Vocalist Kate Kortum Performs Live

Summary

Podcast Summary: All Of It — Vocalist Kate Kortum Performs Live

Podcast: All Of It (WNYC)
Episode: Vocalist Kate Kortum Performs Live
Host: David Fuerst (in for Alison Stewart)
Guest: Kate Kortum and Band
Date: December 17, 2025

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Episode Overview

This episode of All Of It features an intimate session with rising jazz vocalist Kate Kortum, winner of the Sarah Vaughan International Jazz Vocal Competition and author of the new album Wild Woman. Kortum performs live with her band, discusses the stories and ideas behind her music, details her artistic journey, and talks about the new energy young artists bring to jazz. The show offers rich musical interludes, personal anecdotes, and reflections on gender, creativity, and community in jazz.

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Key Discussion Points & Insights

1. Live Performances: A Showcase of Range and Emotion

• Opening Song: “Everything I’ve Got Belongs to You” (Rodgers and Hart)

  • A playful, tongue-in-cheek jazz standard reflecting the themes of Wild Woman.
  • [01:01] — Energetic live performance kicks off the episode.
  • “I have a terrible tongue and a temper for two. But everything I’ve got, it’s not a lot. Everything I’ve got belongs to you.” — Kate Kortum singing ([03:19])

• Second Song: “You Are There” (from debut album Good Woman)

  • A reflective, emotive performance about longing and memory.
  • [11:05] — Begins with meditative vocals; the band creates a lush atmosphere.

• Finale: “Something’s Coming” (West Side Story)

  • Unrecorded favorite, chosen for its anticipation and hopefulness.
  • [23:38] — Upbeat, forward-looking closing number.

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2. On Wild Woman and Its Themes

• Kortum’s sophomore album, Wild Woman, focuses on emotions and experiences women are often taught to suppress, such as obsession and vanity.
• The chosen songs subvert jazz standards written by men, offering them from lived female perspectives.
• [04:49] “The album touches on emotions that women are taught to sort of keep at bay, like obsession and promiscuity and vanity… at the end of the day, I do love you. I am yours.” — Kate Kortum

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3. Journey in Jazz: From Texas to New York

• Grew up playing saxophone and flute before discovering jazz vocals by chance (thanks to her brother’s accidental download).
• Attended Houston’s prestigious High School for the Performing and Visual Arts, surrounded by future jazz luminaries.
• [08:52] “He downloads it on my account by accident. I find it and I’m like, this is awesome. I’ve never heard anything like this before. And I just kind of went down the rabbit hole.” — Kate Kortum on discovering Ella Fitzgerald
• [09:32] “So many of the alumni that come from [the school]… Robert Glasper, Helen Sung, Walter Smith. So, yeah, it’s a big legacy of people.” — Kate Kortum

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4. On Winning the Sarah Vaughan International Jazz Vocal Competition

• Receiving the prize is described as “surreal,” especially being selected by judges like Christian McBride and Ann Hampton Callaway.
• [07:04] “Even being selected was kind of surreal to me… and winning was the same thing, but times five.” — Kate Kortum
• [07:50] “It’s big, big shots who I’ve listened to growing up… it’s a bit nerve wracking.” — Kate Kortum

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5. Young Artists and the Resurgence of Jazz

• Kortum notes a renewed “trendiness” of jazz among young listeners, highlighting the influence of social media.
• Her TikTok cover of “When I Get Low, I Get High” (Ella Fitzgerald) has garnered 12 million views, amplifying jazz to new audiences.
• [18:38] “I think there’s sort of a trendiness to jazz that’s happening nowadays… every five swipes I see, like, come to this brand new jazz club. It’s underground. Nobody knows about it.” — Kate Kortum
• Also notes how jazz is finding its way back into pop through artists like Laufey and Stella Cole.

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6. Collaborative Projects: The Sun House Singers

• Kortum is part of a trio, the Sun House Singers, with close friends from college who moved to NYC together.
• [19:57] “More than us being in a trio, we’re all best friends… you get us all together and sort of nobody can speak but us three.” — Kate Kortum

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7. Upcoming Appearances & Performances

• Jazz at Lincoln Center:
  • Performing as part of the annual Big Band Holidays series (Dec 17–21).
  • Singing classics like “White Christmas,” “Sorry To See You Go,” and “I’d Like You for Christmas.”
• Unity Jazz Festival:
  • January 9, 2026, with her band at Jazz at Lincoln Center.
• Come Sunday: Sacred Works of Duke Ellington:
  • January 30 & 31.
• [21:59] “It’s a little bit surreal… You move to a place like New York, and you sort of never think you’re gonna be singing at these institutions that all these people who came before you played at.” — Kate Kortum

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Notable Quotes and Memorable Moments

• [04:27] “It’s a little double-edged sword in this song.” — Kortum describing the character in “Everything I’ve Got Belongs To You”
• [06:42] “Wild woman can’t be a good woman… they go hand in hand.” — on the nuance of her album titles
• [08:19] “It’s, it’s surreal. Again, like, I don’t… I don’t know if it’s still fully hit me that those people picked me.” — winning the jazz vocal competition
• [17:10] “That’s one of my favorite parts about singing… you sort of start, then almost like fall into the emotion.” — on performing emotionally charged songs
• [19:38] “We all sort of do standards and, you know, this type of music, but just times three with some harmony.” — on the Sun House Singers
• [22:41] “I feel like you can’t go wrong with ‘The Christmas Song (Chestnuts Roasting on an Open Fire)’… it’s one of the best.” — on favorite holiday music

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Timestamps for Key Segments

• [00:07] — Introduction and setup
• [01:01] — Performance: “Everything I’ve Got Belongs to You”
• [04:36] — Discussion: Album inspiration and song choices
• [07:04] — On winning the Sarah Vaughan Competition
• [08:25] — Early musical memories, discovery of jazz
• [11:05] — Performance: “You Are There”
• [17:10] — The emotional experience of live performance
• [18:38] — On young people and jazz’s resurgence
• [19:38] — Sun House Singers and vocal group dynamic
• [21:00] — Details for upcoming performances
• [23:38] — Performance: “Something’s Coming” (from West Side Story)
• [28:22] — Episode wrap-up

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Conclusion

This rich and vibrant episode celebrates both tradition and innovation in jazz. Kate Kortum embodies the energy of a new generation, blending reverence for classic standards with a contemporary sensibility and feminist perspective. Through live performances, candid storytelling, and an infectious passion for music, she invites listeners into her world—a place where “wild” and “good” women, old standards, and new innovation all find a home.

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Transcript

[A]

This is all of it on wnyc. I'm David Fuerst in for Alison's tour. Every year the New Jersey Performing Arts center hosts the Sarah Vaughan International Jazz Vocal Competition. It's a prestigious award. Past winners include Samara Joy and Jasmia Horne. And this year the honor went to 23 year old vocalist Kate Cordom. On top of winning this prize, Kate also released her second album this year. It is called Wild Woman, a follow up to her debut album Good Woman. And we are excited to say that Kate Cordham is here with her whole band to perform live. And if you would like to hear more, you can also catch her performance at Jazz at Lincoln center for the concert series they call Big Band Holidays that is running tonight through the 21st. Kate Kordom and band, welcome to WNYC.

[B]

Thank you for having us.

[A]

And can we start with a song?

[B]

Yeah. This is Everything I've Got Belongs to youo. It's a Rogers and Hart song.

[C]

I have eyes for you to give you dirty looks. I have words that do not come from Cheers children's books. There's a trick with a knife I'm learning to do. But everything I've got belongs to you. I have a powerful anesthesia in my fist and the perfect wrist to give your neck a twist. Well, hammerlock hold I've mastered a few. But everything I've got belongs to you. Share for share, share alike you get struck each time I strike Me for you, you for me I'll give you plenty. I'm not yours for better but for worse. And I've learned to give the well known witch's curse. I have a terrible tongue and a temper for two. But everything I've got, it's not a lot. Everything I've got belongs to you.

[D]

Sam.

[C]

Share for share share alike you get struck each time I strike. Me for you, you for me.

[B]

Aha.

[C]

I'll give you plenty enough.

[B]

Ahah.

[C]

I'm not yours for better but for worse. And I've learned to give the well known witch's curse. I've got a terrible tongue and a temple for everything I've got. Ooh, it's not a lot. Everything I've got belongs to you, you.

[D]

Belongs to you you.

[A]

Kate Cordova and her band performing Everything I've got belongs to you. Sounds fantastic.

[B]

Thank you.

[A]

Thank you for the performance. Your latest album is called Wild Woman. And for sure the character in this song is pretty wild.

[B]

Yeah, I would say so. I tend to gravitate towards those songs with some tongue in cheek. Words and things like that. Yeah.

[A]

I mean, on one hand she's saying, everything I've got belongs to you, but on the other hand, I don't want to get on her bad side.

[B]

Yeah. You know, it's a little double edged sword in this song.

[A]

Right, well, can you go around the room, introduce everybody who's playing today?

[B]

Yeah. On piano is Tyler Henderson, on bass is Guillermo Lopez. And on drums is Max Marcillo.

[A]

Okay, well, let's talk about your latest album, Wild Woman. The song we just heard is on it. Why did you want to record your version of this particular standard? Is it. Is it those lyrics that just. So much fun.

[B]

Yeah. I mean, I think I really am drawn to words and lyrics. It's why I became a vocalist. And I think, you know, the album touches on emotions that, you know, women are taught to sort of keep at bay, like obsession and promiscuity and vanity. And I think this song is sort of the perfect example of, you know, those emotions. It's like, I'm so upset at you, but at the end of the day, like, I do love you. I am yours. Yeah. And I love Blossom Deary, who's the first person I heard from record it. And yeah, I just. I was very inspired when I heard that version.

[A]

Well, your first album, as we mentioned, was called Good Woman. This one is called Wild Woman. What was the overall vision behind that transition to Wild Woman?

[B]

Yeah, so, I mean, Good Woman was recorded when I was really young, when I was 20. And so I think I became super interested in songs written by men from the perspective of a woman and sort of flipping those. A lot of jazz standards are meant to. To be sung by women, but were written by men. And I. There's something so curious about that in general. I think that's kind of a funny, silly thing. And, you know, when I was looking for songs and concepts for the second album, I became very interested in songs that are a little bit deeper than your average jazz standard. A little bit deeper than, you know, Love Is Here to Stay and all of Me. Things that, you know, touch on things that are deeper emotions that I think we're not allowed to express all the time.

[A]

I also don't mean to suggest that Wild Woman is the flip side to a good woman, because a wild woman can't be a good woman.

[B]

Yes. Yeah. No, they go hand in hand, I think.

[A]

Right. I don't like. It's not like one is the opposite of the other for sure. Now you won the New Jersey Performing Arts Center's annual Sarah Vaughan International Jazz Vocal Competition. This was just very recently in November. What does this competition mean in the world of up and coming jazz vocalists?

[B]

I mean, I think a lot. I have come up watching this competition and so many of the vocalists that inspire me have been in the competition, have won the competition. And so sort of even being selected was kind of surreal to me. You know, I got the email and I was like, I don't even believe that this is true. And then, you know, winning was the same thing, but times five. So yeah, it's.

[A]

How nerve wracking is it and you know, what's required of you in a competition like this?

[B]

Yeah, I mean, it's a lot. You're playing with brand new people on a brand new stage in front of judges who are, you know, Christian McBride and Anne Hampton Calloway and.

[A]

Oh, so no pressure.

[B]

Yeah, no pressure. Right. It's big, big shots who I've listened to, you know, growing up and who have formed, helped form me as a musician. So, you know, it's, it's a bit nerve wracking.

[A]

What does it mean that, you know, they voted you the winner?

[B]

I mean, it's, it's surreal. Again, like, I don't, I, I don't know if it's still fully hit me that those people picked me.

[A]

Yeah, but that's amazing. It must feel good.

[B]

Yeah.

[A]

Now, how did you first get interested in singing? Can you remember your first musical memory?

[B]

Yes. Yeah, it's kind of a funny story. I grew up playing saxophone and flute in middle school and high school and I loved it, but I was never like so great at it. And then I sort of discovered that you could sing jazz when my brother accidentally downloaded a recording of Ella Fitzgerald sings How High the Moon live in Berlin.

[A]

Accidentally downloaded?

[B]

Yeah. So we all shared a computer. I have five siblings, so a lot of things got a little hairy on the, on the shared computer. And he put, he was in a jazz appreciation class. He downloads it on my account by accident. I find it and I'm like, this is awesome. I've never heard anything like this before. And I just kind of went down the rabbit hole. Tyler and I actually went to high school together and so Tyler was, was.

[A]

A big part in this, was in Houston.

[B]

In Houston. Yeah. So my peers there were a big part of helping me discover singing.

[A]

Well, there must, must have been some inspiring peers there. Right? We're talking about the, the city's prestigious high school for the performing and visual arts.

[B]

Yeah. Yeah, I was, was a huge part of my development and so many of the alumni that come from there. I mean, Robert Glasper, Helen Sung. So many people. Walter Smith. So, yeah, it's a big legacy of people.

[A]

Do you still play the. The flute and the saxophone? Sometimes.

[B]

I sold my saxophone. I have my flute. I like to play it for fun. Not for anyone's ears, but my own, unfortunately.

[A]

When did you. You know, we're talking about that first musical moment. When did. And encountering that download by accident, which is a great way to stumble across some incredible, inspiring music. But when did you realize that you really wanted to get serious about music, perhaps even as a career?

[B]

Yeah, I mean, I think it wasn't until really right before my senior year of high school. Right before, like, decisions to, you know, for college were coming up. You know, I sort of sat with myself and was like, all right, I've discovered this new thing that I like to do. I've discovered that there are people around me who really like to do it, too. So I found this, like, community that I've never had before when I was 17 years old. And then, you know, it all sort of came barreling after that. The college decisions, the summer jazz camps and things like that. They just all solidified my want to do that as a career.

[A]

Well, can we hear some more music here?

[E]

Yeah.

[A]

This is a song called you'd Are There. This appears on your first album, Good Woman.

[B]

Yes.

[E]

When I pass by a window Will I see you and me in the cold blue reflection of my almost too real dream? Or am I just some passing earthly scheme?

[D]

You were my reality.

[E]

Or will you be there too Just like you wanted to?

[B]

Not a page left unchanged no more.

[E]

Plans to be made? Am I still awake. In the evening when the kettle's on for tea? An old familiar feeling settles over me and it's your face I see.

[D]

And.

[E]

I believe that you are there.

[D]

In a garden.

[E]

When I stop to touch a rose I feel the petals soft and sweet against my nose I smile and I see Suppose that somehow maybe.

[D]

You are there When I'm dreaming.

[A]

And.

[D]

I find myself awake without a warning and I rob my is infantasize all at once I realize it's morning.

[E]

And my fantasy is fading Like a distant.

[D]

Star at dawn My dearest dream is.

[E]

Gone I often think there's just one thing to do Pretend the dream was.

[D]

True.

[E]

And tell myself that you are there.

[D]

When I'm dreaming and I I find.

[B]

Myself awake without a warning.

[D]

And I rub my and fantasize all at once I realize it's morning and my fantasy is fading Like A distant star adorn my dearest dream is.

[E]

I often think there's just. There's just one thing to do. Pretend the dream was true.

[D]

And tell.

[E]

Myself that you are there. Has our time come to end? Will I see you again? In a book of our lives Yours is not as long as mine.

[B]

I.

[E]

Am still awake.

[A]

Kate Cordham and your fantastic band here on WNYC. And it no longer feels like 1:23 on a Wednesday afternoon. We have entered a timeless space. Do you have to get your. Your head into a particular space to launch into a performance like that one?

[B]

Yeah, I mean, I think that's. It's one of my favorite parts about singing is you sort of like start and then almost like fall into the emotion. And that's a song that I've done and we've done so many times. And it's one of the ones that doesn't really get old because of the way that it kind of gently puts you in this space.

[A]

Well, we'll take a quick break and continue with a little more music here with jazz vocalist Kate Cordom and her band. Your new album is Wild Woman. And you can see Kate Cordham as part of big band Holidays at Jazz at Lincoln center, running now through December 21st. We continue in just a moment. This is all of it on wnyc. This is all of it on wnyc. I'm David Fuerst in for Alison Stewart. We are here with jazz vocalist Kate Cordam and we're going to get to some more music in just a moment. But I want to talk about you finding jazz music a little bit some more. You know, some people see jazz as music for older generations, but you are in your early 20s. There are some young vocalists like Samara Joy winning Grammys. What do you think about your generation's relationship with jazz as an art form?

[B]

Yeah, I mean, I think that there's always gonna be young people continuing on the tradition playing jazz. But even more than that now, I think there's sort of a trendiness to jazz that's happening nowadays. I mean, you open Instagram and TikTok, and I feel like every five swipes I see, like, come to this brand new jazz club. It's underground. Nobody knows about it.

[A]

And you're very active on social media. One TikTok you have covering Ella Fitzgerald classic song When I Get Low, I get high has 12 million views.

[B]

Yeah, I mean, I think, you know, people are beginning to enjoy that. I think you can even hear it in some of the pop music that's Coming out, you know, Le Vey and Stella Cole and all these people who are bringing standards and jazz to the forefront of pop culture again.

[A]

Absolutely. I also want to mention that you're a member of the group the Sun House Singers, made up of three New York jazz vocalists, including yourself. Describe this. Is this like the jazz vocalist version of the Three Tenors? You know, that supergroup of opera singers? Pavarotti, Placido Domingo, Jose Carreras?

[B]

I. You know, I went to undergrad with these singers and sort of more than us being in a trio, we're all best friends. These. These guys all know, like, you get us all together and sort of nobody can speak but us three. But yeah, I mean, we. We had been singing since 2019 together, and we all moved to New York together two and a half years ago, and sort of that's when we put a name on the thing and started, you know, singing around the city.

[A]

What kind of music do you do when you're with. With those singers?

[B]

Yeah, I mean, we all sort of do standards and, you know, this type of music, but just times three with some harmony.

[A]

Times three with some harmony. Do you all make way for each other? You know, Totally.

[B]

Yeah. I mean, we. We have some. Some solo moments and some together moments.

[A]

Well, you're going to be at Jazz at Lincoln center tonight through the 21st as part of this concert series, Big Band Holidays. First of all, what do you plan to sing at these shows?

[B]

Yeah, so tonight we're doing a mix of holiday classics. I'm gonna be singing White Christmas, a song called Sorry to See youe Go, which is about New Year's, and a song called I'd like youe For Christmas.

[A]

And you're part of a lineup of different singers at an event like this.

[B]

Yeah. So there's one. Her name is Chanel Johns. She's incredible.

[A]

Oh, very cool. And you'll have a lot of upcoming appearances, so let's just go through. There's another one you mentioned coming up. Is that later this month or early January?

[B]

It's in early January, yes. Me and my band are going to be at the Unity Jazz Festival, which is also at Jazz at Lincoln center, on January 9th. We're part of a big lineup of amazing groups.

[A]

And you're also going to be back on January 30th and 31st for the series come Sunday, the Sacred Works of Duke Ellington. What does it mean to perform at an institution like Jazz at Lincoln Center?

[B]

Yeah, I mean, it's sort of one of those things like I was talking about, you Know, the Saravan competition, it's. It's a little bit surreal. You know, I came from Texas and then I lived in Florida. But you moved to a place like New York, and you sort of never think you're gonna be singing at these institutions that all these people who came before you played at. And so it's always a treat to be singing there again.

[A]

The Big Band holidays show is tonight through the 21st. And before we get to the last song, do you have a favorite Christmas song? Jazz. Jazz. Jazz. Or not.

[B]

Oh, I mean, I think I know.

[A]

I'm putting you on the spot there.

[E]

Wow.

[B]

I feel like you can't go wrong with the Christmas song. Chestnuts roasting on an open fire it's one of the best.

[A]

One of the best. Well, let's hear one more song from you today. Kate Cordam is a vocalist who won the New Jersey Performing Arts Center's Sarah Vaughan International Jazz Vocal Competition this year. Her latest album is Wild Woman. Once again, you can see Kate perform as part of Big Band Holidays at Jazz at Lincoln center now through the 21st. Thank you so much, all of you for being here today. And what are you going to close us out with?

[B]

Yeah, well, thank you for having us. This. This last one we're gonna do is not one that's been recorded, but it's one of my favorites from west side Story. It's called Something's Coming.

[E]

Could be who knows?

[C]

There's something new any day I will know right away soon as it show. May come Cannonballing down through the sky.

[D]

Gleaming its eye bright as a rose.

[C]

It's only just out of reach down.

[D]

The block and on a beach under a tree.

[C]

I've got a feeling there's a miracle do Gonna come true Coming to me.

[E]

Could it be?

[C]

Yes, it could Something's coming Something.

[B]

I.

[D]

Can wait.

[C]

Something's coming I don't know.

[D]

What it is but it is gonna be great.

[C]

With a click with a shock Phone.

[D]

Will jingle Door will knock open the latch.

[B]

Something coming Don't know when but it soon Catch the moon one handed.

[D]

Catch around around the corner or whistling down the river Come on, Lahada will.

[E]

You deliver to you. Will it be yes, it will maybe.

[B]

Just by holding still it'll be there.

[C]

Come on something Come on in don't be shy Meet a guy above a.

[D]

Chair the air, the air is humming and something great is coming.

[E]

Who?

[D]

Sam?

[C]

Something just out of reach down the.

[B]

Block and on a beach does something.

[C]

Do Any day I will know right away it's only just out of reach down the block on a beach Something.

[D]

New any day I will know right away maybe tonight.

[E]

Maybe tonight.

[D]

Maybe, maybe tonight Tonight. Maybe tonight.

[A]

And that's how it ends. Something's coming. Kate Cordam and her band live here on all of it. Thanks again.

[B]

Thank you for having us.

[F]

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