High Notes of Jazz

NZ Herald, Workplaces by Liane Voisey 30th July 2003 Name: Caitlin Smith Age: 31 Job title: Jazz singer and voice coach I Working hours: Long. 20 hours performing and rehearsing a week, 37 hours of teaching, plus admin and travel to and from gigs Employees: Studios, bars, private students Pay:$20,000-$50,000 Qualifications needed: None, although an academic course on contemporary performance is an advantage Career prospects: Anything from gigging at bars and session work to getting a major recording contract for the lucky few Describe what you do: As a jazz singer I do three to four gigs a week with my band The Fondue Set, at bars such as Iguacu, Opus and Mecca and some private functions. Occasionally I do session work — for ads/jingles, background vocals, voice overs and various singing for theatre and film soundtrack. Recently, I provided the vocals for Vodafone’s TV ad, and for the soundtrack of a short film. When I’m not doing that, I’m working on a solo album— which I hope to release later this year — or voice coaching. Why did you choose this career? After graduating with a masters degree in politics I was working for various social justice organisations and finding I was burning out. I started rehearsing with a friend round the corner, and we realised that we could do gigs — it went from there. What qualifications do you recommend? The training that you get in a music career is holistic, it can’t be the usual classical music degree. There are a couple of good music degrees around now based on contemporary performance such as those offered at Scapa (School of Creative and Performing Arts) and Massey University. You also need a great understanding of the voice, contacts within the music industry and an ear to current musical trends. Describe your voice. It’s flexible. When I do session work, I might be asked to sing like Shania Twain, a soul diva or some young breathy girl. Commanding your voice so that you can do whatever you want it to do really comes from practice. What’s the best part of the job? Helping students to write songs has been awesome because it helps my song writing — I find it really satisfying. I enjoy both performing and teaching. What’s the most challenging? It’s insane how many hours I put in. I teach six days a week, gig in the evenings and on a Sunday — it’s a seven-day week. What’s the pay like? Quite good, but it’s not reliable. When a [voice coaching] student calls in sick then I’m not earning that day. There’s also chasing up invoices—you don’t get a weekly pay packet. Any interesting one-off projects? I was involved in The Big Night In which is a series of live music due to be screened on TV One later this month. They flew me down to Wellington for three separate Wednesdays just so I could play one song and then come back again. And the glam-factor? Meeting other musicians is a thrill. Through The Big Night In I met people I really admire, like Mark Williams and Al Hunter. I’ve worked with Courtney Love, The Datsuns and Nesian Mystik … When Anika Moa had an audition and couldn’t be heard very well over her guitar, Warners asked if I could give her some voice strengthening coaching — that was fun. Any advice for budding singers? Gigging is the best way to learn on the job. Create work for yourself and don’t be timid to approach venues. In terms of working musicians out there, it’s the ones who really sell themselves who get the gigs. Voice coaching is a good idea for singers wanting to get their careers on. What sort of person is successful? You have to be passionate and be prepared to make it your sole focus. I don’t manage to see friends very often because I gig and work nights. It’s a case of love me, love my job.