Since I've put out my latest CD I've been in promotion mode so any posting I've done has been on the sites that are connected to the outlets that sell, stream or promote my music. Then I read that blogs are THING (again?) and I wonder what became of the last blog (or beginning novel) I posted, the bio or just stream of consciousness rambling about music, art and stuff. Like that runaway sock in the wash, in the cyber world, it could be ANYWHERE! On top of that, when I poured all my "genius" into my last product/EP and after so many years of thinking I was overflowing with brilliant ideas, the cyber world just gobbles them up or stacks them next to everybody else's brilliance or just noise of all sorts. Ok, so let me plug my ego back in and try this again. Except this time, since no one will interview me (with a few exceptions over the last few years), I WILL!
ME: So Kat, what started you playing and singing?
KAT: The radio was a huge influence, the local Detroit stations and dance shows. My first 45s came from my Aunts, Uncles and Grandmother who worked in their restaurants that contained a hit-filled jukeboxes. This made me play/sing, imitating the Supremes, Beatles and Jefferson Airplane with my friends. At 15 and soon after hearing bands like Traffic, John Mayall, Herbie Mann and Ian Anderson, my instrument of choice was the flute.
ME: So where did the saxophone enter into your playing, your musical expression?
KAT: Well, that was much later. The first thing on my mind was getting to a place where I can practice without bothering my family or just be in an environment where I could pursue my musical goals without negative feedback. I was not finding that in Detroit, at least from SOME of the first few bands I was in. The crime rate, lack of work (as far a "job" job, not music-this was the 70's recession after all) and sunshine was not helping either. Many opt for a music center but as I was just starting out I wanted to grow and then consider a city like LA or New York later. So at 20 I moved to Colorado. I rented a tenor sax while living with a family as a housekeeper/babysitter, in Aspen,CO.
ME: Are you self-taught?
KAT: Hardly. While I did not get formal musical training, at least continuously through a program, I did get vocal and ear training at a community college while also taking communications and graphics classes. It was later when I moved to Denver that I found instructor and mentor, George Keith, a jazz bebop player who I felt communicated not only theory and improvising in way that I related to, but was very influential and encouraging as I struggled with many telling me not to bother to play, just sing. I took lessons from him for 8 years. He was basically my musical shrink and guru for that time as I played the rock scene in Denver and ski towns around the state.
ME: What made you return to Detroit after so many years?
KAT: I came back after two years in LA in hopes of saving a failing marriage. I needed to be around my family in case it didn't work out (which it didn't) so I moved back to Michigan in 1988. As soon as I divorced I got right back working in bands again. I stayed very busy playing around Detroit with some trips to Northern MI, Ohio and into Northeast Canada.
ME: What is it about Detroit that got into your music?
KAT: When I lived out of state I would get comments that I had a certain "soulful" sound. Sometimes this was a deterrent in that A&R (Record Companies, Management) people would say they didn't not know what market to place my music. Over the years I would hear that my music sounds too black, too white, and (now) I'm too old. In my early years, being a female, was viewed as a disadvantage in many ways. This turned out later to be an advantage as women in bands became sought after. But back to Detroit.... this town gave me the same sensibility many musicians get from here. It's the Motown, rock and roll roots and maybe the fact that we go through long winters! I also see it in the lyrics I write. Growing up as a child, I was very aware of the differences I would see going for a Sunday drive with my family, downtown. I constantly had a transistor radio attached to my ear as we drove through neighborhoods, maybe on the way to Belle Isle or Kosins for my Dad to shop for a suit. Our growing neighborhood in the suburbs was a very wonder bread, Leave It To Beaver 60's existence. Years later I realized how lucky we were to live this life, even though at the time, I was usually bored, like many kids. But seeing the urban decay in the inner city and people not living "like us" affected me. My song "City for Sale" reflects how "the difference" still pertains to today. Big companies come and go, with neighborhoods that stay neglected.
ME: Do you apply these views to your music often?
KAT: While I have many songs about relationships, finding love, losing love, wanting love or just having fun, I also have some that reveal a bit of social commentary and political views but to a funky beat! I can't be too literal because it's a very sensitive, volatile time now. But my song "Hypothetical Scenario" visits the P-Funk vibe while putting my thoughts out there. My other songs ("Wait" and Watch The Birds Fly") visit that same type vibe between frustration at the way things are with the world or reluctant acceptance of things that can't be changed.