To me music is freedom. It's the very essence of who I am.
I can't imagine my life without music.
Ragan Whiteside jamming it on her 2019 release
I got started on flute when the band teacher came by. I wanted to play the drums but they were taken. I wanted to play the trumpet and it was the same thing. So I asked what was left, and the flute was. And it grew on me -- and it was destiny.
I'm releasing my 5th album, and it's about I "Jam It''. It's the music to play in the background at a backyard barbeque, the sounds there to make people go ''That's my jam!''.
Ragan Whiteside's new single release "Jam It"
My plans include finishing things up in the studio and lining up festivals for next year. There are already some excellent bookings and I'm working on more of them.
My songs are doing very well in the charts, and I have reached this success without a record label. Being independant has been rewarding, and I want to inspire others to do the same.
Ragan Whiteside is a flautist, singer and song-writer with chart success, operating in the smooth jazz lane.
Music is life to me. It’s my wake up and put a smile on my face.
It breaks up the melancholy.
I grew up in a bad neighborhood, but my Dad showed me that music could take someone around the world. It could have you playing for kings.
Growing up in the projects I lived above that. In my mind I knew that I could see the world.
I had a lot of options growing up. I was a very smart kid. My Dad (Charles Wyatt) had us do the multiple times table before we could go out and play. We were made to think that you had to earn things.
I played sports and went to school with athletes. I got a scholarship for being an advanced student, and I was so advanced that I only had to be in school between nine and eleven-thirty, and so I had a job through school. Playing sports an injury put a stop to further plans.
Later I got a job at a bank, and they loved me there. I could have just stayed there and had a career.
Eric Wyatt live in 2017
Music isn’t like magic tricks. You have to have a concept. Growing up I ran into people who said that I was no joke and that I sounded like Charlie Parker. I came to a cultural center for kids, and the leader from there, Arthur Rhames, would come to my house every day. It was almost annoying, but he was consistent. He had us do exercises. After the push-ups we would practice to tracks and record it. It was like having a band without having a band. Then we had food and then we practiced again.
I am just now releasing an album with Sonny Rollins compositions. Sonny Rollins was a friend of my family as I grew up, because my Dad was a successful musician.
Sonny Rollins hasn’t been able to play for his health, and he has a lot of music that is written but not heard. He was forgotten about to a degree by the industry, which started pushing other guys, as he wasn’t well.
This is a tribute to him. I want him to be acknowledged more, and I want to contribute these songs to the lexicon of music.
Sonny Rollins has always been gracious and kind to people. He truly is someone who knows how to treat people like you want to be treated. This basic outlook, the golden rule of Sonny, has helped me become a better musician.
Looking back on my life now I’m proud of the fact that I have helped a lot of young musicians, such as Robert Glasper, Chris and Wes Lowery, and Russell Malone. It gives a reversed confidence. Unless you know somebody in New York you can’t even get on stage.
Eric Wyatt's brand new release: The Golden Rule: for Sonny
ERIC WYATT is a New York-based saxophonist with a heavy CV!
Life is music, and music is my life. Music is the air that I breathe.
Music is voices, water, a car driving. It’s a healing force.
My music is scripture based. The word is what keeps us strong.
The title track from Vera Brown's album release
I released my CD Somebody in 2018. It got below 200 in the gospel chart, and my songs have charted with Billboard ratings. My singles from the CD are the title track “Somebody” and “Praise Goes Up”, to which I wrote the lyrics with Toni Moore, and “Yes We Can Can”, which is Alain Toussaint’s composition that The Pointer Sisters did their rendition of – and it’s still a relevant song.
My husband Benjamin Pressley produced the album, and we recorded almost all of it live at our house, where we have a studio. I have been picked up by Orchard - Sony and Somebody is about to be released worldwide September 6th. We have had expressed interest from Korea and Africa, and I’m just excited to do God’s will. Sony Orchard’s ambition is for us to reach a younger audience, and we must. We must reach the kids – they are our future. We are also talking about my 2020 release.
It all started in 4th grade when I laughed as someone in my class was singing, and was told that I was next. So I got up and sang, and wound up singing for the Spring Fair.
In the College Variety pages I saw an add where they were looking for someone to travel and sing, and I knew that I could travel, so I called. That got me auditioning for Gypsy Lane, which was the Village People’s band, and made me the lead vocalist for the Ritchie Family, which I was intermittently between 1979 and 2016. I also briefly worked with The Three Degrees, doing a brief tour with them, and I have been working with my sisters on our project called Sassy Fras.
Vera Brown on lead vocals with The Ritchie Family "Give Me A Break"
I grew up in a small town, and because of the jobs that I landed I wound up in New York, where I was exposed to the grand life – to beautiful clothes and beautiful people. There were the fabulous stages. I got caught up in that and not in the drugs that came with it. I started on cocaine and moved on to crack. I developed a big taste for the drugs, and when I came off the road I wound up doing a lot of things for money. It was eight dark years of my life.
One day my baby sister walked in on me and screamed, so I looked in the bathroom mirror and saw a monster. I just fell to my knees on the bathroom floor next calling out for the Lord to help me.
Vera Brown's rendititon of "Yes We Can Can", tv performance
I went back to church and connected with the music. The more I sang the more the tendencies dropped off. I was channeling, and I will never go back to the drugs and I don’t crave them.
I’ve got skills and I went to work as a secretary, and I’m retired now. Over the years I have been involved in the church. I have directed the choir. One day my husband asked me why I didn’t do my own thing – and here we are.
We are based in Landsdale in Pennsylvania, and the music of Philadelphia inspires me. Philadelphia is a historical site for music, and we hope that it will once again be a force.
A lot of the music that’s out today says nothing to me.
I went from singing in the church choir to producing.
I’m happy if I make other people happy.
As iconic as basslines get: Tony T. Money Green's work on "Gin & Juice" with Snoop Dogg
SOME THINGS ON THE YEARS WITH THE DRAMATICS
(Editor’s note: If you are new to The Dramatics you may want to check out some Dramatics’ basics to get the most out of this segment… and we strongly recommend that you check out some Dramatics’ basics and familiarize yourself, if so…because you have been missing out if you are new to The Dramatics. We get straight into things, mostly into things in the 1970s, in this text, which is a treat for those who know their Dramatics!)
L.J. Reynolds, Tony Green, Ron Banks
What it smelled like inside United Sound? OMG. Behind George it smelled of funk. They took the funk seriously and didn’t wash. And cocaine. It smelled of booty and cocaine. Around us it smelled of weed.
It looked a little like a spaceship. There was a studio to the side when you came in through the door and then eight steps down there was the main studio. It was huge. The big old board lit up. It felt like you made it when you stepped in there, just being there. Sometimes when the sessions ran late I took a snooze under those steps.
They want to move that building to the parking lot. Once they start moving things they move other things too.
It happened that we recorded in other places.
United Sound, Detroit
I came to the studio making deliveries… I was 17 and it turned out that I had a band. Surprise! So they came to see a show, and thought that we were good – and that was the start of my journey with The Dramatics. It was Ron who got me in the band.
I didn’t work with Tony Hester but I saw him work, and he really really couldn’t sing. He would say ‘’Here Ron – can you do this part?’’ and then there would be some type of noise coming out of him.
He really was the best writer for The Dramatics, and people got jealous of him for his talent. There was so much talent going down the drain with the loss of him, and The Dramatics were lost for what to do.
Tony Hester & the original Dramatics in the studio
LJ and Ron lead the band rehearsals. Ron could say things like ‘’Go to the round! Go to the round...’’. So I told the band to go to the change. That was what he meant in Ron Banks’ language.
Ron was the charismatic one. So many times when we were in places people would call out ‘’ – Hey Ron Banks’’, ‘’ – What’s up, Ron Banks?’’.
LJ would really rehearse. He can play four-five instruments, and at times I practiced with LJ every day – every day. LJ liked that and we could translate that to the band and know that we would have a hell of a show.
LJ and Ron were often arguing wanting different things. But our rehearsals were very serious rehearsals because we wanted to deliver good shows. The dance rehearsals were different rehearsals and the band got to see it at the end.
During the first years we traveled in a Trailways bus. It was a 50-seater. The group would sit in the front. The band would sit in the back. Tony Anthony, our bus-driver, got us anywhere and could handle anything. It said The Dramatics on the side, so people looked at the bus.
We slept on that bus, and you either stretched your legs across the isle or slept cramped sitting up. This is why I have arthritis now.
Once the group flew to California and the band went on the bus – and didn’t make the show. The Dramatics are great but people didn’t really want to hear the acapella show. They realized that they needed the band, that we were as important for the show to happen as they were.
After “Be My Girl” everything changed. We got treated a lot better. The group started flying places and we got two buses with beds and living rooms.
Normally we would do shows from Thursdays through Saturdays. In California we would do shows every night of the week, and two shows a night.
Our manager Forest Hamilton did the show bookings.
The Dramatics live in Houston...
The Dramatics had two roadies who carried our luggage and one valet, Andre Barber.
Usually we did shows with other groups so there wasn’t much backline to set up, as it was already there. The roadies carried our instruments.
Sometimes LJ and Ron were at the soundchecks, sometimes the whole group was there.
LJ was always going to make sure that the show would be kicking ass. We knew that we would kick ass.
The set-lists changed a lot in the beginning. At the time of the Dramatics’ reunion we kept the same show for two years. That was when Wee Gee was back for a while. I do the same thing now. I have had the same show for four years, and you work on perfecting it.
New York was a hard place to tour at times. They didn’t like us there. We played something and after we did nobody clapped. We broke New York with “Be My Girl”. It changed there after that and they started to like us.
I was in this band for a long time, and others who were include Anthony Booker and Dewayne Lomax, though maybe no one was in the band for as long as I was.
The Dramatics "Welcome Back Home" co-written by Tony Green
I wrote songs with Ron and LJ.
I couldn’t write lyrics but you can always count on me for a bass-line to build on.
We wrote songs in the basement of Ron’s house. Ron could get a little worried at times. He wasn’t a great lyricist but he really could sing.
LJ could really write and produce songs. He’s very talented and plays drums, piano, did everything himself.
The other group members didn’t show an interest in writing songs, but Lenny would sometimes show up when songs were written because he wanted to make sure that he would be singing on them.
When we did Do What You Want To Do we were on the cutting edge of a new sound, going into synthesizers. We lucked out and people liked it. It was their first gold album. Many of their albums are of course gold by now…
A LITTLE ON T MONEY MAKING THE SWITCH TO CALI
Dr. Dre, Tony Green
I got The Dramatics in the studio with Dr. Dre, and after that other soul groups came running to me asking if I could do the same thing for them – but I really couldn’t. The Dramatics were streetwise enough to do a record with Snoop Dogg, it might not have worked with another group.
I got more people from Detroit in that studio though. George Clinton of course, but also Ricky Rouse and Butch Small. Working with Dr. Dre I got a band in. That was new, because they hadn’t had one before.
The day Dre hired me was a good day.
He never had a musician of caliber in before. I didn’t tell him. I didn’t want to seem old.
He gave me drumlines and I put basslines on top. My bass was the groundwork. That was a song.Everybody added things on top of that.
It’s hard to tell me what to play. I’ma give you what you want. Just give me a beat. I played the bass for 52 years now, I’ll give you what you want.
Tony Green, Snoop Dogg
Everybody loves Snoop Dogg for his twangy little voice. He had it when he was young and he has it now. People also love him because he’s a real nice guy. He carries himself like a superstar and he always did.
His work process was that Dre had the music laid out for him, then Snoop would take all day to write for it. He did not rush his writing. He came up with something good so you are glad that you did the waiting.
They did a lot of things that were new and innovative at the time, such as the singing-rapping.
It’s good that you hear that the bassline on “Gin & Juice” is slightly off! That means that you have a good ear…
What happened was that I had just gotten the bass out of the bass bag and I wanted to tune up. Dre said don’t. I said that ‘- I’m a professional and I have to tune up’. Dre said ‘- If you tune up you’re fired’.
That bassline proves that there is no right and wrong in music.
I play the bass upside down. My father (William Austin - a well known bassist, editor’s comment) told me to put it down. I thought that he was hating on me, but later he said that he sure was glad that I didn’t listen to him.
Now my daughter turns things upside-down.
A BIT ABOUT THE PRESENT
I just signed a distribution deal with Universal.
I have a massive vault with unreleased material. I have so much great stuff that just never came out. That includes artists that just never were heard and people who did things behind the curtain. And my own material, in some cases my material that other people just took and put their name on it.
There is going to be good stuff coming out.
T Money Green and Roadwork's G Funk Review live in Detroit
TONY T MONEY GREEN is a successful and DMA-decorated bassist, composer, producer, band leader and the CEO for his label Hyped International Records – based in Detroit. After he formed his band the Roadwork Crew, in the early 70s, Green has contributed his bass magic to some of the most iconic music made in the last few decades. He is currently busy getting new and previously unreleased music to people’s ear-drums through a new distribution deal with Universal.
Music is life – it’s everything. I live music. I walk the blues. When things go good I play music. When things go bad I play music.
I like a good story, a story with a punchline. I’m a story-teller and I try to make my songs tales.
Classic Bobby Rush - "Chicken Heads"
Days working with the blues greats could be good days and they could be bad days. I’m hard to please. I know what I like and you’ve got to bring good ideas. If you do I’m listening, if you don’t it’s no hard feelings.
I didn’t start out thinking that I would transcend any genres with something I played. I didn’t think about it at all. I was just doing what I felt good about doing, playing what I felt good about playing. It’s much later since then that I started to think about what worked.
Bobby Rush in collab with Kenny Gamble and Leon Huff "I Can't Find My Keys"
Working with Gamble and Huff was a true hightlight. They were my idols. Those two are the two greatest guys in American music. I thought I would pick their brains, but they thought that they would pick mine. We wanted to steal from each other, so they just let me have my way in the studio. All the same it wound up being the best stealing of my life.
After all the times that I have been nominated at the Grammys, thirty-two times all in all, I was so proud that they considered me good enough to be a winner. That knocked me off my feet. It was the best feeling. I might have been doubted sometimes, but there’s no doubting me now. The price went up too, but I still treat people fairly.
Bobby Rush "Bow Legged Woman" off the new album release Sitting On Top Of The Blues
As for the changes in the music industry, I like change. Sometimes we are caught off guard by change and become out-dated. We need to change with the times. Music that I recorded in the early 50s is still relevant, but I need to change to make it relevant. We don’t really sell records anymore. You have to adapt yourself.
I feel good about having my music remixed. I have something to offer, something worth having.
I’m still working a lot, and I’m still enthused about the work. For as long as I am I can go on. You can living without a lot of things, but you can’t live without hope.
Bobby Rush caught live "She's So Fine"
BOBBY RUSH is a Grammy-awarded blues legend with a career that spans nearly 70 years...
Music is connection to me. It's communication. That is the first thing that music is to me.
Music is creating something out of nothing. It's creating something that means something to people.
Music transcends time and generations.
Mutlu's single ''Lifeline'' off the new album Good Trouble
I am releasing my new album Good Trouble just now. It's about different aspects of where I'm at in life. It includes my social commentary and the personal struggles that I have been through.
I have done many interesting things musically, on my path, already. I opened for amazing acts such as The Blind Boys Of Alabama and Leon Russell. Such things are a great honor - just incredible to get to do things like that. I had the opportunity to exchange a few words with the Blind Boys of Alabama - amazing. I was also part of the popular series 'Live from Daryl's House' with Daryl Hall, when the show was on the internet. I was one of the first guests on it, in the seventh episode, and I was also a guest on Amos Lee's show.
MUTLU (ONARAL) is a singer-songwriter from Philadelphia. After releasing his debut album Livin It in 2008 and the EP Hypnotize, as well as supporting a number of well known acts live, he releases his album Good Trouble on all streaming services August 9th.
Music to me is a savior. I’m not sure what I would have done without it – I was in ways a little lost. Music is math and discipline – it teaches you discipline, creativity and how to get along with others. Music is a healer, it is going on trips, it helps you become a better person.
To many music is taking a break – and taking a break is healthy. That music is cut from schools and society is awful.
The most quoted live moment (to date!) with Rhonda... and she is funky...
When I first started playing jazz in Montreal, Montreal was a jazz hub. My mother played jazz all the time; Ray Brown, Oscar Peterson, Ella….the list was long.
There were many excellent, older jazz players around. My brothers played jazz, and I had an environment around me where females were playing.
I don’t know how it would be seen by most parents these days if their daughters wanted to be in clubs and play music at 15. Classical is looked on with another respect, but other styles of music, if the daughters want to play?
I love all styles of music. It’s a mélange of the heart and of feeling, and I love floating between styles just like the greats have done, and like Prince did too.
I got my initial inspiration for bass from Pleasure, EWF’s Verdine White and Sly & The Family Stone, to name a top three. They are also some of the acts that I would recommend for people who want to listen to great bass-work on record.
Rhonda Smith "ITP" off her album Intellipop (2000/Slow Wine Music)
Being a musician is pure heaven, pure unadulterated fun. It’s the best job in the world. I don’t mind playing two notes - that can be fun. I only have two requirements when I’m playing. I need to hear myself and the sound has to be good.
Musicians are traveling doctors. We heal people. Music is a foundation to stand on in life.
Rhonda Smith bass solo with Jeff Beck Band
Having worked with Prince for a decade I thought to myself that I could work with anybody after him. He had the highest standards.
His rehearsals were long and intense, first of all. It was at least eight hours a day.
If he didn’t like something he certainly would tell you. Recording wasn’t allowed. He famously didn’t like bootlegs.
He didn’t read music. He would show you the part, and he would show you quickly. You had to get it. He showed you what he wanted quickly and then he was on to the next thing. He did have patience – he was extremely intelligent. But when he needed what he had showed you, the next day, he didn’t like it if you messed up. You couldn’t ask him ‘Where’s your notes?’. But the second day people did mess up. You had to be strict and get it down the first time.
There was some fun around but the process was intense. He would leave for a few hours and the band would rehearse by itself. He had other things to do, a lot to do. Sometimes he listened from elsewhere.
He was such a prolific writer with a large amount of music. You had to learn it all and retain it. Everything from the roots.
Rhonda Smith with Prince - "The Everlasting Now"
I’m currently in the studio working on my 3d record. I have my band project, CIC – which stands for Canada India Canada as well as for Chronic Idiopathic Constipation…as us musicians can be a bit full of ourselves… I also do shows with Sheila E and Jeff Beck in between. My record is ready when I say that it is. It’s love in motion. I will probably debut some of the material with the group.
We have such a changed industry with manufacturing and downloads. Artists don’t even make CD:s anymore, and not full albums anymore. Figuring out how to deal with all that is part of releasing something now.
What is going on with the music business is like a version of the industrial revolution. Radio has all the control. We have had a lot of rap music, but it’s often so negative. I’m not downing any music though.
The general standard for what ‘music’ is right now, is sad. People who aren’t musicians are called musicians, and the kids don’t know the difference. Music has been taken out of what is called music now.
I don’t believe that people want to see AI play music – maybe in Japan.
The royalty streams have dried up thanks to things like Tidal. Artists' work is played as much as anyone likes – for pennies.
The only way to go, to go forward in all this is live music. We need to play live and kids need to see people play live.
Rhonda Smith - "To Get With You" from the album RS2 (2006/215 Records)
RHONDA SMITH is a bassist+ based in the US, after being born and raised in Canada. She started out working on the Montreal jazz scene and studying music at McGill University. SMITH has released two solo albums to date and famoulsy worked with Prince for a decade. Her other collaborations include Jeff Beck, Sheila E and Chaka Khan. RHONDA SMITH also now runs her band project CIC.
To me, music is like glue. It binds us to the Cosmos.
People ask me how am I able to scat like I do. I feel like scatting is how the Creator speaks through me. It's fast and fire-filled. Scat is my personal lanquage with The Creator. It's Cosmic information.
I respect every religion, however, I am not particularly religious. I am spiritual.
Music encourages you and inspires you.
The Cosmic Krewe performing in New Orleans earlier this year
Growing up in a jazz family grounded me. It meant going beyond what people expect. As an adult I have been told that I could give musicians all the keys, as a child.
Growing up around talent you have to be at more than your best at all times.
There wasn’t much of an alternative to becoming an artist, but I did have an experience with one project. I was in my late teens and called myself a band leader even if I wasn’t working as one. I decided to put a band together without the cats. It was the hardest gig of my life and I recall thinking that maybe music wasn’t working out. It was only in that moment.
My mother used to always have the cats at the house, and I wanted to be an entertainer from an early age, and it was jazz that it was about.
What I envision for the future first of all is working with my husband, Michael Ray. I want to take our respective and mutual visions forward. We are working on a hologram with the College of New Jersey. It began when he received his lifetime achievement award and we sat and spoke with them. He can’t always be with us in the Cosmic Krewe physically because of his other commitments. That is where the idea of a hologram originated, and he is very interested himself. We need a team to pull it off. We have to pre-shoot the concert, and the gig has to be choreographed for the interaction with the hologram. After that you can cut and slice it.
It will take us at least a year to get this right. I would love to have it ready by the end of 2020.
We have strong ties to the college of New Jersey, and they have truly embraced me as an artist. We are also thinking of New Orleans in this and other contexts. Michael lived there for ten years and they love him there.
My family is the first jazz family of Newark, and we just did a concert honoring the Phipps family and their legacy. As I started my set, I called their great names, Ernest Phipps (Piano), Gene Phipps Sr, (Reeds) Bill Phipps, (Tenor Sax) Nat Phipps (Piano/Vocalist), Angie Phipps (Music Educator), Harold Phipps (Drummer/Percussionist) and Gene Phipps Jr. (Sax/Flute). I did this concert with some musicians who played with the Phipps longer than me even: Radam Schwartz, Gene Ghee, Clifford Howell, G.Earl Grice, Norman Mann.
I didn't spend much time with my Mother or my father because they were both constantly on the move, however.
I grew up knowing I was a Phipps, I was a Jazz singer and I was strong & independent. My mother was murdered in Newark when I was a teenager, but she grounded those four things.
I want to talk about the youth and jazz – music in general. We have a legacy to pass on. We have theory and the foundations of jazz to pass on. I heard an interview with a rap artist the other day and he said that he doesn’t like instruments… Jazz needs to do something about the future. We can’t continue to sound like music from the past. And we have to be relatable. Jazz hasn’t changed much for a very long time. Where are we going? I hear jazz in neo soul and love it. I’m not saying this to play down other genres, but we can’t have other genres without jazz.
The Cosmic Krewe - "Yolinda"
LARANAH PHIPPS-RAY is the 1st lady of the 1st family of jazz in Newark and one of the creators behind the Cosmic Krewe!
Trombonist Nick Finzer is an assistant professor at the University of North Texas. He has shared some excellent pointers in a great clip, which you can watch below. Having a basic plan for how you are going to build the infrastructure for a career in music, if you are a budding musician, is brilliant and time-saving way of going forward. Finzer also believes in the merits of an education, but if you chose to get one or not, his "5 things to do after jazz school" offers worthwhile intel.
Why you should go to jazz school?
Some of the most important musical connections you will make in your life will start with the community at the institution you choose to attend.
The musicians I play with most frequently, I’ve known since jazz school!
Building a strong and supportive community around you and your career is essential for pushing you artistically, helping you navigate the industry, and having friends who can help you sort out this crazy musical life!
NICK FINZER is an award-winning trombonist with an impressive CV and a master's degree from Juilliard. He is also an author and an educator.
Tray Deuce / Ron Westray - one and the same - and different sides of creativity the way it's supposed to be
LET'S BE CLEAR: Tray Deuce is not about a mid-life-crisis, or the 40 yr. old rapper syndrome. I wanted to rap before I started playing trombone. I spent the majority of my career in a band with a horn up to my mouth. “Just shut up and play the trombone.” Right? Further, Tray Deuce is a reflection of my compositional interests and the expansion of my skills in electronic music. Tray Deuce Is my way of saying I don’t care about perceptions and opinions (to put it nicely). SMILE. In MUSIC, I please MYSELF....first. Critics should focus on whether or not they like the Music, not on my decisions as a musician.
Drop Mic- TD
Take in the sounds of Tray Deuce:
RON WESTRAY is a musician and composer best known for his work with Wynton Marsalis. Ron joined York University's Music Department in 2009 as the Oscar Peterson Chair In Jazz Performance, a position endowed by the Government of Ontario to commemorate legendary Canadian jazz artist Oscar Peterson. Ron Westray produces his alter ego, Tray Deuce, doing hardcore rap, West Coast rap, funk, jazz, headnodic, heavy backbeat.
This time of the year is usually busy for musicians. Here in the USA, as well as in Europe, festivals seem to happen every week from April to August. It makes sense that people stayed in for the winter and are ready to get out in the sun! New Orleans Jazz Fest and Festival International de Louisiane are two big festivals that just finished here in the gulf coast region. And Hangout Fest just happened too. It’s my personal favorite, because it’s the only festival I’ve been to that’s on a beach!
After NAMM in January and a calm February, I worked with 6 bands in 2 months. A lot of time goes into balancing each band’s schedules and rehearsals. At Festival International in April, I played with 2 bands on the weekend, after staying awake the night before to do 2 early morning news (04:30 & 05:30) TV performances. I slept before that evening’s show and the festival weekend was a success.
I’m currently touring with the artist Brother Dege, pronounced like, “Brother Deedj”. In Europe, the band is known as Brother Dege & The Brotherhood, while in America, we are known as Brother Dege & The Brethren. It’s an interesting translation artifact.
Our latest album, Farmer’s Almanac, was released in 2018 along with several music videos. We toured across Europe & USA playing the new music, and 2019 saw the release of the deluxe edition vinyl. We are excited to return to Europe for two festivals in Switzerland this summer and a full tour later in October. I’m personally excited to return to Lucerne, one of the first places I ever visited in Europe, and where Keb’ Mo’ will be playing on the same festival date as us. That will be the third time I’ve played a festival date next to Keb’ Mo’! He’s one of my favorite blues artists, and I hope we’ll have time to watch their show. He and his band are just incredible.
Brother Dege "Country Come to Town" off the album Farmer's Almanac
KENT BEATTY is a successful and busy bassist for hire, as well as a member of Brother Dege & The Brethren, who are doing very well with their recordings and performances.
Mr. Knoel Scott is currently busy on tour with Sun Ra Arkestra, and so kindly shares what a day on these travels looks like.
We landed in Strasbourg after taking two trains from Kassel Germany
We were pleasantly greeted at the station and our equipment placed in three vehicles which had to negotiate a distance of just one hundred yards diagonally from the station to our hotel made complicated by the twists and turns of the city streets
Strasbourg is a large town (as opposed to small city) although well saturated with tourists there is a very provincial air and homey vibe (for locals).
Anyway, the Django center had s very good sound man and the public was really into the Ra vibe. Expressive, open and quite friendly after the 90 minute show, which started off rather atypically with Marshall creating two back to back improvised compositions, using the Arkestra as his palette in the very beginning of the concert, immediately commmanding the avid attentiveness of the Arkestra
I am still a bit in awe of Marshall’s limitless creativity.
After returning to our spirituall home in Strasbourg......the unique and artful Hotel Grafslar, whose convivial owner and staff were a pleasant accent to the unique creativity of design through the hotel, with each room having been designed by a different artist
My room was filled with owls and had such a beautiful vibe. Even when I fell asleep at 5am ready to miss a 7:30 departure I Heard someone call my name in my sleep gruffly snarling what what is it?.....:and saw a wrist with a blue watch in front of my eyes there was no answer cause clearly no one had called me but seeing the blue watch made me jump up to discover it was 7:15 and were to leave at 7:30
Of course I threw my belongings together, dressed and was actually on time to leave with the band.
My most notable Strasbourg moment was when I visited the Cathedral of Notre Dame in Strasbourg and was able to purchase the last coin of the Black Madonna.
I feel so well Blessed.
We are now relaxing in the outskirts of Milan after playing two 70 minutes sets last night and waiting to resume travel on Sunday flying out of Malpensa airport to Gothenburg where we will play at Nefertiti Jazz Club. Quite fitting.
KNOEL SCOTT is a saxophonist, multi-instrumentalist, singer, composer, writer - and a member of Sun Ra Arkestra. He is also the director for the Knoel Scott Quartet. We feel so blessed and grateful for his sharing this day in a life with us all.
I see music as a teacher. Music is always a unique language, and it breaks through a lot of limitations. The teacher-part of music has made me more confident over time. I have to become what the music demands of me. I have to be what I write about in my songs. Music has taught me how to connect better, and it is obviously how I express what I feel.
"A Love That Never Dies" - Arielle live at lovely Agape in LA
It all started with me joining a choir at the age of five, and I always saw music as something I just loved. I never dreamt of being a rock star – I just loved music. And after my first job at 15 it was clear to me that I wanted to pursue music.
I feel very grateful towards Nuno Bettencourt and his friends, because they were the first people to make something of me. They spent a lot of time on me. They got me my first record contract.
"Genie's Outta' The Bottle" off Arielle's new album Suspension/Dimension
My new album is titled Suspension / Dimension. I wanted to make a full album, and I wanted to make it independently. I funded it myself through crowd-funding, which raised $ 35 000. It’s an eleven song-album, and the theme is being in between who you were and who you are becoming. I wanted to capture the conflicting emotions of that situation. And – I don’t know about the strange times that we live in in America, but while I was making it someone actually got shot outside my house. Making the album saved me from depression. Recording it was me trying to find peace of mind, and it gave me something to focus on.
I also have the guitars that I built myself. They are going to be available for purchase. When I see a guitar on the wall I usually see things that I want to change about it, so I put features that I like to find in a guitar together in my own constructions. They come in three different colors and with different pickups. I would like for there to be a double-neck variety in the future.
My activism is important to me, and my main issue was always the whales and dolphins in captivity – they are intelligent creatures and not meant for that life. The oceans generally, are vital questions to me, with the plastic pollution, the over-fishing and many other problems. Lately it has also become crucial to me to address keeping music programs in schools.
ARIELLE is a singer, player and song-writer based in California. She released her debut album "The Whale" in 2015, which she has followed up with several EP:s and with building her own guitars. She has just released her new album and is busy touring on the back of it.
New York has definitely made me grow as a musician and vocalist. You get influenced by so much and so many all the time, and it shapes the musicianship. There are so many great singers in this city, it keep you on your toes. And all the great musicians you meet and hear and want to play with!
Being in the city for a while and doing the local thing first, then you start to want to take your band and your music out of town. It was an amazing feeling to take my guys to Java Jazz Festival in Jakarta. We really had a great time playing there.
First time I sang with Xavier Davis was at a jam session at a friend’s Christmas party years ago, and since then we always had a very strong relationship.
Music is the way I express myself, express how I feel. It is my connection to other people. It’s basically a bridge.
Music is a part of everybody’s life. It doesn’t matter what style of music, as long as there is music in people’s lives.
Blair Bryant "Lift Off"
Music has always been in my family. My mother is a musician and plays in church. My father was always a big music fan listening to Earth, Wind & Fire and the Isley Brothers.
My dad was busy when I was a kid so I used to go to church with mom. I was an active child who wouldn’t sit still, so during the services the drummer watched me while my mom played.
I became interested in the drums, and he let me try them. After that he went “ - Omg!” to my mom, “ - You have to get Blair a drum set!”, because it turned out that I had a natural connection with the drums.
I was inspired to play a lot of instruments just listening to others play. I thought to myself that I really wanted to be able to play the violin and asked myself “ - Why couldn’t I?”. And so I started playing many instruments, and God was kind and allowed me to be able to.
My love for the bass is a deep thing. But it wasn’t a given that the bass would be my first love. I started on drums. My uncle Carl was a bass player and he showed me how to play, but I didn’t really connect with the instrument at that point. I asked for a guitar for Christmas, but my dad got me a bass instead. Then my uncle got sick and passed within a week. After that I said that I was going to play the bass. All the notes just came to me then. It was like the passing of a torch.
This year I’m starting the work with my new album, which will be released next year. I’m also writing some songs inspired by the saxophone player Najee.
Music is the last true magic in the world. It changes your chemical balance. Love comes, love goes. You still have the music, like your funk tattoo. You can’t see it, like music.
We were so young. We started off a local little thing. Then we got to drive from LAX to Hollywood Boulevard. Go to New York. Going to America was amazing. Doing shows in Paris. Meeting Stevie Wonder, Herbie Hancock, Al Jarreau. Playing the big jazz festivals sharing the bill with the legends.
Classic Brand New Heavies - "Dream On Dreamer"
Getting to hear people say that our music changed their lives is wonderful. Hearing people say that our music touched them, even saved them, is something else.
This is an exciting year. We are just finishing an album that will be released in August. We are making it with super-producer Mark Ronson, and we’re just now adding a track for which I am recording the guitar-part tomorrow. We have our original singer and a new singer on the album as well as secret guests. The record company loves the album, which is always a good thing. We are planning a tour during the year.
The Brand New Heavies live December 2018
I also have my side project with Nick Van Gelder, the drummer I met recording Jamiroquai’s first album. We did an album titled “On Top” a few years ago. And I am doing a new album with that project.
It allows me to express different sides as a performer, and it makes for exciting times.
I think keep on funking is all we can do. We can’t make money from records anymore, but we can from going to see people.
I am just as busy now as I was in 2014, when I first did an article with Musiciansʼ Corner.
I came into the new year with a few exciting gigs. Iʼm working with a lot of incredible artists. Tab Benoit and Ani DiFranco are two of my regular gigs.
Iʼm also working with producer Don Was. A couple of years ago we did The last Waltz 40th tribute show at the New Orleans Jazz Festival, and the tribute turned into The Last Waltz 40 tour. That lead to a Bob Marley tribute lead by the Marley brothers, which lead to an Elvis 68 Comeback special tribute filmed for NBC - and a tribute to Willie Nelson in front of 18 000 people that was filmed for A&E. I was part of the house band on side of Don Was and we backed at least 12 different country artist including Vince Gill and Willie Nelson. That was my first country gig, but it was as if I had always been playing country music… Those shows are really special once in a lifetime-events, so I jumped at the opportunity to be a part of those performances.
On top of that I'm working with a new project with John Medeski (of Medeski Martin and Wood) with his group Mad Skillet which was born out of a few late night jams in New Orleans during the NOLA jazz fest. Medeski produced a Dirty Dozen Brass Band record in the late 90ʼs entitled Buck Jump. So it was good to reconnect with him, and now there is a fresh release titled “Mad Skillet”.
I play locally with my band Swampgrease and other projects that I put together, but generally Iʼm too busy doing other peopleʼs projects.
Terence Higgins on the drums with Swampgrease live (2015)
I grew up listening to a lot of different music, and now I get calls to go do cool gigs, across all genres. I just do what I do naturally. I paid a lot of dues, and I take peopleʼs music seriously. Don Was could have called any A-list drummer in the world to play these huge shows. I think it takes a lot of trust to and level of comfort to offer the drum chair for these incredible star studded events. Iʼve been really busy juggling all my regular gigs and as soon as I see a break in my schedule thereʼs another call – and I'd like keep the ascending trend.
I live in New Orleans, but I feel like Iʼm just visiting. I always have my bag packed. Sometimes there are several offers at once. The people I work with keep our relationships family-oriented and they understand that I have to prioritizeʼ. If I canʼt make an Ani show she will do her gig solo. The Dirty Dozen Brass Band allowed me the freedom to take other high profile gig offers without jeopardizing my position.
On the side of the touring gigs and studio sessions I have also been involved in producing a few drum sample packs. The most recent was the Greasy Groove pack released by the Loop Loft, who has recently partnered with Native Instruments.
- Music is therapy. Music is meditation. Music is an exercise in discipline.
But most of all music is freedom.
Music has the same color as the air. You can close your eyes but you can’t close your ears.
If you play it well,that’s the only thing that matters
- The world would be a mistake without music. Whatever you’re doing everything is so much easier with earphones. And rhythm is all around us.
- Music to me is life. Music is spirituality. Music is me telling a story. I believe in a creator and in carrying a message. I believe in reaching out to people with an open heart and mind. Not everybody has that.
We all learn by going back. We don’t listen to our parents until we see what they talk about. If you get lost you go back to the basics and realize that it doesn’t matter how modern a building is, it still needs a foundation or it will fall down.
- Music is just a sonic expression of me – of us – who are playing it. I usually play in a group, and then music is a sonic expression of us in the group. It’s an expression of what we are interested in, and of what we like and don’t like – cosmically, spiritually politically, nutritionally etc. It’s an expression of what’s going on. Everything that we are – that’s what music is to me. It’s the same way that Charlie Parker would describe it. I have heard that generation express this the same way: Music is an expression of what we see. Someone from Germany doesn’t see the same things as someone from Mississippi. And even with modern technology actually being somewhere physically is going to be a lot different to having international contacts on your phone.
LONNIE LISTON SMITH
- Music is life. People don’t realize that music is the only universal language that we have. Music helps people feel better, and music can heal people.
From Day 1 my life was all music. It was the whole thing, and there was never any doubt about what I would do in life. My father was a famous gospel performer and there were always famous musicians coming to our house. For me that was natural, something I took for granted.
- Music to me is a combination of sound, rhythm, melody and harmony – and I guess we have to add technology too now – organized by a human.
People are programming AI to compose and arrange music in the future. I’m not a fan of that as you can imagine
I have a special friendship with music, that is like no other friendship. It keeps surprising me. It keeps comforting me. When I was younger it helped me express myself and articulate things that I would otherwise have not been able to say. I am more articulate now, but music still is an avenue of expression.
In 2019 I am planning on finishing what I started this year. I have been doing most of the work on an autobiographical book, together with my co-writer Seve Chambers. Everything is written now. We have to organize the text, and hopefully it will be published next year. I have also been working on a new album. It contains ideas that I have had in my brain for many years. I need to let them out.
"A Toast to the People" performed by Brian Jackson and Gregory Porter
I have been working with a trio. It’s something I have been taking around. We have done the music of Brian Jackson and Gil Scott-Heron, and told the backstory and related many anecdotes. A lot of people like to hear it, and we have had a lot of fun with it. In ways it has been a precursor to the book and ties into the writing-project.
I’m the kind of artist who works well in collaborations. I’m inspired by the ideas of others. Artists can reach their peak through interactions. I don’t know that that’s very different with my solo-projects. I’m still working with musicians… We still feed off each other.
I knew that I wanted to be a professional musician when I was taking music lessons for my music teacher Mrs. Ross. She told me that it was a good idea to learn to play instruments, because I could get jobs and get an income that way. So I took her advice and joined three bands!
New York is home. It is also a creative Mecca and still a place where creatives come to prove themselves. There is always so much happening, and everything is available. You can witness it. You can always be sure that you are close to the cutting edge. It’s not an absolute rule that artists need to be in metropolitan areas to develop to their fullest, but being in a large urban center gives you access to more people and the chance to connect with more people.
Gil Scott-Heron and Brian Jackson "Bridges" (1977)
An article with Michael Ray. In this photo we see The Cosmic Krewe: Laranah Phipps-Ray and Michael Ray
There is no way that you can walk upon this Earth without music. You can’t communicate without music. People stay strong through music. Sometimes it’s the world against them. But music remains true.
The Cosmic Krewe have a new single out, which was recorded in Santiago. It contains highlights from two performances. We have been going for quite some time, and there were even two versions for a while. I also just did a recording with the Sun Ra Arkestra and Bono.
The Cosmic Krewe in action
It’s always very busy for me. I work with Kool & The Gang, and with them it’s pretty much the same show in the same way all the time. I work with the Arkestra, and with them there is no telling what’s going to happen during a performance - and it’s what comes after five to twelve hours of rehearsal.
Kool & The Gang at B.B. King's
It’s hard to be involved in as many things as I am, but it’s fun to be on the road. I stay in shape. I have been in most places, so there is no point in going out much. I stick to doing what I’m doing, and when I go on vacation I do nothing at all.
Some people are so creative and they don’t even know it. They hum where they go and can’t hear it themselves. You need to be in tune with the planet, and nurture that energy. The world can be like a long, plastic hallway. You need to stay true to yourself.
U2 with Sun Ra Arkestra at the Apollo
Michael Ray is presented thus by his partner in music and life, artist Laranah Phipps-Ray: - Michael is so well respected even in the most remote places. They love him and they might not speak the same language. He is very hard-working, very detailed, very technical, and keeps the excitement of a beginner. I am always inspired by him. He is fast-moving, energetic and exhausting - and we are both eclectic, and this keeps us drawn to each other.
TK Blue remembers his friend Randy Weston, on Musicians' Corner
An article by TK Blue. The pictures show two great musical friends meeting for the last time in this realm, in August of this year.
On Saturday Sept 1, 2018 we lost a true musical giant, innovator, NEA Jazz Master, and a warrior for the elevation of African-American pride and culture. His compositions disseminating the richness and beauty of the African aesthetic are unparalleled. Randy was born during the era of extreme racism, segregation, and discrimination in the United States. His life's mission was one of unfolding the curtain that concealed the wonderful greatness and extraordinary accomplishments inherent on the African continent.
I am blessed and honored to have been a member of his band for 38 years. Baba Randy was a spiritual father and mentor for myself, and so many people. Our last public performances were in Rome, Italy July 19th and Nice, France July 21st with Billy Harper on tenor sax Alex Blake bass Neil Clarke percussion and T.K. Blue alto sax and flute.
I will always remember his extreme kindness and generosity. My first four impressions of Dr. Weston reveled who he was and what he cherished:
--Early 1970's Randy in performance at the East in Brooklyn with his son Azzedine on African percussion (a clear demonstration of his love and mentorship for his children. I also remember Randy inviting the great James Spaulding to sit in on flute)
---Late 1970's I performed with South African legend pianist Abdullah Ibrahim at Ornette Coleman's Artist House Loft in Soho NYC. Randy attended this show with his father Frank Edward Weston and his manager Colette (his profound love, respect, and reverence for the elders and his admiration for other artists, especially from the continent of Africa)
----Late 1970's I had the first opportunity to perform with Randy at a fundraiser for SWAPO and to raise funds for support against Apartheid in South Africa (another demonstration of his commitment to struggle for civil and human rights world-wide)
During the summer of 1980 I was overjoyed having my first hired performance with Randy and his African Rhythms group at the House Of The Lord Church in Brooklyn which again displayed his support and commitment to keep jazz alive in black community and his in-depth love for the African-American church)
Lastly when my mom Lois Marie Rhynie passed in 2014, there was a last minute issue with the church piano. Dr. Weston paid for the rental of a beautiful baby grand piano and performed gratis.
Randy Weston is the last pianistic link between Duke Ellington and Thelonious Monk. His forays into improvisation are clearly a manifestation of the highest tier regarding a creative genius with astounding originality. His compositions are in the pantheon of renowned jazz standards.
Words are inadequate to express my love, admiration, appreciation, and gratitude for such an incredible human being. May his spirit rest in paradise for eternity. We will miss you Baba Randy!!!
Sincerely, T.K. Blue
This beautiful text was written by T.K. Blue in the memory of his close friend and mentor Randy Weston. We are so grateful to T.K. Blue for sharing this with us and our visitors. Thank you, T.K., for putting this wonderful text for the giant, Dr. Weston, here.
Both Randy Weston and T.K. Blue are contributors to this site, something that we are needless to say extremely proud of.
To me music is my life and what I am driven to do. It is what I will be doing until I am under ground.
Even at the time when Aretha Franklin was really sick she was still working on an album.
There is never the last album.
Music is the air I breathe, the food I eat, and my gasoline that keeps me going.
L.J. Reynolds' new single "You and Me Together, Forever" off the forthcoming new solo album
I am just now releasing a new solo album, “You And Me”, featuring the single “You And Me Together, Forever”. It is a great record, one of the best I ever made. It was recorded in 2018 and will be out in a few weeks. It includes a remake of “Key To The World”, from my self-titled solo album, which has been a big hit in my solo career, and which the public demands to hear at The Dramatics’ gigs too. I am trying to top what I already did. You can always do anything even better. The new record also for example includes a cover of Marvin Gaye’s “Mercy Mercy Me”, where I have added to the lyrics. It is a line-dance product. My records are great stepping records. I have an extensive solo career that features solo albums and gospel albums, with songs such as “Touch Down”, which was a single from my album "Lovin Man" , and albums such as "Travelin" and “Tell Me You Will” . I for example covered Aretha Franklin’s “Call Me”, so she called me and said that I had asked her to. That was really funny! She sometimes also came out after that song at my concerts.
It was suggested to me that I should cover something from Motown, and my video for “Come Get To This/Stepping Out Tonight” has nearly a million views on YouTube right now.
A lovely and popular video for YouTube to safekeep: L.J. Reynolds' "Come Get To This/Stepping Out Tonight" off the release "Get To This"
My daughter has passed away. I am nearly in tears when I talk about it.
L.J. Reynolds' solo hit "Key To The World"
A typical day in the studio back in time with The Dramatics, if I wasn’t producing, was a good eight hours long. We made sure that we had fun, and we allowed very few people to come to our recording sessions. We were focused, and always focused on how to outdo each other.
After eight hours we had a record.
The Dramatics - as good as it gets - "(I'm Going By) The Stars In Your Eyes" on Soul Train, where this act appeared 20+ times
It wasn’t work and it isn’t work now. It’s the traveling that is the work – on stage I’m at home. And the most fun of all is when you get paid.
We had thirty-seven hits. I have many favorites. I wrote a couple that are favorites… I can list them – it would take a while.
The music business is rough on all. I have the gold records, but there has been obstacles, the shift to the digital world, production companies that didn't pay us, drugs, managers that weren’t fair with the money, changes of labels, offers that didn’t come through. There has been a lot happening that the younger acts now aren’t exposed to as much, and I have a saying that I want you to make note of: - If you’re not in control of the money the money is out of control.
It takes its toll living this lifestyle. Being an entertainer can shorten your life, like cigarettes. Tragedies are what they say: Tragedies. I have lost all of that now. And it says that I have to keep the legacy going. None of us are getting out of this alive. There is great feeling and great faith about what you do. We want to be great. I lost my only brother. I lost my daughter. I turn that into song. I have been compensated well, so why more money as the prime driving force? I can only eat so much salmon. I want to do more music. I want to please the public. Artists fight to be liked.
I don’t think that you can ever go back. You can only always go forward.
L.J. Reynolds is a legendary singer, composer, arranger, producer, manager and entrepreneur, based in Detroit. He joined the phenomenon that is the massively successful singing group The Dramatics in 1972, and has since been one of the famous voices and faces recognized as The Dramatics. This group indeed has a dramatic story, but more than anything it has had outstanding and legendary voices and has a very long string of immortal songs to its name. The Dramatics are an important part of modern American history. L.J. Reynolds' brilliant solo career includes several studio albums and two gospel albums to date.
Being a rock star in Italy in 2018 is not easy: often the famous major record companies are not interested in a policy of international music development, especially if we are talking about rock music in English. Radios that deal with promoting original rock music belong mainly to a local circuit. That’s why it’s important to have a good promoter, and to choose an agency that can work properly with your product on social media channels. The independent labels are the only resource to try to be known by the big audience.
Klee Project "Still Waiting"
After the first album "the long way" released in 2016 I really wanted to summarize the style of the Klee Project. In the summer of 2017 I’ve released 11 tracks in just two weeks! But Klee Project is a team, and not a personal project. For this reason, I wanted to involve great friends, musicians who could make this new work unique: Chicco Gussoni (Lead guitar), Daniele Iacono (drums) e Lorenzo Poli (bass). The lyrics have been written by two American singers, Mike Botula and Blitch Vizioli, who described incredible stories and sensations. The desire to represent myself in this style was so strong that I did not think of so many thrills. Essential, powerful and so strong!
To be able to express what music represents for me is certainly not easy. The feeling and the passion for this art are so strong that being able to explain it is the hardest thing to do. Surely I can say that it has always followed me, and I am happy to be able to live with music. When you live off music there is no sadness, despair, boredom, frustration, anguish - but only love and time stops magically, waiting for a new creation. An amazing world in which you can express your personality as it’s best.
Music to me is communication. It is a universal language. I can speak to people anywhere through music and they will understand me.
Music is also love. You can’t really express hatred through music. There was gangster rap, but it didn’t last long.
Music is love, unity, freedom. Music ignites freedom. It’s about people expressing their wish for freedom where there is none. The Civil Rights Movement started in music. Music is where people come together.
"Yum Yum" by Jean Chardavoine, performed by the Chardavoine Band.
I grew up in a family with a father who was a professional Haitian musician. My mother didn’t want me to be a musician. She had seen the drinking, the women… It was only when I came to the US that I could start playing. There was a lady next door who had a guitar. I cleaned her house, and she gave me her guitar, and said that it was my payment for cleaning her house. I kept that guitar by my bed at night, scared to lose it.
If you are Haitian you basically have three professions to choose from. You can choose to be a doctor, a lawyer or an architect. I was playing Hendrix by ear in High school. I went on to higher education to study medicine, but everybody seemed to have a guitar, and I went to a concert and lost my mind: “That’s what I want to do!”. So I majored in composition and orchestration instead of medicine.
I first fell in love with Hendrix and the rock era. Then came jazz. About fifteen years ago I got into my Haitian musical heritage, which is a rich and vast area in terms of melody and rhythm. About two years ago I found out about Dahomey music, which is a family of rhythms in unusual time signatures, like 7/4. You can still dance to them. Their roots are from Africa, and I started to explore them on my last album. My music is a bit like gumbo. All my favorite foods may go into the pot.
"Karamell" by The Chardavoine Band
I stayed away from Haiti for forty years. My father experienced persecution and I was told not to go back. I’m the only man in my family, I have five sisters. Then I went back in 2015, as I was invited to play at the Port-au-Prince International Jazz Festival, and since then I have been back eleven times. I fell in love with the country. They can’t keep me away now.
I am currently writing for a new CD, going deeper into the Haitian flavor. It will be a producer album, meaning that I am going to feature a lot of singers.
Jean Chardavoine is a musician and composer based in New York. He embraces hs Haitian roots in his musical output, and has received many accolades.
The musical highlight of my life was when I realized that I could say things with my instrument that I couldn’t otherwise say, and touch people with music. I treat this as the greatest resource.
Other than that being alive is what gives me joy.
Music is love, joy – sometimes it’s anger, moments of fear… I don’t take it away from my human experience.
Music is life in real-time.
24-7 Spyz with Ronny Drayton live in New York
I started out as a drummer first. I started playing drums in elementary school, and I went to a Catholic school, and played with the Junior Corps, and with a band that was Seventh-Day Adventists. My drum teacher had been teaching many great drummers, Billy Cobham among others. I was coming up the ranks as a drummer.
People would come to our house in Queens to rehearse. It had a large foyer, and the instruments would be left there when we took a break. I was in many bands as a drummer. In one band I used to pick up the guitarist guitar I understood I had a sound. Played his guitar at a rehearsal one night and got kicked out the band by his father. I was way ahead of him and them ..........It's funny now but then it wasn't nice.
Ronny Drayton with Defunkt
Ronny Drayton with Shock Council
I really started playing guitar at about 14, or possibly slightly younger than that, and went into it hardcore at around 17. My grandma gave me a guitar, and I still have it. I was in many bands, got kicked out of one, and met Hendrix in those years. The second someone turned me onto him I said that I was going to meet this guy.
What I fell for about the guitar was the pitch and the tone, listening to guitars combined with singers. There is a great connection between the human voice and the guitar.
What matures an instrumentalist is personal development, the development of character.
I have been through the melting-pot of consciousness of freeing my son from being wrongfully accused. We brought him home after almost 6 yrs on Rikers Island where we endured him being in solitary confinement the stabbings no contact etc. He went through "2 trials on a 9 count inditement". Looking at 28yrs to life. We would have won it all in the 1st trial if it were not for one witness who was a police aficionado. I did not want him chosen. That set of lawyers didn't listen to me. PS: Donovan had 6 lawyers and 5 judges........Evil to the end the system.
I did the time on the outside with him and countless visits to that hell hole called Rikers Island from all over the world. I experienced so much during that time. I received donations from people all over the world, and they were saying ‘We get you as a man, as a human being’. It almost killed me also. There were comments on social media as well, and people were scared for me. A lot of it turned out to be ending points. I was done living in the house that had been my home for 56yrs. the place my grandmother Julia Drayton gave me to grow and learn life and my craft. The balance was gone for me. And I recalled what my grandmother, who gave me the house, used to say, and it was ‘Focus on your love’.
Some days I felt like I could play, other days I felt like I couldn’t. At times I felt as if everything was coming out, at other times everything was locked. That kind of experience consumes you. There is not a lot of space for other things.
Now I feel connected in a way that I haven’t been since I was 19.
I kept journals through this period, and I have started making songs again. It will be heard on the new Spyz album, which will probably be out in September.
I am working on stuff of my own, I play gigs, I have been playing with Nona Hendryx and with Robert Fulton lately. I have also been doing corporate stuff, and I’m contemplating getting over to Europe.
RONNY DRAYTON is a guitarist based in New York. He appears on numerous albums, is a frequent tourer, and is a member of 24-7 Spyz.
An article with Steve Coleman Photo: Tracy Collins
just a sonic expression of me – of us – who are playing it. I usually play in a
group, and then music is a sonic expression of us in the group. It’s an
expression of what we are interested in, and of what we like and don’t like –
cosmically, spiritually politically, nutritionally etc. It’s an expression of
what’s going on. Everything that we are – that’s what music is to me. It’s the
same way that Charlie Parker would describe it. I have heard that generation
express this the same way: Music is an expression of what we see. Someone from
Germany doesn’t see the same things as someone from Mississippi. And even with
modern technology actually being somewhere physically is going to be a lot
different to having international contacts on your phone.
I was born
in Chicago, and so that’s a part of what I see that I can’t escape. I had no
choice there – I have my roots there. It has had a huge influence on my life. It
has a strong blues scene, a strong rhythm and blues scene, a strong jazz scene,
and it’s a very segregated town. I didn’t know anybody white until I was 18,
and I didn’t realize how segregated Chicago was until I left.
Steve Coleman and Five Elements
traveled a lot, and it was something that I always wanted to do. I wanted to
travel from the beginning, but I had no resources then. I got into music
professionally in 1977-78, and in 1993 I was able to travel the way I wanted
to. Traveling isn’t about places to me, but about cultures. It’s about how
people interact with music in different cultures and express their ideas. My
travels were not about doing gigs in these places. They usually didn’t have the
infrastructure to set a tour up.
We are not
trying to recreate music from the past or from other places. That is not what
it is about ever. We are trying to express our culture today and our problems
today, but we have a tradition and a history doing that.
to hear things from the past a lot. They want to hear what they are familiar
with. This has always been true, and I was told about this early on in my
career: - If you want to be creative you will be underground.
On my path
I have played with top big bands. For that you have to read music well, blend
well, and play different instruments. I didn’t want to play different
instruments. Then they ask you if you want the job or not, and you want the
job. I learnt a lot working with big bands, and with Thad Jones especially. I
also for example worked with David Murray’s big band, and with Murray’s octet
too. Murray is a very strong individual with strong opinions, and I learnt
confidence from him.
I worked a
lot with computer software, but there are many ways of using computers, and
even though computers are present everywhere in music now, nobody is doing the
same thing as me yet. I programmed software to improvise. It was a form of AI
you could say. I learnt a lot from George Lewis in this area.
Steve Coleman and boxer Sadam Ali
I am about
to embark on a tour of Europe with a new version of my band, including alto,
trumpet and an MC – who is not your normal MC. We do not play hip hop, even though
the media sometimes says so. We recently did a recording at the Village
Vanguard, which will be released next year, as the second volume in a series of
recording from the Village Vanguard. The first one, recorded last year, is
about to be released in 2018. We will be
touring Europe several times this year, as well as South America and the US.
Steve Coleman is a saxophonist, band leader and composer, who is also known for his musical software work. On his path he has been a member of big bands, such as the Thad Jones/Mel Lewis Orchestra, and collaborated with artists such as Cassandra Wilson and David Murray. He and his band Five Elements have an extensive catalogue to their names.
Music to me is a combination of sound, rhythm, melody and harmony – and I guess we have to add technology too now – organized by a human.
People are programming AI to compose and arrange music in the future. I’m not a fan of that as you can imagine.
It meant everything to me to grow up in an artistic family. My mother was a painter and an artist, my father a wonderful musician, my sister is a pianist and harpist, and then there was of course my brother. We had a family band, and we grew up with music, art and creative thinking before we even knew it was the case. Now my wife Ada is a saxophonist, and both my daughters are singers and instrumentalists.
I was exposed to a lot of great musicians in Philadelphia. I had it all at my fingertips there.
When I started out as a professional I was so young, and I just wanted to play. I did a sixteen week tour of Asia in 1966, and spent time in Europe that same year, where I met a lot of artistic people. We were all in our early 20s. I took part in a jazz competition in Vienna where Art Farmer, Cannonball Adderley and Ron Carter were some of the judges. After that I moved to New York and enrolled at New York University. My goal was to be a freelance musician in New York, and I immediately got work, with Clark Terry and Mel Lewis – and shortly after that with Blood, Sweat & Tears, for which Fred Lipsius was in charge of the horn arrangements.
The legacy of the Brecker Brothers is heart-warming and embarrassing at the same time. People come up to me and tell me how much the music meant to them, and it’s amazing that people still want to hear the music forty – forty-five years after it was first made, but I’m still just learning how to play.
Brecker Brothers live in Barcelona
I usually remember the projects the best where we had to fish something out quickly, out of all the projects I have been involved in. For example, when we came to record Bruce Springsteen’s ‘10th Avenue Freeze-Out’ there was sheet-music put up, but it was empty. We had to come up with something, and in the end Steve Van Zandt saved the day and gave us some lines. I don’t recall much about recording ‘Berlin’ with Lou Reed because the sessions were very well organized. Everything was set there, and we didn’t contribute much. We miss Jaco. He was a tragically fated man, but he could play any instrument and anything he touched turned into music. He was our Mozart.
It takes a number of things to be a good instrumentalist. It takes God given talent. But the bulk of what it takes is spending time in the practice room. It takes the dedication to spend the tens of thousands of hours in there that it requires. You need to learn your instrument and your language. And you can tell who has put in the time. Composing is also an element in shaping an instrumentalist. If someone has the perseverance the talent will come through and something is bound to happen.
Randy Brecker with UMO and Mats Holmquist
This year I am doing a lot of projects. As for records there is one release with the Umo Jazz Orchestra and the Swedish composer Mats Holmquist, and one with the NDR Orchestra in Hamburg. There was also a DVD/CD-pack released two weeks ago with the Randy Brecker Quinted live from 1988, featuring Bob Berg, David Kikoski, Dieter Ilg and Joey Baron – and I am recording my wife Ada Rovatti’s music for a forth release. I will also be touring Europe, Asia and the USA, and co-leading a band with Mike Stern.
The legendary RANDY BRECKER is a Grammy Award-winning peformer and composer, who can look back on a 50 year plus long career, as well as working with everyone from Frank Sinatra to Frank Zappa. The Brecker Brothers is a true trademark in music, and Randy Brecker continues to inspire fellow musicians as he looks forward to a busy and fully booked future.
For three years now we have given out the Music Journalist of the Year-Award. And we intended to do so this year as well. This award is given to a journalist for work done in the previous year. And during the previous years the nominations for the award have been up to par with the expectations for quality that you need to be able to find in a music journalist receiving this award. However, this year, after putting the artist jury together, we find that the nominations this time around are a bit too weak. We don't give this award out for the sake of it, or whatever. It is intended to highlight quality journalism about music, and should we start giving it out no matter what that would decrease the value of the award, of having received it and receiving it in the future. It does actually go to someone who in our opinion has produced great articles about music, or it doesn't actually go out at all.
We would like to thank you so very much for your nominations. The journalists you nominated gave YOU something as you read them. That certainly is an achievement in of itself.
Find out more about the award and the recipients in the previous years here.