: In the beginning I was really fascinated with the “solo art” and solo musicians, like Keith Jared playing solo piano and improvising, and I thought as a singer that I would like to try something like that. So I developed this technique that would enable me to put across melody, harmony and the bass lines. The basis of everything I do is solo concerts, being on stage by myself, improvising, singing tunes or what ever comes up. I didn’t have any coaches. I knew what I wanted to do and could see myself doing it first, but I couldn’t hear what it sounded like. I was really fascinated by the challenge of being on stage by myself, because singers more often than not, especially young singers as they are studying music, have a tendency to fall back on, or rely on an accompanist of some sort. And so they’re not self reliant in the beginning. I wanted to make sure that I was very strong in my voice and my technique so that any situation that I went into, regardless of what that was, whatever the ensemble was or whatever, I knew where I was at all times, because I could rely on myself to be wherever I was on stage musically with whoever I was with, instead of pacing my dressing room floor because my accompanist is caught in a snow storm, or the band’s plane is delayed and I’m the only one out there.
Academy: Is this your first time to Denver?
BM: No, in fact the last time I was in Denver was to conduct the Colorado Symphony Orchestra.
Academy: What gave you the idea to start Voicestra?
BM: I don’t really know. There was a point after doing solo voice for about five or six years I wanted to share the stage with other singers. The whole idea of doing concerts that were completely off the cuff was always kind of fascinating to me. I enjoy doing and conducting pieces that are prepared, but for me personally I have to balance it out with concerts that are completely full of surprises. So I decided to put this group together just to see what would happen, because love to improvise. I love making things up on the spot and following the music as it comes out. To me that is more challenging than studying a score, even though conducting is a very challenging career, and I am glad I have been doing it as long as I have, because at one point I didn’t have a clue as to what to do. But improv is still to me the most challenging. Especially when you are doing it in front of people. You are so vulnerable and it is so risky. I like to keep the audience at bay for a long time in the beginning because I don’t want my improv to be affected by the audience. That’s the challenging part, being alone in front of people. My solo concerts are a mix of improv and prepared pieces.
Academy: How often did you practice the new vocal technique that you were discovering?
BM: In the beginning, for the first two years, I practiced a lot every single day. Always tape recording and listening to myself. For the first two years I didn’t listen to a single singer, no matter what the discipline was, jazz, classical, whatever; I didn’t want to listen to anyone because I am very impressionable. I was afraid if I kept looking towards a singer I would find someone I liked and would try and copy them and I would lose myself. So I thought the only to find myself is to shut myself off from all vocal influences and just sing and see what comes up. I knew what I wanted to do; I just didn’t know what it sounded like yet. So I would sing for hours and hours everyday for years. Then I discovered this technique and developed some exercises. The challenge of it was staying in tune. Once I had a good idea of who I was, then I started branching out and listening to other singers. By then I was confident enough in myself that I was not afraid at that point that I was going to start mimicking someone else’s sound.
Academy: Who was your greatest influence in your life musically?
BM: Oh, my dad! Without a doubt. He was an extraordinary musician, sang with the Metropolitan Opera and was classically trained. But the thing that was really impressive was the way he was as a teacher and the way he studied music. Whenever he had a role to learn he always had the libretto on his lap. He was always studying. He was unparalleled as a teacher. He had the perfect mix of being really stern and really kind. He constantly was barraging his students with questions when they were singing. He wanted his students to be thinking artists. My second biggest influence was Keith Jared. I thought it was really extraordinary that he would just walk on stage, sit down and play.
Academy: How often are you on the road?
BM: I tour every week for 8 months. I rest from September to December. |
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 Dr. Scott Martin with a Ph.D from the Juilliard School in New York, Scott is the Academy's founder and Director.  Sydney Hostetler has been teaching with the Academy for over 16 years and is known for her versatility as a vocalist and sings anything from Classical to Rock. In addition to voice, Sydney teaches theory, songwriting, performance, studio technique, loop programming, arranging, and monologue skills.  Amparo Bellon-Champ has been teaching for the past six years and is the Academy's bilingual voice coach. Amparo helps her students feel and move to the music for better vocal interpretation. Tanya Perkins is the Academy's resident artist. She has a Masters in vocal technique and performance. Tanya can assist any student interested in pursuing a career in NYC theater. Stuart Whitmore is the CEO of "All That" Entertainment, Inc., a Denver based talent and management company, and the President and Executive Producer for, All Thoze Records. Stuart also doubles as a vocal, guitar, and performance coach at the Academy. |
 Around The World
Find out about recent classes taught around the world by Academy staff. Read the article of our interview with 10-time Grammy Award Winner, Bobby McFerrin
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