Metro Pulse/Gamut/Just In Time

Comment
on this story

Guitar Man
Johnny rushing doesn't just make music — he makes the instruments, too.

Why Do You Play?
Local singers, songwriters and musicians of all kinds tell us what makes them make music.

Independents' Day
Local DIY labels run on love, not money

Bo Knows Music
Roderick Wisdom was there when Bob Ritchie became Kid Rock

Just In It for the Music

Brainchild of musical wunderkind Wendel Werner, this all-woman jazz choir has just arrived on the local scene — but it's already setting its sights abroad

by Scott McNutt

Eleven sets of human vocal cords begin in unison on the same note, "Oh, say can you see..." Then, in groups of two or three, members of the choir begin splitting off from the main line of the melody. Soon, "The Star Spangled Banner" is being performed as I've never heard it before, sometimes all members on the same note, sometimes on different notes, sometimes with one harmony group singing verses slightly behind time of the rest. I'm awe-struck, spellbound. This delightful sound, blending, merging then separating again into different ranges—it seems impossible to believe it can be produced by nothing more than the insides of 11 female throats. To me, it's exquisite.

Of course, I'm not the musical director of Just in Time and I know virtually nothing about music. But Wendel Werner is and does. As soon as the final note of the song comes to a quavering close, Werner steps forward and rattles off a list of corrections, suggestions, improvements: "...[M]easure 27, 'and our flag was still there,' there was no real clean [finish].... it comes down to what you want, but what's happening is, the tempo starts to change [there], and if that's going to happen, everybody needs to know [This is directed to Sheryl Howard, who arranged this version of "The Star Spangled Banner"].... Can we get a b flat [and] pick up in the middle of 37, 'And the home...?' "

The list is long, the observations precise. Group member Marie Butler sounds a b flat on a pitch pipe, and they launch into the national anthem again. So goes the rehearsal of Just in Time, a 12-woman (the twelfth member just joined) jazz choir/a cappella/scat/vocal percussion group, on a sultry summer Sunday evening at Trinity United Methodist church.

The range of styles the group encompasses is impressive. "A cappella," of course, means singing without instrumental accompaniment. But when they begin practice later on "Summer Samba," three members start out making percussive sounds, chugging and "shooshing." The song progresses with voices taking the place of instruments, an example of vocal percussion. Then there is scat, defined as "jazz singing of nonsense syllables," which is often improvised within the performance of a song. It all falls under the broad rubric of "jazz." It's not an easy sort of singing to learn.

Just in Time has been practicing for about a year now, and has only been performing publicly since May, most recently singing "The Star Spangled Banner" at the opening of the Fireball Moonlight Classic Race on July 3. But they have already lined up concerts for the fall, sponsored by public radio station WUOT, and they aspire to higher goals: a series of performances in Montreal next summer.

Outside the rehearsal room, Wendel Werner, looking dapper with his long dreadlocks and tan suit, says his inspiration for Just in Time began by "hearing other jazz choirs; and a lot of them weren't—the very nature of jazz is improvisation; there are some jazz choir arrangements that you can buy that have the improvisations written out. [Laughs.] How can you improv if it's written out? So I kept thinking, why can't this be done?"

Werner explains that the learning curve for this kind of performance is long. "[I]n the first two months, every single one of them would leave rehearsals and e-mail me about how bad they were. Every single one of them. I said 'You

Werner's background indicates he is the ideal candidate for directing such a group. To quote from his extensive resume: "He has studied with renowned musicians Donald Brown and Jerry Coker...He currently is studying for his masters in choral directing after years of working with numerous choral groups in the area...He has written arrangements for [various] groups...[and] composed music for several dance companies..." Werner has been the musical director for many theatrical productions and plays regular gigs all around Knoxville. He has also performed as pianist in various bands and as accompanist to many singing groups.

The members of Just in Time seem to universally appreciate Werner's devotion to the group. Although several members work with music in one form or another as their main jobs, they all seem thrilled about the possibilities of performing as a group. Member Kathy Tallent, elementary music specialist in the Athens city schools, explains, "As it has evolved, the group has become important [to me] because of the level of talent and commitment of the group members. We like and respect each other and we are doing something different from anything I know about. It's energizing to be a part of that."

Says Anne Wheeler (an accounting manager for Image Matters), "Something that I think is neat is that there isn't a 'lead' in the group. Everyone is featured from song to song. That allows us to be more versatile, which is so cool!"

Werner confirms this: "Everybody switches parts [during]...a performance. I don't ever designate certain people to only do certain things. I make it a point to vary that. Same thing with solos...no one is exempt."

Asked about groups that Just in Time might be compared to, Werner responds, "Sweet Honey in the Rock is [a good example], but only because it's all women. Take 6 is also a good example. Of course, the Manhattan Transfer. The thing is, we do have a lot of improvisation, but it is within a framework...[T]he arrangements I do for this group are for this group alone. Even if I handed the arrangements to some other group of ladies, it won't sound the same because I haven't written for them. I distinctly have these voices in mind."

Does that make Just in Time unique?

"I struggle with this...I keep thinking that we are unique, but I'm afraid of saying that and then finding out that we aren't. I do think that there isn't anything like this group in the Southeast."

Group members also think the group is unique, though for different reasons. "I believe we are unique in the types of arrangements we do," says Farragut High School choral director Ginny Carroll. "I suppose we could discover that someone else is trying this same thing, but we certainly do not do anything that is in the least bit 'common.'" Adds Rachel Schlafer-Parton, a freelance sign language interpreter, "Actually, the collective musical voice of any group of musicians is unique...Just In Time is developing their own sound and musical vocabulary, which certainly is quite different from anything else that I've heard."

Cindy Hassil, Moxley Carmichael account executive, points to the variety in the group's repertoire. "Scat versions of wedding songs like 'Canon in D'—very interesting...There are Duke Ellington tunes—'Cottontail' and 'Come Sunday'—entirely written for instruments, not voices. There are jazz versions of popular standards. And then there is 'Plum,' which is from a musical...You name it, we'll probably be singing it some day. Our holiday concert should be an absolute scream."

The concert Hassil refers to is scheduled for Dec. 16 at Trinity United Methodist Church on Western Avenue. In September, Just in Time will perform two other concerts, one on Sept. 14 at the First United Methodist Church in Oak Ridge in the state division competition of the American Choral Directors' Association. The other is on Sept. 30 at Trinity United. These concerts, and more planned for the spring of 2003, are sponsored by WUOT.

"We've been working to increase our involvement with local organizations and performing groups," says C. Zane Hagy, WUOT's development and marketing director. "Just In Time shows a great deal of promise and fits well into our community outreach goals." Werner appreciates the support and endorsement of the group: "It's one thing for us to have that kind of faith in what we do, it's another for a station like WUOT to come to us and say, 'We'd like to help.' That generosity isn't being taken lightly." The station's support likely means there will be good advance notice of the upcoming concerts, which WUOT also did for the group's first performance in May. As Cindy Hassil says, that promotion led to a packed house: "The concert sold out—it was standing room only—and I credit WUOT with a lot of that success."

The concerts at Trinity United will be free, but donations will be accepted. These donations will help defray the costs of Just in Time's hoped-for concert slate in Montreal. Although dates haven't been set, Werner is firm in his commitment to making the trip happen. "Where our performances [will be] hasn't been set in stone yet. I'm hoping that once we can get that nailed down, that may then settle down some nerves for the group. I think it will be a major turning point."

UT student and leasing consultant Emily Pennington says, "I'm very excited about the trip. I think it will provide us with some wonderful opportunities and experiences, and besides, it's a chance to perform." Marie Butler, office manager and bookkeeper for the City Ballet, says performing for an unfamiliar audience "should be a good barometer marking for us in planning our future endeavors as a group."

Asked about the importance of the group, most members refer to the challenges of the work, the opportunities to learn new things, and to work with other, equally dedicated individuals. But UT student Megan Adair may sum up best why the group does what it does: "Performing is the real deal. You can practice your ass off, and it doesn't mean much, but if it falls together during performance and you enjoy it, it's very rewarding."