CeCe Winans’ “No One” is one of my favorite more-recent tracks from her… and this performance doesn’t disappoint.

For one, I’m a sucker for an outdoor concert cuz you get to dress casually. Second, she’s got her DREAM TEAM of background vocalists with her– Jerard & Jovaun Woods and LeAnne Palmore.  GEEEZ.

Okay, people.  Here’s the culmination of my chat with our vocalist extraordinaire, Melonie Daniels.  If you missed Parts ONE and TWO, click here to catch up on what she’s had to say so far!

In this segment, Melonie shares a bunch of info about her vocal routine, what it takes to be a great background vocalist, her work at NYC’s Village Undergound, her transition from background to foreground as a solo artist, and what’s next for her.  You don’t wanna miss it!

Ladies and gents, enjoy PART THREE:

*     *     *

EJ:  How do you prepare for a studio session?  Like, how much rest do you get, what foods do you avoid, and all that?

MD:  Well, that’s a biological thing and it’s an individual situation.  There are those of us that are lactose intolerant, or allergic to citric acid, or whatever.  You have to know what your body is capable of handling, what your allergies are…

EJ:  And you don’t mean “allergies” like if you eat it, you have to go to the hospital, right?  You just mean “allergies” in the sense that your body responds negatively in some way?

MD:  Right.  It’s not a blanket thing.  I love the teachings of Lady Tramaine Hawkins, but her routine may not work across the board for everybody.

EJ:  What does she do?

MD:  She’s very protective of her voice.  Wherever she ministers, she has to shut down the air in the entire place, she stays wrapped up.  She can’t handle air conditioning.  And there are several singers that do that.  For me, I’m like “turn down the heat, turn up the COLD.”

EJ:  Really?!

MD:  I chew ice.  I don’t have a problem with dairy products, but I can’t do orange juice because I’m allergic.  So it really is dependent on the individual and knowing what your body can handle.

EJ:  Know your instrument, people!

MD:  Yeah, you have to really study yourself.

EJ:  That’s funny cuz some people take themselves so seriously based on what they’ve heard… like “no, no… I can’t do dairy right now because we’re singing later,” when that may not even affect them in the same way.

MD:  Right.  When I’m ministering and they ask me if I want water, I’m like “yes, ICE COLD.”

EJ:  Are you for real?

MD:  *laughing*  Yeah!  I’m like “you got some ICE?  Crack me up some ice!”  But that’s just me.

EJ:  *laughing* What does it take to be a great background vocalist?

MD:  Be teachable.  Be very studious.  And be quick about it.  Have good intonation, memorization, good pitch… Ear training has a lot to do with it because you have to pick up stuff so quickly sometimes.  And you don’t get a second chance a lot of times.  Rehearsal is the only place where you can fool up and get away with it, but when it comes to performance, you’ve gotta nail it.

And that’s why a lot of background singers are losing jobs– because a lot of people now are keeping Pro Tools nearby and aren’t using background singers.  You’ll never sound like what they have on the record because artists will either hire session singers that don’t travel, or they’ll do the vocals themselves.  So, there’s no way to sound just like that.

Most of my life, I’ve done live stuff.  I don’t sound exactly like the record, but I try to come as close to it as possible– to do the same inflection, the same words, and the same tone quality, if possible.  I have the advantage of being like a mimic, especially from growing up and watching cartoons, because I could mimic the characters’ voices.

EJ:  So, watch your cartoons, folks! *laughing*

MD:  That was my thing.  And even people’s speaking voices.  You have to study those things in order to be effective as a background singer.  And that’s why people keep getting called– they can give the singer certain nuances, they can give the artist something familiar.  You may have a great voice, but if you’re not able to conform VOCALLY to what someone requires of you for that moment…

That’s the hardest part of background singing for a lot of people– conforming vocally.  You have to, though.  They called me at the last minute to do something with Ricky Martin 8 or 9 years ago.  That next morning, I was on a flight and I had to learn five or six songs, three of which were in Spanish.  I took French.

EJ:  *laughing*

MD:  *laughing*  So, I had to take a crash-course in learning how to phonetically pronounce the Spanish lyrics.  And then, you know how some Spanish artists have the mariachi-type, nasal sound?  I had to adapt to that as well.  So, you have to be a chameleon of sorts as a background singer.

You know, the Bible says don’t conform to the world, but be transformed by the renewing of your mind… that’s the only place I conform! *laughs*

EJ:  *laughing*  Right!  I ask most of the background vocalists this when I interview them– can you assemble a dream team of background vocalists for me?

MD:  Ummm… Jerard and Jovaun Woods.  Blanche McAllister-Dykes… ummm… well, that’s a soprano, alto and tenor right there!

EJ:  Aaaaaand you’re DONE! *laughing*

MD:  See, that would be a great session.  Working with people like Donald Lawrence and Richard Smallwood, even with Mariah… I’ve had the opportunity to sing, coast-to-coast, with some great voices.  There’s a girl named Sharlotte Gibson, she’s on American Idol now singing background.  She used to sing with Mariah and she’s incredible, one of the L.A. crew.  Umm… the late Olivia McClurkin was a wonderful person to sing with.

EJ:  I know.

MD:  Oh my God.  Incredible voice.

EJ:  For real!  I miss her.  You know, in these interviews, I like to ask about how lucrative session work can be.  Do background vocalists need a day job or can they be alright?

MD:  They can be alright if they have a certain work ethic.  There’s no job too small, no job too big.  Pride goes out the window.  It can range from doing a demo session for somebody and getting $250 to do it, all the way to doing a performance and getting paid $5,000 to do background with Madonna.

EJ:  For one show?!

MD:  For one show.  It can be very lucrative.

EJ:  Am I on the wrong side of this business?! *laughs*

MD:  *laughing* That’s why I’m sayin’… If Sting, Elton John, Madonna and Cher… if any one of them wanna call me to put me on the road and I get $5,000 a show, guess who’s goin’?

EJ:  *laughing hard*

MD:  Me and my Bible!  *laughing*  But, like I said, there are certain criteria that have to be met before I can do that.

EJ:  Right.  No matter how much.

MD:  Yeah, no matter how much.  I’ve been offered hundreds of thousands of dollars and said “no,” because it didn’t feel right.  It didn’t sound right to my spirit to accept it.

EJ:  I understand that.  I wanna get to your solo artistry in a sec, but talk to me for a minute about the Village Underground in NYC on Sunday nights.  For those who’ve never heard about it, how would you describe what it is?

MD:  Basically, it’s an open mic– anyone that wants to come up and sing can sign the list and sing, accompanied by the band LIVE… no performance tracks.  And it’s just somewhere to let your hair down and enjoy music without being threatened by what you believe or don’t believe.

There was a time that we did, one Sunday a month, a gospel night.  But because we were in what people call a “secular” place (a bar), the owners complained because they were losing money. *laughs*

But there’s a responsibility involved in invoking the presence of God.  We were literally changing the atmosphere.  And they said they were losing money at the bar because we were singing gospel music.  We were forced to discontinue the gospel night, but that doesn’t mean we’ve stopped singing gospel music.  At any time, in that venue, someone may come up and sing a gospel song.  If it’s true to that individual, spirit recognizes spirit, and whoever’s in there will hook into it and we will have a worship moment in there that’s better than what you can find at some churches.

EJ:  Why do you think it’s become so popular?  It’s even been featured on Bobby Jones Next Generation as the place to be in New York.

MD:  It is an outlet for people, especially in this new generation, to be “in the world, but not of the world.”  Because you can be in a place, and not be a part of what’s going on in the place.  But that comes with a level of maturity in your walk with Christ.

I’ve heard people emphatically say “I will NOT” or ”I cannot be caught in a place like that.”  Those were the words that were used.

EJ:  Really?

MD:  Yes.  But on the flip side, Martha Munizzi comes down, Israel comes down, Lisa McClendon has called me to get information, Shari Addison and Crystal Aikin were there a month or so ago.

EJ:  Yeah, I haven’t been in years, but it’s great.  My wife and I are coming soon!

Listen, I wanna chat about your transition from background vocalist to artist.  First, is it hard to do and, if so, why?

MD:  Ummm… a lot of times, it’s an insecurity issue… not feeling adequate to deliver.  Comfort zones– you feel safe in a group, in the back.  I’m speaking all from personal experience.  Not feeling like you have anything to convey to the general audience…

But mostly, it boils down to insecurity.  Everyone has a purpose because God put us here with purpose.  It’s up to the individual, in their walk, to recognize the purpose that God has placed in them and to walk in that purpose.  And that can be difficult.

EJ:  Amen.  But you went for it… a coupla years ago you released your long-awaited solo project.  Talk to me about your album, Live In Concert.

MD:  It started as a conversation with my pastors.  And the church invested in me.  And September of 2006 was the result of that investment– we recorded a CD.  They just sowed into my life.

EJ:  That’s great.

MD:  Yeah, so that’s how the record got done.

EJ:  Who wrote and produced it?

MD:  Stanley Brown produced the music with Nathaniel Townsend III, the drummer.  I got to handpick everyone.

EJ:  How do you describe your style of gospel music?

MD:  The CD’s style is as eclectic as I am.  You can hear “Glory After This,” which is straight churchy, or “My King,” with intricate harmonies and chord structure, kinda gospel-jazz.  I’ve got a song on there called “Kingdom I,” which has a neo-soul kind of vibe.

EJ:  You workin’ on another album?

MD:  Umm… still planning stuff out.  Not actively working on it yet, but just thinking.  There are so many different directions I could go in, because of my musical influences.  I would love to do a “big band” gospel CD… I would love to do a neo-soul set, unplugged… I would love to do alternative-sounding stuff, because I’m a student of music, not just gospel music.  To me, all music is God’s music, honestly.

So, I have so many ideas that I have to narrow them down to get at least the NEXT project out.

EJ:  I was gonna say “we will take all of the above, thank you!”

MD:  *laughing*  That’s enough material for three more projects.  I would even love to do a CD of love songs for gospel folks who are uncomfortable buying Luther [Vandross], or Joe or Anita Baker… or Jill Scott.

But, then again, you have to contend with the critics who say that it doesn’t glorify God…

EJ:  Ewww… well, please contend!  I think that would be great.  Either way, I’m looking forward to it.

MD:  We’ll see.

EJ:  Well, that’s it for me.  I have REALLY enjoyed chatting with you and I appreciate you for taking the time to do this interview.

MD:  Thank you!

EJ:  No doubt.  I’ll talk to you soon.

MD:  Okay, bye.

*     *     *

And, that’s THAT!  You can learn more about Melonie (and buy her bangin’ album) at her website, http://www.meloniedaniels.com/.

Sooooo… what did you guys think of the interview series???

Oh, and as a parting gift, here’s the Melonie clip for this segment.  It’s an audio clip of a KILLER track from her solo album, entitled “Glory After This”:

[Editor's Note:  Most of you know her as Joann Rosario, but I'm using her new name, as she recently wed Atlanta-based gospel DJ (and host of BET's Lift Every Voice) Cory "Coco Brother" Condrey.]

I’d actually like to do a post on each one of Joann Condrey’s albums, because I think the industry and consumers have kinda Slept On all of her stuff to date.  But, for now, I’ll stick with the most recent.

Her latest album, Joyous Salvation, was a great collection of some incredible music, featuring background vocals from some of the greatest in the industry (i.e., Darwin Hobbs, Blanche McAllister, Jerard and Jovaun Woods, LeAnne Palmore) and masterful production from giants like Aaron Lindsey, Fred Jerkins and Donald Lawrence.  This year, the project garnered her a Stellar Award nod for Contemporary Female Vocalist of the Year.

For your listening pleasure, here’s a snippet of one of my favorite tracks from Joann Condrey’s Joyous Salvation– “You Are Holy,” written/produced by Aaron Lindsey, with some bgvocal production by Donald Lawrence (you can hear it!).  Following it is a YouTube video (but it’s just audio) of another hit from that album–”Restore To Me.”

 

Who else has it?  You love it?  Who Slept On it?  Why?  Talk to me!

I’ve not kept silent about the fact that my favorite male background vocalist is Jerard Woods.  Vocally, I think he’s able to do ANYTHING– he’s polished and professional, his tone is clean and effortless… and he just always seemed like a really cool guy.

He has provided vocals and/or vocal arrangements for CeCe Winans, Donnie McClurkin, Marvin Sapp, Kim Burrell, Donald Lawrence, Natalie Grant, Israel Houghton and a litany of other folks.  He and his wife, Jovaun Woods, are credited on tons of projects… basically anything coming out of Nashville!  LOL

Read the interview below to get a better idea of who Jerard is, how he balances his family life, the realities of touring, and much more!  Here, in the second installment of On BGVs, is Jerard Woods.

* * * * *

EJ:  You ready?

JW:  Yeah!  Let’s do it.

EJ:  Ok, talk to me about how you got started doing background work.  Is this what you wanted to do?

JW:  No, I didn’t plan to do background singing.  I was always singing lead, even as a child.  I didn’t start doing background work until I came to Nashville.  I was right out of college and I became friends with background singers who were already well-established… They were doing background work and they found out I could do it, so they recommended me to people and I was thrown into it.

EJ:  What did you do in Nashville before the session work picked up?

JW:  When I first got here, I worked for Xerox for like 8 months.  And I got a call to do a song for a Joe Pace album.  I sang on the record and Paul Wright (who produced the album) was like “Dude!  What are you doing at XEROX?!”  And it wasn’t him that made me quit, but it did confirm what I was already feeling in my spirit.  When I got here, I didn’t know what to expect.  I nervously took the job, but he was right.  It wasn’t for me.  Not soon after, I quit that job and just allowed God to use me in the music industry.  And slowly, I started to do more things.

EJ:  That’s awesome.  These days, you do a lot with CeCe Winans in particular.  How did you start with her?

JW:  My wife was singing with CeCe already.  When CeCe found out that my wife was married to a singer, she said “bring him to rehearsal!”  Now, being the stalker that I am (*laughing*), I knew all of her stuff, so I was already prepared.  I think that, to her, it seemed that I had a good work ethic, but I just watched her long enough to know her music really well.

EJ:  That goes well with my next question.  What makes for a great background singer?  Is it the work ethic?

JW:  I think that what distinguishes any background singer from others is that you’re professional, you’re always prepared, you learn quickly… I come across a lot of people who wanna do session work, but sometimes… umm… they’re… (*whispering shyly*) they’re just not good enough.  Or they don’t learn fast.

EJ:  Did you ever think you would be in such high demand? 

JW:  Noooooooo!  I would listen to records like everybody else, and listen for certain background vocalists.  Now, I’m working with them.  That, in and of itself… it blows my mind.  It’s really amazing how God has done that.  I never though I’d meet and become friends with these folks.

It’s only because of God that we get so many calls.  God has given us a lot of insight into how to keep working, and making it good and making it hip and all that kind of stuff.  And once producers start calling you, they talk to other producers and artists, you know?  Someone will say “who did you use for that track?” and they’ll say “oh, that’s Jerard and Jovaun and Leann and Darwin and Tiffany.”  There were times where we were literally singing on four records in a week.

EJ:  Are you serious?!

JW:  Seriously.  Even now… you could easily sing on ten or eleven records in a month and, if they all come out at the same time, your name is published in several places at once… and if you’re traveling and touring and performing at the same time, you get a lot of exposure and a lot of calls for work.

EJ:  That makes sense because when I first started seeing your name, it was like you were everywhere at once.

JW:  And we are!  *laughs*  No, we do work hard.  But the more you do it, the more experienced you get and the better and faster you get.  So, what would have taken us all day to do, it now takes me a fraction of the time to do.  Especially because, once you’re so used to working with a certain group of singers… you know, I’m used to knowing what they’re going to do.

EJ:  Ok, quit it.  You’re answering all my little questions before I can get to them!  My next question was going to be about synergy among groups of background vocalists.

JW:  *laughs* It’s true.  When you do it so much with the same people, you start to know what they’re going to do before they do it.  But, you know what?  The synergy that we have with each other is not just through singing.  We go to each other’s houses all the time.  We would just call and we’d all get something to eat.  We kick it when no music is even going on.  That’s how the synergy develops.

But it also depends on who we’re singing with.  Did you notice that singers in New York are WAY different from singers in Nashville or Los Angeles… or Detroit?  Anyplace where the singers do a lot of recording…

EJ:  Yeah…

JW:  So, when we started with Andrea [Mellini] and Donnie [McClurkin], they had this whole modern-day New York-broadway style.  Everything is “come out strong, heavy diction, and at the VERY end, very fast vibrato.”

EJ:  *laughs* That’s so true!

JW:  Right.  But in Nashville, vibrato is nearly illegal on sessions!

EJ:  Really?

JW:  Oh, ABSOLUTELY.  You do not… well, it’s getting better.  But if you don’t sing with it, you can make it in this city.  If you do sing with vibrato, charges will be filed.  But when we started with Donnie, he would say “VIBRATO!” but we weren’t used to using it, so it was an opportunity for us to learn to turn it on or off when we need it.

*Jerard pauses briefly to recite a full array of menu options to his 2 year old son*

EJ:  *laughing* I think it’s hilarious, by the way, that you’re giving your son so many options.

JW:  *laughs hard*  Yes!!  You have to, cuz you will get denied and rejected! 

EJ:  While we’re talking about family, let’s talk about the fact that you do a lot of background work with your wife.  The two of you have made a complete living off of background vocals, is that right?  I mean, you’re doing it with two kids and everything.  How?!

JW:  It’s HARD!  When the economy is not conducive to concerts, we’re not singing, so we’re not making money.  Or, if there’s a season where a tour cancels, you could be out for a while.  But the Lord is always kind to bring something else.  The good thing is that there are lots of artists, lots of studios, with lots of albums and producers.  We get calls from record companies, producers, and artists.   It’s amazing.

EJ:  How do you all find the time, especially with the kids?  Have you got babysitters?

JW:  We do get a babysitter if one is available, but you know what we started doing?  When we get calls for both of us, and we don’t have a babysitter, we say “hey, we’ve gotta bring our children.”  And our children are good.  I’ve stood in the booth and had my son on my hip while I recorded.  Or, if they say “no,” we say “okay, which do you need more– a soprano, alto or tenor?”

EJ:  I love that!  So, do you prefer doing studio work over live performances?

JW:  No, I prefer live performances.

EJ:  But you do more studio work, right?

JW:  Mmmm… Nah, it’s about what and what.

EJ:  *laughing*  That’s so southern!

JW:  *laughs* I’m from Louisiana, come on!  No, but it’s about the same.  But between the two, I prefer live.

EJ:  Why?

JW:  Well, the studio life didn’t come alive until I moved to Nashville.  I was already a “live performance” kind of person anyway.

EJ:  Who’s been the hardest to work with?

JW:  Probably CeCe Winans, Donnie McClurkin and Kim Burrell.  But in a good way.  Singing comes easy to singers, but these three challenge you and make you think harder because they are not predictable.

With CeCe, you must learn the art of vocal dynamics or effects.  You have to sing with soul, but do it softly.  With Donnie, you have to learn to be ready at all times, sing loud, high, and with heavy diction and control.  And with Kim, you have to first understand what she’s giving you to sing.  Then, you have to execute it flawlessly.

EJ:  Wow.  Let’s talk for a minute about Kim Burrell.  Now, this is when I first learned of you and we became best friends in my head… her Live in Concert album released in March of 2001, with accompanying video that I watched daily!  What was that experience like?

JW:  Amazing.  It was like a workshop to polish your skills.  Kinda like, if you’re in business and your boss sends you away to a training workshop to learn other things to bring back and apply to what you’re doing at the local office… *laughs*  She flew us all down to her house, got us around a keyboard, came up with the arrangements… it was AMAZING.

EJ:  A lot of people criticized that album, saying that the mix was bad or that there should have been more overdubs, but I still love that album.

JW:  Oh yeah.  There were challenges, things that were not in anyone’s control.  It was literally one of my best musical experiences.  It was incredible.

EJ:  So, you’ve done background vocals for some of the greatest, you’ve done some guest spots on several albums.  Recently, you released your own solo project, I Waited, on your own label, Found Sound Music.  Were you nervous to strike out on your own, or was that always the plan?

JW:  I was extremely nervous!  After doing backup for years, I went into this shell of not carrying the responsibility that an artist carries.  When you do background vocals, you have none of those responsibililites.  You forget about them.  So, I was very nervous, even now.

EJ:  What types of responsibilities?

JW:  As an artist, you have to do the whole gig thing, like “ladies and gentlemen… EJ!” and you come out and say “come on and praise the Lord!”  Even that became uncomfortable because I had spent so much time behind someone who was doing that.  I didn’t have to think of those introductions or segues to do songs.  In background work, it’s simple.  When the music starts, I come in.

EJ:  *laughs*  What’s next for you?  Can we get another album?!

JW:  Absolutely!  My next record is going to be with my wife.

EJ:  I love that.

JW:  Yeah, it’s gonna be Jerard and Jovaun.  We’re excited.  I’m tired of traveling without my wife.  Before we had kids, we were always singing together, traveling together.  I want that again.  She’s also an incredible vocalist that has a message she carries and she’s ready to deliver it.  We were thinking a solo album, but we decided to do it together.

EJ:  Cool.  Are y’all working on music already?

JW:  Ummm… somewhat.  Nothing is recorded yet, but we have some ideas.

EJ:  I can’t wait to hear it.  Tell me, how hard is it, generally, for a background vocalist to become a solo artist?

JW:  The transition sometimes is very hard.  It depends.  It depends on the person.  When you’re typecast, as we are, everybody… well, a lot record execs and people who make decisions…  they see us as very successful background singers, but they don’t see us as very successful artists.  And that’s the hard part, to convince them that we have that potential.

EJ:  So how do you convince them?

JW:  You can’t convince them by telling them.  You just have to believe what God has trusted you with and move as God directs, and room will be made for your gift.  Record execs may never see your potential, you have to see your potential.

EJ:  That’s so crazy to me because, often, the best singers are in the background, not in the forefront.

JW:  Yeah, but you represent a small percentage of people who believe that.  I know a lot of gospel artists who are very successful now, but have told me that it took time and many disappointments before they started to see a return on their investment into their own ministries.  None of them were overnight hits.  I, too, have to work hard and not give up before I get where I wanna be.

EJ:  Well, hopefully some folks will read this and realize!  Talk to me, if you will, about touring.  Do you enjoy it?

JW:  I love it.   I’ve always liked to travel since I was kid.  I like the idea of going to places I’ve never been, or experiencing events I know nothing about.

EJ:  I chatted with Andrea Mellini a few weeks ago and she talked about being on the road and the realities of it.  She explained that a whole lot of foolishness and, in her words, “devilment” can go on even in the gospel music community.  Have you noticed that, too?

JW:  *laughs*  “Devilment.”  Absolutely.  Some folks will hook and crook as far as money as concerned.  Some people have no problem with lying.  You have to deal with all of it and say to yourself “I’m the one who chose this profession.  I can either take it or get out of it.”  Unfortunately, the Christian music industry can be as bad as any other industry.  And I’m not just talking about the artists, it’s everywhere.

EJ:  That sounds so depressing!

JW:  And it IS if you stay there.  But you have to stay focused and stand on what you believe, and you can’t let someone else’s downfalls or mistakes cause you to be bitter towards the entire industry.

EJ:  Wow.  That’s real talk.  Andrea also said that she understands why CeCe has Alvin on the road with her.  You are blessed to work and travel a lot with your wife, Jovaun.  Talk to me about the dynamic of working together and being on the road together. 

JW:  A lot of couples love each other and get along, but they can only take each other in small increments… and that works for them.  But I LOVE working with my wife.  I love being with her.  The reality is that, sometimes, you have moments where people make propositions to you.  Sometimes it’s sneaky.  Sometimes it’s even in your camp.

EJ:  No!  But they know you’re married.

JW:  They may know I’m married, but if she’s not there for a minute… it’s almost like “hey, don’t ask, don’t tell.”  But that’s not just this industry, that’s in the world.

EJ:  *sighs* Ok, on a lighter note, I wanna do a quick game with you.  I’m going to say some words or phrases and I want you to respond with the first word that comes to mind, ok?

JW:  Ok.

EJ:  “Nashville.”

JW:  *pauses*  Family.

EJ:  “Stellar Awards.”

JW:  *pauses* Work.

EJ:  “Concerts.”

JW:  Exciting!

EJ:  “Groupies.”

JW:  You know, I’m not mad at groupies.  Umm… Underrated. 

EJ:  Wait.  Why do you say that?

JW:  Because usually, groupies are people who, even though they may be somewhat of a nuisance, love your ministry or love you, or love what you do SO much that they want to be around you all the time.  It may get on your nerves, but when you have people that love your ministry, you never know what they are capable of doing concerning your ministry.  They’re groupies, but they’re very passionate about what you do.  You always need those kinds of people. 

EJ:  I hear that… Ok.  “CCM.”

JW:  Something new.

EJ:  “Kirk Franklin.”

JW:  Inspiring.

EJ:  “COGIC.”

JW:  Foundation.

EJ:  Nice.  Jerard, who’s on your background vocalist dream team?  Like, if you were singing with the IDEAL group of vocalists, who would they be? 

JW:  How many people can I have? 

EJ:  As many as you’d like. 

JW:  Should I go by sections? 

EJ:  *laughs*  Wow.  Yes, please.

JW:  Ok.  The tenors would be Steve Crawford, Jason Nelson, Duawne Starling, Darwin Hobbs *pauses and asks his wife, Jovaun, which other tenors he likes*, Melinda Doolittle and Kathy Burrell… y’know?  I know I’m forgetting somebody… they’re gonna be SO mad when they don’t see their name.

EJ:  Ummm… Now, they can all blend together, right?

JW:  Yes, of course!

For altos– Leann, Debbie, Tiffany, I dunno if Sherry McGhee wants to sing soprano or alto today… we’ll put her for altos.  Melonie Daniels, Olivia McClurkin (RIP), Gail Mayes… and that should do it.

EJ:  This is intense.  Sopranos?

JW:  Singing soprano would be my wife, Jovaun… umm… Da’dra Greathouse, Andrea, Christie Richardson, Benita Washington, Angie Primm and Sheri Jones-Moffett. 

EJ:  Ummm… I think you kinda put together a mass choir, didn’t you?

JW:  *laughs*

EJ:  Last question, man.  Susie and Tommy wanna be background vocalists.  What do they need to do?

JW:  They need to surround themselves with people who are doing it.  Or go to a city where it’s being done, I think.  That was my way.  Oh, and learn from those who are doing it.  It’s a risky step, but if you’re good, what could possibly go wrong? 

And, I’ll say this:  when you sing background for people, you have to have the desire and ability to diminish.  Listen to everyone else around you and conform to THAT.  You cannot be a successful background group if you don’t diminish yourself as a vocalist to attain the sound that will benefit the group, and not just you.   People ask “how do you get that sound?”  We’re not doing anything spectacular.  We just blend as a unit.  When we sing, we’re not Jerard, Jovaun, Leann… we are a unit.  We have to die to our gifts at that moment because our goal is to have one sound and to sound like one voice.

EJ:  So true.  Jerard, man, thank you SO much for doing this interview.  I really, really appreciate it. 

JW:  Well, thank you!  It was my pleasure.
 
EJ:  Coolness.  Take care.
 
JW:  Alright, I’ll talk to you.

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So, that’s that.  POST A COMMENT and TELL ME WHAT YOU THINK!

Make sure you check out his site at http://www.jerardwoods.com/.

And here, for your viewing pleasure, is a YouTube clip of Jerard Woods singing on TBN’s Praise the Lord, hosted by CeCe Winans.  He’s a worshipper and it’s awesome.  Enjoy!