CASA - The Contemporary A Capella Society

Candice Helfand and Brian Chambers spend way too much time listening to, and talking about, a cappella. In fact, the night before the NYC Harmony Sweepstakes, held this past Saturday, March 7, they judged the ICCA Mid-Atlantic Quarterfinals held at Rutgers University. Rather than taking the rest of their weekend to listen to music with instruments, they instead decided to review the Sweeps to the best of their abilities for the lovely readers of CASA's website. It is their hope that the groups involved, the audience, and also those who could not attend, get something out of this -- whether that's a laugh, some criticism from which to grow, or something to yell at on their computer screen, that's up to the reader.

Brian and Candice serve as Artistic Director and Musical Director respectively of the NYC Red States, a co-ed, non-politically-affiliated a cappella group that is part of the CASA a cappella league. Prior to Red States, both Brian and Candice spent way too much time involved in the ever-growing Rutgers a cappella scene, as well as various other music-nerd endeavors.

Opener :  Red. No. 5

Candice:  Either the arrangement is odd or they have blend issues between their outer voices and their inner voices.

Brian:  I hope the sound isn’t like this for the show. (Red no. 5 opted not to use handheld mics and instead arched around a single condenser.)

Candice:  Chick hit a low C.

Brian:  Actually, I think the low alto was a bit flat. I don’t know but they didn’t lock as well as I’ve seen them in past.

[Producer introduces the host.]

(Overheard in the audience): What’s up with the Simone [a reference to the 2002 DeNiro flick S1m0ne] voice.

Intro  - Jeff LaGreca (Minimum Wage)

C:  Star Trek references are lost on the majority of the audience.  This intro is both lengthy and awkward.

B:  He’s an obscure nerd joker.  And damn, he took my “I’m a has-been,” joke.  A little blue comedy thrown in there. Trust me, it’s a tough gig entertaining everyone from ages 8 to 80.

C: That’s true enough.

Kelso

Daughtry - it's not over
Adele - cold shoulder
Danity Kane – Damaged

C: Good energy for an opening group. The staggered start was odd though; not sure what mood they’re going for with that.

B: Not much of a musical note but do they all have new sneakers? Anywho, I like their energy too but I think their bass is off. It’s just not locking. And they seem to have a lack of chemistry. For example, the soprano is looking over to the alto and that connection, that glance isn’t being returned.  Weird.

C: The bass occasionally seems to be searching.

B: Yup, I already said that (re: Bass)

C: [explicative deleted]. Shut up. Sometimes it feels like group members are competing for the spotlight.

B: Agreed. However, the sop reminds me of the Toxic Audio sop. Which is a huge compliment in my world.

C: *ding* (Ding denotes agreement, ditto in fact.)

B: They have a very organic sound, loose but fun.

C: [on close of the first song] The group sounds best when they pull back. Song 2 = improvement.

B: Ooh Adele, I love this artist. This should have been their opener (*ding* from Candice). But they are still pulling focus from the soloist who is rocking the Adele. They remind me of the N’Harmonics (NYU) before they could manage their fortes. Where was all of this in the first song? The VP is KILLING it. (*ding*). I could use more T1.

C: For Damaged, the tuning finally locks at the chorus. And go Woody Allen (*ding*)!  Again, the bass seems to be searching for his part. I like their song choices (LOVE their song choices, actually… this is my kind of scene) and arrangements, but the group seems to thrive when the arrangements are less layered (i.e. more people on the same syllables)… it gives them more of a means to musically connect with one another.

B: For me … I see a chick fight. Which for once in my life isn’t good.

C: I think they were just trying to interact.

B: I don’t know. There isn’t that “hey we’re in group back-and-forth repartee.” Those knowing looks aren’t being reciprocated. I might be getting too deep.

(Insiders’ note: The alto didn’t have her glasses on and actually had to be led on stage. Probably explains a lot of this.)

The HarMannics

Blind Melon - No Rain
K.T. Tunstall - Black Horse & the Cherry Tree

C:  A HS group? Brave.

B: Did the host have to make a Pokemon joke? Besides, Pokemon is so 2002. And they open with No Rain? Really?

C: This song needs to swing, and needs to have a lighter feel in general. And they are making the rookie mistake that loud singing is synonymous with an energetic performance.

B: No way, they are just smurfin' loud. But I will agree with you – and you put it much better than I. I’ll also add they I’ve been more ICCA shows than I care to admit and they are as good as many of the group I’ve seen there. And we’re only on their first song.

C: The end of the “No Rain” arrangement lacked resolution. For someone addicted to Picardy thirds and their minor counterpoints, it made the ending feel empty… And also the solo mic has been soft throughout the show.  The intro to the second song had some tuning issues, to the point where I wasn’t sure of the song until the soloist entered. Dynamics and phrasing would do wonders for this group, and that kind of attention to detail would force them to listen to each other more, which would in turn help their tuning.

B: *ding* If they the ensemble just dialed it back a bit they really could go far – which is basically what you just said. By the by, high school bass? A rough gig. He’s doing really well.

C: The VP shows promise as well. I give props to this group for entering into this competition so young, but I think their time would be better utilized really working on their group sound (blend and dynamics in particular).

B: Harsh much? I agree with the VP comment. The group should actually follow him. It’s obvious that they aren’t and suffering tempo-wise for it. Look, it takes balls for a HS group to enter this show. Also, I see no reason why any group, HS or otherwise, shouldn’t enter. I know we’re only two or three groups in but they definitely add to the show.  The show is better off with them. And you know what? This experience I’d imagine helps them as a group grow. Hey if you can perform your heart out in front of the a cappella intelligentsia and A-list judges (hi, Barry Carl), you’re probably going to kill it at the 2pm assembly. Do they still have those?

C: Yes, and cafetoriums. Things haven’t changed that much in the past 40 years. Anyway, way to paint me as the black hat. I’m simply saying that, when it comes to scholastic competing groups, a great deal of the focus goes toward your competition set (and, as a fellow ICCA alum, you know this to be true). I DO commend this group for stepping onto this stage (as I said earlier), but I think that they should use their time on blend exercises, and discussions about dynamics (and the mood/emotional intent of their songs in general), rather than on a competition set. There are some strong voices, and they have a great bass and VP (there are many college groups that cannot say the same). I would just want to see them take all of that potential and focus on realizing it, and that will happen more through working on their set overall, and using some back-to-basics exercises, than entering into competition.

B: And San Diego was discovered by the Germans in 1904 … Agree to disagree. By the by, the audience gave the HarMannics a great, extended round of applause. They deserve it.

Classic Sounds

Stormy Weather (brief intro)
That's My Desire
When I Fall in Love
Etta James - At Last (sorry, Beyonce)

C:  Wow, mood shift much? I’m lovin’ the super-bass these guys have. Lady needs to bring it out a bit more

B: Ding, she's kind of an accessory. They need to integrate her both musically and physically into the group’s onstage dynamic.

C:  I’ll agree with that. And, yo, again, middle parts are not as present. Maybe it's a sound issue? (*ding* from Brian) Y’know, watching these guys, I have to bring this up… how would you even begin to compare Classic Sounds to a group like Kelso? I really only ask rhetorically, but I suppose what one could do is judge certain aspects of good musicianship (tuning, blend, things that are needed to make a rock or jazz or classical group thrive), and not fault or lift up a group based on personal preferences of style.  I know this conversation has happened about this competition before, but seeing it in action… I have to bring it up.

B: Ooof feedback from the system. But to answer you, it’s tough. However, so far Classic Sounds’ musicality has been quite strong, notably strong.

C: I could use a LOT more emotion from this (When I Fall in Love). More of a backing group problem than the soloist.  Nice ending ... tenor should have stayed put, though [in the chord]. (*ding*)

B: Might have been an improvisation. Whoa - was that a low C? I love real basses.

C: I like chicky as a soloist! (At Last)

B: Like? I say love. She should be front and center more often. She has genuine star quality. First of the night. This is a song that you’d have to be living in Atlantis to miss this year. And her vocal? Wow. She’s making an overdone song new again for me.

C: Major *ding*-age here. Also, she’s the first soloist to really make eye contact with the audience. Things like that speak to me in volumes.  My fave song of night so far …

B: … Best group so far and judging by the response, the audience thinks so too.

Cartoon Johnny

Josh Kelly - Only You
Rascal Flatts - Bless This Broken Road
Stevie Wonder - Signed Sealed Deliver

B: The pitch pipe/WMD joke didn’t work for me. It’s a pitch pipe not a pipe bomb. The T2 reminds me of Anthony Edwards …

C: From ER? Just saw.

B: No. From Transformers and Law & Order.

C: Shia LaBeouf?

B: No! Oh I meant Anthony Anderson. Whoops.

C: Ohhhhh, I know who you mean. It's funny though because the guy next to him looks like Anthony Edwards.

(Insider’s Note: Yes, we had time to debate this before the music started.)

B: Wow! First slick, polished group. Not sure if that’s the best description but from the moment they started singing, they’ve had a certain something. Glad to see contemporary rock/pop at the harmony sweepstakes. By the by, this is effective choreo/blocking... ICCAs take note. (*DING* from Candice)

C: First off, this has to be my favorite “look” of the night so far. “Polished” is the perfect word for it, but not stuffy. And, I couldn’t agree more as far as staging is concerned. Few things ‘grind my gears’ like the excessive use of choreography (for no real musical purpose, but just to have it in there), or a complete disregard for a group’s physical presentation to its audience. And, to pull in an earlier discussion, this is the perfect example of how multiple groups can shine in different genres. Cartoon Johnny  ...

B: SO how do we compare Classic Sounds to Cartoon Johnny?

C: … clearly I’m getting to that point. Cartoon Johnny is a completely different animal from Classic Sounds, but both groups have an excellent grasp on tuning and dynamics. I feel more blend and cohesion from Cartoon Johnny, though.

B: We’ll see. Oh by the by, excellent use of humor before the 2nd song. Anytime one guy in a group sings to another member’s wife – that = funny.

C: First funny joke of the night?

B: Hey! The Jimi Hendrix and vomit joke from the host was both subversive and hilarious. But apparently only I got it.

C: Well, you’re old. Hearts and bunnies for their VP. He uses that mic like a champ. (*ding*)

B: Is this Stevie [Wonder] … Yup. Can’t escape Stevie at an a cappella show. Especially this song.

C: A man who sings Stevie? Yea!

B: Lower key?

C: Nope!

B: But he’s not hitting all the ‘Stevie’ notes.

C: Hater.

B: True. But he’s got a great take on the lead.

C: I could use more in terms of backing vocals, but from watching what the group’s doing, I think it’s more of a sound issue than an issue with the arrangement itself.

B: Hold on, I'm clapping along...

C: Yep, forgot to write notes, busy enjoying the group. Wow. Just awesome.

INTERMISSION

Invisible Men

Doobie Brothers - Long Train Running
Daughtry - Feels Like Tonight
Journey - Don't Stop Believin’

C: This is a nice energetic opener… nice way to kick off the second half. The arrangement doesn’t have the driving feel this song requires though. That seems to be provided mostly by the VP. Also, the quarter-note ‘break-down’ in the song had some noticeable tuning issues.

B: Lots of highs but bari? Where is it? They seem energetic, but a bit stiff. Interesting you don’t get a ‘bragadociousness’ with the IMen that you get from most all-male groups, can’t tell if it’s genuine humility or lack of confidence.  And hmm … they just took a big step back from monitors. Sound issues?

C: Ooooh, I like arrangement 2 much better. This is another second song that should have opened the group’s set. And holy crap, I think I’ve officially heard the best vocal percussion drum roll EVER. The duet solo/harmony is also making me a happy girl.

B: Yes. I think group nerves did mess with the tuning on their first song. Actually, this is a trend of the night. Each group’s first song seems to be their weakest. It’s a big sweeping generalization but my humble opinion. Oh here comes the Journey. Not the original key? But really when can you with a male soloist?

C: Tuning in the beginning of the Journey song didn’t seem to lock at ALL until the soloist entered. And the soloist seems to be reaching for this song; belting out those crazy-high harmonies in the last song (and I ‘m sure earlier, during a sound check perhaps) left him hurtin’ a bit. And yes, this is a lower key too.

Rub

We Rub (orig)
Mister Softee
Brigas Nunca Mais

B: Ooh another “accessory” … Guys! Allow the women into the group dynamic. Eye contact, physical placement in the arc. Then again they opted to go without mic stands as a last second decision so maybe that threw off their spacing.

C: First off, large-scale a cappella sex jokes make me happy. Just to put that out there. But anyway, their harmonies are tight, and I’d have to say this is the best blending I’ve heard from any group all night. However, I have to say, this group (for all its attempts toward humor) is lacking in the entertainment department, despite their excellent musicianship.

B: I really love jazz. In fact, it’s probably my first love musically. And I agree, best blend and tuning from any group tonight – by far. It’s a huge compliment to Rub, not a knock on everyone else (*ding*). But there’s something missing here and I’m not sure what.

C: The forced humor is kind of a turn-off for me (for example, ice cream hats). It’s too… cute-sy, esp. for a group named “Rub.” Considering the inherent talent of the group, I feel they’d do better to maybe take a more serious road and showcase that musical ability. Though, I guess they’re also just bein’ themselves, so I can’t fault them too much. I guess it’s just not my cup of tea, humor-wise.

B: Meh, they are trying to add more entertainment. What’s interesting is some of their non-scripted banter that I caught was much more entertaining than their scripted stuff. Note to groups … we can hear you even when you whisper. But in this case, it worked to their benefit. And the audience genuinely seems to be responding their brand of humor.

C: The last song doesn’t have a strong internal group metronome. It seems, in fact, as though the group is getting their tempo cues from the soloist (which, considering how subject solos are to embellishment, esp. in a jazz setting, is a big no-no in my book).

B: I can’t help but think that some light VP would help this. And the arrangement isn’t percussive enough to keep the pulse. Oh! Never mind. The last line of the song is, “Save the beatbox for your momma.” Really. Can’t make this up. Well that shut me up.

Six13

Ki L'olam Chasdo (orig)
Ne'ilah (orig medley)

B: I’m not even going to pretend that I understand all of Six13’s lyrics. Or to loosely quote the host, who is reminding me a lot of Ant from VH-1’s Celebrity Fit Club, I’m not a Jew but I’m a little Jew … ish. Seriously folks this is a group with a good groove, blend, energy and intensity.

C: Yup, these guys have a good blend goin’ for them. I could use a great deal more crispness in terms of consonants, however. And also, they seem to really enjoy what they’re doing. That always makes me happy as an audience member.

B: Not for nothing and also because I’m searching for a negative on these guys … they need better fitting blazers. There comes time in a man’s life when he can’t look like he’s wearing his dad’s jacket. Yes, I’m channeling my inner Simon Doonan. (*ding*)

C: This compilation/medley is excellent. On top of being legitimately funny, it’s also a very solid arrangement, independent of its high humor factor.

B:  Okay this medley is hilarious. I laughed out loud numerous times. So much so that I’ll forgive the tuning. For whatever reason, funny songs are always tough to keep in tune. Don’t know why. Maybe when the audience really starts laughing it gets tough to hear? Not sure. Oh goodness, their parody of “Apologize” is too funny. If this was on YouTube, it would easily be one of those popular viral videos that find its way onto a VH-1 Best Week Ever.

C: The final soloist, the rapper, had a good presence but needs MUCH better diction. To be honest, I had trouble understanding what he was saying. These guys are super-fun though, while really staying true to themselves. Me = happy.

B:  I couldn’t hear the first Rihanna soloist and by the sound of it neither could the audience. And they seemed to run out of ‘steam’ towards the end. But all and all, a good set.

End of competition

Red no. 5

C: Okay, full disclosure. All-female groups are my favorite in the a cappella world, when it’s done well. No fakin’, no foolin’ (that is, easily, the most obscure reference ever made in a CASA article, I’d bet). Just wanted to put that out there, because I have things on both side of the spectrum to say about these ladies, though I will start my by saying that, in general, I really do like them.
First off, Red No. 5 is chock full of talent, but there are some tuning issues I simply cannot look past. And considering the tight nature of their harmonies, tuning is integral to the success of their performance. Also, there were times when I felt they could have stepped outside of their comfort zone some.
To get specific, my favorite song had to be the “Crayola” number (forgive me, I don’t know the correct title). The blend, the arrangement, and plus, the personality of these ladies really shone through on this song, more than any other. Their rendition of “I Will Survive,” however, didn’t sit right with me. The best way I can think of to describe it? It’s like Yael Naim’s version of “Toxic.” It tries too hard to be different from the original, and it doesn’t quite work. If they’d given it just a bit harder of an edge, while still remaining true to their jazzy roots, this would have worked better.
All in all, I like Red No. 5 and what they do, and I think they’re excellent musicians. But on some levels, I felt they didn’t take enough risks, and would have liked to see them do so, and in general, infuse some more energy into their performance (which may have also helped the musical issues).

B: OK I hear you. I think “I Will Survive” is more of a change-up piece to reengage the audience. And “Crayola” was my fave, too. The thing with Red No. 5 is that they are different than what’s out there right now. They aren’t the belty 10fm type of group. They aren’t exactly “world” music a cappella either. And thank the lord, they aren’t poptarts. The best analogy I can come up with (and it’s highly imperfect) is that they have that crunchy coffeehouse singer-slash-songwriter vibe; it’s unique but polished. Yes, the blend and tuning is key, for their success more so than many other a cappella groups, in fact. But that’s OK, I’d rather hear a group try some different, naked arrangements than do things safer. That’s a special group right there. And one I’d pay money to see again.

Isn’t a four-part, all-female a cappella group that doesn’t do pop-top 40 music risky enough?

(Insider’s note: Brian hasn’t been to a Sweep in some time so he forgot how the awards were doled out.  This was Candice’s first Harmony Sweepstakes.)

Candice’s Picks

Solo: Signed, Sealed, Delivered by Cartoon Johnny/At Last from Classic Sounds
Arr:  Medley by Six13
VP: Cartoon Johnny

Aud fave: CJ

1: CJ
2: Classic Sounds
3: Six-13

Brian’s Picks

Solo: At Last, Classic Sounds
Arr: Lost Jewish Lyrics Medley, Six-13
VP: CJ

Aud fave: Classic Sounds

1: CJ
2: Classic Sounds
3: Rub

Official Results:

Aud: Cartoon Johnny

Best Orig. Song: "We Rub" Rub
Arr: "Damaged" Kelso
Solo: "At Last" Classic Sounds

1: CJ
2: Rub
3: Classic Sounds