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Kaylene Peoples is a multifaceted artist whose talents span across the realms of music composition, vocal performance, orchestration, and instrumental mastery. With a career that began in film and television scoring, she has evolved into a dynamic vocalist with a five-octave range, captivating audiences worldwide. Her journey is marked by unexpected turns—from ghostwriting for TV shows to becoming a celebrated jazz singer and composer. In this interview, Peoples delves into her unique approach to music, her inspirations, and the creative processes behind her latest projects. As she continues to break new ground with her innovative blend of genres, Kaylene Peoples remains a force in the music world, seamlessly blending her passion for composition with her love for performance.
Spirit Magazine: Your music career began with a focus on composing and arranging. How did your transition to becoming a vocalist shape your approach to music, and how do you balance your passion for both singing and composition?
Kaylene Peoples: My journey into singing was quite unexpected, born from a deep disillusionment with the challenges I faced as a film and television composer. I always dreamt of becoming a film score writer, and during my senior year at UCLA, I was fortunate enough to apprentice under a renowned composer. This invaluable experience led to ghostwriting for several well-known TV shows, but I never received credit for my work. The turning point came when I orchestrated a major blockbuster film, but despite my efforts, I didn’t receive the credits I was promised. This experience left me feeling cheated out of my dream, forcing me to reconsider my path.
One day, while singing Mariah Carey’s “Vision of Love” at a karaoke bar, I was unexpectedly offered a gig that eventually led to touring across Southeast Asia as a vocalist. This unforeseen transition allowed me to rediscover my love for music in a completely new way. As a vocalist, I approach music with the heart of a composer, always considering how the arrangement and orchestration can enhance the emotional impact of a song. For instance, when singing, I often think about the overall structure of the piece as I would when composing—this helps me decide where to hold back and where to let go, creating a journey for the listener. My background in orchestration also means I pay close attention to the layers of sound in my performances, making sure each vocal line complements the music rather than competes with it. Balancing both singing and composing allows me to fully express myself as an artist, merging my passion for creating music with the joy of performing it. Though performing and composing are very different disciplines, I’m fortunate to be able to do both, depending on the professional demands. Now, these skills are intertwined and interdependent. As a singer, I’ve become more sensitive in my arrangements for others, taking care not to overshadow the artist but rather to complement their performance. As a seasoned arranger, I learned long ago that less is more, allowing the subject to truly shine. And when I’m the one in the spotlight, I’ve learned to create my own very personal experience through arranging, always leaving a satiated audience!
Spirit Magazine: With a 5-octave vocal range, you have the ability to perform in a wide variety of vocal styles. How do you choose which range to sing in for a particular song, and how does that decision impact the emotional connection you create with your audience?
Kaylene Peoples: Well, at first, I had only three-octaves, and I kept my songs mostly in the alto range, discovering that audiences really resonated with that timbre. After working with a vocal coaching team (John Michael Ferrari and Pepper Jay), I achieved five octaves. Since I had developed those lower octaves already, incorporating my other two octaves added color and depth to almost everything I sang.
I used to perform songs by Whitney Houston, Mariah Carey, and Barbra Streisand, and I loved building up to those high notes. My audiences were always surprised when I’d suddenly jump to a coloratura with ease, then drop down to contralto. I am able to play around with various techniques and emote in unexpected ways. For example, when performing a more intimate, jazz-infused ballad, I often choose to stay in the lower registers,
which draws the audience in with a sense of warmth and intimacy. Conversely, for a more powerful or climactic moment in a song, I’ll utilize my upper register, allowing the emotion to build and soar, creating a dynamic shift that resonates deeply with the audience. I focus mainly on jazz now, which gives me more freedom. Some recordings that showcase my five octaves are “Wives & Lovers” from my album All Jazzed Up! and “Stormy Weather” from My Man.
Spirit Magazine: You’ve mentioned that you’re working on a new album that features original material. Can you share more about the creative process behind this project and what listeners can expect in terms of themes and musical styles?
Kaylene Peoples: Yes, I am producing two projects. The first one is titled Doppelganger. The album will be released under Peoples Republic (my other group) and will feature me on flute and vocals, with vibes and a rhythm section that’s a throwback to spy jazz, acid jazz, and a hint of lounge with killer unison riffs, nodding to jazz fusion; it’s hip, moody, and vibey music with a DJ for live performances. The other project is Romantic Bossa-Nova 2. One of the inspirations for this album came from my world travels and love for Antonio Carlos Jobim, where I was deeply moved by the authentic rhythms and harmonies of Bossa-nova. Translating that experience into my own sound presented a challenge—I wanted to honor the tradition while still making the music feel fresh and uniquely mine. This album represents a more mature and evolved approach to Bossa-nova, with richer arrangements and a more nuanced vocal delivery. Since the first Romantic Bossa-Nova is still gaining momentum internationally, I decided to do a part 2, this time with mostly original material. However, I am including two covers. The instrumentation includes guitar, upright bass and fretless bass, flute, vocals, percussion, and drums. I am excited to add a string orchestra to Romantic Bossa-Nova 2. Bunny Brunel is a co- producer on the first Romantic Bossa-Nova (2020) and will be featured playing bass and singing another duet with me on this release. Both releases are scheduled for 2025.
Spirit Magazine: Your recent orchestral CD, Vampire Odyssey, represents a unique direction in your career. What inspired this project, and how does it differ from your previous work in terms of composition and performance?
Kaylene Peoples: Vampire Odyssey was a score I composed years ago for a movie and its sequel that was in production called Vampire Odyssey 1 & 2. I was commissioned to write and conduct the score first, and the films would be cut to my music. This is a composer’s dream. Sadly, the director passed away before he could complete the edit. I own the rights to my music, and I just rediscovered the master of the completed score, so I decided to release it. I kept the title Vampire Odyssey just in case the film ever gets finished; the score name will match, and it’s also out of respect for the director and producers. This music is very moody, almost fugue-ish at times. It was a challenge composing this to make it slow-moving yet still emotionally stirring. I was given detailed descriptions for each of the scenes, and the music was truly inspired by the director’s vision. After coming back to it, I was pleased that it stood the test of time. Vampire Odyssey represents a significant departure from my other work, yet it also solidified my love for creating narrative-driven compositions, which I plan to explore further in upcoming projects. Moving forward, this project has inspired me to explore more thematic and cinematic works.
I’m particularly interested in how I can fuse my orchestral background with other genres to create something truly innovative. Sonically, Vampire Odyssey is beautifully mastered by Brian
Gardner of Bernie Grundman Mastering in Hollywood. I had a 32-piece orchestra with guest opera singer Althea Celeste Moultrie, guest guitarist Rich Mouser, and guest percussionist Jon Brooks (Monorail). I am featured playing flute, and I used Ilio samples of Gregorian chant that I peppered throughout.
As far as Vampire Odyssey differing from previous works, it is more reverent. It’s more careful, somewhat sad in its tone, and a little experimental with the opera singer. I had used Althea Moultrie for my award-winning film Redemption—she’s in that film singing my arrangement of “Stabat Mater” by Vivaldi, and in Vampire Odyssey, she steps outside the rigid box as a classical vocalist and improvises at times. But each of my orchestral pieces, whether they’re a symphony, a ballet, or a concerto, becomes its own entity. Each piece I compose is unique. I’ve realized that I rarely repeat myself. I have written three neo-classical symphonies, each with a nod to many composers, including Dmitri Shostakovich, Ricard Wagner, and Leonard Bernstein. As far as arrangements, I respect all composers, but my modern influences are Bernard Herrmann, the great Ennio Morricone, Jerry Goldsmith, and especially Henry Mancini and Walter Scharf. You can hear these in my numerous neoclassical compositions. Because of my ethnomusicology education, coupled with my intense training in theory and composition, my music is malleable; I am not married to one style. Orchestral works are my favorite, and I have done so many commercial artists’ arrangements that I lost count. I also appreciate Marvin Hamlisch’s arrangements. An upcoming project slated for 2025 is reorchestrating and recording with a philharmonic the top releases from the Grammy-nominated fusion band CAB, founded by Bunny Brunel (of Chick Corea), starring Brunel on fretless bass and me conducting.
Spirit Magazine: As a musician influenced by legends like Barbra Streisand, Diana Krall, and Sade, how do you incorporate these influences into your own music while maintaining your unique sound? Can you share any specific examples from your upcoming performances or recordings?
Kaylene Peoples: Wow, these are great questions!
BARBRA STREISAND:
Barbra Streisand is the reason I became a singer. I saw her film Funny Girl on television when I was just a child. I related to her so much. She sang a song called “I’m the Biggest Star,” and the lyric continues with “but nobody knows it.” I, too, felt like I had a big talent that was trying to be seen, and nobody knew it but me. But Streisand had something very special. Being that she was an actress, she really brought out the emotion in every word she sang. I have yet to experience that with any other singer. It was unique. I really felt her music. She wasn’t afraid to be perfect either. If it was funny, she’d sing funny; if it was sad, she’d sing sad; if it was powerful, she was by far the most powerful, in my opinion. Plus, nobody could hold a note as long as she could! And the control—Streisand was/is a vocal chameleon. Unbeknownst to her, Streisand WAS my vocal mentor. My CD My Man is dedicated to her, and it’s based on the closing song, “My Man,” from Funny Girl. I also do the French version “Mon Homme” on track 2 of the album as I vocally nod to Streisand with the songs “Smile,” “Stormy Weather,” and “The Man I Love.”
DIANA KRALL:
Diana Krall made me stop and take notice when it came to jazz. When I first heard her CD Love Scenes, I had to buy it. I was instantly intrigued. What caught my attention the most was its simplicity, combined with her complex soloing. She is not a vocal acrobat, but her arrangements, whether big or small, are always carefully crafted, creating an experience unique to Krall. I am a purist, so I appreciated that. I later discovered Shirley Horn (who she’s like) and other jazz artists, especially Nancy Wilson, but Diana’s musicianship is probably what caught my attention and impressed me the most. Her solo on “How Deep Is the Ocean” is timeless and unforgettable. I do some mellow tunes: “How Insensitive,” “Once I Loved” . . . both are songs I sing and play flute solos—this is on my first jazz CD titled All Jazzed Up!. Diana Krall was a big inspiration for that CD. On My Man, I do “So Nice (Summer Samba)” and a somewhat intricate flute solo. You could say she was an influence for the way I performed that song on the CD.
SADE:
Sade’s performances are hypnotic. Again, emotion, but subtly executed. She is not only classy, the classiest, but also sensual and SMOOTH like butter. It’s an amazing visual and auditory listening experience, no matter what she’s singing about. Her music always grooves, too. I feel that for commercial music, this is extremely important. Her fashion style really stood out as unique and personal. Since I used to model, that particularly resonated with me. She’s my favorite artist when it comes to her style and her look. But I love her songs “Kiss of Life,” “Ordinary Love,” and “Smooth Operator,” plus she has just an amazing persona on stage and off. She’s just so down to earth! Her music and performances hit every one of my senses. She is the goddess of cool in my book.
SPECIFIC EXAMPLES:
In my upcoming album Doppelganger, you’ll hear these influences blended with my own unique style. For example, I nod to Diana Krall’s jazz influence but with my own twist, adding intricate flute solos and vocal stylings that are distinctly mine. Similarly, my dedication to Barbra Streisand is evident in the emotional depth of my performances on songs like “Spain,” with long- held notes, and “Lush Life,” where I strive to convey powerful emotions through both lyrics and music. As for Sade’s influence, it’s most present in my Bossa-nova performances. I aim to capture her effortless cool and emotional subtlety while adding my own flair through intricate flute arrangements and vocal harmonies. For instance, in my upcoming performances, I’m incorporating more of Sade’s minimalist approach to rhythm, combined with my jazz influences, to create a sound that is both soothing and complex—engaging the audience on multiple levels, which I prominently feature in my shows and recordings. The vocals in this genre are simplistic, and the music itself is sweet, bound to the groove and rhythms that define the Brazilian sound. I aim to capture that same hypnotic and stylish vibe while infusing my own voice and arrangements.
Spirit Magazine: You’ve cited influences like Swing Out Sister and Burt Bacharach for their lush arrangements and melodies. How do these influences manifest in your music, particularly in the arrangements for your upcoming albums and your recent orchestral CD Vampire Odyssey?
Kaylene Peoples: Well, Swing Out Sister and Burt Bacharach have incredible arrangements. I would say that my Peoples Republic CD, A New Rite of Passage is a nod to both. I even do a remake of Burt Bacharach’s “This Girl’s in Love” with big, lush strings. I unapologetically go
for big arrangements when it calls for it. For my upcoming release Doppelganger, you will hear hints of Swing Out Sister. Their music’s upbeat, feel-good energy is something I’ve consciously tried to capture, but I’m also pushing my own boundaries by incorporating more complex arrangements and unexpected shifts in tone. My goal is for the audience to feel both a sense of nostalgia and discovery—recognizing familiar elements while being surprised by new ones. Swing Out Sister’s music is so “feel good.” I really am trying to infuse that vibe. As for Romantic Bossa-Nova 2, you will hear a bit of Burt Bacharach with the lush strings. As for Vampire Odyssey, I think there’s more of an Ennio Morricone or James Horner essence there. Vampire Odyssey is dark and ominous at times.
Spirit Magazine: You just had a big concert on August 25th, 2024.Talk about your performance, and how you brought your unique blend of vocal and instrumental talent to the stage?
Kaylene Peoples: The concert was my birthday celebration. I performed mostly my recorded music. I play the flute as my soloing instrument of choice, so there is an equal amount of singing and fluting! I performed with Bunny Brunel on bass, Mahesh Balasooriya on piano, Joe Calderon on guitar, Land Richards on drums, and Jon Brooks on percussion. Kevin Foster, a comedian and TV writer for the series Monogamy, hosted the event. The evening was a mix of classic jazz and Bossa-nova. All the songs were taken from my three jazz CDs: All Jazzed Up!, My Man, and Romantic Bossa-Nova. We performed Dave Brubeck’s “Take Five” and “Blue Rondo a la Turk”; Chick Corea’s “Spain”; Jobim’s “One Note Samba,” “How Insensitive,” “Once I Loved,” “The Girl from Ipanema,” and “Agua de Beber.” We also performed another Bossa-nova tune, “Berimbau,” by Baden Powell and Vinícius de Moraes. I also surprised the band by spontaneously deciding to perform “Summertime” (which is not one of my recordings). To my delight, when we were done, the audience asked for an encore, so we did Billy Strayhorn’s “Lush Life.” After the concert, we all had birthday cupcakes, mingled, and took pictures. It was a great show with lots of laughs and a good time. This performance reaffirmed my desire to continue blending instrumental complexity with vocal artistry in my live shows. Moving forward, I plan to explore more spontaneous elements in my performances, like the impromptu “Summertime” we did, which brought a fresh energy to the set and connected with the audience in a unique way. Engaging with my audience in such an immediate and dynamic manner is something I intend to prioritize in future shows. This experience will definitely influence the way I approach future concerts and recordings. The title of the show was “Kaylene Peoples Birthday Bash at Catalina Jazz Club, Featuring Bunny Brunel, Mahesh Balasooriya Opening, and Hosted by Comedian and TV Writer Kevin Foster (Monogamy).”
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