WELCOME TO THE HOME OF
LOCATION: BROOKLYN, NY
SINGER-SONGWRITER, MUSICIAN, ARRANGER, PRODUCER
MAIN INSTRUMENTS: VOICE, KEYS, ACOUSTIC GUITAR
With a voice praised by Millennium Magazine as a "powerhouse" and lauded by BroadwayWorld as "vocally thrilling," Brooklyn based singer-songwriter and performer, Azudi, has been blessed to perform at various venues all over NYC; including The Shrine in Harlem, Pete's Candy Store, The Recoup Lounge, The Parkside Lounge, Joe's Pub, 54 Below and Carnegie Hall.
Azudi's musical style harkens back to various bygone eras of R&B and Soul. As the last born of six, to two incredible Nigerian born parents who immigrated to America in the 1970's; infectious melodies, soulful basslines, African diasporic rhythms, and a transnational consciousness have permeated his existence for as long as he can remember. Music was always a vital necessity throughout his childhood, from Highlife legend Oliver De Coque to the inimitable Michael Jackson to Marvin Gaye to the Beatles ... the eclectic nature of his personal soundtrack growing up certainly had a major influence on the music he would come to create.
Stay tuned, there's so much more to come...
PERFORMANCE SHOTS AND PRESS EVENTS
Union(s): Actors Equity | Screen Actors Guild (Eligible)
Height: 5'10 | Weight: 165 | Eyes: Dark Brown | Hair: Black
Vocal: Tenor to C/Db5 full voice | Instruments: Piano and Guitar
Broadway: Natasha, Pierre, and The Great Comet of 1812 (Original Broadway Cast), Violet (Flick standby, Original Broadway Cast) - B'Way Debut opposite 2x Tony Winner Sutton Foster.
Off-Broadway: Sincerely, Oscar (Theatre Row), The Great Comet (Kazino), Leaving Eden (Alice Griffin Theatre, 2019 NYMF Award for Best Musical), Central Avenue Breakdown (NYMF), Cotton Candy... (Theatre C/Plaxall Gallery).
Regional: Williamstown Theatre Festival, The Guthrie Theater, American Repertory Theater, Los Angeles Philharmonic, New Jersey Performing Arts Center, Carnegie Hall, New Harmony Theatre, Cortland Repertory Theatre.
Workshops: The Public Theatre, New York Theatre Workshop, Williamstown Theatre Festival, Ars Nova, Playwrights Horizon, The York Theatre.
Select Concerts/Solo Shows: 54 Below, Joe's Pub, Carnegie Hall,
The Cutting Room.
Film/TV: HairBrained, "Madam Secretary", "The 71st Tony Awards,
Good Morning America, The Today Show.
Education: NYU Tisch - BFA - Double Major in Theatre and Africana Studies. with Honors.
Azudi is also a seasoned educator, having just finished his 5th year of teaching Freshman and Sophomore Scene Study on the Acting Faculty of Molloy College - CAP21.
Azudi freelances as a vocal coach as well, through The Voice Academy NYC. He teaches Private Vocal Technique and Performance; as well as Advanced Vocal Performance Classes, Group Kids Classes, and Group Adult Beginning to Intermediate Vocal Performance Classes.
Azudi also offers his own private lessons for all ages and levels in both vocal coaching (including an optional package for a professional demo recording, arranged and produced by Azudi), and monologues.
Current and previous clients have gone on to find success on Broadway, National Tours, Off-Broadway, America's Got Talent, The Voice, and more.
To further inquire about Azudi's private lessons (including rates, location, specific pedagogy, etc...), you can contact him at email@example.com.
OVERALL PEDAGOGICAL APPROACH:
My teaching method is very much a co-intentional and student-centered approach, firmly rooted in the attention to detail of technique and truthful storytelling, the practice of mindfulness, the cultivating of safe space, and the unlocking of the power in the singularity of your voice, presence, and identity.
I personally believe that as an educator, it is most important to learn the individualized mode of expression/functional navigation for each and every one of my students. And to use that as a tool to foster a deeper, more sustained, and connected understanding of the lessons for them. This includes fostering dialogue and engaging through critical/creative thought that meets them where they are, understanding the specifics of where, how, and why they store tension, speaking truth to underlying notions of power (as art is inherently political), and keeping the space of learning safe and positive, while still pushing them to the boundaries of their potential and holding them accountable when the work is not to that standard.
It is very important for me as an educator to never teach in a generalized way. Too often, spaces of learning in Western culture fall into the trap of the cookie-cutter approach. Using harmful Eurocentric notions rooted in assimilationism to produce a certain kind of student as if they are products on a factory line, rather than living, constantly growing, and infinitely singular human beings. Every student requires individualized soil for their artistic growth, and my ensuing approach is tailored accordingly.