Lalah Hathaway:
The Lineage Progresses
The First Daughter of Soul comes into the world of music honestly. Heir to the reputation left by her father, the legendary Donny Hathaway, Lalah accomplished the seemingly impossible; she found her own voice. Moreover, she began changing the industry with her artistry and has become one of the most sought after vocalists in this generation of music as evidenced by her guest spots on two of the year’s most exciting releases — The Robert Glasper Experiment’s Black Radio and Esperanza Spalding’s Radio Music Society. Read on as Lalah sits down with The Revivalist to discuss her early influences, education in music, and how she plans to bring the world together through song.
Can you talk about growing up in a musical family? At what age did you start singing?
I grew up in Chicago in a very musical family — which was awesome, and also seemed very normal. Lots of kids I knew at that time studied music, or were in choirs, so it seemed very normal. I cannot even remember starting to sing…music was as much a part of my life as math and english.
Can you tell us about any important memories singing as a child? Your mother is also a singer, how did she influence and inspire you?
I vaguely remember studying at the American Conservatory as a little girl…playing recitals. My mom and dad were both music students, and I do remember my mom being an opera singer as a kid, and playing the piano for her to practice. My mother always supported my effort to become a great singer. She encouraged me to practice and to educate myself. She also told me that not everyone can sing ‘jazz’ so if I want to try that — I better mean it!!!!
When did you realize that you wanted to be a professional singer/musician? What were some of your first performances and what artists did you listen to growing up?
I never had a realization that I was a musician, I just always was one. As I got to high school and had conversations with other kids about what they wanted to be, I realized that not everyone knew. I knew what my passion was really early in life and got on that road.
I grew up on the radio! The first record I owned was Jesus Christ Superstar! I was obsessed…I loved Foreigner, SOS Band, Genesis, Zapp, Steely Dan, Prince, Fleetwood Mac, Chaka, Jeffery Osborne, DeBarge, Earth Wind and Fire, Dolly Parton, TOTO, (so many great bands) The Eagles, The O’Jays, Billy Joel…the list goes on and on. There were only so many places to get music in those days; if you liked something you had to go outside — and pay for it — and get it! The radio really fueled my dreams.
Can you talk about attending Berklee College of Music? How was your experience there and do you think it’s important for any aspiring musician to attend a music institution?
I had a great time at Berklee. Boston was a great place to be as a student, and as a musician. I’m actually the eternal student, and there are some music educators in my family as well. Any education in your field can only help you. Sometimes people have a fear of ‘un-learnin’ what is natural by applying scholastic pressure, but I think that what I am is a combination of nature and nurture. It helped me — and continues to help me be a more well rounded musician and artist.
Let’s talk about your vocal instrument. It is obvious that the tonality, timbre and expressive quality of your voice resembles much of your fathers, though very different. Can you talk about the difference to you and what also sets you a part from many soul singers?
It is hard for me to quantify how, or how much I sound like my dad. I really think my sound is a combination of both of my parents! It’s kind of the same thing when you call your cousin and he sounds like your uncle. In the same way we resemble our folks, we walk like them, we sleep in the same positions sometimes, we smell like them, we sound like them. I think part of it is purely physical. Sometimes I find the phrasing and breathing really similar, which makes sense, because he taught me how to talk.
Sometimes I do hear him in me, and me in him. What sets me apart from other singers is probably first my sound, then second my understanding of what my sound is, and what my instrument is capable of. This is of course, an evolution. I’m just really learning how to manipulate the chords I can sing, (!) increasing my range…I’m learning and growing all the time.
Who are your favorite singers today? And who are some singers that YOU know of and wish more people knew about?
Not an easy question. I am a purist in terms of tone and and color. I love voices that move me. That provoke something. I love singers that understand harmony and melody. D’angelo, Rachelle…Gladys, Rahsaan Patterson, Ledisi, John P Kee, Anita Baker, Lou Graham, Nat King Cole, Take 6 (which I often hear as 1 voice). I think my problem with ‘today’ is that the radio is so homogenized that it’s hard for me to tell people apart sometimes, and auto-tune and voc-align (2 awesome pieces of gear -that I myself like to play with) are so overused that singers sound totally mechanized anymore. I do love a lot of the records and singers I hear on the radio that use those devices — the voices just don’t move me. I love the sound of KING, Liz G, Esperanza, I love Little Dragon…and I really wish more people knew about ME. hahhahahahahahahaha (but for real tho.)
Can you talk about working on Robert Glasper’s latest record Black Radio? That record is making a huge statement right now, across all platforms. What are your thoughts on this record? And how was your experience working with RGE?
Big fun with Robert Glasper. He is really hilarious, and fun to work with. I love what his record does — it makes you think and feel things, it challenges your perception of what a jazz record should be, of what soul singers should sing. It’s just overall a great record and the success of it means great things — for all of us. It’s so groovy to be included on 2 great records this year with the word RADIO in the title! Esperanza Spalding Radio Music Society is the other.
We recently saw your amazing video produced by Butter. Can you talk about the importance of this video?
The Butter video is for a song I recorded called “We’re All In This Together.” I’ve seen this tag a lot in the last few days, particularly in light of the Trayvon Martin case. The intent of the song was to create something positive that everyone could relate to, in good times and bad. I’m hopeful that people get to see the video, and can really see themselves. The human condition is the only one that we ALL share, so we are all in this together.
What’s next for Lalah? Any new releases in the works? Will you be performing in NYC anytime soon?
I am about to start working on the next record — whatever that will be!! I’m excited for the future of music again, which looks very bright to me. I will be playing NYC very soon- check www.lalahhathaway.com for details!
Interview by Meghan Stabile