Born: January 16 Primary Instrument: Vocal
Andrea Wolper has been described as “a giant singer” (In Tune International) with “an inventive, thrilling, appealing musical vision” (Blogcritics) who “brings songs to life, whatever their source, working in a milieu that begins with jazz and reaches out to embrace an expressive area that is uniquely her own” (International Review of Music). Mixing genres, crossing boundaries, as accomplished and at home with the Great American Songbook as she is with spontaneous improvisation, Andrea approaches all her music with an adventurous, open spirit. Her original songs, as well as her unusual arrangements of standards and music from a variety of genres and sources, reveal a dynamic, singular musical sensibility that reaches audiences beyond category.
Andrea's quintet CD, “Parallel Lives” (Jazzed Media) received stellar reviews upon its release in late 2011, and was included in three end-of- year critics' lists; her 2005 release, “The Small Hours” (VarisOne.Jazz), also earned high critical praise. Andrea leads The Andrea Wolper Trio/Qt., appearing in her New York home base and touring nationally and internationally. She's also a member of TranceFormation (with Connie Crothers and Ken Filiano), is a member of The Heavenly Big Band, and has appeared as a guest artist with numerous other jazz and improvising ensembles. She teaches vocal technique, and leads workshops for vocalists and for all musicians on using improvisation as a tool for releasing music with spontaneity and freedom. She is a former president of International Women in Jazz and was on the Advisory Board of the Jazz Vocal Coalition. She is listed as one of “The 521 Great Jazz Singers” in Scott Yanow's “The Jazz Singers: The Ultimate Guide.”
photo by Michael Keel Andrea appears in clubs, festivals and concert halls in the U.S. and internationally. New York performance credits include Dizzy's Club Coca- Cola (Jazz at Lincoln Center), JVC New York Jazz Festival, Kitano, Sweet Rhythm, 55 Bar, Cornelia Street Café, Zinc Bar, Makor, The Stone, Iridium, and more; she appeared by special invitation in “A Singers Celebration” at the Blue Note in New York, joining an impressive roster of jazz vocalists. Appearances across the U.S. and abroad include yearly tours in Germany, Donne in Musica Festival (Italy), Centro Cultural de Belem (Portugal), Jazz at the Cape (South Africa), Greater Hartford Festival of Jazz, Jazz on the Plazz (CA), Dizzy's (San Diego), and performances on numerous other concert and festival stages.
“Parallel Lives,” Andrea's newest recording (Jazzed Media) features her working group with guitarist Michael Howell, pianist Kris Davis, bassist Ken Filiano, and drummer Michael T.A. Thompson. Her 2005 CD, “The Small Hours” (VarisOne.Jazz), built around her trio with guitarist Ron Affif and bassist Ken Filiano, was produced by Todd Barkan, and features drummers Victor Lewis and Jamey Haddad, and guest artists Lou Marini (flute) and Frank London (trumpet and flugelhorn). One of her original songs from that album, Not Sleeping in Your Arms, is the 3rd-most downloaded track of all time at AllAboutJazz.com. Andrea's 1998 self- titled debut CD was also praised in music industry journals and has been the subject of radio feature presentations.
Andrea is one third of the improvising trio TranceFormation, with Filiano and renowned pianist Connie Crothers; the trio's live concert CD will be released in 2012. Objects in Mirror, with Adam Caine (guitar), Fung Chern Hwei (violin), and Ken Yamazaki (percussion), is a quartet blending improvisation, compositions, and text. Andrea has been a featured vocalist in Art Lillard's Heavenly Big Band for ten years, and has appeared as a guest artist with numerous other small and large ensembles.
Andrea loves teaching. She offers private singing lessons in her studio, as well as clinics in essentials/coaching for jazz vocalists and on releasing music with freedom and spontaneity. She is a past President of International Women in Jazz, and served on the Advisory Board of the Jazz Vocal Coalition.
She is also an accomplished writer whose journalism and poetry have appeared in numerous publications. Among her works are two books, “Women's Rights, Human Rights: International Feminist Perspectives” (with Julie S. Peters: Routledge) and “The Actor's City Sourcebook” (Watson-Guptill). In addition, Andrea has spent time on the stage, and first came to New York from her native California to attend the prestigious Neighborhood Playhouse School of the Theatre. Andrea earned a black belt in Shotokan Karate. She is a human rights activist, and an advisor to Women Mentor Women.
“Refusing, in utterly refreshing ways, to follow each song's furrowed emotional path, she instead opens them up for wider examination, demonstrating that for each yin there is a yang. . . . the album's finest evocation of dichotomous sentiments is Wolper's own aThe Girls in Their Dresses,a where the arrogance of youthful infallibility crashes against the reality of fear, dissillusonment and underachievement. . . “ --Christopher Loudon, JazzTimes
“. . . what a delivery! Wolper sounds as if she's singing just for you . . . she's come up with one of the strongest and most interesting vocal efforts of the year.” --Dan McClenaghan, AllAboutJazz.com
“I can’t begin to count the number of 'girl singer' discs that arrive here during a typical month. . . Andrea Wolper’s standout set is a disc everyone should hear. She’s got a warm and versatile voice . . . she’s a terrific arranger, taking new paths rather than expected ones. . . and she’s a composer as well. . . Moreover, she’s a talented program builder, picking good but not overexposed tunes. . . Her band is tight, consisting of musicians who can be part of the whole or set out in a blaze of glory on a solo riff. The sound that conveys all of this talent is warm and focused, and it presents a stage that has appealing depth. . . This one’s a winner; don’t let it pass you by.” --Rad Bennett, GoodSound.com
“Andrea Wolper takes risky, but worthy shots at amping up the entire experience, without taking away from the emotional curiosity and thrill that are intrinsically her landscape. . . She has the captivating energy and chops necessary to keep up the pace, be it low and slow, quick- fire, or all emotive points in between. And then some.” --Carol Banks Weber, Examiner.com
“'Not Sleeping in Your Arms' is quite striking. It's [a] Wolper original, one that succeeds on the strength of its ambiguously constrained sexuality (”It was lovely not sleeping in your arms”), suggesting, perhaps, a lack of constraint to come. Strong contributions from both Affif and Filiano on the track. 'Moanin'' is, perhaps, the program's most drastic revision. Wolper slows it down to a bluesy crawl and exlores its possibilities as an anguished plaint.” --Alan Bargebuhr, Cadence
The Small Hours (VarisOne.Jazz, 2005)
Andrea Wolper (1998)
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Primary Instrument:
Vocal
Location:
Brooklyn, NY
Willing to teach:
Beginners
Credentials/Background:
I do coaching and teach vocal technique in my home
studio in Brooklyn (or can travel to your home or studio,
by arrangement). Lessons are tailored to meet the
specific needs of each student, from beginner to
advanced. Lessons in vocal technique focus on
healthy singing, developing a natural sound, building
range, etc. Coaching helps you develop your
performance and interpretive abilities, and can also
include focus on repertoire, finding keys,
arrangements, leading a band, etc. My approach is
always supportive, encouraging, and non-judgmental.
Singing is a joyful act! www.andreawolper.com/teaching
"Andrea is a complete professional with the pipes to back it up. She has
the gift of voice and a even greater gift for being able to share that gift
with others through her teaching techniques. What a wonderful
experience to work with her!! " - Tia
Clinic/Workshop Information:
Our musical journeys are lifelong opportunities to learn
and develop. As long as we're making music we're
improving technique and adding to a storehouse of
musical knowledge. Yet sometimes we find ourselves
so concerned about "correctness" that our musical
expression becomes constricted. We want to stretch,
yet when we try something new or challenging we may
become inhibited by the fear of making mistakes or
being embarrassed. When this happens, we lose the
vital connection with our musicality. It's hard to express
oneself through music if one is thinking about
technique, "right notes," sounding "good," making an
impression.
Two clinics (elements of which can be combined,
where appropriate) help participants recapture their joy
in music making, all the while asking them to stretch
beyond what they already know they can do. We work
hard, yet have plenty of room for laughter. Here are
brief descriptions; for additional details and participant
feedback, please contact me at
Music@AndreaWolper.com.
1) Coaching/Essentials for Jazz Vocalists
Ideal for high school and college level vocal students,
this clinic can be tailored to meet the needs of the
students, their level(s) of experience, and the
particulars of the program in which they’re enrolled. It
may include some or all of the following:
• Exercises for strengthening essentials like time,
harmony, jazz “vocabulary,” etc.
• Working with a band: i.e. determining and
communicating rhythmic feel, counting off, cuing, intros
and endings, jam session etiquette.
• Interpretation and performance: Vocalists sing with
accompaniment and receive suggestions they can
implement immediately to enhance communication and
creative expression, individual sound, and
interpretation. This is very hands-on clinic leaves
students feeling not only inspired and encouraged but
also more in command of themselves as leaders and
interpreters of song.
2) Goin' Out of My Head: Releasing Your Inner Music
with Spontaneity and Freedom
For musicians (instrumentalists and vocalists,
improvising or not) who would like to gain greater
access to their intuitive musical source, this
participatory clinic uses a two-fold approach to help
participants get out of their heads and into their
bodies/ears so that they can access and release music
with greater spontaneity, relaxation, and joy. We
explore the relationship between technical knowledge,
skill, and creative expression, learn exercises for
internalizing and strengthening basics, and utilize
spontaneous music-making as a tool for increasing
relaxation and opening up creativity. All the exercises
are appropriate for musicians at any level and can be
repeated by participants on their own or in groups.
Incorporated into ongoing practice, these exercises can
lead to the surprising discovery that we can do more
with our voices/instruments than we imagined.
www.andreawolper.com/teaching
"I'm amazed at how much I've learned in these workshops. I came to
the first one very shy and hesitant but I'm gaining more and more
confidence under Andrea's watchful eyes and ears. Her comments and
suggestions are very inspirational. Don't know how she does it but she
can "zero in" on some aspect of my performance and offer insight into
what could make it more meaningful. Forget the saying "Those who can
do; those who can't teach," as Andrea can do both and much, much
more! " - Diana
"I learned much more and a bigger variety of things than I expected.
This was a great, comprehensive workshop." -Vanessa
"Andrea Wolper’s musical and interpersonal skills are immense and I
highly recommend her workshops. I make my living as a music
educator and I’ve discovered that one of the biggest challenges is
teaching a group of people who have different skill-sets and different
expectations. . . . The participants were varied in terms of experience,
confidence, goals and musical literacy, yet Andrea managed to
accommodate everybody without any perceptible compromise while
creating a genuine and lovely sense of community." -Noah
