"Hummingbirds", the debut CD from British songwriter-vocalist Emma Hutchinson - out on her own Flying Jewel label - is currently available exclusively on the internet and at live gigs. Featuring 11 self-penned tracks the album is an addictive blend [+]"Hummingbirds", the debut CD from British songwriter-vocalist Emma Hutchinson - out on her own Flying Jewel label - is currently available exclusively on the internet and at live gigs. Featuring 11 self-penned tracks the album is an addictive blend of wistful ballads, fresh funk and deliciously jazzy soul and was recorded at Jim Barr's (Portishead) J&J Studios in Bristol, UK during 2003.
"If I'm listening to music I want to hear a great song. Doesn't matter what genre it is - pop, soul, funk, jazz tunes - whatever! Intelligent lyrics and a catchy melody. So my M.O. is to write the kind of song I would like to hear on a CD or on the radio.
Vocal jazz has influenced me hugely. My Dad was a jazz singer and although he died when I was a child my Mum used to play me his records, so I grew up listening to classic songs by Cole Porter, Rodgers & Hart, the Gershwins and so on. What else? I'm a Motown junkie. And the Beatles and Brian Wilson - great harmonies! Stevie obviously. Bacharach & David. Ashford & Simpson. Joni Mitchell. Carole King. Al Jarreau. Female vocalists? Aretha, of course. Roberta Flack. Chaka Khan.
Anyway, many songs on this CD were written when I was living in Hollywood in 1996. Some began as song-writing exercises I devised to learn jazz chords. It was 95 degrees and I'd be playing guitar and dripping sweat on Mickey Baker's jazz guitar book. Others I wrote in the summer of 2003 based on poetry I'd written which suggested a melody to me. I write about whatever is on my mind at the time. Were We Never In Love? is about my marriage break-up, Altaea is about my youngest niece and Homeless In Hollywood was sparked by the street people I used to chat with on Hollywood Boulevard.
Coming from a jazz background I get off on working with great musicians live in the studio and I'm very fortunate in having an incredible band of jazz musicians who 1) can play anything and who therefore 2) interpret my songs beautifully so that 3) I look great! Since they can read each other's minds, generally we only do 2 or 3 takes of each song. Then I choose the best overall take and overdub the backing vocals. Because I do a lot of gigs I'm used to singing live with bands generally and reacting to their playing - and vice versa. In
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