A Conversation with Kat Orlando

How did your early experiences, like pretending to be the Supremes or the Beatles, influence your musical style today?

I think much of what I saw or heard from these artists early on affected how I try to be, visually. I probably have these images deeply ingrained, how performers smile or keep their eyes up and wide, or hold a note with your eyes closed, totally immersed in the moment. The Beatles were more of an influence for writing, especially their later, stream of consciousness style in the late 60s.

What drew you specifically to the flute, and why didn’t you end up joining the school band?

I tried playing guitar and took lessons. I couldn’t read music. I didn’t take to piano. My hands are small. I would look all around a music store to make up my mind what instrument I was interested in. Flute seemed like a natural inclination. I don’t have look at and reach for keys. I never did learn sight reading fully, even though I tried many times. I can muddle my way through a song I’ve known for years, reading. So the sight reading was a factor for the school band. Maybe I had reservations about how musically restrictive I thought it would be.

Can you share a bit more about your experience learning from George Keith and how it shaped your approach to music?

George was like a musical shrink at that point. When you have many people in your life trying to discourage you from something, you need that guidance to help move you forward. He didn’t just throw sheet music in front of you like many teachers would. He broke down and explained music theory, the language of it, the math of it. He had me apply it immediately. He taught me that a solo is like a conversation, so your phrasing should be like sentences with question marks, exclamation points, etc. Solos should build slowly, holding back at first and then release much energy to end. Having the right mouthpiece, reed and instrument (that didn’t leak!) was key. I followed him around to many pawn shops to learn how to buy saxophones, how to do minor repairs. He had me jam with his other students, some I’m still friends with.

How do you balance your various musical influences, like R&B, funk, jazz, and rock, when creating new music?

If I balance these things, it’s surely not a conscious effort on my part, it just happens. All these influences happened early on with many hours of listening and trying to emulate other artists. Once again, George was the jazz factor, when he would show me how to incorporate phasing with triplets, singing parts first to play them.

Could you elaborate on a specific instance where revisiting the artists who inspired you helped overcome a creative block?

It’s difficult to remember a specific instance. I just know that listening to music from my youth transports me to that moment in time. Then I want to know what they’re playing. So I sit down and try to learn the chords or sing it. Doing that leads me to come across something I can work on of my own, which could lead to a song.

What makes Stevie Wonder’s music from the 70s particularly special to you?

Once again, probably because that music was at a prime moment in my life. Also, like the Beatles, he had many positive songs, a genius way with lyrics and melody.

As someone who’s deeply connected to your instruments, could you share a bit about the emotional attachment you have towards them?

I just think of them as work of art, the shape of them, the intricacy of the keys. Just playing is a calming thing. I think many musicians have the same connection, whether it’s drums, guitar, piano, violin…

Can you recall a particularly memorable moment while performing live, where the energy from the audience was palpable?

The Florida audiences (many who are actually Michigan, Minnesota and New York people..) really have no problem showing their interest and appreciation. They clap for solos, they are fixed on every move. On our recent shows, they really connected with my Tina Turner impersonation. They also show it in their tips!

How did the concept for your song « Not That Guy » come about, and what inspired its upbeat, danceable vibe?

Lyrically, this is a song about my own experiences in the dating world. You’re trying to get to know someone. The feeling is right but you don’t want to rush things. Also, my husband tends to say “I’m not that guy” occasionally, so I had to do something with that.. I wrote this as if I was listening to a friend and she was asking my advice. The music came about from a groove, a riff that my producer played for me. I wrote the lyrics in 15 minutes.