Deb the Recording Artist
Long Gone
In 1974, Debbie had just gained a toehold in the studio scene when she was asked by a local producer, Andrew Melzer, to add her voice to some instrumental tracks. Melzer presented the completed recordings to Al Mair and Tom Williams of the then-fledgeling Attic Records, and a single featuring Debbie entitled "Long Gone" was released to very positive radio response – one of Attic’s first releases. "Long Gone" also became a "dance hit" in the U.K. As a result of this recording, Debbie was nominated for a Juno Award in 1975 as "Most Promising Female Vocalist."
Let Me In
Country Singles
In the late ‘80s, Debbie returned to her country roots and began recording her own tunes, releasing them as singles on her own Riverdale Records label. Produced by Pedal Steel whiz, Ron Dann, "What’ve They Got For A Heartache" and "After The Afterglow" were released as single vinyl 45’s, and were deemed very successful as a result of radio response.
Nothin’ In The World (That This Old Girl Can’t Do)
All too suddenly vinyl was replaced by the CD format, and releasing singles now became difficult. Debbie continued to write and record, releasing singles on CD compilation format with other artists, however, radio stations inundated with compilations containing songs by as many as 18 artists, did not respond favourably to singles of this sort. In 1994, Debbie compiled all the country songs she had recorded onto her third solo recording, entitled "Nothin’ In The World (That This Old Girl Can’t Do!)." All songs on this CD are Debbie’s original compositions, with one song co-written with Rena Gaile. Nashville contacts gave this project favourable response, but strongly suggested that Debbie should move to Nashville if she wanted to take her career as a country singer-songwriter further. Debbie loved her hometown Toronto, and elected to remain there.
A. C. Kurett
(Baby Let’s Slow Down, Just A Memory, I Just Wanna Dance, I Can’t Believe It.)
Debbie never lost her deep love for R&B music, and she continued writing songs in that vein, inspired by the funky horn-based Toronto bands she followed – George Olliver and Gangbuster, Men From Uncle, and many more. With her new knowledge of midi and computers, she crafted songs and tracks that begged to be recorded and released. She brought her tracks to recording phenoms Rob Rettberg, and Ray Parker who tweaked her data, and added polish and pizzaz to these tunes. Debbie released the songs under a pseudonym – A.C. Kurett (say it quickly, and you’ll get the hidden meaning) – so as not to confuse radio stations, who knew Debbie Fleming as a country artist.
Toronto Mendelssohn Choir
During her career as a session singer, Debbie was hired to sing and arrange backup vocals for hundreds of artists – some of the most notable being Frank Mills, Ronnie Prophet,Hagood Hardy, David Clayton Thomas, Rob McConnell, Oscar Peterson, Anne Murray, Bob and Doug McKenzie, Carroll Baker, Leona Boyd, Rik Emmett, Rita MacNeil, Susan Aglukark, Ronnie Hawkins, Jason McCoy, country superstar Alan Jackson, and many many others. During these sessions in Toronto’s finest studios –- Manta Sound, Sounds Interchange, Nimbus 9, Phase One, Inception, Eastern Sound --Debbie learned a great deal about recording and production.
Hampton Avenue (All I Want For Christmas)
In 1996, after receiving an Ontario Arts Council recording grant for the jazz vocal group Debbie assembled, newly named nonet "Hampton Avenue" released a Christmas album, containing Debbie’s original songs and arrangements, as well as some cover tunes such as "Charlie Brown Christmas" and "Have Yourself a Merry Little Christmas". Debbie produced this album, and it was released to very favourable response from radio and sales. It is still played around the world at Christmas time, and the silky-smooth tight vocal harmonies associated with Hampton Avenue have led to an ever-widening audience for this talented group.
Hampton Avenue (Everybody Sing)
In 1999, Hampton Avenue, now an octet with some changes in personnel, released their sophomore CD. Debbie and Hampton Avenue member Larry Folk, co-produced this project. Containing many original tunes, and four cover tunes, this CD met with great response from radio and internet sales. Hampton Avenue was awarded the Jazz Report Vocal Group of the Year as a result of this album, and an award for "Best Jazz Song" was presented to Hampton Avenue as a result of their recorded version of "In A Mellow Tone" (arranged by John Herberman). This CD continues to be played extensively on the airwaves.
Debbie Fleming (A Gift of Harmony)
After Hampton Avenue disbanded, Debbie still had some of her songs and arrangements that she wished to be recorded by a jazz vocal ensemble. Hampton Avenue core members – Suba Sankaran, Dylan Bell and Tom Lillington (now known as Hampton Avenue4) recorded these songs and arrangements at Debbie’s Toronto studio, with Debbie as producer, arranger and recording engineer. Digitally recorded tracks were taken to David Norris-Elye at Towne Music for mixing and tweaking, and the CD was released in 2002.
ChoirGirlz (Angel Wings)
Debbie had never strayed too far from her country roots, and in 2001, she formed a trio with two of her friends from the Mendelssohn Choir, Dorothy McDonall and Mary Ellen Moore. ChoirGirlz, as they named themselves, began rehearsing together for fun, with Debbie learning how to play guitar. Their sound was a wonderful blend, and all three were songwriters, so it stood to reason that they had to record a CD to gain wider recognition. Under Debbie’s guidance as a producer, arranger, recording engineer, guitarist and singer, they released their CD entitled "Angel Wings" in the fall of 2003.
Since then, as Debbie's guitar playing evolved, ChoirGirlz have become a little more jazzy with the harmonies and songs they sing - a little like Dixie Chicks meet the Andrews Sisters. ChoirGirlz have released two more CDs since Angel Wings -- Girl Time, and Livin' It.
Steppin’ Out
Although the simple purity of country music is an important facet of Debbie’s soul, she never lost her passion for the tight dissonant crunches of jazz music. Once you know about "sharp elevens" and "augmented ninths" it becomes an addiction! After the breakup of Hampton Avenue, Debbie began performing as a solo artist with her jazz accompanists – Bruce Harvey and Jack McFadden, whom she had known since her McMaster days. After her debut at the Montreal Bistro, with the addition of Don Vickery on drums, and John Johnson on sax, it was clear from the positive audience response that a recording had to be made. In the summer of 2004, Debbie arranged 11 of her original tunes for the band, and with the quintet recorded at Acrobat Music Studios – engineered by Jim Morgan – the engineer she first recorded with in 1973. Produced by Debbie, this CD is a labour of love, and was a magic experience from the beginning. Seasoned musicians such as Bruce, Jack, Don and John MacMurchy have ears so fine-tuned, that the "gestalt" on this album is quite phenomenal, and most tunes were "first takes".
In 1974, Debbie had just gained a toehold in the studio scene when she was asked by a local producer, Andrew Melzer, to add her voice to some instrumental tracks. Melzer presented the completed recordings to Al Mair and Tom Williams of the then-fledgeling Attic Records, and a single featuring Debbie entitled "Long Gone" was released to very positive radio response – one of Attic’s first releases. "Long Gone" also became a "dance hit" in the U.K. As a result of this recording, Debbie was nominated for a Juno Award in 1975 as "Most Promising Female Vocalist."
Let Me In
In 1979, Debbie came to the attention of Jackie Rae and Canadian Talent
Library as a result of her work with other artists on the label,
including Elaine Overholt and Doug Mallory. Her first solo album
entitled "Let Me In" contained 7 of her own compositions, and 2 songs
written by her friend and colleague Lynne Deragon. With musical
arrangements by Tom Szczesniak and legend Doug Riley, this album,
released in 1980, had a very favourable response in Adult Contemporary
circles.
Country Singles
In the late ‘80s, Debbie returned to her country roots and began recording her own tunes, releasing them as singles on her own Riverdale Records label. Produced by Pedal Steel whiz, Ron Dann, "What’ve They Got For A Heartache" and "After The Afterglow" were released as single vinyl 45’s, and were deemed very successful as a result of radio response.
Nothin’ In The World (That This Old Girl Can’t Do)
All too suddenly vinyl was replaced by the CD format, and releasing singles now became difficult. Debbie continued to write and record, releasing singles on CD compilation format with other artists, however, radio stations inundated with compilations containing songs by as many as 18 artists, did not respond favourably to singles of this sort. In 1994, Debbie compiled all the country songs she had recorded onto her third solo recording, entitled "Nothin’ In The World (That This Old Girl Can’t Do!)." All songs on this CD are Debbie’s original compositions, with one song co-written with Rena Gaile. Nashville contacts gave this project favourable response, but strongly suggested that Debbie should move to Nashville if she wanted to take her career as a country singer-songwriter further. Debbie loved her hometown Toronto, and elected to remain there.
A. C. Kurett
(Baby Let’s Slow Down, Just A Memory, I Just Wanna Dance, I Can’t Believe It.)
Debbie never lost her deep love for R&B music, and she continued writing songs in that vein, inspired by the funky horn-based Toronto bands she followed – George Olliver and Gangbuster, Men From Uncle, and many more. With her new knowledge of midi and computers, she crafted songs and tracks that begged to be recorded and released. She brought her tracks to recording phenoms Rob Rettberg, and Ray Parker who tweaked her data, and added polish and pizzaz to these tunes. Debbie released the songs under a pseudonym – A.C. Kurett (say it quickly, and you’ll get the hidden meaning) – so as not to confuse radio stations, who knew Debbie Fleming as a country artist.
Toronto Mendelssohn Choir
Debbie and Sir Andrew Davis
Throughout the 80’s and 90’s Debbie was part of all
recordings done by the Mendelssohn Choir, her favourite being
Handel’s Messiah, recorded in 1986 with Elmer Iseler, Andrew
Davis and the Toronto Symphony Orchestra, featuring Kathleen Battle,
and recorded at the Kitchener Centre for the Arts.
Backup Vocals
Debbie, Ronnie Hawkins, & Yohanna Vanderkley
During her career as a session singer, Debbie was hired to sing and arrange backup vocals for hundreds of artists – some of the most notable being Frank Mills, Ronnie Prophet,Hagood Hardy, David Clayton Thomas, Rob McConnell, Oscar Peterson, Anne Murray, Bob and Doug McKenzie, Carroll Baker, Leona Boyd, Rik Emmett, Rita MacNeil, Susan Aglukark, Ronnie Hawkins, Jason McCoy, country superstar Alan Jackson, and many many others. During these sessions in Toronto’s finest studios –- Manta Sound, Sounds Interchange, Nimbus 9, Phase One, Inception, Eastern Sound --Debbie learned a great deal about recording and production.
Hampton Avenue (All I Want For Christmas)
In 1996, after receiving an Ontario Arts Council recording grant for the jazz vocal group Debbie assembled, newly named nonet "Hampton Avenue" released a Christmas album, containing Debbie’s original songs and arrangements, as well as some cover tunes such as "Charlie Brown Christmas" and "Have Yourself a Merry Little Christmas". Debbie produced this album, and it was released to very favourable response from radio and sales. It is still played around the world at Christmas time, and the silky-smooth tight vocal harmonies associated with Hampton Avenue have led to an ever-widening audience for this talented group.
Hampton Avenue (Everybody Sing)
In 1999, Hampton Avenue, now an octet with some changes in personnel, released their sophomore CD. Debbie and Hampton Avenue member Larry Folk, co-produced this project. Containing many original tunes, and four cover tunes, this CD met with great response from radio and internet sales. Hampton Avenue was awarded the Jazz Report Vocal Group of the Year as a result of this album, and an award for "Best Jazz Song" was presented to Hampton Avenue as a result of their recorded version of "In A Mellow Tone" (arranged by John Herberman). This CD continues to be played extensively on the airwaves.
Debbie Fleming (A Gift of Harmony)
After Hampton Avenue disbanded, Debbie still had some of her songs and arrangements that she wished to be recorded by a jazz vocal ensemble. Hampton Avenue core members – Suba Sankaran, Dylan Bell and Tom Lillington (now known as Hampton Avenue4) recorded these songs and arrangements at Debbie’s Toronto studio, with Debbie as producer, arranger and recording engineer. Digitally recorded tracks were taken to David Norris-Elye at Towne Music for mixing and tweaking, and the CD was released in 2002.
ChoirGirlz (Angel Wings)
Debbie had never strayed too far from her country roots, and in 2001, she formed a trio with two of her friends from the Mendelssohn Choir, Dorothy McDonall and Mary Ellen Moore. ChoirGirlz, as they named themselves, began rehearsing together for fun, with Debbie learning how to play guitar. Their sound was a wonderful blend, and all three were songwriters, so it stood to reason that they had to record a CD to gain wider recognition. Under Debbie’s guidance as a producer, arranger, recording engineer, guitarist and singer, they released their CD entitled "Angel Wings" in the fall of 2003.
Since then, as Debbie's guitar playing evolved, ChoirGirlz have become a little more jazzy with the harmonies and songs they sing - a little like Dixie Chicks meet the Andrews Sisters. ChoirGirlz have released two more CDs since Angel Wings -- Girl Time, and Livin' It.
Steppin’ Out
Although the simple purity of country music is an important facet of Debbie’s soul, she never lost her passion for the tight dissonant crunches of jazz music. Once you know about "sharp elevens" and "augmented ninths" it becomes an addiction! After the breakup of Hampton Avenue, Debbie began performing as a solo artist with her jazz accompanists – Bruce Harvey and Jack McFadden, whom she had known since her McMaster days. After her debut at the Montreal Bistro, with the addition of Don Vickery on drums, and John Johnson on sax, it was clear from the positive audience response that a recording had to be made. In the summer of 2004, Debbie arranged 11 of her original tunes for the band, and with the quintet recorded at Acrobat Music Studios – engineered by Jim Morgan – the engineer she first recorded with in 1973. Produced by Debbie, this CD is a labour of love, and was a magic experience from the beginning. Seasoned musicians such as Bruce, Jack, Don and John MacMurchy have ears so fine-tuned, that the "gestalt" on this album is quite phenomenal, and most tunes were "first takes".