NY: Thank you. Well, that part actually comes naturally to me, like actually being able to appreciate all the little things, that is why I started to sing because I was always able to pick up on things that, let’s say, not everybody could. At a young age too. So I just really got interested in the music. I’m like “Oh, if that does this, I wonder what this does?” You know? It was just mysterious and I was curious. So I went inside and now I’m doing it and it’s just amazing. I can’t tell you how lucky I am to be able to do something I love at a young age. I want to continue to do it for my whole life, whether I become a global singer, let’s say, or just singing in a local restaurant. I’ll be happy as long as I’m singing.
Jazz Monthly: Well, that’s a very good attitude and approach to have because no doubt you will be doing all of those and you’ve done that already, actually, so that’s a beautiful approach because it’s all about the music and communicating and expressing yourself through music regardless of the audience or the size of the audience, and that’s wonderful.
NY: Thank you.
Jazz Monthly: You’re so welcome. Now, I hear you’re into the handshake thing. You have this cool handshake with Geoffrey, right?
NY: Mm-hmm, Geoff Lang.
Jazz Monthly: You know, I’m totally into the handshake thing, but my friends can’t learn them. They improvise too much. We’re supposed to have a certain handshake but before you know it, it’s something else. But I watch baseball a lot and the coolest guy I’ve seen for some of the most amazing handshakes is the shortstop for the New York Mets, Jose Reyes.
NY: Mm-hmm.
Jazz Monthly: He’s got some really cool handshakes. So check him out.
NY: All right. It’s always my thing. I make handshakes with everybody in my band. Everyone in my band has a handshake with me, just Geoff’s is the longest because it’s evolved since 2006 and it’s gonna be 2009.
Jazz Monthly: Well, it’s a good thing that you have that photographic mind and photographic ear, and that’s a wonderful thing and I thought that was a great compliment by your dad to say that.
NY: Thanks. Yeah, I think that it’s the epitome of it, you know, where it captures the equity of my ear. I hear something and I’m able to reproduce it. I’m really lucky to have that because it saves me a lot of work.
Jazz Monthly: Yes, it does, and that’s so wonderful. You talked earlier about when you went to Montreal in ’06, but talk to me about October 11, 2007, going back.
NY: Oh, well, I live in Montreal, so—
Jazz Monthly: Yeah, I mean, but going back to that performance.
NY: Oh man, that performance. We had no intention of actually putting it out as a CD/DVD compilation. There was nothing in the cards for that. We didn’t even consider it, but it came out perfectly. Everybody was on their game that night. I was really feeling it because the band was really feeling it and the band was really feeling it because I was really feeling it. I don’t know, it was just a combination of everything and the energy was so right that we said “This is way too cool not to release.” I think it’s cool as my first sort of album in Canada to be released, a live album.
Jazz Monthly: Yes, well, it is just stunning, I tell ya. The production on this DVD is magnificent. When I listen to your music, I recognize the stamina of your voice that is totally different, especially for a 14-year-old, and I’m so amazed and just captivated with the strength of your voice and the passion of your voice. Do you feel that when you’re on stage?
NY: Well, in a way it’s very strange because sometimes I’ll be completely into a song and it’ll show, but other times, let’s say, like my mind will be elsewhere but for some reason my lips keep on moving and words keep on coming out, and it’s sort of like I’m on autopilot and thinking what did I have for lunch today, you know? It just depends on the day but for some reason, even if I’m on autopilot, my voice will always be projecting, it will always be there, even if my mind isn’t. I don’t even know how to describe it. It’s like I’m looking over myself singing but I’m there.
Jazz Monthly: Yes, well, it’s sort of like mental multi-tasking, I guess, huh?
NY: I guess so.
Jazz Monthly: Yeah, well, I noticed that you’re quite adept at multi-tasking when communicating in a group setting in that you’re talking with your producer and with your music director and everyone’s giving you advice and everyone’s giving you tips about different things, and you’re able to put all of that together and do exactly what everyone has advised you to do in a song.
NY: I try. (Laughs) I work with this company called A440 and it’s a whole group of people that just are all behind me and I’m for them. It’s great. It’s a really, really comfortable setting and I’m really happy to be a part of it, but most of them are musicians so they have so much advice and it’s sort of hard to take all of it and also put my own spin on it, you know what I mean?
Jazz Monthly: Yes.
NY: So like I’m really trying to do that, so thanks for that compliment because that’s really something I’m working on and it’s nice to know that it’s noticed.
Jazz Monthly: Oh, yes indeed. I mean, quite noticeable. And I had to say to myself as well that you love the studio, don’t you?
NY: Mm-hmm. Yes, I do. I love everything about this. It’s great in music because time flies. I didn’t know the definition of “time flies” until the studio because I go in there, let’s say 10 o’clock in the morning, and then like before you know it, I’ll ask “What time is it?” I only ask once maybe during the whole day because I’m so into it, and my mom’s will say “Oh, it’s five o’clock.” I’m like “What?” .
And it’s so great. You get so many takes to do it perfectly, you know? I mean, really capture the essence of what everyone’s feeling in one take, and that’s what’s magical and that’s what often makes the cut. And I was just working on my next album, I finished it last weekend, now it’s just going into mixing and stuff, and I’m really excited that’s gonna be my first album worldwide.
Jazz Monthly: Well, I am totally excited and can’t wait to hear it. I mean, I’m not over this one yet.
NY: Thank you. And it’s great to know that also you think that I’m making things my own because it’s kind of hard to sort of have your own voice when you’re doing covers. It’s also a challenge. I like to transcribe things. I like to listen to something and then try to do it exactly like the artist and then make it my own. So I have my influence in there and also my own little spin on it.
Jazz Monthly: Absolutely.
