Women Making Music – 2020, the year for Music Therapy

Women Making Music – 2020, the year for Music Therapy

by | Nov 30, 2020 | Asheville, Music, Musician, Women

Writing this feature during the most fantastical year of my existence has been especially therapeutic.

Musicians and music teachers were suddenly thrust into the world of Zoom, JamKazam, YouTube & Facebook Live. They didn’t even have time to kick and scream about it at first; they just figured it out!

In mid-March I didn’t have to look far to find several daring darlings of songs strings and other things, keeping their chops and spirits up by diving head first into the live video streaming pool. So in April and May I wrote about the local mavens of motivation and innovation I was discovering day in and day out on social media. From all over the country, I saw and still see groups of women in the entertainment field, giving advice and free tutorials; blogging and sharing how to do what they’re doing!

Summer found some artists/performers accepting a scant few gig opportunities for the chance to generate income by playing on an outdoor stage in front of a limited audience.  As summer heated up, so did the demand for acts needing to, having to and wanting to play for the larger audiences phase 2 of opening the state would allow. Some expressed trepidation in sharing their in-person live performance dates on websites, event invites and email blasts for fear of judgment. Some forged ahead incorporating their own strict personal distancing guidelines, limiting mingling time with fans.  Some acts formed Covid bubbles that now include band mates, in addition to mate-mates.

Our June issue’s featured female and I spent an hour on the phone commiserating about the changes going on in our lives. I found myself having to shift the conversation back to her and her incredibly creative music endeavors several times and not the pandemic, like how the pandemic was affecting us, or how we were coping and not coping with the pandemic!

By August and September issues, I focused in part, on a small wave of career musicians who began to reinvent themselves; courageously stepping outside the music pool to create something new on dry land to survive; putting their music on the backburner and becoming trailblazers in this hopefully temporary new normal.

October found me finally meeting over the phone at least, a multi-instrumentalist, singer, songwriter and teacher I’ve admired and followed online and had wanted to interview for over a year. The selfless endeavors I learned she and her daughter undertake and initiate for young musicians, put hope back in my heart that day, it put a smile back on my face for at least the next week.

One of the youngest female music artists I’ve interviewed was featured last month. This humble and articulate ingénue feels all the feels. Her music is realistic and fantasy, structured and loose, fearless and fearful. She’s a wall flower AND the life of the party.  Who can’t relate to all of that; especially these days?

So like the rest of you, I’ve taken each month as its come, doing my utmost to keep myself sane. I took up “adult coloring” (G-rated) before the pandemic. Just since March I’ve colored over 100 pieces – mostly birds and safari animals. I received a Keanu Reeves coloring book from a girlfriend for my birthday. I’m saving that one to delve into on a snowy day.

But also and through it all, I’ve tuned in, tapped in and turned myself on to a smattering of live streaming concerts; virtually supporting artists through their online tip jars. I co-produced a successful socially distant fundraising concert for a dear friend and female musician who was recently diagnosed with cancer. Everywhere I turn, I see local charities and venue owners establishing pioneering ways to reach the public safely in order to stay viable, solvent and open.

No matter how you’re feeling over the outcome of the election, no matter how empathic you are toward those who have and those who are suffering; if you are mourning the loss of a loved one or your income, if you cry even harder now when you see an SPCA or St. Jude Children’s hospital commercial, if you’re a front-line worker or a gig worker in and out of your own solvency, or a parent juggling and struggling to keep it all together: remember there are ways to tamp down the anxiety by tuning into live music; the easiest being live streaming platforms and sponsored live streaming ticketed concerts.

While the energy of big crowds sharing those mighty pulsations that in-person live music experiences bring, we absolutely have viable interim outlets. Local women are still making music; local people are still making music. Support them, I implore you. Follow them on social media. Drop them a line of encouragement on their Instagram accounts and Facebook timelines and contribute to their virtual tip jar; tune into those live stream concerts when you can.  Supporting local live music is medicine for the soul; make no bout-a-doubt it!

Remember, my feature, Women Making Music is archived on thesofiamagazine.com. I cordially invite you to visit the website and acquaint yourself with the plethora of savvy professional female musicians I’ve written about over the past year. The November and December 2020 hard copy issues can be found in kiosks around town. There’s a list
of where they are located on the webpage.

Peggy Ratusz, writer, singer, vocal coach, coloring book artist

reverbnation.com/peggyratusz

loveisaroselive.com

paypal.com/paypalme/peggyratusz

Sunday, December 13th, Isis Restaurant & Music Hall – Love Bubble Christmas with Peggy Ratusz, Hank Bones & Paula Hanke, 8pm.

Sunday, December 20th, A Silver Linings Christmas live stream solo concert with Peggy Ratusz from her living room, 5pm – Facebook Live: facebook.com/peggy.ratusz

Peggy Ratusz is a vocal coach, song interpreter, and songwriter.
For vocal coaching email her at
[email protected]

Women Making Music – Casey Noel

Women Making Music – Casey Noel

by | Nov 1, 2020 | Asheville, Music, Musician, Women

Casey and I have never met or even spoken on the telephone. I have been writing this feature, Women Making Music for fifteen years and this is a first
for me.

I was upbeat in my determination to find out how this approach, sending questions for our guest artist to answer in her own written words and then send back to me might shape the content. I mean, I’ve sent questions to artists. They’ve sent them back to me in their own words before. But to have never met or spoken on the phone? This is a first!

For me, getting to know Casey mostly through her words and music was like reading a book. And her story is definitely a page-turner!

When listening to the songs she sent me, I concertedly envisioned her in front of me, strumming and picking her guitar and singing, presenting her songs special-audience style just for me. I literally lay in my bed as I listened for the first time so I could relax and take in her melodies, her rhymes and phrases; her phrasing; These profiles of love, loss, sassy smart advice (solicited or not),
confessions and hope.

At 24 years of age, Noel is already highly acclaimed; a freshly emerging songwriting ingénue; a young woman with something new to say about familiar themes.

Not Just Pretty Words is a six song EP she released in June of this year which has received great reviews. Mason Winfree from Americana Highways says she “conveys narratives that provoke deeply embedded emotions lingering just below the surface.”

From The All Scene Eye blog: “…pleasantly unhurried, like leaves
floating past you down a creek.”

Ear to the Ground calls Pretty Words, “dark & mysterious” while Anne Kenney from Belles & Gals writes, “distinctive songwriting and vocals is a delight to the ear, a debut EP to be proud of.”

In her song Seasons Casey wonders, “and it’ll be okay, so they say…It’s just a season and seasons change.” In the title track she reassures who ever needs it: “A better man (love) will come along, and you’ll forget the one who did you wrong.” The song Prove Me Wrong is a declaration, “I pride myself on being right, the truth can run but it can’t hide from these eyes.”

I emailed Casey a few questions that I asked her to answer in order for us to get to know here better:

Talk about your back story – where were you born, etc.

I was born and raised in Greensboro, North Carolina with one older sister. My dad is from North Carolina and my mom was born in Costa Rica and moved here when she was four.

Where did you go to college and what was your course of study?

I went to The University of North Carolina at Greensboro with a major in event planning/community parks and recreation and a minor in Spanish.

How/Why did you decide to become a songwriter?

My grandfather brought me a guitar from Costa Rica when I was 5 and I started lessons shortly thereafter. But in middle school I fell in love with competitive ballroom dancing. But because I never found a solid dance partner I eventually gave it up.

I turned my attention then to music, started playing guitar and singing. I never thought about song writing until my guitar teacher told me I should give it a try. After that, songwriting became an outlet and a passion. When I dance I have to feel the music, I have to connect with it. When I write a song, I have to connect with it and when I sing it, I have to feel it in order for the audience to feel it.

Tell us about your writing process.

It’s loose. I try not to start with specifics. Usually a single line comes to mind; something that someone said that resonates. From there the message/ story emerge and I build on it. I use as few lines as possible to get my point across.

Talk about mentors you’ve encountered on this journey.

I have had wonderful mentors. First, there’s my guitar teacher, Kevin Dollar. I wouldn’t be singing, performing or writing if it weren’t for him.

I won a scholarship my sophomore year in college to attend Frets and Refrains, a camp put on by Richard Thompson in the beautiful Catskills Mountains. I had the amazing opportunity to study with him,  as well as his son Teddy, Patty Griffin, Happy Traum, Tony McManus, and Sloan Wainwright. Getting one on one advice from Richard Thompson and having his son Teddy tell me that one of my songs was a hit was incredible!

I recorded at and ended up working with sound engineer and co-producer of my EP, Doug Williams. Having worked with the Avett Brothers, he helped me hone my style and believes in my artistic vision.

Artistic influences?

Jason Isbell is the best songwriter of our generation in my opinion. Brandi Carlisle is also a tremendous songwriter and one of the most amazing performers and vocalists.

What is it about performing that keeps you pursuing opportunities
to do so?

When I’m on stage and sharing a moment with an audience, time seems to stop and speed up at the same time. I am in my element. I love that I can help take people’s minds off the craziness of life so we can all just be and enjoy each other.

What’s next?

I am hoping to record and release a song that I just finished as a single in the next couple of months.

What are your favorite songs on
the EP and why?

Marsh Girl was inspired by my favorite book called “Where the Crawdads Sing” by Delia Owens. I love how it came to life in the studio.

When I wrote Pretty Words it made me feel like a real songwriter; like I had a shot at this music thing. Teddy Thompson called it “a hit” and at that time I needed to hear from someone unbiased; someone successful. Part of me thought I had what it took and part of me feared that people were just telling me what I wanted to hear. His compliment was the push I needed to believe in myself as a writer and an artist.

To keep up with everything Casey Noel, visit her website:

caseynoelmusic.com

Women Making Music, September 2020

Women Making Music, September 2020

by | Aug 28, 2020 | Asheville, Music, Musician, Women

To piggy, or “Peggy” back (if you will) off the August issue, let’s continue to explore more fantastic “women making music” who reside in Asheville and surrounding towns. I think we can all agree that “low-grade depression” is a real thing. These practitioners of music, without a doubt, contribute to our mental good health as we head into month six of our “Covid crazy” lives.

Each of these artists persist and each of them, inspiring beyond words. These women persevere and in some cases reinvent themselves. To me, they exemplify courage. I am honored to bring to your attention month after month, the female musicians of all ages who continue to pursue their dreams with vitality and creativity, notably within this downturn.

One of my very favorite people on the planet is my song sister friend, Jesse Barry. If you are a live music enthusiast new to town, you’d be wise to seek out and support any of the high powered musical cars Ms. Barry steers or rides along in. She’s the sweet strawberry in Her Rockin’ Blues/70’s & 80’s cover band “Jesse Barry and the Jam” that features astounding players all around: Kelly Jones on guitar, Micah Thomas on drums and Robert Geisler on bass. Her recent collaboration with the premiere outfit “A Social Function,” injects that 6-8 piece special events band with a shot of unparalleled virtuosity. She’s the pied piper for the dance community and their reverence for her explosive and so too, warm and sultry voice is indeed infectious; she’s got the cure for your Covid Blues. facebook.com/JesseBarryAndTheJam/, asocialfunction.com

On the fabulous flip side, is Miss Dulci Ellenberger, crooner sublime! I’d heard her with the all-girl band she writes, co-writes and performs in, “Cowboy Judy.”  But my first taste of her intimate sensibility was revealed on her debut solo record, “I Can Feel It” released in 2015. Here are a few phrases I made up to describe her sound: “Nimble Pop” “Modern Retro” “Poet Singer.” Word-couplets to describe her songs and their content: dreamy gaze . . . tangible reflection . . . buoyant charm . . . groove friendly. Whether she’s working alone or with any number of her enormously gifted cohorts, what you’ll experience with Dulci are wistful or happy melodies, intricate chord progressions and pitch perfect harmonies. “Fwuit” is the name of her latest project trio that combines originals that harken to their self-described sound, “retro soul” with carefully selected and arranged covers. It features band members from “Holy Ghost Tent Revival,” Ross Montsinger and Kevin Williams. Check out all things Dulci here:
dulcisings.com

Debrissa McKinney is a singer and saxophonist with a laugh and panache that garners undeniable affection. She puts the “skidoo” in the Grammy-winning kid-hop troupe she performs with, “Secret Agent 23 Skidoo.”  I think of McKinney as the Emmylou Harris of Asheville. She’s in high demand in the studio and on stages for her adaptability on backing vocals and sax fills.  Sensitive to a number of styles, grooves and genres this self-proclaimed “road dawg” tours with ‘23’, and horn laden Brass/Funk/Rock band, “Empire Strikes Brass” as well as “Dirty Logic” a Steely Dan tribute band. ESB, just dropped their sophomore full length release, “Brassterpiece Theater.”  Pre-pandemic, she hosted the renowned “Brown Bag Songwriter Competition” that has for years, helped up and comers and newly transplanted talent launch their brands. This website empirestrikesbrass.com and this website: dirtylogic.band and this facebook link facebook.com/debrissa will keep you in the know about Debrissa!

Mare Carmody, happens to be my next-door neighbor, and happens to be one of my favorite songwriters.  A purveyor of Americana Country and Blues music, she works solo and with her trio, Carver Carmody & McIntire, which features Michael Carver on vocals and guitar and Paul McIntire on fiddle.  During the corona slow down, she’s been working on new songs. These snapshot moments in time are scenes from reunions over pie and coffee, or a drive to a lake or a woman musing about her lover. With the occasional live stream from her house or driveway as well as a number of outdoor socially-distanced gigs at local wineries, your chances to catch her live continue despite the pandemic. She and her bandmates will continue to host the “Hendo Showcase Brunch,” a once-a month outdoor, Sunday afternoon show featuring collaborations with well-known local musicians, held at Southern Appalachian Brewery.  facebook.com/CarverCarmody, sabrewery.com

The reigning queen of Country in Asheville, Rebecca O’Quinn gives everything she does, her all. A ballerina, dance instructor, model, songwriter and guitarist, it’s her fantastic voice when I heard it for the first time that rendered me and those in the audience, transfixed. Yes, yes, she’s pretty for sure for sure. Yes, yes she’s graceful and accomplished. But it’s her natural luminescence that draws me into her performances and our conversations. Her music oozes with genuine care and nourishment. She stays true to the classic in all her classic country covers with her band The Reckoning. A benevolent Captain, OQuinn is competent at the helm. I invite you to set sail on her amphibious craft. Get on board her next excursion by visiting here: facebook.com/rebeccaandthereckoning/ or here: rebeccaoquinnonstage.com/rebecca-and-the-reckoning

Peggy Ratusz is a vocalist, vocal coach and writer. reverbnation.com/peggyratusz

Land of the Living

Land of the Living

by | Jun 30, 2020 | Asheville, Music, Musician, Women

By Peggy Ratusz

From the Crystal Coast of North Carolina, I spoke to multi-faceted, multi-instrumentalist; multi-talented Eleanor Underhill, where she was visiting her family (social distancing guidelines in place) on Emerald Isle in late May. They all quarantined for weeks before heading to the beach for their annual reunion.

Born and raised in Williamsburg, VA, she moved to WNC to attend Warren Wilson College. A fearless musical explorer, she thrives on going places she’s never been before. Luckily she shares with us her discoveries and treasures via sound, lyric, rhythm and melody.

My first encounter with Eleanor was maybe 12 years ago, where I experienced first-hand her undeniable warmth, talent and easy going demeanor while co-billing with her at a local female artist showcase.

Since then she’s completed countless tours, nationally and internationally, with critically acclaimed Americana band, Underhill Rose; a band she co-created with guitarist, singer songwriting partner, Molly Rose Reed. Eleanor Underhill & Friends is a non-touring project she formed in 2014 with Zack Page on bass and Chris Pyle on drums.  While simultaneously and successfully juggling these two endeavors, a solo project has now emerged for this visionary.

‘Navigate the Madness,’ was her first solo release in 2018, garnering praise for its rich tapestry and electronic sounds. Her latest release, ‘Land of the Living’ takes notes from ‘Navigate’ but resumes the journey down a tangent path of more sonic surprises and stylistic souvenirs.

From writing, playing multiple instruments, singing, producing, engineering and editing, ‘Land of the Living’ is in every sense of the word, a solo undertaking. “It was all recorded at home except for the drums, which were tracked locally at Echo Mountain Studio. I really wanted to push this one to a higher fidelity, and getting the drums dialed in professionally was a big part of accomplishing that. I recognize that not a lot of women are on the production side, and this solo project allows me to learn and explore; not only to follow my muse down unknown alleys, but also to push myself in more technical ways.”

“What makes this solo work so different is because I have that technology layer available to me.  The real fun part for me is making decisions from a gut-impulse which comes from the multitude of influences that I’ve heard throughout my life. From Doo-Whop to rap to New Age and everything in between, I trust myself as I duck down into that rabbit-hole of sound.” The hardest part of the process she says comes during the editing phase.

While she consulted with knowledgeable friends concerning the mix, and she didn’t fail to mention that she relied on the expertise of Julian Dryer to engineer the drums at the studio, it’s important to note that she drove the bus.

The 13 tracks on ‘Land’ are a compilation and combination of “orphan songs” written over a decade ago, and ones written just this past fall. The production-based and exploratory nature on many of the pieces is fascinatingly evident while others possess a more singer-songwriter vibe.

There are unique and unexpected intros on several tracks. This is true for the first single being released as a video called ‘Strange Chemistry.’  “The intro is me singing acapella. I didn’t notice until the instruments kicked in that I was in the wrong key. But it was a beautiful accident I never planned for but decided to keep. It seemed natural to not squash it, given the sad overtones the song invokes.” Jesse Gentry from The Get Right Band plays a loose, free-flowing bass solo that is a stand-out.

“Run with the Wolves” has “a bit of female rebellion and defiance in it. It reflects how forward-pushing this project was for me.  When I listen to it in my car, it makes me drive fast!” With layers of luscious harmonies in the chorus and a solo by Michel Buble’s baritone sax player, Jacob Rodriguez, the song reaches new heights for Underhill, vocally.

“Didn’t We Have Fun” is a statement and a question, sarcastic with “mixed emotions.” Another track, “Gambling” she says is one of the older tunes that got a big “facelift in terms of approach. It’s a metaphor that being a musician and artist is like being a gambler. I was experiencing an unsteady time when I wrote it, and working on it for this record, pushed me to put a modern feel to it.”

“On the Way to Engelhard” is my personal favorite melody and theme, though the rest of the tunes are certainly neck and neck for 2nd place. For me, it conjured a place I used to visit as a child, that like Engelhard, is different to me now that I’m older, not only because the ravages of time have stripped it of its charm, but because I’m different now too.

The title track is sparse with a reggae vibe. Eleanor referred to it as a “revelation” song. “I have absorbed the beliefs of my foremothers and fathers.  I have to cast off what is not serving me. By casting off those ghosts I am fully embracing my life with freshness; rather than living in any hand-me-down shadow or burden.” It’s a song she finds particularly relevant now.  “We are all experiencing a reckoning. We are all waking-up to a new awareness.”

There is an online album release premiere happening Friday August 7th at 7pm from Eleanor’s facebook timeline page: https://www.facebook.com/eleanor.underhill I invite you to tune in so that we can all watch together in real time!

Connect and stay up to date with all things Eleanor Underhill, by visiting her website: eleanorunderhillmusic.com

Peggy Ratusz is a vocal coach, song interpreter, and songwriter.
For vocal coaching email her at [email protected]

Rachael Waterhouse – The Voice of the Vine

Rachael Waterhouse – The Voice of the Vine

by | Apr 3, 2020 | Asheville, Music, Musician, Women

By Peggy Ratusz

Ten years ago, Rachel Waterhouse and I met for a vocal coaching session. As we greeted one another, I found her to be open and alluring. I knew that we would be acquainted for a long time to come. I sat in my chair as her fingers floated over the keyboard. At once I allowed her voice to take my heart
hostage, as she cast her spell on a Stevie Wonder tune. 

I didn’t even try to hide how much I was enjoying this private performance. I felt privileged to witness her virtuosity and expressiveness. When she was through, I told her, “All I can do for you as a new fan, is help you put a band together; as a vocal coach, I should sign up for sessions with you instead.” An emancipated musician and poet, new to town as Ms. Waterhouse was at that time, doesn’t have to play but one open mic, to create enduring synergy.

Rachel and I have collaborated a few times over the years. I find her sensitivity to arrangements and content, even with pastiches, refreshing. This predisposition is a continuation of her aptitude for songwriting. With the “soft-release” of her first full-length recording with her trio “Sister Ivy” wrapped last month to a capacity crowd at The Mothlight, we excavate some of the nooks and crannies of her process.

Your melodies meander fluidly over the chord progressions. Please delve into your process for marrying melodies with chord progressions.

I feel less like I impose melodies and chords and more like I gather them as different ingredients separately, pair them later. Often, I mess around with a theoretical concept and stumble upon a chord progression that I just get absolutely lost in.  I write melodies on the fly and record them when appropriate. I write lyrics in random places, and then forget about them. I let all those things sit and mature in the recesses of my mind until they find each other and make sense. It’s kind of like making a collage.

What’s your process for choosing instrumentation for your songs?

I find the part that is missing the most, after that is low end and rhythm, so I commonly play with a bassist and drummer as my core group. It’s simpler to orchestrate that way and it allows the three of us to be free at live performances. If I had my way, I would have a horn section, choir, guitarist, organ and synth, guitarist, and percussionist on every show. For this album, we went all out with guest musicians, creating a fuller, lush sound.

The vivid stories that will be on the new record truly feel like poetry set in motion.

I write a lot of poetry. I was an English major with a professional writing concentration, which I skewed entirely to the creative writing. The vocal ditties that survive audition, plus the triumphant experiments on keyboard are the main ingredients.

Vocally it’s obvious that you’re fearless.

I have ignored every impulse to fit into a particular style of singing. I just try to be really honest about the emotions and experiences that have moved the music. I’m not scared to go in and out of different parts of my range. I don’t feel the need to remain consistent in my range.

Where does inspiration come from?

I swear the textures I want to create come from the scratched Nutcracker album I listened to on repeat when I was no more than six years old. Musically, I grew up listening to and playing a good deal of Classical music: Chopin, Debussy, Tchaikovsky, Mozart, and Bach. My father played a lot of Rush in the house as well, so that progressive element worked its way in nice and early. I spent a good bit of time in choirs and musicals and very nearly went into opera. But for me, writing my own music is more fun than learning Arias. I branched out to discover artists like Regina Spektor, The Gorillaz, Radiohead, Pink Floyd, The Mars Volta, Herbie Hancock, Funkadelic, Galactic, Air, Sly and the Family Stone, Stevie Wonder. The new waves of fusion and neo-soul, like Erykah Badu, Little Dragon, Hiatus Kaiyote, Robert Glasper, Snarky Puppy, Lalah Hathaway, Moonchild, James Blake, and Moses Sumney have been a major influence in the sound on this new record.

Lyrically: What I write precipitates from what I feel and what I feel precipitates from what I experience. Writing is an excellent avenue to process emotional waves. I am an idealist and I pepper in some of my opinions about the state of the world. Much of my inspiration comes from masks of myths, fairy tales or omens, which clothe my emotions and ideals to give them a more concrete presence without being too specific about their personal origin. I prefer to present a channel for the expression of universal emotions even though, at the root, my writing is not dissimilar to journaling.”

Listeners will discover Rachel’s introspective identity within the meditations, reflections and missives inside the new collection. “Sepia Sun” is one of my personal favorites: “Submerge yourself again, beneath the current. You’ll need a warrior’s heart to brave the dark. Or have you been in Oz too long, accustomed to the colors? When you’re living only to consume all, why would you choose a world of grey?”

A pass from the Sister Ivy website’s homepage illuminates:

Sister Ivy is the voice of the vine that weaves in and out of roots and open air. It mixes with the weeds, and climbs to lofty vistas on the limbs of grand trees. A quizzical poet with a voice brimming with turbulent emotion and heartfelt presence, she moves to join the juxtaposed, not only lyrically, but musically, with careful dissonance and timely resolve, blending the mundane with the magical, providing unexpected nourishment and plenty of food for thought. Listen at your own risk. Sister Ivy may attempt to challenge your core beliefs or (gasp) move your feet a little.

Website: sisterivy.com

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