“…just beautiful..I love your voice, and chord progressions are sublime”
Jon Anderson
For someone who was heavily into Prog in her teens, what better ringing endorsement is that for the first album you put out? Dyanne Potter Voegtlin came by Yes and other similar groups in her first Rock band called East Coast as a 16 year old keyboardist/singer. Their technician, J Gordon Andrews had in fact toured with Genesis, and recommended Yes and Genesis to the young artist. As Dyanne wrote in her blog, “I bought the Yessongs 8-track and listened to it nonstop in the Chevy Malibu my brother had generously handed down to me.” She began classical piano lessons at the age of three and from there has as a classical pianist and singer/songwriter performed concerts at the Carnegie Recital Hall, NYC, The University of London, England, Karthausse Ittingen, Switzerland, Oberlin College, Indiana University, University of Georgia, Georgia State University and LaGrange College over the years. Dyanne also toured as keyboard player for Shirley Reeves (former lead singer with the Shirelles), and later as keyboard player/backup singer with Noel Redding which resulted in shows with Ginger Baker and Tico Torres.
Dyanne has played solo shows in Sweden, Norway, Switzerland, USA, Greece, and Japan. So these two worlds of Classical and Rock have been important parts of her life. As she has mused, “My takeaway…. maybe the things we initially perceive as separate really are connected after all!”
Certainly these two worlds have come together beautifully and artistically with the release of Potter’s Daughter‘s first album, “The Blind Side,” and excitingly for Prog and in particular, Annie Haslam fans, a brand new single featuring her voice with Dyanne’s which was released August 8. There are two tracks of the same tune. The second single is a variation on piano with both Dyanne and Annie singing together. They really do compliment each other on “Blood and Water.” In fact, this morning Dyanne and I were chatting about how the promotion was going and I happened to mention… “and yeah – there is something very special with you two. I’ve listened to Annie A LOT over the past 40 or so years, and I don’t think I’ve ever heard Annie harmonize with anyone else so amazingly good as that. There is an amazing and interesting vocal symmetry between you two. I hope Annie feels it as well.” I sure hope there is an opportunity of both Dyanne and Annie doing this again. They compliment each other, not mention add more colours to the imagery they create.
… and HOT OFF THE PRESS! Be one of the first to listen to Dyanne and Annie on this new single just released! To purchase from CDBABY both singles go to the bottom of the page for the links.
Dyanne took some time out of her busy schedule with the release of the new Potter’s Daughter single to talk about herself, the band and the album and single.
A CONVERSION WITH DYANNE POTTER VOEGTLIN OF POTTER’S DAUGHTER
Would you take us back a bit and tell us where you’re from and how you got started in music?
DYANNE: I grew up in north-eastern Pennsylvania, in a small town between Scranton and the Poconos. My entire family is musical, my Mom was Liturgy Director and Choir Director at her church for over 50 years, my Dad played in the Army band as a young man. I started piano lessons at age three with a wonderful teacher, Anne Vanko Liva. She gave master classes all over the world and took me with her to perform at many of them. I studied classical piano with her until age 19 when I moved to NYC to attend the Manhattan School of Music. Simultaneously, when I was 16 years old I auditioned for my first keyboard player position with a prominent local rock band, and was chosen. I started gigging with them every Friday and Saturday night. We sometimes drew 1000 people; it was a wild time. One time one of the club owners drove his Harley onstage while we were playing…. A crazy time. Lots of fun. I am still in touch with those people, I love them!
You’ve performed around the world as both a classical pianist and singer/songwriter, and now you’ve created a band with Amit Chatterjee, Ian C Voegtlin, Randy Crafton, and Walter Sitz and released an album last year called “The Blind Side” which offers all sorts of tones and textures, and hard to tag as one genre specific sound given I hear Jazz Fusion, Rock, classical, and sometimes all within the same song. Was that initially an organic happenstance being able to weave all these various styles of music to suit, or something you all had planned and worked at perfecting, and how long was it in the works?
DYANNE: The Blind Side is a collection of compositions I felt compelled to record. We gave absolutely no regard to its marketability. We recorded the songs simply to create beauty. I think the mix of genres is something which makes Potter’s Daughter’s sound unique. Each musician is a seasoned professional with their own developed voice. We each bring that “voice” to the group. We recorded The Blind Side in five days. We played the tracks live and overdubbed the solos and vocals. It wasn’t until after the album was finished that we heard our combined sound. And we liked it so much we decided to continue together. However, we feel that we now want to move toward a slightly heavier sound and use a drum set plus percussion rather than just an acoustic drum set as we did for The Blind Side.
Were there any musical influences for you personally that contributed to this album?
DYANNE: I have been influenced by many wonderful composers and musicians throughout my life, and their musical contributions helped form me as a creative composer and performer. I still maintain a deep love and respect for classical music and its poetry. I remember discovering Rick Wakeman, how that changed my life! Up to that moment, it never occurred to me that the two separate universes I traversed between (classical and rock music) could be connected in any way. Rick Wakeman, both a graduate of the London Conservatory and an amazing rock keyboard player, opened an entirely new realm of possibilities for me.I listened to his “Excerpt from The Six Wives of Henry VIII” so many times I learned to play it myself.
Discovering Kate Bush was also huge for me. She gave me permission to sing with my own style instead of trying to imitate the heavy female rock-n-roll voices which were prominent in the 80’s.
You also recorded a well known Rush track, “Tears” which I encourage everyone to listen to. You’ve had high praise from Jon Anderson, and you’ve recorded a song which features Annie Haslam. As far as name dropping in Prog fan circles goes those are pretty well respected artists in anyone’s book. Where does this Prog connection come from? I mean your music reaches out beyond any defined genre from what I can tell, and yet… Rush, Annie Haslam, Jon Anderson!
DYANNE: Yes, we are moving now purposefully more in that direction. We call our music Art Rock/Prog Fusion. I would like to include another genre in that description but……. 😉
Another genre?
DYANNE: Ha-ha, no I just meant Art Rock/Prog Fusion already includes four genres, doesn’t it? I guess it is clear we don’t want to feel confined to a one genre or sound. I like to let the music dictate the sound. Afterwards comes the challenge of trying to fit the sound of the new song into a genre that makes sense. But we do intend to include drumset in the shows and the next album which will be a different sound than we had on The Blind Side.
I love your piano work on this album on such tracks as “Another Rain Song” and “City Lights.” It’s so expressive in mood setting melody, some of it uplifting and some of it melancholic, which we Prog fans just love, much like John Tout who was Renaissance’s keyboardist on many of their classic albums, and such tracks as “Sounds Of The Sea.” Are you at your most happiest performing live on piano or singing to express yourself?
DYANNE: I realize I need to do both. The piano expresses differently than voice. Voice is so directly revealing. I stopped singing for awhile because I found it more comfortable to hide behind that big grand piano. But I love to sing, and I need to sing, so, therefore, I sing.
And that’s something I think a number of Prog are going to pick up on your duet with Annie. Just amazing backing multi-voices from you on this new single as well as on your first album; something Yes did very well with Jon singing main vocal with Chris and Steve offering complex harmonies to compliment the sound on a number of their Classic albums of the 70’s. did any of those albums have any influence on you?
DYANNE: Oh my goodness, YES!!! (pun intended!) Jon Anderson’s voice and message and harmonies had a HUGE influence on me! “We Have Heaven”, “All Good People”, the list could go on and on. I have always loved singing in harmony. I used to teach my friends the harmonies for Crosby, Stills, Nash, and Young songs so we could sing the harmony!
“As for Jon Anderson, well, he has always been so kind and friendly. So much so, I remember when I first received an email from him, part of me didn’t believe it was really him! But it was really him, and it is so reaffirming to learn that someone to whom I SO looked up to my entire life really is as wonderful as I imagined him to be.
And years later, when we sent him the song, “Hold”, and asked him to sing on it as a guest artist, he sent a recording back the very next day!!! And the part he added, it is just magical and very much Jon Anderson! I had expected him to sing the lead on the chorus or the verse, or both. But he added a completely new part with fresh lyrics that add an entire new dimension to the song. It is truly wonderful, and I sincerely hope someday we can release it. It is a beautiful song and he made it so much more poignant and meaningful!”
DYANNE: Yes, exactly. Connection is a very important theme for me, perhaps it is the most important theme. Connection is what I strive for in music, in performance, and in Life.
Do you recall her reply to you?
DYANNE: Yes! Annie’s first response over email was, “I listened to the song and liked it, quite unusual!”
She also thinks our voices blend well. Here is a quote from Annie about our collaboration.
“On first hearing of Blood and Water I was struck by its unusual and haunting melody and Dyanne’s exquisite voice. To be a part of it was truly a wonderful experience.”
She is so kind and wonderful!!!
As far as performance recorded, was Annie initially given notes on how you would like it sung, or was their a collaborative/organic process you both went through to get to how you wanted it?
DYANNE: I gave Annie a chart and a recording to go by. But I asked her to make the part her own. I think she phrased her parts very beautifully! She really brought her personality and style to the song!!
Were there any musical influences for you personally that contributed to this album?
DYANNE: I have been influenced by many wonderful composers and musicians throughout my life, and their musical contributions helped form me as a creative composer and performer. I still maintain a deep love and respect for classical music and its poetry. I remember discovering Rick Wakeman, how that changed my life! Up to that moment, it never occurred to me that the two separate universes I traversed between (classical and rock music) could be connected in any way. Rick Wakeman, both a graduate of the London Conservatory and an amazing rock keyboard player, opened an entirely new realm of possibilities for me.I listened to his “Excerpt from The Six Wives of Henry VIII” so many times I learned to play it myself.
Discovering Kate Bush was also huge for me. She gave me permission to sing with my own style instead of trying to imitate the heavy female rock-n-roll voices which were prominent in the 80’s.
And I also see your East Coast technician recommended Yessongs among other Prog albums to you. What was it that drew you to that kind of live performance?
DYANNE: I grew up on stage. I performed for the first time when I was 4 years old and just kept going. I have always been comfortable on stage and have always loved the thrill of the show! Prog is also very theatrical which I love. All of that mingled together with that glorious mix of classical music and rock and roll, what’s not to love?!?!?! I remember when I saw YES at Madison Square Garden they played a recording of Stravinsky’s Firebird Suite before they came on stage. How cool is that?!?!?!
Do you at any stage have any plans to perform “Blood & Water” with Annie on stage, times permitting?
DYANNE: That would be a huge honor.
And what can we expect with the next album you’re working on?
DYANNE: The next album right now has exactly half instrumental songs and half vocal songs. We have arranged them with a full band in mind, a huge sound with lots of vocal harmonies which I love. I hope we get the opportunity to perform the songs that way sometime!!!
A sort of chicken or the egg question now. How did Annie Haslam get involved with this? Was it wanting to work with Annie and coming up with a song you felt would suit and interest her, or that maybe you had connected with her beforehand and fashioned a song to suit both of you and the band?
DYANNE: Our publicist, Billy James of Glass Onyon PR, suggested asking Annie. As soon as he said it, I knew it was the right idea. We had been working on Blood and Water, and it occurred to me that might be a song she might like. So we asked her.
And was it Annie who painted the artwork for the cover of this single?
Can you take us through the recording process for this song?
DYANNE: Since Amit was in Europe at the time, we decided to ask his friend, Walter Sitz, to record the drumset part. Walter is on fire – which you immediately hear in the recording! Amit recorded the bass part and the guitar solo at the end of the song. He and Walter recorded the tracks outside of Vienna, Austria.
Then it was Annie’s turn. Annie had to finish her part in time for her preparation for the big concert weekend celebrating the 50th Anniversary of The Strawbs. So we sent her the bare bones and she recorded her parts at Studio X with Renaissance keyboardist, Rave Tesar.
Next, Ian and I were up. We took the electronic files from Amit and Annie and recorded our parts at SI Studios in Old Forge, Pennsylvania.
When all that was completed, we sent all those files to Randy at Kaleidescope Sound. And early one Sunday morning in April, Amit, Randy, Ian, and I met at Kaleidoscope to finish the song. Randy recorded the percussion tracks and the final mix began.
The entire arranging and recording process took about three full months, maybe more. It has been quite a journey and I am extremely grateful for the high level of creativity and musicianship from everyone involved. I love the way the song came out and feel everyone’s voice who contributed is present and heard – a true collaboration.
Potter’s Daughter
with special guest artist Annie Haslam
Blood and Water-Ian C.Voegtlin, Dyanne Potter Voegtlin
Annie Haslam-vocals
Dyanne Potter Voegtlin-piano, keyboards, vocals
Amit Chatterjee-guitar, bass, arranger, producer
Ian C. Voegtlin-guitar, EWI
Walter Sitz-drumset
Randy Crafton-percussion
LINKS:
Click to listen to and purchase at CDBaby
Spotify https://open.spotify.com/album/1vRUTrcqNGjYGMYB8tn4Oo
Website https://pottersdaughterband.com/
ALL THINGS PROG & ROCK 