Manhattan Transfer consists of two men, Tim Hauser and Alan Paul, and two women, Janis Siegel and Cheryl Bentyne. The long history of this remarkable group, their awards, hits, and discography can be explored at www.manhattantransfer.net.

Vocalese is the style of music that arranges vocal music to earlier recorded jazz instrumental pieces.

A music clinic provides an opportunity for students to perform and be constructively critiqued by professional musicians or music educators. Within the clinic, professionals often work with individuals or groups on improving technique and performance skills. On this occasion, two vocal groups of college students performed a cappella on a raised platform stage, and were critiqued by members of Manhattan Transfer. One group was called Afro Blue from Howard University, whom you might have seen competing on the television show, The Sing Off. The larger group was The University of North Texas Jazz Singers, who made their debut on the Kennedy Center's Millennium Stage. All of the students, except  one, were music majors in jazz studies.

Each group performed several selections, then joined together to perform Too Marvelous for Words. Manhattan Transfer members were very complimentary and supportive of the strengths of each group, certain individuals, the unique arrangements, and their conductors.

Comments included within Manhattan Transfer's excellent suggestions were: encouraging students to ‘look at each other (during some selections), because the connection is happening in the music, so look at each other and the energy will elevate’. Also, make the background vocals snap!

The perspective and valuable guidance from Manhattan Transfer, in both music and performance skills, was priceless for these young students. Janis concluded, saying “the future of jazz is in good hands.”

I especially enjoyed the amazing and clever arrangement titled The American Standards Medley, performed by The University of North Texas Jazz Singers. And, Afro Blues rendition of My Heart Stood Still, with a male student, John, playing, that is, singing the bass line as he mimes playing an upright bass. The performances were beautiful and polished.

An open Q&A was next on the program, and Manhattan Transfer responded with these comments.

What are the elements that you have found are most valuable in this vocal experience with Manhattan Transfer?

Janis answered, “Having a knowledge of the whole arrangement; a commonality in the emotion of the song when using dynamics; and a soulfulness.” Tim added, “hitting the groove, a rhythm in the groove.”

It was agreed that mastering the ‘subtleties of breathing and vibrato’ are extremely important in a small vocal ensemble. ‘Vibrato must be used sparingly in harmony singing, due to the challenges and the difficulty in matching vibratos,' Cheryl noted.

Part of the joy of singing in vocal groups is being aware of when the ‘harmony locks in; you feel it, you hear it.’ Work towards making ‘each chord ring’. When you sing, you are ‘solidifying changes with lyrics’.

Alan said, “imagine you are standing by yourself, I want you to be inside of the song, so what you are singing lyrically is being projected in your performance, in your personality.”

What is your creative process in learning a new song?

Members contributed to the mix, by saying, ‘First, we learn the rhythms, and the transitions of how it feels as a unit. A new song is learned “bar by bar”, 4 bars at a time. We rehearse a cappella, starting with the melody, adding each part. Then we polish dynamics; the syllables can have emotion which is expressed through the dynamics. The breathing is synchronized. Then we bring it to the band, and sing on microphones. The choice of materials, arrangements and the style of the songs is a group decision.’

Whether it was a young, aspiring vocalist, a music teacher,  a seasoned performer, or a fan, I expect everyone attending this clinic learned valuable techniques about vocal music, performance and a dedication to one’s craft.