We are currently taking nominations for the annual Music Journalist of the Year Award!
Please read more here! And please nominate your favourite journalists for the award before May 1st!
We are currently taking nominations for the annual Music Journalist of the Year Award!
Please read more here! And please nominate your favourite journalists for the award before May 1st!
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.
Blair Bryant "Sun Chaser" live 2018
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.
This annual award, which was presented for the first time in 2015 for work done in 2014, is now open for nominations!
We flip things around a bit at Musicians’ Corner. Usually when you read about music in the media what you read was written by a journalist. On this site artists write and speak about music with minimal journalistic involvement. Usually it is journalists who express opinions about music and musicians in the media. On this site musicians are about to express an opinion about music journalists – in the form of giving an award out! Yes, usually when awards are given out they are given by journalists to artists…
With this award we want to encourage accomplished journalistic work about music. It is of great significance to us all, to artists as well as to music fans.
Who among music journalists dug deeper, was in the right place, expanded your horizon, did the best interviews, took you back, described this art form and the world through it, in 2018? Who among music journalists deserves an award for outstanding work last year? In your opinion? Let’s have it!
We are open to nominations for the award until 5/1/2019. You are welcome to nominate a music journalist you read, listen to or view, a music journalist you work with, and if you are a music journalist you can nominate yourself too.
Please nominate using the form below. Include the name of the journalist/s you nominate and links to journalistic work by the nominee/s. The recipient will be selected by an artist jury based on the shortlist of journalists that YOU provide through nominating. This Award is given for work done in the previous year.
To read about the Award, and the previous recipients and juries, please visit the Award section on this platform.
Musicians' Corner remembers Bobby Womack
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.
Terence Higgins has previously done an article with Musicians' Corner. READ IT HERE.
Remembering Didier Lockwood. Monsieur Lockwood did an article with us in 2014, and it didn't take many moments into our talk with him before we realized that we had set up way too little time for the article. A man of great depths! The article became a flicker of something, as we faced the fact that we had in fact missed an opportunity to dive deeper. But the subtext speaks volumes. We always intended on getting back to him, and we especially wanted for someone to do an artist-to-artist interview with him to really get in there, into the conversation on the inside of music. Sadly this never happened, and it is without a doubt one of our biggest regrets here on Musicians' Corner.
A quartet that blows our minds: Didier Lockwood, Mike Stern, Tom Kennedy, Dave Weckl
Didier Lockwood, 11 February 1956 – 18 February 2018
Musicians' Corner remembers Warren Zevon
Warren Zevon, January 24, 1947 – September 7, 2003
- 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
He was my closest and best friend on the planet.
We played together in our neighborhood band the VSQs, we played together, with The Stylistics and with Kool & the Gang. He was such an energetic player.
I stay in touch with his sisters.
I still grief for him.
They don't stand still, do they? Trenton natives Mike and Cliff perform together.
– And what you can do to avoid it!
You owe it to yourself to reach your full potential as an artist!
These days there is a lot that is threatening to music. Music is disappearing from the schools. People’s attention spans for anything is allegedly getting shorter, while so much is competing for it. We live in an era of what’s new – and so much of it is about technology and not about the element of soul – which has always been the key to music. Our recent history is getting lost. So much of the brilliant music that brought us to where we are today is increasingly unknown to the generation growing up, as it isn't somewhere on their path. But the biggest threat may come from within, from the patterns and structures that musicians create for themselves. Because after all, the proof is in the pudding, and that's the basis for what people are supposed to be paying attention to and feel as they take in the music of the near future.
In the middle of the development at hand we have all the DIY musicians – people who have decided that music is something they want to do in life, and who therefore spend a lot of their time doing just about everything but their music – stuff that has to get done these days for the acts that do it all themselves – all the things that “go with the territory”.
Through this, musicians run the risk of doing what many parents do to their kids, only, these musicians may be doing it to themselves.
A child may be utterly brilliant at languages but not very interested in math. If so, what will the parents likely do? So many parents will of course get this child extra help in math. This child might get math lessons after school, and attention will no doubt go to his or her disinterest. In the end the young one is likely to scrape by in math because of the assistance and effort put in, while the brilliance in languages will be left dangling.
This is a model for mediocrity. Instead of going all-in on the kid’s actual talent and interest the parents are probably shaping a young person who doesn’t excel at anything.
The ambition to know everything is a pitfall. Miles Davis didn’t have to be good at running ad campaigns. Jimi Hendrix didn’t have to know about drawing up contracts. They and almost everyone else that we admire went all-in on their strengths.
In this day and age of DIY musicians the risk is major that way too little time is devoted to the music, because so much time is spent on all the chores around the music. A lot of that looks the same too. So many do “what goes with the territory” in the exact same way as everybody else, which means that nothing much of it stands out and is its own thing that breaks through this noise of the same as all the rest.
If you are a musician working through this era don’t try to do everything. Don’t be the complete DIY artist. You will spend a lot of time doing things that don’t interest you, things you’re not really good at, and you run the risk of robbing yourself of the time that you want to spend on your music.
Get at team. Get people to work with you who are passionate about the things you are only doing because you feel that you have to. This is the best thing that you can do for your music to reach its peak, and at the end of the day that is what will make you as brilliant as you can be.
We want to see musicians succeeed in 2019!
It's what we live for. It's what we do.
Musicians' Corner remembers Cleo Brown
Cleo Brown, the first female instrumentalist who was honored with the NEA Jazz Masters Fellowship.
Cleo Brown, December 8, 1909 - April 15, 1995
An article with Brian Jackson
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)
FIND OUT MORE HERE
We are happy to present the 5 winners of the Musicians' Corner 5 year Quiz!
Congratulations to Larry T, Harold F, Anna A, Alina P and Renée Z for completing the challenge and for taking home a gift card each!
It has been 5 years since Musicians’ Corner, Musicians On Music, was launched. Of course you're welcome to the party...
To celebrate we give our users a 5 fold challenge! We pull 5 lucky winners out of a hat from those of you who complete the challenge correctly and give away 5 gift cards from Ticketmaster worth $ 50 a piece. Live is what counts!
So go grab a snack and enjoy searching https://www.musicians-corner.net/ - where the info on music goes wide and deep - for the correct answers to our challenge.
1. Find 5 artists born in the 50s who have contributed articles to Musicians’ Corner
2. Name 5 artists who contributed articles this year
3. List 5 countries represented on the platform, through artists from these countries contributing articles
4. List your 5 favorite artists remembered in the “Quote”-section, and tell us in one sentence for each one why you list them
5. Give us the 5 letters of the supervising editor and founder’s first name
SEND YOUR ANSWERS TO email@example.com OR TO OUR MESSAGE INBOX ON FACEBOOK BY NOVEMBER 10TH AT THE LATEST! DO NOT GIVE YOUR ANSWERS HERE…
We will announce the winners November 15th.
Musicians' Corner remembers Clifford Brown
Max Roach talks vividly about Clifford Brown
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
Here at Musicians’ Corner there are several decades' worth of music business insight and journalistic experience of music articles present, behind the scenes. And one thing is clear as day after meeting performers, at every possible juncture in their careers, for that long: It is hazardous for the development of an artist’s career if it is a challenge to check the box for ‘He is a likeable person” (expressed in the British English that we speak here).
The truth is that so many put in the hours. So many have the talent. So many are just the right artist for the spot.
And so many people that a performer comes across in his career, and is dependent upon for his progress, also put in the hours. The question of who reaches his full potential career-wise may be more of a question of who is able to inspire people to put in the extra time. Who among the talented performers can make a multitude of people go the extra mile? That extra time, that extra mile, put in by many, is so often the difference. The artist who inspires this in people is an artist ahead of the game. The artist who doesn’t may one day see that nobody’s around in all of the town when someone’s down… Right here let’s give a mention to all the family members of artists, who do put in the time and the extra hours too, so much of the time, and keep such a lot of music up and running through their tireless efforts for their artist family member. This is a large and largely unsung group of people who deserve accolade. These days the art of inspiring folks also is very much a question of who can make enough many people out there reach past the music available for free online, usually with horrible sound quality, for their credit card and the full listening experience.
We are not talking about a ‘social media kind of nice’. The truth is that we all see through it…
We are talking about a deep-going likeable disposition being present one way or the other.
On a psychological level people tend to like individuals who seem to be like themselves, and characters they would like to be. The image machine was always well aware of both of course. This is why we have seen the multi-gazillionaire artist, who rents a squadron of luxury villas everywhere he goes on tour to put up all his staff and private chefs, still sport a pair of ill-fitting jeans too, when he has been off to meet his audience. It has been looking like he is basically only on tour when he is off the shift at the factory, still. He is just like them! The goodness knows that the ‘wanna be like a rockstar” thematics choked on their own repetitiousness long ago. Divas may need to have the dirty little secret that they are really easy-going to work with, or the funding and knowthyself to hire people who can make things run smoothly, for them.
The people who meet the artist in a work context are a very large group over time in a career, and they are important all the way. Getting through the door in music can be hard, and being chucked out from this game is something that can happen easily, if noted or not by the artist, or denied for years and years. And then it is the reaching of the full potential that doesn’t scrape by where success was possible, and the working smart instead of too hard all the time running the risk of burn-out. Of course many of the people who the artist meets will evaluate the artist strictly from a business point of view. Business has few feelings and doesn’t run on emotion. But there too a likeable personality is in the material, in the known and subconscious. It may be part of the picture evaluating you from a work- and business perspective. Will people like you? – May be the question, there as it is here. And it doesn’t really matter who and where anybody is – they would rather be working with someone they enjoy meeting than with someone they would rather avoid! And – burning the midnight oil at work is going to seem so different while done for one than for the other. After some time it will start to show. After a few thousand people that the artist ran into on a professional basis the result is going to be in. There for example will be another newspaper article or there won’t be. And music fans might ask questions like “Why is so and so not more of a household name? He is one of the best!” and “Where did so and so go?” in many, many – many cases.
If you don’t happen to have chosen a line of work where your personality matters you can behave more however you like, be much more of a ‘rockstar’ in that cliché sense, than someone whose entire success or failure depends on what people think of him. What people actually think of him, beyond some pleasantries spoken and outside of checking a clip on YouTube for a few seconds.
It is said that what we say verbally makes up about ten percent of people’s impression of us. How much singing grabs our attention, in regards to the rest that we pick up of a person, is more unclear, but the truth is that music also is part of a multitude of things that we pick up.
Working on the personality seems important for an artist. Certainly not as important as working on the music or practicing. Music shouldn’t be a congeniality contest, but about the music. Let us in the wings here at Musicians’ Corner clearly state that we wouldn’t want to be without the music of some of the ‘less merry’ artists that we have come across – way back in time – of course – before this platform was even started! But you need/ed to bring something truly special musically to be in that category, or have the ability to really sell, for people to put up with you looking for their paycheck. And in today’s climate it’s just not so much of a viable concept for accomplishment as the market has gotten so much smaller, and it’s just not possible to sell as many products as it used to be. Working on personal growth deserves a spot on the list of priorities for the performers who want to have a smooth work-life on that market.
Few internal arguments benefitted music acts, and especially not when brought to the general public’s attention. People immediately associate anything negative, uttered by an individual, with the individual who mentions it. He can actually be talking about something that doesn’t even have anything to do with him, simply reference something going on with other people perhaps, and a tad of this will rub off on him in the minds of the people who catch it. It is how the human mind works. We can say ‘Don’t shoot the messenger” however much we like. If the message is somehow bad it reflects on the current situation. Consequently talking bad about people is a bad idea.
If someone doesn’t have much of a pleasant disposition, being part of an act where someone else does may be the difference between a career succeeding and a career tanking. They can tag along with this other person’s likeability. And people who come across them after twenty years in the business may be utterly surprised at how stuck up they may still be, as if their success was not only entirely their achievement, but even something to for some reason be rude to people because of…which may be their take on their success, missing that personality that they don’t have… when in fact it has come together for them because of someone else’s abilities in this department. These may really be humans who never grew or learnt. Many others learn – something – the hard way, possibly not able to see what it was that caused their careers to not get to where they was supposed to go, or tank altogether. They did have the music. They did have the voice. They brought the show. They came prepared. They were on time. They met their obligations. They cut the deals. They made the effort. But somehow, somehow things just didn’t quite happen the way they were supposed to.
When you did music interviews for decades a lot is explained and has been clarified over the years, and who made it through and who did not isn’t so much of a mystery at times. You met a lot of artists, and who was who and who made it where is pretty self-evident some of the time.
We might like to think it’s LUCK. That is so easy to blame. If we can blame luck or the lack thereof there is nothing further we could DO. There was nothing more we could have done. Speaking of luck is related to the mentioning of the people referred to as ‘they’. That is often an unspecified group of persons who reportedly prevented something or other from happening. ‘They’ wouldn’t let me! ‘They’ did this and that, and luck didn’t come my way! But success is so frequently preparedness meeting opportunity. The ones who keep working on both are those most likely to have longstanding careers flowing where they should.
So – the best advice that we can give budding artists here is: Work on the personal growth TOO. Do what it takes. Learn how to show people who do things for you appreciation. Respect people's time. Understand that everybody has their story and stuff to deal with. On a larger scale pick a lane to go, and just be hella nice if you can muster that. If you feel that you can’t right now be savvy enough to work on that and iron out those things within that makes that difficult. It’s straight-up professionalism if you do it for no other reason, and it is particularly relevant for how it is all going to pan out for you. This may be exceptionally difficult at times, because people may not be nice to you always exactly. This is a rough business and there are for certain some very bad eggs about. We also live in times when music fans have extreme expectations on artists, and put it to social media anytime they for example didn’t get to take a photo of an artist they ran into. Being a likeable person never equated being a doormat, but it often signifies an individual who doesn’t allow for the influence of others to lower their own behavioral standards. Being tough but stylish and fair is one thing, being in a foul mood because you allowed for mean, dishonest or demanding people to push you there is another. You keep your wits about you, ink what needs to be put down on paper well, and kill as many as you can with kindness, however they behave at that, because that is in your best interests, and on a deeper level it will incidentally make you feel better too, and what goes around – within you – will come around – within – to genuinely benefit you.
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
Musicians' Corner remembers John Coltrane
An interview with John Coltrane from 1965
John Coltrane, September 23, 1926 – July 17, 1967
An article with L.J. Reynolds
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.
Musicians' Corner remembers Barry White
"Let The Music Play"
A VH1-documentary about and interview with Barry White
An article with Roberto Sterpetti
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.
Klee Project "Everybody Knows" (2016)
FIND OUT MORE HERE!
An article with Jean Chardavoine
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.
An article with Ronny Drayton
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
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.
Ohhh - there are loads of contributions where strong voices have gone deep - on Musicians' Corner.
Got your phone and some time to invest in your journey with music?
Read the words from some of the truly most outstanding players on the planet, listen to the music, be inspired!
A mere few examples:
DAVID MURRAY: - THESE DAYS PERHAPS FIVE PERCENT OF THE ARTISTS HAVE TALENT
RANDY BRECKER: - YOU CAN TELL WHO HAS PUT IN THE TIME
LONNIE LISTON SMITH: - TECHNICAL SKILL IS NOT MUSIC
JOEY DEFRANCESCO: - THE WORLD WOULD BE A MISTAKE WITHOUT MUSIC
Scroll on - on this platform - and prepare to expand.
Musicians' Corner remembers Tiny Grimes