Interview: Bobby McFerrin

It involves sitting in a room and singing!! I knew that I wanted to perform all by myself, and first I practiced improvising, and tried playing with a couple of tunes I could “hear” in my head using just my voice. And I started to perform those songs solo during shows with my band. And I kept practicing at home. Gradually I started to do short 20 minute sets alone, then 40 minutes. Took a long time before I was comfortable doing a whole show. Now it’s completely natural. But I just kept practicing and trying to make the sounds I imagined. I think most musicians hear an ideal sound in their inner ear and try to get close to that ideal. For me, because I was “hearing” things like big intervals jumps (so that I could “play” the bassline and the melody simultaneously, sometimes that meant stopping to practice a few notes over and over again so I could tune them properly. But I found that the very best thing was to just keep going, keep singing, keep trying to respond in every moment to what my inner ear was telling me, keep following the music forward.

Those are very different albums. But of course they both celebrate the human voice and the beauty of singing in harmony, and they both reflect my own quirky way of hearing/articulating sounds. VOCAbuLarieS was very much a collaborative effort. It started with my manager/producer Linda Goldstein, who had the idea that we could take the choral improvisations I was doing with Voicestra one step further, really make through-composed music which was based in the “vocabularies” I’d been exploring as an improviser. Linda’s listed as a producer, but she had the vision and made a lot of taste calls throughout the long process of putting that album together.

The next important component was Roger Treece, who Linda found through his work with the Manhattan Transfer and Mark Murphy. Roger spent years on the task of taking my “language” and developing longer forms. You can hear my sound in the final album, it’s unmistakably about the way I like to sing, but you can also hear a lot of Roger, whose biggest influences include Singers Unlimited, Lyle Mays, and the film composer John Williams. What’s kind of interesting about this question is that in both cases we were really trying to do something new, and weren’t exactly sure how to do it, so there was a lot of trial and error.

The audiences in the Czech Republic are really incredible. You can feel the musicality in the room, the level of music appreciation and music education is so high. And when everybody sings it’s incredible. I travel all over the world, and I’m more aware of similarities between people everywhere than differences, but I’ve performed in the Czech Republic often, and I do have a sense of the character of the audience, intellectual but playful, listening intently. So I’m always excited to come back.