THE SMOOTH JAZZ RIDE
Steve Oliver -- May 2, 2010 SO: It’s actually a long journey. I started playing quite young. I knew at 4 or 5 years old that I wanted music as a profession. I remember setting up drums in the garage and then learning, playing and jamming. I was just intrigued by music, you know? I was playing and listening to stuff that was pretty advanced for a 5- or 6- year-old kid (laughs). My parents weren’t really into music but my babysitters would be playing Santana and all of that great stuff and it just grew on me and drew me in. I was curious and would say “Wow, how does that all work?,” and I was just so intrigued. So, then I just grew from there and started to listening to everything from jazz to rock. I was in rock bands and jazz bands in high school. Then, I did solo shows, playing acoustic guitar and singing in bars for years. Then, I would go home and write tunes. It’s always been a 24-hour thing for me. I’ve always loved a combination of jazz, rock, & R&B. That’s what’s great about contemporary/smooth jazz. It’s a big eclectic mix, and I have such a big, eclectic taste. So, I said, “Hey, this is perfect for me as a writer.” So, for years, I listened to artists like Pat Metheny and Al DiMeola. I just love forward-thinking artists. That’s what drew me to this music—the diversity that it brings. TSJR: What artists or groups would you say have been among the most influential in your career? TSJR: What would you say has been your most memorable experience in your career thus far? BR: I introduced myself to the genre in the sense of bringing steel pans into it, but I’ve always loved smooth jazz. I’ve always found it to be lighter listening from the standard jazz. When I was doing my typical island/reggae/calypso style of playing, I just decided that this instrument is just too beautiful to be confined to just that genre. I thought: Wouldn’t it be beautiful in smooth jazz? So, I decided to go with it. TSJR: How long have you played the steel pans? TSJR: I know that there is a difference between the types of steel pans. Can you elaborate on the differences for our readers? BR: Well, there are different voices. So, it’s sort of like an orchestra with its many different parts. There’s the single tenor, which I play and is the highest instrument. I learned on a double tenor. Then, there’s the double second, cello, guitar, and at least 5 others, and then there’s the bass. The bass is a full-size drum, made from a 55-gallon barrel. The one I play is made from an 85-pound drum, much bigger, and it sounds bigger and fuller, and it has such a beautiful sound. There are only a few places that make those in the country. The typical island ones are 55-gallon, and I have several of those, too. I feature the 55-gallon ones on the album, as well. Read full conversation Andrew Neu -- Mar. 21, 2010 TSJR: When did you start playing the sax, and was that your original instrument of choice? AN: No, actually I started on clarinet like a lot of guys did but wanted to play in a jazz band when I was in middle school, and you can only do that playing sax (laughs). AN: Sure. I was actually a classical saxophone major, believe it or not, and what that did for me was it really taught me how to play the instrument and be expressive within that kind of environment, playing in an orchestra or a sax quartet but, at the same time, as a sax player at Temple, they had the opportunities for me to play in the jazz combos and big bands and fusion ensembles. So, I had a lot of different opportunities and, in Philadelphia, there’s a lot of great jazz clubs where I could go and sit in, and I actually used to play with the University of New York big band; so, I got a lot of experience there, as well. PW: Actually, no. I’ve asked my family, “So, no one sings or plays anything but me?” I guess I was supposed to be the first (laughs). TSJR: Are you formally trained or self-taught? PW: I’m actually self-taught. TSJR: Along with being an accomplished musician, you are also involved in visual art. Tell us about that. PW: Well, I have been a visual artist a lot longer than I have been a musician. I started drawing when I was about 4 years old—I do get that from my dad (laughs)--and have been seriously drawing and painting since graduating from high school. I actually went to college for art, not music. Read full conversation
Steve Oliver has always been one of the most endearing smooth jazz entertainer
s. He comes across in conversation as he does in concert--insightful and full of zest. Here is our recent conversation with the guitarist. Due to a technical problem, we regret that this conversation is not available in audio.
TSJR: Welcome, Steve, and thanks for taking this time to chat with us.
SO: Thanks for having me.
TSJR: So, for those newcomers to smooth jazz, tell us how this journey into smooth jazz first began for Steve Oliver.
SO: Oh, wow. You know, I’m a real music seeker. I have 5 Ipods that are completely filled. (laughs). I’m so addicted. I buy something everyday. There are just so many artists that have rocked my world. I love the Santana style of combining World, Latin, rock and jazz. Then, like I said, there’s Pat Metheny and also Ralph Towner, who’s an ECM artist with a band called Oregon. He’s a great composer and guitar and piano player.
SO: You know, it’s funny. I was just thinking about that today. I was outside doing some yardwork and was thinking about all of the great people I’ve met. I’ve done several shows at a great jazz club in Phoenix and lo and behold, every time I’m there to play, George Benson is there watching. He’s actually a fan! We’ve become really close. He comes with his family and sits right in the front row. Once, he came up to me after a show and whispered to me “You remind me of me.” I was speechless. My jaw hit the floor. I mean, he carved the path and started a whole new thing for guitar and singing and jazz, pop, R&B, and just combining everything. Here he is complimenting me. Unbelievable! Read full conversation
Gerald Albright -- Apr. 4, 2010
I wrote here a while back that Gerald Albright was the Musician’s Musician. I’d 
like to revise that. He's The Musician’s Guide to Charisma, Commitment, and Musicianship. That certainly seems much more fitting after the conversation we had with this sax giant who has done so much in the last 20+ years for smooth jazz and for the work ethic that goes into staying atop the field with the other giants who have molded the genre. Here is that delightful chat. Enjoy. -- Ronald Jackson
TSJR: First off, congrats on the Grammy nomination of Sax for Stax as Best Pop Instrumental Album of 2009.
GA: Thank you. It felt good (laughs).
TSJR: You know, I can’t imagine that any seasoned smooth jazz fans would not know all about Gerald Albright and his illustrious career but, to give new listeners or new followers of smooth jazz a good glimpse into just who Gerald Albright is and how prominently he figures in this genre, and at the risk of repeating yourself for the umpteenth time, tell us when and where you developed this love of jazz—and particularly smooth jazz-- and who was responsible for that interest?
GA: Actually, I came about before smooth jazz, back in the mid- to late ‘80s when it was called contemporary jazz and it had a lot more energy and freedom to it. So, what I do now kind of adapts to the smooth jazz sound of today. So, I was interested in this type of jazz way before smooth jazz was even the term, and I have a new CD coming out that hints more toward the contemporary/R&B style versus the smooth jazz style, but it’s all relative.
TSJR: Of all the experiences you’ve had in your career thus far, what stands out as the most memorable?
GA: Well, the one that I think about the most is actually my very first gig as a professional recording artist. It was at a club in New York called The Bottom Line. I think it’s most memorable because I remember being so frightened (laughs) because it was my first gig as a solo artist and debuting the new music from the new record. All of the big wheels from Atlantic Records were in the audience; all the people who were to promote and market my project; but once I started the first tune and got about halfway through, then it started to feel like home again, and we were comfortable from that point on.
Another of my more memorable experiences is working with Quincy Jones. I’ve worked with him on several of his projects. One of note is called the Back on the Block project of his where I did a couple of tunes with Take 6 and Tevin Campbell.
Lastly, my 5 years touring with Phil Collins were quite memorable, as well. So, I’ve had some blessings in my life that I’ll never forget and some things I can tell the grandchildren, whenever I get some grandchildren (laughs). Read full conversation
Bickley Rivera -- Mar. 28, 2010
Who?, you may ask. Well, just listen to her debut release, and witness the beauty she brin
gs to the SJ genre in the form of steel pans. After reading our conversation and listening to the gentle cool of her style on the album, we think you’ll agree that Bickley Rivera is a name to remember.
TSJR: So, tell us who or what introduced Bickley Rivera to smooth jazz, and why did you choose it as a genre to pursue as a professional musician?
BR: About 5 or 6 years. It’s funny because my primary instrument is keyboards. I’ve played since I was 5 years old. On my new CD, that’s me on keys, as well.
Like a human sponge, Andrew Neu has absorbed all of the creativity and imagination of so ma
ny genres--and has easily created his own identity and feel from that exposure. Gravitating to smooth jazz, funk, and the like while still maintaining a deep respect and admiration for classical and the jazz giants like Coltrane is so laudable. Here is our most enjoyable conversation with this vibrant artist who adds delightfully to the very presence of smooth jazz.
TSJR: I understand you are a graduate of Temple University’s Esther Boyer School of Music, with a degree in saxophone performance and music education. For those of us who are not familiar with the degree in saxophone performance, can you please enlighten us?
TSJR: Are you from a musical family?
AN: My big brother and my older sister are both musicians. My brother is a trumpet player. He’s an all-around player, and we’ve played many, many gigs together. He’s on all three of my records. He’s a terrific classical player, as well. I’ve always had such respect for those kinds of players. My sister, who’s kinda doing the homemaker thing right now, is a wonderful flute player, singer, and piano player. Read full conversation
Tom Braxton -- Mar. 14, 2010
Accomplished, musically in touch, gentlemanly, humble, and patient to a fault. That’s
Tom Braxton in a nutshell. Having a conversation with this marvelous saxophonist immediately took us from a normal interview setting in a literal sense to a sun-drenched patio and a couple of cold ones in a figurative sense. So easy and so pleasantly flowing was the conversation that spoke volumes about the man. See if you can capture some of that feel in this informative conversation.
TSJR: I think we have an idea as to the answer to this question, but here it is anyway: Who has served as the most influential figure in your musical life?
TB: I have to credit my very supportive dad with connecting me to jazz at an early age. He introduced me to all the jazz legends: Lester Young, Miles, Coltrane, Charlie Parker, Stitt, Getz, Ben Webster, Coleman Hawkins and many more. He would share how he had heard Count Basie and Duke's original bands and the great Ella Fitzgerald. He put the alto sax in my hands in the 6th grade, after I had been playing piano for two years. At the age of 90, my dad still plays his tenor sax and violin everyday, and he's still gigging!
TSJR: We understand that you also love to run relays as well. Tell us about how that love came about, and are you preparing to run in any events that we should note?
TB: Well, I ran track ever since the 4th grade. I just loved running. I ran all through middle and high school and actually took a track scholarship to Texas Tech and ran there. Actually, it was interesting when we did the Smooth Jazz Cruise, a gentleman walked up to me and looked at me and said “You’re not going to remember me, but we were on the same track team some 20 years ago (laughs), and I said “Oh my goodness!” and took a second and remembered that we did run together back at Texas Tech and I really enjoyed it. I just run recreationally now. I just get out and put on the shoes. My kids are doing it now, so, we often get out and run together. So, I’m not doing anything competitively now, but I just love to do it to stay in shape.
TSJR: Tell us about the college years and the jazz fusion band you formed called “No Compromise.” Was it a springboard of sorts for your emergence in smooth jazz?
TB: Oh, it definitely was a great learning experience. I was planning on going to Tech for about a year, and then I wanted to transfer to North Texas because the University of North Texas up here in Denton is internationally known as a jazz school. So, I went to Tech and I was in the marching band and the stage band, and I was playing some solo piano engagements around the Lubbock area, which is where I grew up, and I met this keyboardist from New York named Marcel, and we started writing some songs together, and we recruited some other guys from some of the other music departments and the next thing you know we had an ensemble and so we started playing quite a bit, and Texas Tech was so appreciative of what we were doing that they actually gave us a class, and by the time I was a junior or senior, we were getting credit for our ensemble. So, we did that for about 6 years, while I was in school and for awhile after I graduated, we traveled and opened a few concerts. It was a great experience. It was a great opportunity to write, as well. I did a lot of writing for that ensemble and got to try a lot of things and see what works and what doesn’t. I still stay in touch with some of those guys. Read full conversation
Pamela Williams -- Mar. 14, 2010
My experience with the "Saxtress," Pamela Williams, began many years ago with her
debut release by the same name, and I’ve been following this incredibly talented saxophonist ever since. With a personality as charming as her music, she opens the door here to her compelling story of how to get it done in style. Enjoy.
TSJR: You're from Philadelphia, right? I understand that, like so many others—especially those from Philly-- one of your early jazz influences was the late great Grover Washington Jr. Are there others, as well?
PW: Oh, yes. While Grover was actually the first saxophone player that I heard who really got my attention, as an alto player—and I don’t just play alto, but when I first started, I started with alto--I also listened to Charlie Parker, the Crusaders, David Sanborn, and a whole lot of other horn players because I like a lot of different styles.
TSJR: Do you come from a musical family?
Kirk Whalum -- Mar. 7, 2010
When you have a horn to toot and you don't feel the need to do so because you're so foc
used on how you can better provide encouragement and joy for your fellow man through your music, your name must be Kirk Whalum. A most renowned and accomplished artist with some of the most down-to-earth sense of self imaginable, this household name is as full of spirit as he is of music and leaps at every chance to demonstrate it. When we have a conversation with an artist, we are always hoping that we'll find ourselves in the kind of grounded and unpretentious chat that Kirk Whalum provided. Have a seat and enjoy the flow.
TSJR: Kirk, you’re known as simply one of the best and most popular saxmen in the business, with a great numbwer of hits. Tell me a bit about how this long journey began. Who was the person responsible for first shining that light on Kirk Whalum?
KW: First, thanks for the great compliment with respect to my “hits.” I actually don’t feel I have any hits, per se. (laughs) Especially when I look at my colleagues and their hits. I guess people tend to identify with Kirk Whalum, the person, more so than with any one hit. Of course, I guess there are many who would differ with me and say “Oh yes, I think such-and-such was a big hit,” and that’s always a great compliment to me.
As for the person who first got me interested in music, it would have to be my 81-year-old uncle, Hugh “Peanuts” Whalum. He’s about 5’4”. A small man with a huge personality. When I was 12, I was playing a little bass, a little drums, anything I could get my hands on. When I finally got my hands on a saxophone, back in 7th grade, it was love at first sight. It used to be that when you were in public school, you had access to an instrument. When my uncle first heard me (I played Amazing Grace or something like that--I’d been playing for maybe a month or so, and I was pretty cocky), he was so encouraging, and I was this kid who was a cute mixture of arrogance and complete ignorance. Then, he asked me to let him play that sax, and it blew me away! To think of how hearing him made me feel, it was so angelic and sweet. Of course, when you’re a kid, you don’t want to admit that (laughs), but it was locked in my head, and it really changed my life.
TSJR: Who would you consider to be the biggest influence in getting you to where you are now?
KW: I’d have to say Arnette Cobb. When I was in college at Texas Southern in Houston, I really decided on a college based on all the wrong things (laughs). I was just looking at the cheerleaders instead of checking out the saxophone department.
I had been a huge fan of Ronnie Laws and Wilton Felder of the Crusaders. These were the two guys who really shaped how I looked at jazz. Of course, I wasn’t quite ready for Coltrane yet. So, it turns out that these two guys, though they’d already finished, had gone to this same college. About a month in, we had a visit from a kind gentleman who lived a few blocks away and was a world renowned sax player by the name of Arnette Cobb. I latched on to him right away. I’d follow him around, go to his house and play, and he’d tell me “You know what? You play too many notes, and you ain’t sayin’ nothin’.” That had such an impact on me, and I’d say “Hmm, maybe that’s what I need to hear.” As the years went by, we got really close. We went on to perform a few times together.
When he got really sick, I was in Japan. He later passed, and I couldn’t make the funeral, but before that, I had played and prayed for him in his ICU unit. He couldn’t speak or anything, and I remember him shedding some tears. It was a special moment. Later on, I was in town playing at a jazz festival, and his daughter Lisette came up to me and grabbed and hugged me. It was like she had been waiting for me. She was holding both my hands, and I looked down and saw that she was putting something on my finger, and it was Arnette’s ring. I tried to refuse it, but she was insistent, and I’ve had that ring, which has a treble clef and a couple of eighth notes, for over 20 years.
TSJR: I know that spirituality plays a huge part in your life, refreshingly spilling over into your music. When did you first know that you wanted to take the route of incorporating your faith into your music?
KW: Well, when I was very young, around 7, I would imitate my father’s sermons. You know, when you’re young like that, you always aspire to be like your father. At the same time, you’re trying not to be like him. You know, in the microcosm or the little kingdom of the Black church, there’s a certain dynamic where you’re a little prince or princess, and there’s a certain expectation that you’re going to grow to be a minister. So, a big part of me resisted that. Then, I ultimately realized that that’s what I am. Sometimes, it’s gotten me into trouble with my music, when you’re a bit overzealous about God. So, I know it's also important to respect others and the journey they may be on. Read full conversation
Lynn Riley-- Feb. 28, 2010
As I’ve mentioned before, happening upon a true talent is always such a “rush” for me. Hap
pening upon such a talent who also combines sheer charm, such a disarming sweetness, and the warmest of personalities is much more than icing on the cake. Saxophonist/flutist Lynn Riley sparkles as much through her personality as she does via her remarkable skills on sax and flute, and with the ability to conceptualize her music within the context of beautiful diversity, she brings with her the freshness and the refreshing aura always appreciated by this reviewer. We invite you to now witness the charm, humility, and pleasantness of this quality artist in the conversation below, a conversation that was truly one of a kind.
TSJR: You’ve often been called the "Superwoman of the Sax." To what do YOU think that’s attributed?
LR: I think I got that nickname because I play with a lot of emotion and intensity. I think that a lot of women musicians are not necessarily known for their power, and I think a lot of people are pleasantly surprised when they see me and hear me play. I’m a fairly small person physically, and people always ask “Where do you get all of that power?” (laughs) I guess it’s just all part of my personality. I tend to be quite expressive, and it comes out in m playing, I guess.
TSJR: You’re also quite proficient on flute. Do you have a preference?
LR: I like both. It depends on what I’m playing. I actually started playing flute before I played saxophone. I’d say most of my career has been playing sax because there’s more work for saxophonists than flutists in the smooth jazz world. I think, in some ways, I find the sax to be more expressive. Being a woman and having a higher vocal range than a man, I find the sax--especially the alto sax--to be much more like a voice. I still love the flute, but I find that there is just more of a variety of things I can play on sax than on flute.
TSJR: You were born here in DC and raised in Philly. You went to the land of our President, Hawaii, and received a B.A. in Ethnomusicology. Please explain that field of study to those of us who may be hearing that term for the first time.
LR: Sure. Ethnomusicology was something I found attractive from the moment I learned about it. In essence, it’s like learning world music. It’s sort of a combination of music and anthropology in that you learn about different cultures of music but at the same time the context of how the music exists within the culture--for example, religious context, social context, or historic context. So, I not only learned about the music but got a chance to play a lot of different styles of music. I studied with teachers from all over the world about Korean music, Asian music, Polynesian music, African music, Brazilian music, and just music of all sorts. From a musician’s viewpoint, it was like being a kid in a candy store. (laughs). Read full conversation
Maysa -- Feb. 14, 2010
When we spoke to Maysa back in September 2009, her album, Metamorphosis, wa
s still riding high. Little did we know that another hot album, A Woman in Love, was in the making. Discovering that, and having so enjoyed our last chat with this charming songbird, we eagerly returned to chat again, and we were not disappointed. We’re sure you won’t be, either.
TSJR: When we last talked, you’d just knocked it out of the park with the self-portrait, Metamorphosis. Now, you’re back with another heavy-themed album, A Woman In Love, in large part, a nod to the classics (Maysa style) and with the firm statement that “Real Music is Back!” What do you mean by that?
MAYSA: Well, I mean that people are going for substance now. We’ve been bombarded with MTV and this attitude of “Let’s get a little woman and let’s show off our bodies and sell a million records.” People are really getting tired of that now. There’s still the pop culture, kids going into puberty who are still impressed by that stuff, but even many of those kids, and those a little older, are turning to music that really touches their lives and touches their souls and are more mature about music now. Also, parents are exposing their children more to this music because they are tired of hearing women being called derogatory names in the music; so they’re trying to pay more attention to what their kids listen to and they just want better music for them.
TSJR: You chose some great tunes to honor, and honor them you did. What thought went into picking those tunes?
MAYSA: A few of them were suggested by the record label. Most are tunes that I cut my teeth on. You know, I’m into a lot 70s music and I was into a lot of jazz singers when I was coming up, artists like Ella Fitzgerald and Sarah Vaughan and Dinah Washington. I used to listen to them over and over. So, the songs that I chose were the songs that I love the most.
TSJR: Your love and respect for your peers and those who paved the way for you are so very commendable. You mentioned how Melba Moore was the influence that propelled you into music. Now, Melba is on your Shanachie label. Have you met her?
MAYSA: No, not yet. Only online. She’s sent me some beautiful quotes, really encouraging things, online. Just to be able to talk to her on MySpace and Facebook and all of those sites, it’s just beautiful and overwhelming, and it touches my heart every time she does it. Read full conversation
Kim Waters -- Feb. 14, 2010
TSJR derives such pleasure from our exchanges with smooth jazz artists. When we set
tled down to chat with saxman Kim Waters, his laid-back, casual, and all-so-smooth aura was as pleasurable as a warm summer breeze. Settle back and enjoy this enlightening conversation with the king of smooth and romantic urban jazz.
TSJR: First, I’d like to start by asking a couple of questions about Kim Waters, the artist, for those new fans who may not know. Who or what serves as the biggest influence in your decision to pursue music in general and smooth jazz in particular?
KW: Well, I would think my family was the one that got all of us started. As we grew, we just kept it alive. In fact, my brother is still in my group.
TSJR: You have twin daughters. How old are they?
KW: They’re 20.
TSJR: Do they show any interest in following in Daddy’s footsteps?
KW: Absolutely. One is a music major at Howard University, and the other is a fashion designer.
TSJR: What would you define as the most memorable event in your musical career?
KW: Wow, I’ve had quite a few. I guess one would be when I received an award with Dizzy Gillespie for ASCAP Writers of the year. Then, I played with Ray Charles a few times and hung out with George Benson. I also did a lot of work with Isaac Hayes, and he taught me an awful lot about the business. Read full conversation
Fourplay -- Dec. 19, 2009
We
profiled this phenomenal and prolific quartet earlier as our Artist of the Week. In the world of contemporary jazz, they deserve a permanent label of Artists Extraordinaire. We caught up with master bassist for the group, the illustrious (and very active) Nathan East. In addition to being a most pleasant personality, he proved to hold a wealth of information that not only makes for good reading but for great understanding as to why Fourplay is and will be a frontrunner in jazz for as long as it cares to be. Here now, for Fourplay, is Nathan East.
TSJR: We’ve always been interested in this answer: Tell us a little about Fourplay’s musical focus. Would you say that you’re more focused on reaching the smooth jazz audience, the fusion fans, or all of the above?
NE: Well, all of the above would be my first answer. However, I’d have to add that we try to have fun with our music and reach a non-denominational crowd (laughs). You don’t have to be a smooth jazz fan or an R&B or a fusion fan. To me, that kinda locks you in to one thing and we like the universal approach.
TSJR: How do you make the decisions to play certain tunes at your concerts? Do you ever tailor your material to the audience or do you just do what feels right to Fourplay?
NE: Yes, well, we basically do what feels right. We have a certain set list of tunes, and we can swap one out for the other. Sometimes, we end up reading where we’re going to be, but a lot of times, we have a set that kinda flows from one tune into the next to establish a good pace and, if that’s working for us, then that ends up being the set for that tour.
TSJR: How do you guys write music together? In other words, do you favor the traditional method of everyone physically getting together in the studio and working on a piece or do you prefer individually creating your respective parts and just sharing them with the others?
NE: Well, there’s no real one set way to do it. We’ve done it all ways, each guy working on his idea, but the thing that seems to be the most magical and gets the best result is when we’re all in the same room at the same time. Read full conversation
Douyé -- Dec. 17, 2009
Songstresses. There are many. Some decent, some mediocre, and some who just defy classification; they just make you feel good. Douyé is such an artist. As I wrote here earlie
r when we featured this Nigerian princess as our Artist of the Week, she and her music have such a sultriness and a sense of belonging here. Speaking with her further proved that. Enjoy our conversation with this personable and charmingly gifted young lady.
TSJR: Welcome, Douyé. First, let me congratulate you on such fine work on your debut CD, Journey.
DOUYÉ: Thank you very much.
TSJR: You grew up influenced by such jazz and R&B legends as Peggy Lee, Ray Charles, Billie Holliday, Stevie Wonder, and Sade. Having obviously been strongly influenced, enough to decide to launch your own musical career, please tell us how this journey of yours began.
DOUYÉ: Well, it started in Nigeria. I grew up in a home where my parents were big-time jazz fans, and they played Sarah Vaughan, Peggy Lee, and all of the greats. I just took interest in it and decided to do this. In Nigeria, usually girls don’t tell their parents that they want to do jazz or do music. They usually expect you to be a teacher or a dancer (laughs). But my dad was very open and supportive of my doing what I wanted to do. He would say, “If you’re going to do it, just do it right, and don’t do anything that would shame the family.” So, I took that blessing and ran with it. (laughs).
TSJR: Is your family musical?
DOUYÉ: No, they were just very much into listening and enjoying soul and jazz. They listened to James Brown and the like every Sunday (laughs). I lived with that music and became a product of it. Read full conversatiom
Shaun Labelle – Dec. 5, 2009
The pride of Minneapolis, MN, has to be Shaun Labelle, the multi-instrumentalist
composer/producer who, after years of producing records and backing others in superb fashion, finally struck gold by stepping out of the shadows and charming the smooth jazz world with his own offering, Desert Nights, which was released this past February on Innervision Records. This fine product basically mirrors the man, a pleasant, insightful soul with a bullish determination to make his presence felt in this sphere we hold so near and dear to our hearts. Here, then, is our chat with the charismatic musician.
TSJR: So, Shaun, let’s talk about who Shaun Labelle is, for the fans who have yet to become acquainted with you. You’re quite the accomplished producer/musician. I know that, at age five, you appeared in your first nationally televised commercial for the Lakeside Toys game called “Drop in the Bucket.” I understand also that is was around that time that you taught yourself to play drums, as well? Do you come from a musical or film-oriented family?
SL: Well, you know, it’s interesting because I grew up in a household where my father was already a well-known television producer. He was the producer for the Milton Berle show, and he was also a fantastic musician. He wrote jingles, and he’s very well known for writing the jingle “From the Land of Sky Blue Water,” which is Hamms Beer, as probably everybody knows. So, growing up in that environment, with him and my older brother, who is still a phenomenal jazz piano player, and my mom who is a great jazz singer, it was just inevitable that I would end up in some facet of the entertainment business, either in television or in music, and, in my case, it’s been sort of all of the above.
TSJR: Who or what influenced you to pursue a full-time career in music?
SL: I would probably say Lance, my older brother. He was already a well-established musician, and he was just a great mentor and influence. So, when I got my first set of drums at 5, that’s all I wanted to do. I mean, after school, when all of the other kids wanted to go and play games and do their thing, I just wanted to go home and play drums. I would go home and put on George Benson’s “Breezin’” record and jam to that thing until my hands hurt.
TSJR: You’ve worked with such heavyweights in the music business like the late Ray Charles, saxman Everette Harp, with whom you still maintain strong ties, Paula Abdul, Jeff Kashiwa, Ambrosia, and Steve Reid of the Rippingtons, just to name a few. How have all of these experiences affected you?
SL: Well, to be able to say, for example, that I was fortunate enough to co-produce with the legendary Richard Perry a Ray Charles record, is something I’m very proud of and will never forget. Everette Harp and I are very, very close, and we talk all the time. You know, I just want to say that I think the beauty of this industry is-- of course, there’s the common thread of music--but the people you meet along the way and relationships you establish along the way, they’re forever. Nobody can take that away from you. I cherish that very much. Whenever I get into a musical situation with people, it’s always more than the music to me, it’s the friendship and bonding and the whole emotional element, as well. Read full conversation
