Can you please introduce yourself and tell us a bit about your musical journey and background?
I grew up in the Minneapolis suburb of Bloomington, Minnesota where the Mall of America resides. My Dad was a draftsman and mom mother worked for the high school my sister and I attended. My Dad instilled us with a strong work ethic and a drive for perfection, while my mom balanced that with an understanding that it is OK to sit back, relax and read a book. I thank her for my appetite to read.
We were a happy family who got along with each other. Our cousin’s lived on a 50-acre horse ranch in Stillwater, Minnesota, and weekends and summers were spent playing with our cousins—riding horses, running through the forest playing our made-up game of “Logan’s Run” (based upon the ‘70’s movie and TV series) or using $1000 of my uncle’s precious lumber to build forts in the forest.
My sister, my cousins and I would spend time inside writing books and were self-published well before that was a thing: “publishing” them by gluing the typed pages into a piece of folded cardboard covered in old wallpaper. My cousin, Anna, and I were close in age, and we have a cooking show and would combine things we found in the kitchen and make our younger sisters try our creations then clean up our mess.
I started piano lessons in elementary school and drums in the 6th grade. I sang in our church choir and in the high school swing choir…. I was drum major for the marching band when not playing snare drum. I did all the school plays and competed on the speech team. All those experiences have informed who I am and how I do what I do in this life.
Music has always been a part of my life. From my dad listening to the radio in his shop to dancing around the living room as a kid lip-synching to records. When it came to college, the only thing I could think to go into was music. I set out to get a teaching degree, until I realized, I don’t like kids much. I switched to performance and set out to be a classical marimba player.
Post college, I realized that market was not as much in demand as I thought. I got a “day job” and kept doing music on the side.
Most of my musical work has been in the church and in musical theater pit orchestras. I have worked for churches for over 35 years and played over 100 shows.
Who are some of your biggest musical influences, and how have they shaped your sound and style?
A lot of my music is reminiscent of the styles I grew up listening to. My dad was really into 1940’s swing—Glenn Miller, Benny Goodman—so I have a strong influence of that swing band horn sound. My mom was really into The Carpenter’s and the “Easy Listening” sounds of the 1970’s, so that finds its way in. I RARELY heard what we call “classic rock” when I was growing up—that didn’t happen until later, but you’ll find a heavy influence of that rock guitar in what I do. I DID get into STYX and QUEEN in high school, so you hear that influence for sure.
Also while in high school I spent a lot of time with musicals. I, as a general rule, am not a HUGE fan of musical theater so to speak (so the irony that I play in a LOT of pit bands is not lost on me), but it definitely influenced me more than I might care to admit. I like the story in the song… so almost all my music takes you on a lyrical journey.
While attending Coe college in Cedar Rapids, Iowa, I got to work with Dr. Paul Smoker. He was an Avant-Garde jazz trumpet player who was also the director of our jazz band. He taught me the importance of knowing the rules before you break them… but by GOD, break them! I learned the importance of improvisation… the freedom in form. The beauty found in chaos.
Being from Minneapolis, Prince played an ENORMOUS roll in influencing me as a writer, arranger, producer, etc. That Minneapolis Sound is not always top of mind when I write, but the work ethic and desire to experiment with sound and ideas is there.
But I do get influenced by what I hear today—Robyn, The Teddybears, Walk the Moon, Lizzo—all find their way into what I am writing.
Can you share a specific artist or album that has had a significant impact on your music?
Prince. Being from Minneapolis, I knew of him before Purple Rain exploded. That just solidified my respect for him. You can hear it in my music but filtered through that easy listening/big band/show tune filter I mentioned.
I have been blessed to have worked with several of his backing musicians, but I never met him while he was alive.
What’s your creative process like when you’re composing or writing a new song?
Well, it’s not as set in stone as you might think. When the muse strikes, it may be when I am ready, or it may be when I am otherwise occupied. My phone voice memo is full of ideas that I will later flesh out (or not). When I am in “the zone”, it can flow fast (if I am in alignment) or slower (if I am distracted). I usually write at my keyboard but am honing my guitar skills and am hoping that that inspires me in a whole new way. I play a LITTLE guitar, but I want to be more in command of that part of my skill set.
The creative process can begin with a chord, a sound, a lyric, a groove—it all depends. I might record parts of what I am working on right into my Digital Audio Workstation, or I might scratch the changes out on a scrap of paper. I have many examples of both in my studio.
In my process, it’s a lot like, “I know the song is there, I just need to listen for it.” I call it grasping at whisps of something—I’ll know it’s right when it comes out my fingers (on the keyboard). I can hear where it’s “supposed to go”, and I try to find that. THAT is probably the most consistent part of my process.
Among all the songs you’ve created, do you have a personal favorite? If so, what makes it special to you?
Oooh, the “Which of your children do you love best” question! Ha ha ha. My favorite song is one I haven’t released yet called “Affirmation”. It’s the most positive song I have ever written about not letting others’ opinions of you get in the way of your amazingness. I have a [portion the lyrics from that song tattooed on my arm (along with the melody line), “No one can silence your song.”
Of my released songs, I would have to say “Sunshine (after the Rain)”…it’s the one I play the most. I like the interplay between the samples and the live percussion layers, and the guitar/synth solo simply soars. It is an AMAZING driving song!
Can you share the story or inspiration behind that particular song?
I wrote it for my husband. It talks about a love that has been around quite a while (we celebrate 17 years together this fall). When we first met, I was just ending a long-term relationship I got into right after my soulmate was killed in a car accident. In hindsight, I would say an older friend took advantage of my vulnerability and swooped in to comfort me in my grief. That evolved into a 15-year experience that was at times amazing, but most of the time controlling. He suffered from bi-polar depression. Our relationship ended when he chose to step out on me and became hooked on meth. I lost almost everything at that time.
As I was ending that, I met Tom. He made me feel good in a time when that was rare. The more time we spent together, the more I could feel something developing. The first Thanksgiving, while I was still ending things, I sent him the Carpenters song “Happy” which says, “…I think I’m falling in love with you.” Well, I was.
He became my sunshine after the rain of the previous relationship. In fact, that was my nickname for him when we got together.
During the pandemic, I was furloughed from my day job quite a bit and I was inspired to write about our love. We have gone through so much in our over 17 years together… loss of parents, financial struggle, loss of fur babies…but we have remained strong, together. He always makes me laugh and there is FOR SURE a mischievous sparkle in his eye. He loves to sneak in on me when I am in the shower and dump ice cold water over the shower door on me! …and to be fair, I return the favor.
We have fun, and I wanted the song to reflect that. You’ll find quirky pre-choruses like “You’re the prize in my cereal box” and references to my geekdom “You’re the question to the answer 42”. If you know, then you know!
We are both fond of ‘80’s music, so I gave it an ‘80’s vibe but pulled in a more contemporary drum sample. My good friend and collaborator, Alex Maiers, added his amazing guitar parts and even played the solo over my synth solo, which adds incredible depth and shine to that part of the song.
When I was mixing in his guitar parts, I heard his syncopation in the drop chorus he put there at the end and decided it needed “Storm Drum” samples to add some drama there! That part got really big!
Let’s talk about your latest song. What’s the title, and what’s the story or message behind it?
“Show Me the Sizzle” started as an idea at my day job: how can you improve the customer experience. The powers that be were toying around with “Show me the money!” from Jerry McGuire, and the owner (or his son) came up with “Show me the sizzle!”. I loved the idea of that—it’s the je ne sais quoi—that thing you bring that you can’t quite put your finger on but separates you from the crowd. It’s that unique thing that each of us has that makes the ordinary extraordinary.
I had a couple of different ideas in mind when I started, but recently had listed to Beyonce’s “Get Me Bodied” in my car. I liked how the claps were the division of the beat and her chant-like delivery of the opening lines drove the story forward. So I laid down an electronic kit beat similar, but not the same, then recorded acoustic claps.
I then laid down some finger snaps on the 2 & 4 and I liked the acoustic feel on top of the electronic drums. I dropped in the 808-kick drum and augmented the electronic snare with a sample to give it a better high end.
I then set out to get into the song… and that’s always an adventure: how do you start? What story drives the song and sets up what follows? I loved the idea of walking into a club and this groove making everyone want to dance. “If y’all don’t know, I’m gonna tear it down” felt like a Beyonce thing to say, so I wrote it! Then it struck me to kill the groove there and “Build it back up right from the ground”.
But the vocals felt thin, so I went back and layered the harmony underneath the lead… it sort of felt Andrews Sisters like, and I grew up in swing choir, so that felt natural (and layered vocals have become part of my sound). I loved the feel… however, it was no longer a Beyonce feel, but I liked it.
The chorus came next. I needed to define what “sizzle” meant. I really liked “takin’ hold the ordinary making it extraordinary”, which I think is really the essence of it—it’s adding something special to the ordinary to make it pop. But what to continue with? I knew it was making things better—elevating them—not settling for less than. It was probably on a rhyming dictionary where I stumbled across the word potentate, which is a ruler, and I liked the idea of elevating the cream of the crop. Then finding a word to rhyme with elevate brought me obfuscate—which means to make something less clear. So taking things that are second-rate and classing them up—or hiding their flaws and making them sparkle in SPITE of their imperfections—worked of me. And I have put obscure words in my works before—“Superhuman” has soporific and sudorific in it, so it’s not a first for me.
I then went back for verses two and three. Still thinking in the Beyonce mode, I though a little shady sass would be fun for verse two and it sets up the chorus well.
Then for verse three, I thought I should teach you steps to bring the sizzle yourself—basically, dig deep and just do it.
The bridge/chant section I had early on. The idea to do the BG vocals all relaxed and laid back came at the moment I was recording them. I liked the effect then stacked it in layers. Some are processed, some are dry to give it texture.
Share a memorable or unique experience from one of your live performances.
Probably the most formative, unique, experience was my junior percussion recital in college. I was doing a joint recital with a fellow percussionist when she hurt her wrist. She could play our duets, but any of her solo stuff was off the table. For whatever reason, that put a lot of pressure on me, that I didn’t expect.
At the time, I had my music memorized, so no music stands… they were locked up in the percussion office one floor below the stage.
The duets went off flawlessly. My solo stuff—not so much. I froze. During the first song, my mind went blank. Here I was on stage, and I began playing, no problem. Then, about 30 to 45 seconds in…..nothing. I had no idea what the next note was or where the next hand position was. NOTHING…in front of all those people.
Being that most marimba music is 20th century and Avant-garde, I just played…something…ANYTHING. I was mortified, but what could I do in the moment?
Then came a duet, no music…flawless. Then came another solo piece, again, started out great, then….nothing.
My percussion teacher had written this lovely, completely tonal, composition in the style of Bach called “Chanson”. Well, it started out great, then…. Blank. I did the same thing and made it 12 tone and Avant-garde. The worst part was he had to stand up and take a bow. Oops.
That scared me. It took me a while to get over the stage fright that created. …and took quite a while before I would perform without music (in a classical genre…jazz and rock I am good).
Beyond music, do you have any hobbies or interests that you’re passionate about? How do they influence your music?
I am an avid tarot card reader. I have my own side business doing intuitive tarot card readings. All musicians are psychic. You know when you’re playing in a band and the whole band is in synch and you move together, that is each of you using your gifts to get in the zone. Tarot helps me polish my skills and helps me strengthen my intuitive, compositional ear and hear those whisps I spoke of earlier.
There are songs I work for and songs that “fall out”…that I am just transcribing. I believe “As above, so below”…I believe my music exists “above” (in another dimension or realm) and I “hear it” through my inner knowing and manifest it “below”. I mean, where does inspiration come from? I believe it is all from Source—from God. You can use whatever word makes you most comfortable, but I know I am “hearing” it before I write it. Tarot helps me hone that hearing.
Is there a dream collaboration you’d like to pursue in the future?
I just had a conversation this week with Frank DiCristina (frankdicristina.com), a harmonic energy practitioner, about collaborating with him and his vast array of percussion instruments and my handpans and Rav Vast tongue drums. That could be a really cool sound adventure and something I have not tried before. I am all for pushing the boundaries and connecting people to Source Energy through music and vibration. Kind of a mixing of both my passions—music and Spirit.
What advice would you give to aspiring musicians who are just starting their journey in the music industry?
You do you, boo. Be who you are, do what you do for YOU, not for fans, or a label or anyone else. Do your art for YOU. Ignore those that don’t “get” you.
Can you give us a sneak peek into any upcoming projects or new music you have in the works? What can your fans and listeners look forward to from you in the near future?
Well, I have a bunch of unfinished tracks in my DAW (Digital Audio Workstation), so perhaps an EP is on the horizon.
This past winter was interesting here in Minnesota. During the Christmas seasons there was no snow. In fact, on Christmas Eve and Christmas Day it rained. All our Christmas plans cancelled on us last minute. And this is the fifth Christmas without my family around, and I was missing them. While my husband and I had a lovely time together, it just didn’t feel like Christmas. So, I wrote my first Christmas song, “It Doesn’t Feel like Christmas (without you)”. It has a little Latin vibe to not make it a total downer, but I think a lot of people can relate to the sentiment of lost love or loved ones not being where they used to be at the holidays.
My plan is to release that late October or early November. In time for the holidays.
Another song I am super excited about is the most positive song in the world, “Affirmation.” This song has been 99% complete for over a year, but the time isn’t quite right to release it (there is a draft on my SoundCloud page). It is written in the style of Glee meets Rent (the movie version of the music). It relies heavily on my musical theater experience and my work in church ending with a two-minute chant of “I am beautiful, I am powerful, I am loved. Nothing you say can take that away from me” that starts with one voice and ends with 75 of me and some friends singing that powerful affirmation.
I am also finishing up the writing of this very cool big band influenced track, “Gotta Un-F*$% Myself” which I am hoping to collaborate with Matt Fink (Dr. Fink of Prince and the Revolution) again (we worked together on “Superhuman”) and Michael Bland from Soul Asylum.
It’s a track about how when I was younger, I was more in touch with myself and my gifts and how I need to unlearn the things that made me feel shame about those things and bury those things down deep to appear “cool”.
It’s a high energy, up tempo, romp with killer horn parts and the vocals done Andrew Sisters style… should be a BLAST! (clean version will be called “Gotta Unwind Myself”)