Michelle, thank you for taking the time to speak with us. Let’s revisit your relationship with music – what was the moment you felt you wanted to pursue it as a career?
I always wanted to be both an artist and a scientist.
I went to school to study photography at Parsons School of Design in NYC, but then switched to study biology at Loyola College in Maryland. My jobs after college were product designer, photographer, healthcare/pharmaceutical sales and marketing. Music and singing were always there for me- I sang in choruses and plays and occasionally for commercial projects, but I was not brave enough/ crazy enough to pursue it full-time until after I turned 40.
Now I am pursuing ways to combine my interest in science and art in both live performances and through Graduate study in Vocal Pedagogy. The biology and evolution of the human voice is a fascinating subject matter to me.
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You’re equally at home with bebop language, experimental textures, and reshaped pop ballads. What’s the biggest artistic risk you’ve taken in that crossing of worlds, and what did it teach you about your own limits?
The biggest artistic risk started with the recording of my album, “Break Up With The Sound” (2019) where I recorded songs from diverse genres and some of my originals with these. Great artists:
Matthew Parrish- bassist and producer, Donny McCaslin- tenor sax, Rudy Royston- drums, and Tim Motzer- guitar. The risk was staying firm in my concept for this album, while letting go and letting these wonderful artists experiment within that concept.
This was similar for my next recording, “Two Moons”
Feat. Orrin Evans- piano/ producer, Matthew Parrish- bass/ producer/ engineer, Nasheet Waits- drums, Eric Revis- bass, and Caleb Wheeler Curtis- soprano sax.
With ” Two Moons”, I provided the general story/ theme, and the musicians became characters in that story that “chose their own adventure” within the story.
It was a very different type of risk to record and release a live album ( Live at Dirty Dog) with my partner Matthew Parrish. I had to let the editor/critic part of me go in order to release this – this was hard!
We had four sets of music to choose from but ended up choosing the complete first set of the first night. There was an amazing vibe between Xavier, Randy, Matt & me, and it just seemed right to keep the recording true to the live performance, mistakes and all.
Much love and respect to Matthew for his wonderful bass playing and music direction – and an exceptionally beautiful mix on this album.
Jazz can reward tradition, but it can also quietly punish difference. When have you felt pressure to be more “acceptable” musically? How did you decide what to keep, what to reject, and what to redefine?
I’ve lived too long to worry about being “acceptable” – some people will like my music, others will not.
I strive to make a connection with those that care to connect. I sing to honor the songwriters and the musicians that surround me, and the moment we are in together.
I’m learning every day how to refine and rework my live performances to best connect with an audience. I recently performed at Birdland and chose a more meditative and personal set list than I have in the past ( with more originals). This was a risk, but I do believe it was well received. I’m learning to continue to lean into what feels true to me in the moment.
You’ve performed in rooms that demand completely different kinds of energy—from listening rooms to louder clubs and festivals. What’s the hardest environment for you to truly communicate in, and what do you do to stay honest when the room isn’t giving you much back?
Of course, I strive to play for rooms that value listening. I think there is a big difference between connection and attempting to please an audience. I strive to connect when singing, trying to please everyone is a dangerous affair
Mentorship can be a gift, but it can also shape you in ways you later have to unlearn. Who helped you early on, and what guidance did you eventually have to challenge to become fully yourself?
I was mentored by some wonderful Octogenarian Philly bebop masters, Sonny Troy and Larry McKenna, and Nonagenarian Houston Person. There is nothing to “unlearn” from them- I think about the songs and stories they taught me and about the importance of melody and connecting with the text/ audience and apply it regularly as a teacher/ performer.
As a vocalist, how do you balance craft and surrender—what parts of your technique are meticulously built, and what parts of your best performances happen only when you stop trying to control them?
An excellent question! This is where the “magic” happens as a vocalist. I tell my students that they practice their craft so that in performance you can “ crack open” and let some chaos occur.
You’re a Lecturer of Music at Princeton University (Jazz and contemporary voice) and are Director of the Princeton University Jazz Vocal Ensemble. As an educator, what is a hard truth you think emerging vocalists need to hear sooner (even if it stings), and is there a harmful myth you wish the jazz world would stop passing down?
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- Being good isn’t enough. There are thousands of great jazz singers. Being resilient and having your own artist’s vision, despite what critics/audiences think at the moment, is key to making a life in music.
- You will most likely need at least one other job to support yourself as a vocalist. Touring is a financial nightmare, making albums is expensive, and the ROI is poor.
- Do It anyway. Document your music with a recording, do the gig, book the tour even though the math doesn’t math. Invest in yourself. Find a mentor, study voice, get a PR person, don’t stop.
If you could measure the value of music education the way cities measure transport or housing, what would you track—and what would those numbers reveal about which communities a modern city is truly investing in?
Another challenging question, hard to answer, but I’ll try. I’d like to know how many students from a program/ college are still actively making music five years after graduating. A better test would be how many younger musicians would call those graduates a “mentor” or influence in 10-15 years.
As a bandleader, what do you look for in musicians, and how do you create an environment where the band can take real risks without losing the thread of the music?
Music is an art and a craft. I’ll always prioritize working with artists who have their own vision.
What has been your highest moment as an artist so far—not the most public or impressive one, but the one that felt internally undeniable—and what did it reveal to you about your purpose?
I’ve performed several times in Paris at the Duc des Lombards with Houston Person- this was definitely a career highlight! An artistic highlight would be performing my originals and having the audience connect with my music at any venue, large or small.
On the flip side, what has been the lowest moment that genuinely tested whether you’d keep going? What did you learn about yourself that you couldn’t have learned any other way?
Every unanswered booking email could be a low moment … resilience is key.
Your latest release with Matthew Parrish, Live at Dirty Dog, is described as a partnership in life and sound. What can audiences expect emotionally and musically from this project, and what do you hope they understand about your connection that they might miss if they only listen casually?
It was a very different type of risk to record and release a live album ( Live at Dirty Dog) with my partner Matthew Parrish. I had to let the editor/critic part of me go in order to release this – this was hard!
We had four sets of music to choose from, but decided on the first set of the first night for the record. There was an amazing vibe in that first set between Xavier, Randy, Matt & me, and it just seemed right to keep the recording true to the live performance, mistakes and all.
Much love and respect to Matthew for his wonderful bass playing and music direction – and an exceptionally beautiful mix on this album. Matthew challenges me and makes me a better musician.
Social links:
https://linktr.ee/michellelordi
Photo credits:
Self Portrait with Birds Photography/Art by Michelle Lordi
“Break Up With The Sound”
Art By Michelle Lordi
Matthew and Michelle Photo by Left Eye Studios
Photo Self Portrait Michelle Lordi
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