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Saturday, July 22, 2006

Washington Post

Elliott Yamin, Riding High

“My life has changed drastically,” Elliott Yamin told us yesterday from the latest “American Idol” tour stop in Rochester, N.Y. And how: His hometown paper, the Richmond-Times Dispatch, has featured dozens of stories on the 28-year-old contestant, who finished third in the Fox competition, the most recent being, “Claudette cooks; Elliott Yamin’s mom dishes on favorite family recipes.” And the paparazzi! The People magazine sightings!

Yamin gave us a little insight into his new life:

His music career: Right after “Idol,” Yamin got a business manager and started writing and recording. “It’s a fresh start at a career. I never had a career before. I just had jobs.”

Upcoming album: Slated for release around January or February. Yamin says fans can expect “a funky, raw, soulful R&B sound. It’s going to have that old-school feel with a modern sound. Good old R&B sound.”

His new, high-profile lifestyle: “I feel comfortable with it. It’s a small price to pay to trade in your anonymity....Tay [“Idol” winner Taylor Hicks] and I went out to eat the other night and Mandy Moore came. There was paparazzi there taking pictures. It’s part of the gig. It’s fine by me.”

Mingling with the celebs: “Part of the perks of being in the business...It’s fun to me.”

Proud mama, Claudette Yamin: “Mom loves it. She loves it. She’s been to a few shows so far. She’s like a kid in a candy store.”

Richmonder no longer: “I would love to live in Richmond, but I don’t know how possible that is going to be....At this point, I’m going to go wherever the work takes me. I have a strong feeling that most of my work will be in L.A. or New York City.”

Katharine McPhee -- rumored diva, who hasn’t yet joined the tour because of a bout with bronchitis and laryngitis: (Long pause.) “Umm, that’s not for me to judge or agree with. Things are said, people talk, rumors are spread. It’s an aspect of the business. I’m cool with Kat. I got no bones with her. She’s a sweet girl. Her mom called my mom a couple of weeks ago and said Kat was really looking forward to rejoining the tour.”

His girlfriend, Amanda, who stuck with him through the initial “Idol” craziness: “What girlfriend? (Pause.) Oh, I’m not with her anymore.”

Re-visiting "A Song For You"

I finally received my Amazon.com order today that contained A Donny Hathaway Collection. I had to listen to "A Song For You", a few times, which was the first track as I was anxious to compare Hathaway's version to Elliott Yamin's vocal from that historic night on American Idol. Especially since Hathaway was such a major influence on Elliott and his approach to style.

I do love Hathaway's voice and was startled by the similarity in tone to Elliott's voice, especially in regards to nasal resonance. To me Hathaway's voice sounds a bit lighter on the top notes, making Elliott's dusky undercoat in his rendition of that song very distinctive. I think Elliott has really put his own stamp on it and the "edge" in his voice lends it a more dramatic plea.

Of course that's my opinion since I couldn't, in fact...really still can't for the most part, get Elliott's voice on that song out of my head for days after I saw him sing it on the show that night. Something about it haunted me...the bold desperation...I hear it now.

I wasn't too wild though about the arrangement on the Hathaway recording by Arif Mardin. The tinkling-down piano and overall tempi was almost maudlin.

I remember Randy "hated" the arrangement done on the show - was that arrangement by David Foster? I think I may prefer the version I heard on AI actually. I wonder if Randy prefers the Mardin arrangement or just wanted a simple piano accompaniment.

I also sang along at one point - Hathaway's key was the same for Elliott. Once again, the high notes in the passage sound thin and technique-like in my voice. I don't know how Elliott does it. He's just a born soul-singer. I stand by my previous statement: prodigy.

Rg

Happy B'day E!

Wishing my American Idol Elliott Yamin a most Happy 28th Birthday today as he continues to rock the country while on tour!

Rg

Be there or B-Flat

I got published recently on Yaminions.com!!

With the dearth of news, I thought we could take a moment and reflect. Where were you when you heard Elliott sing Moody's Mood for Love? What did it mean to you? Were you instantly hooked?

Additionally, our own Rg, Yaminions music critic extraordinaire, delved into the more analytical side of Moody's Mood (from the AI CD) and was kind enough to share his expertise with us. Enjoy:

Sing with me and find the key!

Or in this case, play with me and find the note!

I discovered something remarkable over the weekend. I always wondered what the vocal range of MMFL was note-wise, at least in the key that Elliott sings it in. I've discussed before how astounded I was to find out that Elliott had no vocal training yet managed to sing notes effortlessly into the passage, or passagio, where a man's voice would normally break into the falsetto.

I knew the notes in the phrases "You give me a smile...", ...don't have no fear...", "let me take you, by the hand", etc. were pretty high, I figured maybe A-flat or so since when I sing it I have to really plug in the technique to be able to fully express those moments as passionately as he does.

So I pulled my little keyboard out and started plucking out notes along with his vocal on the AI CD until I found the proper key and scale - don't ask me to tell you what it is, I'm not good with identifying key signatures. And when I got to that first phrase....I had to keep going....up to....B-flat



Then I had to pick myself up off the floor.

A high B-flat? That kid can belt out high B-flats with no training? Gee whiz, it took me a year and hundreds of dollars of voice lessons to get my range up to that point. Singers like...Pavorotti, Domingo hit those notes. And, and...he still maintains that "dusky" sound underneath the high notes. Mine sound more operatic since my trained instincts kick in. Well, it was nice to know I actually still have my B-flat, though now I want to sound as sexy as he does. I'm such a Broadway boy!

I'll use a word to describe Elliott I've used before: astonishing. Or perhaps this one even works: prodigy.

Rg

Sweeney Re-Invented

Over the weekend I bought the cast album for the new revival of "Sweeney Todd" with Patti LuPone and Michael Cerveris.

I LOVED it!!!

The chamber-like accompaniment of the 10 actor/musicians lends an exquisitely haunting beauty to that score that I don't think has ever been realized. I listened to it several times and it is really a thrilling version.

Patti LuPone's subdued vocals allows her to sensuously caress all those lyrics - even the usually blustery "The Worst Pies In London" is re-defined. And her readings of "Wait" and "By the Sea" are breathtaking. I think she puts the most definitive spin on that role since Angela Lansbury's original creation. The rest of the cast is equally stunning, especially Michael Cerveris' Sweeney and Manoel Feliciano's Tobias. The Act I Quartet ("Kiss Me", "Ah, Miss", "Ladies In Their Sensitivities", "The Name is Todd") and "Joanna" trio in Act II are glorious!

Can't wait to see it on stage!

Rg

Return to the Miracle

I came across a movie on PBS this weekend I hadn't seen is awhile which resonated quite well:

"The Miracle Worker" - William Gibson and Arthur Penn's spellbinding adaptation of their Tony-Award winning Broadway triumph about teacher Annie Sullivan, determined not to see the young deaf-mute and blind Helen Keller remain imprisoned in a world of silence and darkness.

Anne Bancroft's brilliant portrayal of Sullivan brought her to a new beginning in her distinguished career. Paired opposite the spectacular Patty Duke, both re-creating their original stage roles, they delivered performances of stunning physical ferocity. The classic dining room scene where Annie forces Helen to learn to eat with a spoon was not about an adult disciplining an unruly child, it was about the clash of two forces of nature. They both deservedly won Oscars for their performances.

I was taken with how well the film holds up, retaining its power - with its haunting title sequence, and equally haunting score, to the stark black-and-white photography reminiscent of the live television dramas seen during that era, and a solid and moving ensemble of supporting players.

And with Anne Bancroft's sudden passing last year, viewing her once again in this signature role made it all the more poignant.

Rg