The Urban Music Scene: Interviews

Joe Sample

2010-03-15T16:31:00Z

Joe Sample

A legend from day one for Jazz Music & a legacy unlike any other, T.U.M.S. is very excited about the interview between our guy, Terrill Hanna & Mr. Joe Sample! Mr. Sample is slated to appear in this upcoming weekends 5th Annual Jazz In The Garden - in Miami, Florida (3/20-21/10)! He stopped by the scene to speak on that performance to happen, News about The Jazz Crusaders projects down the line for 2010, some insightful dialogue & much more! Enjoy!

TERRILL: The Urban Music Scene.com is more than welcome, very excited about having this beautiful interview conversation with one of the greatest piano jazz players in the world, in the history of the game of jazz, we welcome Mr. Joe Sample to The Urban Music Scene. How are you doing Mr. Sample?

JOE: I'm doing fine and thank you very much for giving me such a wonderful invitation.

TERRILL: You're more than welcome sir. Next week, The 5th Annual Jazz in the Gardens in Miami hosted by Tom Joyner, will be on and you are slated to play. Are you looking forward to that big concert?

JOE: You know, I heard about the concerts in the Garden from previous years, but of course this is the first year that I have really gotten into it. I can learn what it's all about. I must compliment Mr. Joyner. He has always been very interested in music. He is a music lover and I have performed live on his morning radio shows. I did it once and I was supposed to recently do it again, but something came up and I couldn't do it.

TERRILL: This is a great time to pay him back, huh?

JOE: Oh yes. And it's always wonderful when you find people who really believe that music is a true part of the culture and you get out and support it. That's how it was when I was a child, a youngster, a teenager all throughout the 60’s the 70’s. It was just tremendous love of music.

TERRILL: How do you look at music from your pivotal growing period? I mean your earlier periods of the 60’s and 70’s with the Jazz Crusaders, as compared to today’s sense of contemporary jazz music?

JOE: Well, recently I have been listening to a lot of the XM (Sirius Satellite) on the real jazz station, and yesterday I thought that the programming was very, very, very wonderful. I noticed that most of the music that they were playing was basically created in the 1940’s and the 1950’s. Now in the 1940’s I was a kid, and the 1950’s I was a teenager going into young manhood. In 1960 I was 21 years old, and I sat back and I said you know what, I grew up on this music. I love this music, but also recognized that I didn’t create that music. I took a look at what the previous generations had done and I turned it into my generations of music. And yesterday after all of these years, it was really fascinating to me to have a full day of listening to the music of the 40’s and the 50’s and even into the 60’s. The thing about what am I doing now, is right now currently I am writing for the Hamburg Jury Big Band known as the N.T.R. Orchestra. So this music isn’t the same as the 1940’s or the 1950’s, but its certainly has the roots of the American jazz groups I should say. So it’s fascinating for me to have witnessed all of these changes, yet still they have the core of all the these changes. You still have the roots our music.

TERRILL: When you take from that sense of a dynamic sound from back then and move into an area, or sense of years in 80’s, 70’s and 80’s jazz crusaders or more fusion, a more funkier sound, how did you come from a big band, more traditional jazz to more of a contemporary jazz sound?

JOE: Well I believe that the roots of funk were always there.

TERRILL: Ok.

JOE: When I remember James Brown, he was working the chitlin circuit. I remember Ray Charles, when Ray Charles worked the chitlin circuit. Ray Charles had one of the most fabulous bands, and he had David “Fat Head” Newman. He basically had the soul, rhythm and blues, and jazz all mixed up in his one band. Ray Charles also loved to play jazz at the piano also. What was it, 1961 or so? And in the early 60’s, he became known as the soul man. He took the gospel music and placed it into his own personal music. He actually put in country music, which he did a record of all the great country songs. And then here comes James Brown in the mid 60’s and he comes up the beginning of funk. But it has always been there, smoldering right beneath the surface. Those are the roots I'm talking about. Its always something there that you can recognize. If I take this feeling and play it like that, you could call it this.

TERRILL: Considering the background of that old school sound of R&B and much of which of course we’ve heard over the years, with your connection, founding with the Jazz Crusaders, do you ever today in 2010, feel the itch or a desire to bring that group back together? Are you guys ever coming back together to do something like this again?

JOE: We are planning on doing some things this Summer. It’s not the Crusaders, the Jazz Crusaders.

TERRILL: The Jazz Crusaders, yes.

JOE: We want to play the music of the 1960’s. Yesterday when I was listening to XM (Sirius Satellite) radio, the real jazz station, they kept playing some of the tracks from a live recording we did at the Lighthouse, perhaps in ‘66 or ’67, and I wrote this piece called "Scandalizing". While I haven't heard this thing in 40 years, and it was so refreshing and I said 'Wow, that music is wonderful'. I love the music of the Jazz Crusaders, but by 1970, Woody had moved onto something else, and ended up with Street Life in ‘79. So it's always a pleasure to go back, and to create the music again and to play it with that same feeling, which on my live shows, I have been doing. Our very, very first recording and the title track is titled 'The Field Sound'. It was the very first composition I wrote. That I wrote that was ever recorded and it was the title of the Jazz Crusaders very first recording. I have recently been playing that live, and people love it. It's fascinating, it is so unlike, well let's say spellbound. It has its own unique character.

TERRILL: Speaking of what you said earlier in your statements about 'Street Life' back in 1979, just out of coincidence, 'Street Life' is (was) our Video Of The Week (ending 3/14/10) on The Jazz Page, with you and Randy Crawford. Which automatically leads to the next question: The last two albums you had recorded with Randy Crawford - the 'No Regrets' album, and the one prior to that, what was it like to be in the studio with Randy? On and off the stage?

JOE: Well I know with Randy, I come to the studio, I know what is going to happen. First of all the musicians there: it was Christian McBride, and there was Steve Gadd, and I like to go in with a trio because I always like to have one opinionated force that is creating the record and since I'm, it was my idea, and I have arranged the music than I am the very opinionated power in that room.

TERRILL: Right.

JOE: A lot of that music is going to feel and sound, and we decided to do that because of Tommy Lipuma and Pat Raines, our manager and Randy, we all pick the songs. Tommy Lipuma and I, and our manager pick the songs and Randy said 'I don't want to know anything about anything you just, as you begin to choose them I'll let you know if I like them'. And this is what Randy did. So by the time we got to the studio, I knew that we were going to nail every single piece that we did. We were going to nail it, first take or second take. So I got to make sure that everything is correct on the paper. Because I don’t want us to have to stop. Because I have inconsistencies written on the paper and the paper is just a basic guide. So we will know where we are and that’s what we did. Most of the recordings that I have ever done with Randy Crawford have always been one and two takes and that’s the way I have always recorded since 1961.

Joe Sample & Randy Crawford/Street Life

We used to only get two takes a composition. You would do side A in three hours on a Monday, come back Wednesday and you do side B in three hours and you only had two takes. So we were like fighters stepping into a championship fight.

TERRILL: Wow. And you know what came back is a wonderful production of 'No Regrets', which I believe was Grammy nominated.

JOE: Yes. I think I had fifteen other nominations, but I have never won a Grammy. Maybe before I die I’ll get one, but to me it’s no big thing anyway.

TERRILL: Right.

JOE: And but it is nice to know that the recording was very respected and to be honored and a nomination is also wonderful.

TERRILL: We want to share something with you I think would interest you. I believe it’s something that a lot of people would love to hear come to pass, if indeed possible. Last year we had the opportunity to interview Jeff Lorber, another great keyboard jazz player. In the interview, I had the chance to ask him if he would be interested, it would be a dream collaboration, if three great piano players, such as yourself, Jeff Lorber and George Duke ever came together to collaborate on an album similar in style to the recent Stanley Clark, Marcus Miller and Victor Wooten (SMV).

JOE: Yes.

TERRILL: And Jeff said that he would be all game to that, but didn’t know how everybody else would think about that. What’s your thoughts about a project like that? Would you do something like that?

JOE: Well I have recorded with Bob James, a two piano thing. If it would come to three pianos, maybe six hands, you don’t have enough frequencies in the spectrum for six hands. That would never occur to me because we know four hands or two pianos playing together. A third piano coming in, of course it could be possible. It could be two pianos, but also electronic instruments. It could be possible in that category, you know like acoustic piano and then a Fender Rhodes and then maybe a synthesizer, or two acoustic pianos and a Fender Rhodes electronic piano. They would have to have different sounds.

TERRILL: Yes. They would have to definitely come in the house big time with all those pianos and the arrangements. I mean that was a very interesting question that came about and he really enjoyed the thought. I’ll share that with him next time we talk.

Last but not least, are you planning on a solo recording again?

JOE: You know what? At late night I’ve been up there writing for the German band and at least half of the time I’m up there doing solo piano. Yes, I want to tremendously. My piano is going back to the Steinwave refit shop and they’re going to re-string it. In the meantime, my biggest thing is looking for the repertoire that I would love to put together. I would get into that. Yes I would certainly like to do another solo piano album as soon as possible.

TERRILL: You had mentioned earlier that you're going to be on tour a little bit this year with the Jazz Crusaders?

JOE: Yes. Yes.

TERRILL: Great! We'll make sure to add the information on our Concert/Festivals page. I'm looking forward to come out and support you and I know next week in Miami (5th Annual Jazz In The Gardens), those people are going to be surrounded in the whole spectrum of love when you come up on stage Mr. Sample. On behalf of all the writers and our readers here at the Urban Music Scene, we say Thank You. We definitely appreciate all of the music you have given us, which span well over forty years and we just really hope and pray that you keep it going for us one more time.

JOE: Yes. I’m having fun and all I want to do is just live long enough to continue to have fun.

TERRILL: Well boss man, thank you so much! Hopefully when that next album comes out, we’ll do another interview?

JOE: Oh yes...oh yes, definitely!

TERRILL: Thank you so much Mr. Sample and we’ll talk to you soon.

JOE: Alright. Bye-bye.

Vanessa Williams

2009-06-10T13:53:00Z

(photo credit: Gilles Toucas)

Aside from a very busy schedule on her plate, Ms. Vanessa Williams took some time out to talk to Terrill J. Hanna about her new release, "The Real Thing" & shares into the making of the record, various topics & then some! We welcome Ms. Williams to The Urban Music Scene!
(interview held in May, 2009)

TERRILL: Vanessa, thank you. And welcome to The Urban Music Scene! How are you doing girl?

VANESSA: I'm doing very well thank you. And you?

TERRILL: I'm doing good. Yes, I'm doing very good now! How's the East Coast?

VANESSA: East Coast is raining today. It's overcast and misty, but hopefully it will clear up. We had some summer weather recently. So, I'd like to get back to that as soon possible.

TERRILL: It's really kind of cloudy out there, but thank you for your time today. We want to talk to you about The Real Thing. Please talk to us about The Real Thing...

VANESSA: Well, it's my latest CD. It took a bit of a while to get it done. I met with Concord, probably two years ago. I thought I'd be able to crank it out while we were shooting "Ugly Betty" in LA on my days off. In between my shooting schedule. Then they moved the entire shebang to New York. We had some logistical problems, so it's finally done. We did some tracks in L.A., some tracks in Tennessee, some tracks in New York and worked with some of my old friends - Babyface did two tracks, Rob Napis - my musical director who has done three of my albums, Producer Rex Rideout & it was the first time I worked with him. He did two (tracks) and Keith Thomas has done all my big hits: "Save The Best For Last," "Sweetest Days" "Colors of the Wind," & he also did about four tracks. It's a compilation of about 50% of new material and 50% are covers. It's a mix of R&B, pop and some Latin rhythms. It's all over the place but it actually feels pretty cohesive.

TERRILL: The one thing about your music of course, from over the years, is you leaned on different genres. Your first debut album The Right Stuff, was probably one of the baddest ‘80s albums that made a declaration about your singing career.

VANESSA: Oh thank you.

TERRILL: It really did. It started with some real good singles. And therefore you changed from that angle and moved into the jazz vocal spectrum. What made you go from the R&B angle, the real hard pop of that, to singing a lot of standards?

VANESSA: I think I'm lucky to be able to be versatile as a singer, performer. When I first started out most of the songs that I had as demos were a jazz musical theater thing since I had a strong background or so going into the R&B and pop era; of course I was in my 20's at the time but I always loved jazz and knew that I could perform that. So, it's not a new concept that I am embracing, it's just that it lent itself to where I am now. Concord Records is the one that has my latest effort The Real Thing. It's certainly a jazz label. They have George Benson, Dianne Reeves, etc., so it's pretty much a jazz label. They're venturing into like a smooth R&B sound also. We gave them a little jazz, a little R&B and it fits right into their demographic.

TERRILL: Absolutely. And we have it reviewed right here on T.U.M.S.; Having personally listened to it myself Vanessa, you have such a very beautiful voice.

VANESSA: Well thanks...thanks. You know, it's a joy to get back in the studio. Every year I do these runoffs: a weekend here, a weekend in Atlantic city. I'm used to performing throughout the year but it's nice to get to the city and get into the studio and have new material. The last new CD I had out was in '05. That was covers. There was only one new track on that. So it's great to debut new music.

TERRILL: Oh absolutely, what was one of your favorite songs on that album that you would tell us to go and listen to?

VANESSA: One of the songs which is, just to show you how really talented Babyface is: I called him up and said, 'I got a new album, can I get a couple of tracks?' and He said ‘Sure okay. What are you thinking of?' I said, ‘Ah you know, it's for Concord Jazz' and he said 'Let me call you back.' Within days, Babyface had two songs that he had gone in to do and they're perfect!

One is a jazz song called "Loving You", which sounds like an

old Billie Holiday cover, but it's a new song that he wrote. And the other one is "Just Friends" (see video above!) which he came up with. Within the first four measures you can hear that Babyface signature sound and he produced those in LA. So it was great to work with him again.

TERRILL: You're such an articulate actress. You had starred in so many productions, such as a number on hit TV show "Ugly Betty". The "Hannah Montana Movie." How is "Ugly Betty" doing?

VANESSA: We're just finishing up the third season today. It's actually our last night of shooting. It's been a great season & we moved back to New York this past year for season three. We've been shooting in around the city and it's been great. It's really been great for the show. We got picked up for next season and we will be back in a few months to start season four. So it's been a wonderful roll....it's a great cast. The writers are wonderful and we're loving being a part of the city and also being on television, doing a show that's unique.

TERRILL: Going back to your album, The Real Thing, do we have some tour dates that we need to talk about? Are you going to be in Atlantic City?

VANESSA: I'm doing Atlantic City, May 8^th and 9^th (2009). That's Friday and Saturday night at the Tropicana and I'll be doing some television appearances once the album comes out June 2^nd. But then I got to go back to work in July, so I have a small opportunity to perform but I'm not going to be doing a mini tour unfortunately. I might consider doing some runoffs on a week out there.

TERRILL: Like I stated, this album is different. It is a unique album. It explores the depth of your vocal approach. My hats off to you! It's a very nice & quiet CD and it's a different change of pace. I think that you got a real nice thing going on with 'The Real Thing'. I think the last thing we would like to ask is just basically ... and I have it here, I have tons of questions but I don't want to go past the minute mark. But the thing about Babyface and Rex Rideout: did you choose the producers, or was this Concord Music?

VANESSA: Actually, the only one I had to work with was Rex, who is a lovely man. And he wrote a song called "Breathless" (see video above!) which we did. Which is another one of our focus tracks. He produced "Lazy Afternoon" which is an old Harold Allen song from the "House of Flowers" which is one of my favorite musicals. He did a great R&B approach to that. That was great. Babyface was another one of my calls and so was Ralph Mathis. I would say the majority of people that worked with me before, I know them and love their artistry and they're always ready to roll when I call, which is fantastic.

TERRILL: That's what I'm talking about! Before we close, we would like to talk about another topic of yours. Please talk to us about, a little bit about your outspoken support on Human Rights Campaign, a little bit about Alley For Equality

VANESSA: Well, tolerance is something that needs to be fortified and expressed in this day and age. It seems like everyone is being kind of... and you definitely saw it within the vigorous campaign for President: People were getting very divisive in terms of labeling - you're this, you're that. Not saying ... in general. So, H.R.C. is basically making sure that people's human rights are respected and everyone gets a chance no matter what they're background is, what they're sexual orientation is or what they're race is. It's about equality but it's also about acceptance. I'm lucky to be able to lend my name or be honored or appear as part of any charity that I truly believe in. There are tons of requests, but I chose the ones that touch me and that I feel like I want to be associated with.

TERRILL: It sounds like you're very outspoken about the Gay community too. Talk to us about that.

VANESSA: Well, being in New York, growing up and also being an entertainer - being in theater and dance my entire life. I wouldn't know my life without having Gay friends. When I hear stories of violence of hatred because of someone's label as being a Gay, again it is an affront. I keep waiting for people to be accepting but hopefully they will become sooner or later.

TERRILL: Understood. Like I said, we've always followed your music from day one. Your acting career is all supreme as well as your singing career. God bless you for doing what you're doing girl! And we thank you so much for taking the time to spend with The Urban Music Scene!

(photo credit: Gilles Toucas)

VANESSA: Thank you.

TERRILL: We wish the best for your new project, 'The Real Thing'.

VANESSA: Oh great. I appreciate it.

TERRILL: It's good music, it's very good music. Would you like to come back and do a part two of our interview?

VANESSA: Sure, sure. We'll definitely hook that up.

TERRILL: Absolutely, good. Thank You Vanessa and good luck to you and we'll talk to you soon!

VANESSA: All right, thanks so much.

TERRILL: All right, take care...

The Urban Music Scene

Visit Vanessa Williams website by clicking here!

Donnie McClurkin

2009-04-03T23:26:00Z

Its been some time since we have conducted an interview here on T.U.M.S., But maybe Terrill felt like doing some more to keep y'all interested. With that said comes our conversation with Gospel great Donnie McClurkin! Off the heels of his latest release, "We Are All One", Donnie touches on the making of the record, who he is listening to in the gospel music industry & much more! We are very honored!!

TERRILL: Good morning Pastor McClurkin, how are you doing? Welcome to the Urban Music Scene!

DONNIE: God bless you Terrill. I’m doing fine, how are you?

TERRILL: Good man, I’m just doing it man. Thank you so much. Talk to us about your new recording “We Are All One,” the new live recording...

DONNIE: Well, it’s a recording that just came out of the need for me to relay to the people.....of the need for us to praise our differences. And understand that each person is individual in the sight of God and he loves us all the same and that there are no schisms or divisions that really should bind us. But we should begin to walk in unity, to fellowship and that’s what I wanted to relay.

TERRILL: I understand that you have a mix of some nice live recordings as well as some studio tracks?

DONNIE: Yes, yes.

TERRILL: You had brought together, special guests Mary Mary, CeCe Winans, & Yolanda Adams (to name a few) on board. Before I go any further, there's a song called “Wait On The Lord,” with gospel songbird Karen Clark Sheard...

DONNIE: Oh yes, that’s the driving song on the CD.

TERRILL: “Wait on the Lord.” (To see video, please click here.)

DONNIE: “Wait on the Lord.” Yes.

TERRILL: Perfect timing for the economic times, Huh?

DONNIE: I don’t know if it was purposeful, but it fell right into place. You know..Karen Clark Sheard....Karen drives the song so that it stays in you for the rest of your life. That girl can just sing. And when I wrote the song, she came in at the last minute because I had somebody else that was going to sing that day, they got billed three days before. I called Karen and Karen said, 'oh no I’ll do it' and came into rehearsal – and it is what you heard.

TERRILL: Oh wow. I tell you what, it’s such an amazing track. Not so much if you hear it from a recording somewhere; but also when you two perform live. When you do it live it’s more captivating.

DONNIE: Well because then you can actually see, uh feel the tangible anointing of God and how it really is from our individual experiences.

TERRILL: Yes.

DONNIE: With Karen and I singing, it’s not so much like it’s from the single of the CD. It is our life’s experience. God can give you a testimony about how she almost died going through a procedure in the hospital, in a coma for about a month. And how everybody began to pray and wait for God to heal her. So we’re singing from experiences that we’ve been through. So that makes it much more dynamic.

TERRILL: Going back to you know – about how much the song, rides parallel to the difficult times that we’re in. It definitely has to be one of the top choices for uplifting gospel songs for the year.

DONNIE: That’s how God does, you know it wasn’t purposeful. I didn’t purposely write a song to deal with the relevant, you know, issues. It’s just God. He interrupts your plans and say, “I want them to hear this and I want them to trust me.”

TERRILL: Great song!

DONNIE: “…I want to know I’m not going to leave them. If they just wait on me. I’m not going to leave them. Tell them to wait on me. Tell them I’m going to show up in my own timing.”

TERRILL: I receive that Pastor. I receive that. And then of course going down to one of your other tracks. In terms of collaborations for duets – CeCe Winans, Yolanda Adams, and Mary Mary. What was it like to record with these four beautiful ladies on “When You Love?”

DONNIE: Well, it’s a lovely thing. It’s a wonderful thing. All of them are like sisters to me. In this era of gospel music, the majority of gospel artists are so close and so real. That it is the first time in the history of gospel music that we’re each other’s fan and we’re each other’s family. And literally, we know each other’s kids. I’ve known CeCe’s kids since they were about born. Yolanda’s daughter Taylor, you know the whole nine yards. And Ericka and Tina’s kids and we’re family. So when it comes to work, it’s not really a job. ‘Can we do it.’ ‘Oh you need some help? okay', That’s the way it was. I called and said Yolanda I got a piece of a song, "oh go on and send it to me,’ and Yolanda said ‘I’ll do it no problem.”

TERRILL: And that’s the kind of relationships that makes great music. You know, when you can count on one another to come in to play a part, be a part and to become such a very spiritually anointing calling and well received for - its good to hear that that all came about for that particular track. So the album in general, there are other songs you would put out there for gospel lovers to look out for?

DONNIE: I did a track called “The Great I Am.” And It was nothing but a juberant, Church of God in Christ, tambourine raised feeling track. You could see people dancing in the aisles when you hear it. And that’s one of my favorites because it brings out the church in me, the old man church in me. The production of Aesap Ford, a brother named Aesap Ford. He produced the 'snot' out of that song. He produced that, so it was unbelievable. I mean literaly by the end of this song you’d be dancing.

TERRILL: That’s all right! That’s why I can’t wait to hear it and it’s coming my way. And to record the tracks at the Straight Gate International Church in Detroit?

DONNIE: That’s it.

TERRILL: Talk to us about the church.

DONNIE: That’s Bishop Andrew and Vivica Merritt. They are some of the most humble and loving people that I’ve met. They got a church there and it houses about 4,500 people and it was jammed pack. But the doors were so opento us and to let us come in there and he stayed for the whole entire thing.

TERRILL: Oh wow.

DONNIE: Just great leaders in Detroit and a landmark ministry in Detroit.

TERRILL: And I’m sure the recording resonated all that feeling, all that flow.

DONNIE: Yes!

TERRILL: You have a very exciting release coming!

DONNIE: It’s absolutely energetic.

Donnie mcclurkin ooh child
Uploaded by xbadboy

TERRILL: Right, that’s what I’m talking about. All of your music is energetic as well, as well as educational, if you will for the word of God. As opposed to being a motivational singer too. And you know we can’t stop pretty much short of all the accolades that already may have came your way. Speaking of that term and terms of gospel music … The music that you create Pastor that is - the music that is out today from the old school to the new school, what is it about new school gospel today that you feel is great? How do you look at gospel now and where do you see gospel going into the next couple of years or so?

DONNIE: I think what the, what the new school offers is wonderful because the talent is so far advanced. It is so acute, they’re singing better than we’ve ever sung. And they’re writing songs with flare, that are reminiscent of secular but so strong in the message. We got young boys like 21:03, you got KiKi Sheard, Karen’s daughter and the list goes on and on. The new talent that’s coming up is absolutely on fire. You got Crystal Aikin out of Sunday’s Best. And they are adding such life to stuff and I love that about them. Kirk Franklin, he’s not even considered youth anymore, but he’s still a father of this young hip hop following. Tonex, everything that is adding on to the growth of gospel music. And I see it, I was looking at kids 12 and 14 years old and 15 and 16 years old. I go to church in Missouri. I feel that the longevity of gospel music, I feel that its coming up behind us. "21:03" are going be old men and the kids that are coming up behind them are going to be greater than them and that – that scares me and it gives me great hope.

TERRILL: That’s inspiring to hear from you. Out of the groups mentioned or even some that you probably haven’t, is there anyone out today that's really grabbing your attention at this moment?

DONNIE: I would say KiKi Sheard, which I have. The only CD I listen to over and over again. And she’s just 21 years old.

TERRILL: Wow. Man that CD is blazing!

DONNIE: 21:03...

TERRILL: Yes. And speaking of … going back again to your new album right now - Are you planning to do any tours or special productions coming up to promote it or to do any live performances?

DONNIE: Yes, we have. We’re setting up a date on TBN to do a whole CD on TBN and send it out across the globe. We’re setting up with the record company and Feed the Children and a couple of other entities, a 40-city tour.

TERRILL: Great, great.

DONNIE: Due by the end of this year (2009).

TERRILL: Great, great. Man you know what, we’re so excited for you Pastor and we’re so thankful of you for taking the time out to spend with us. We wish you the best. Is there anything that you’d like to share with The Urban Music Scene listeners out there?

DONNIE: Now, I just want to thank you and every one of the listeners for the support that you all have been giving me through the greatest and even the most controversial things I’ve gone through. The support that you all have given me has sustained me and given me the breath and the break to be able to get myself back together and to stand strong and not let down the gospel of Jesus Christ and I really want to thank you all for that.

TERRILL: You’re more than welcome. We thank you for staying consistent and being such a blessing in the gospel market, in the gospel field and also being a motivational speaker at that. And we would like to know down the line - If it’s possible to do a part two of an interview maybe six months to a year down the road?

DONNIE: Oh sure, sure. I’d be more than happy to.

TERRILL: Sir thank you so much for your time and I’m not going to take you away from that. God bless you and we’ll talk soon.

DONNIE: Thank you so much, I appreciate that.

TERRILL: You got it sir, take care.

DONNIE: Bye, bye.

Visit Donnie McClurkin's website by clicking here!

Jeff Lorber

2008-11-01T15:29:00Z

JEFF LORBER

Keeping true to the game of jazz & always keeping the flavor of the keyboards in check, we are honored this month to share quality time with Mr. Jeff Lorber! You may remember his hit release back in the 80's with "Facts Of Love" feat. Karyn White. But there's more to Mr. Lorber than a hit single. He has a great catalog of projects from back in the day, specializing in the field of Jazz Fusion music & he is currently on the move touring with smooth jazz team ~ Guitars & Saxes ~, as well as promoting his new release on Peak Records, "Heard That". Pull up a chair & catch the vibe shared between our man, Terrill & Jeff, as they speak much upon Mr. Lorber's endeavors!

Terrill: In the house - the one and only, Jeff Lorber the man who brought you Kenny G. the man who is definitely out and about. He has the new release "Heard That" and it's reviewed on The Urban Music Scene. We welcome Jeff in the house. What's up Mr. Lorber?

Jeff: Thank you, thanks for having me. This sounds great! I can't wait to talk to you about my new music.

Terrill: Yes, what's going on with "Heard That"?

Jeff: Well I just got signed to Peak Records, which you know they have been pretty strong working with Concord and Universal music to sign kind of aggressively a lot of the artists in contemporary jazz. I'm always glad to be a part of their family and I got together with Rex Rideout, who is a producer and songwriter - who was recently known for working with Ledisi and producing her debut album and Lalah Hathaway as well. He's working quite a bit with people like Boney James and Rick Braun. Some of the top contemporary jazz artists. And it was my first time collaborating with another keyboard player like himself, so that was a lot of fun. We got a chance to kind of compare notes about different keyboards and techniques and stuff like that. We just kind of got together and did a nice little sort of combination of blues, jazz, & R&B. You know, it was definitely a strong like funk and R&B kind of style on this record.

Terrill: Actually when we played it back for one of our writers, he did a review on it and he gave it such a high regard - we're experiencing a lot of click throughs on it, man. You also have a very impressive list of players from Gerald Albright, Rick Braun, Paul Jackson Jr.... what was it like to work on this project with those elite musicians?

Jeff: Well I'll tell you about living in Los Angeles. Living in L.A. has some bad aspects, pretty good traffic and has some congestion and all that could get pretty crowded. But it's really a community of musicians, of creative people that's pretty amazing. There's so much talent in this town and that's why I enjoy living here. We got a terrific little rhythm beat (studio) where we cut most of the material live. Mr. Roberts, whose actually from Philly originally, talked about moving out here. He's a drummer who worked with me a lot on my last few albums. And of course he toured with Jill Scott recently and also I think he should be getting married or something. So ...

Terrill: Ok.

Jeff: We had Alex Al, who is an amazing bass player, studio player in the studio of course and Darrell Crooks, who I don't work with. He is a guitar player who has played with Chaka Khan and a lot of other people. So basically we cut a lot of the tracks kind of in one day. Really, in the studio, with the players. You know, the focus of this record wasn't so much about all the guests. It was about just the writing and coming up with funky grooves and we sort of brought people in as we needed. So they could bring their special talents to flush out these grooves. For example, there's this song "Gamma Rays", which is definitely a sort of a real fusion jazz feeling. We got Dave Weckl who's one of the greatest drummers of our time and we had to get him on that. Mike White who's the drummer who plays with Maze. Got a terrific kind of funky feel and we had him playing on a couple of tracks with us. I mean these are some people that are behind the scenes, but are really important to help make your record sound good. He's a recording player, mixer that's worked on almost all Luther Vandross records, & most of David Sanborn's albums. We were lucky to get him to mix four songs on the album, which was great. That was my first time working him, but he's somebody Rex really likes to work with.

Jeff Lorber: Under Wraps
Uploaded by Fanuchi

Terrill: You've been in the game for quite some time Jeff. I mean you've been around the block. You've seen the ins and outs in the industry with every album you had put out. Always consistent to a certain groove. And with that fusion background and a lot of the R&B, it's not hard for you to put together anything that smooth man. You are a major catalyst or reason why we think that a lot of people are actually trying to keep up with you in the game, if you know what I mean.

Jeff: I'm always trying to keep it fresh. That's why I like to collaborate because if I just did everything myself it would kind of sound like the same after a while. So I like to really count on the people who could bring a lot and could bring a certain kind of objectivity to help me develop and expand what I do. That's what I really enjoy is collaborating and kind of taking my little take on funk and R&B and what I like. Keep the kind of grooves I like and the melodies I come up with and stuff and just sort of explore some different musical territory with the help of different people that I co-write and collaborate with.

Terrill: One time or another, have you considered going back and producing a project for the sake of the old school fusion sound? Have you ever thought about dabbling in that genre or just kind of putting together some sort of a project geared towards jazz fusion?

Jeff: Well honestly, I think my last, the last record in particular had quite a bit of fusion flavor on it. I mean I really have an affection for that sound and that's a big part of my musical identity. I've been trying to incorporate more of that really and we play a lot of the old music too. We play songs like "Wizard Island", and you know "Black Ice" and "Katherine". We try and represent the original fusion and flavor. In addition to that, we got sounds like that time I was mentioning "Gamma Rays", a new album and on my last record it was surreptitious. It definitely has a real heavy fusion groove to it.

Terrill: What about "Night Sky"?

Jeff: That's one of my favorites. That's one we're playing live and actually on this record, we went back and we found some different grooves from my old records and we sort of borrowed some chords in a song called "Night Sky", which is from my 'Wizard Island' album. We kind of used a little turnaround for that. So that's why we had to let people know that it was kind of similar. Here's what's really interesting about that song is the form, it just has all these different sections. So it keeps it really interesting. We have to go ground solo which I rarely have on any of my records and you know that why it's so much fun to play live.

Terrill: And speaking of live, are you getting ready to kick off a major tour blast promoting your album?

Jeff: Well, you know, I would like to. This time of year of course, everybody is going out on Christmas tours and things. We have a few listening parties coming up I'm going to be playing actually, the day the record's release which is the 30^th. (October 2008)

Terrill: Yes.

Jeff: I'm going to be playing in San Diego at a release party. The day after that, we're going to go to Sacramento and do the same thing up there. And I have a few gigs coming up - I have some Guitars & Saxes gigs. I've been touring with those guys - with Gerald Albright, Jeff Golub and Peter White, so that tour's been going around the country for the last six months. We have a few more dates left playing. We scheduled a date in Austin, we had gigs in Houston and Austin but that hurricane kind of messed us up. We got that rescheduled and we're playing in Connecticut and Long Island, so we got that coming up too.

Terrill: You know, I caught you over at the Playboy Jazz Festival this year (2008) with the Guitars and Saxes, man you guys did great!

Jeff: Well, that's what we're trying to do. You know it's funny because they had so much great music that night - Herbie Hancock who's my all-time keyboard player, piano player. It's so much a pleasure to hear him play. We had to go out there and see what we could do after that.

Terrill: That's awesome man and I hope to see you guys again. We wish you the best of success on your "Heard That" album. After listening, it's just another one of your stellar releases man. Very beautiful music.

Jeff: We're trying to. The last record was really ambitious & experimental. There's a lot of like going 'straight up' stuff on it. The people that kind of like the funky R&B grooves that I'm known for, that is what's on this record. I think those are the people who really go out and buy my stuff. And so for those people, they are going to definitely like this one.

Terrill: That's cool man! We had at a time your hit video single with Karyn White "Facts of Love", was jamming on the R&B page and it had a lot of responses for it. It just brings back the memory of how much music you've released over the years, a tremendous amount of it and we thank you so much for releasing some of that great stuff.

Jeff Lorber & Karyn White. Facts Of Love
Uploaded by capitainfunkk

Jeff: I got to bring back "Facts of Love" and put that out again.

Terrill: Yes, you need to put that back out brother.

Jeff: (Laugh)

Terrill: Don't mess around man! Put that back out! When you put out the "Philly Style", "Kicking It" & "Flip Side" CDs....those CDs were supreme as well man! We just know that this new one is going to be the next one in your stage of success. But another big question for you Jeff - of today's music genre in today's generation of musicians, is there anyone out there that's appealing to you?

Jeff: Yes. I try to stay up on top of it. I actually listen more to producers than I listen to the artists sometimes, like Pharell and The Neptunes. Some of what Dr Dre is doing of course and you know I always try to check it out. What I like is....I like the funky grooves. It seems like as far as rap music is concern it sort of goes through different phases. Sometimes it gets more funky and sometimes it's less funky. It always hits hard - it works with the rap. I turn to the music behind the grooves I'm checking out. Partly because I think a lot of the really innovative ideas in music come from rap music, come from those rap producers. They're very innovative. They come up with ideas. So I'm always checking that stuff out. To be honest, at the moment there's not a lot out there that's getting me super excited. There's a lot of stuff from the people I just mentioned and they all put out incredible music. I'm always checking out what they're doing.

Terrill: There's another cat named Timberland, do you listen to him?

Jeff: Of course...oh yeah. I've been listening to him since he put out his first record with Timberland and Magoo. I got his first two CDs that those two guys put together.

Terrill: Oh man that's going back a little bit. What about another producer by the name of Chris "Big Dog" Davis.

Jeff: Well yeah. Obviously he's more into the R&B than smooth jazz stuff. But from what I've heard from him, he is very strong and basically he does stuff similar to what I do, so I definitely appreciate that and I listen to what he's doing and I think he's excellent.

Terrill: One of our reviewers, Marv D., came out with a question that I thought was very interesting - he said 'ask Jeff has he ever thought about putting out a collaborative release between him and Joe Sample and George Duke?'

Jeff: Kind of like umm ....

Terrill: SMV. (Stanley Clarke, Marcus Miller, & Victor Wooten)

Jeff: I Like that. Which is a really cool album by the way I really like that. You know, I love both of those guys and I would love to do that. The problem is when you get the keyboards, basically you can only play like musically one or two notes at a time. With keyboards, you can play a lot of notes so if you got three keyboard players together, you got to be really careful because you could get in each other's way real easily.

Terrill: Right, I understand.

Jeff: But yes, that would be a great idea, let's do it.

Terrill: Maybe we could make some phone calls and throw some e-mails together, you know. ...

Jeff: There you go.

Terrill: We're talking three legends on the ivories!

Jeff: I got to tell you: Joe Sample.....he's a guy like....I think George might be into it but Joe is like, he's very like iconoclastic. He's very much a purist and he's like a music historian. I'm not saying he'd be against it necessarily but he's got some very strong opinions about his art, his music and he might be a tough guy to convince. I am a huge fan of his and I just love his writing. To me, he's like the George Gershwin of jazz. The harmonies and stuff he comes up with is just so rich and so classic and so many of his songs, you just listen to them and you know their either standards or classics that will last forever.

Terrill: And if it ever came to pass. If you three came together, that is another sole reason you have three...

Jeff: Well I'll call them after, we'll book it tomorrow (laugh).

Terrill: And you're talking three completely different jazz vibes coming together and really putting together a massive project for the ages. Just the thought of you three together would be a monstrous release in my opinion.

Jeff: They would have to do a backline for that concert. You have to hire all those pianos. You have to rent piano movers to move these pianos in a concert hall.

Terrill: Exactly! You know what's funny? The movers probably wouldn't have a problem setting it up! Knowing its, oh man - George, Joe and Jeff!

Going back just a tidbit to when you were speaking about hip-hop producers. It's beautiful to hear that you acknowledge them but at the same time - hip-hop has always acknowledged you.

Jeff: That's true. That's true. I've had some nice collaborations with Notorious BIG and Bryan McKnight and Jay-Z. The people who sample my stuff and I really appreciate that. Some of those records came out in the early 80s and they were successful. They did well back in those days. We had a good time playing that music and I still play it, but then all of a sudden it gets sampled and a whole new audience gets to hear this music and it has a whole new life for a new generation of kids. I think that's great. That's what they say about being a musician is that when you can share your creations with the world and everybody appreciates it and everybody digs it, there's no more great feeling than that to know people appreciate what you do and that you've created some music that people are enjoying. So more power to them, I love it when people sample my stuff.

Terrill: Right on! I am not going to take up too much of your time & I know you're very busy.

Jeff: I am so busy to be honest with you. I can use a little time off right about now. I mean it's good to be busy rather than not working that's for sure.

Terrill: Yes, I know that's right. Is there anything you'd like to share or tell The Urban Music Scene readers out there?

Jeff: Just to say Thank You for your support and I hope you can get a chance to check out the "Heard That" album, ‘cuz I think you're going to really dig it.

Terrill: Right on man. Thank you so much for your time, Jeff and I look forward to seeing you when you come back to L.A.!

Jeff: Ok, sounds great. Thank you!

Terrill: Have a good day!

Esperanza Spalding

2008-10-30T03:37:00Z

ESPERANZA SPALDING

Once again, The Urban Music Scene is always excited to have featured guests on our site, hanging out & sharing their thoughts about much of what is going on with their music today! Heads Up International Recording artist Esperanza Spalding drops by & chills with Terrill in regards to her new release "Esperanza" & lots more! Enjoy!!
(Interview in July, 2008)

(For Discography, Song Samples & Purchase, please visit Amazon today!)

TERRILL: The Urban Music Scene is going on and on and on. We’re raving, quite much. We’re raving big time about the new release from a young lady who’s playing that at Stand up ~~Days~~ Bass relentless and the beautiful vocals behind the mic, otherwise known from Heads Up International, Ms Esperanza Spalding is in the house, what’s up girl?

ESPERANZA: I’m chilling like a villain!

TERRILL: You’re chilling like a villain! And you’re keeping it steady, aren’t you?

ESPERANZA: I’m trying to.

TERRILL: How excited are you about your new release?

ESPERANZA: Ah man, I guess I am excited as I can be. Also, knowing it’s part of a long journey. So I try to, … I don’t want to make it too unique, 'cause I want to keep making records that are better and better and better, you know? It’s almost like – it’s like "A" and let’s get to "B" and beyond.

TERRILL: Absolutely, now you have graduated from Berklee College of Music and you’re currently a professor?

ESPERANZA: Well, I am an instructor.

TERRILL: You’re an instructor…

ESPERANZA: Technically, yes, I teach there.

TERRILL: Do your thing girl!

ESPERANZA: I’m trying!

TERRILL: After reviewing your CD for the site, I’m extremely impressed, Esperanza, Ms Spalding – shall I say. Your music is just awesome.

ESPERANZA: Thank you.

TERRILL: I can’t get it out of my car. I can’t get it out of my home stereo. I can’t get "Ponte De Areia" out of my mind. That’s a beautiful song. What influenced you to put that track together?

ESPERANZA: Actually just that. That you don’t get it out of your mind. It’s like People hear and it’s haunting. I remember the first time that I heard the song. I heard it once and it was in my brain. I remember I ran into a couple of friends that I hadn’t seen and that were from Brazil. I said hey, have you ever heard this song? I started singing the melody and they said, "Ooh my, oh that’s the most beautiful..." It’s like it touches some heart string in everybody. I said man, that would be a beautifully way to start a record with – and to record this arrangement of it that, it kind of have a groove behind it and you get that haunting melody that can sink into you.

TERRILL: Yes. And then the rest of the CD just flows, I mean there’s a unique sound. Do you classify this type of sound as being an authentic Latin jazz piece? Is it just straight jazz? How would you describe your album?

ESPERANZA: I don’t know. I mean I hope there’ll be a word to describe the type of music that people in my generation is doing but maybe it hasn’t been invented yet or some sort of composite word. I don’t know. I don’t like to necessarily associate it too strongly with other genres. I mean, like with any music, It has a lot of influences. I don’t really know the closest genre that the record lends itself to. There are so many influences. Latin jazz normally conjures up a different image than I would like to have my record associated with. So I’m not really sure actually. I think the title that I like, you know, when you go to the record store and they have R&B, Soul, Pop, Folk, Acoustic. So if it was going to be shelved, I’d like for it to be shelved in that section.

TERRILL: It shouldn’t really matter because basically it has its own trademark. It is a beautiful CD and I can't stop talking about it. I am proud to say that as the site continues to publish it and put it out there, your fans are coming in and they are admiring it in many more ways than one. So God Bless you on the project and we just look forward to more coming. Other than that, are you going to be touring anytime soon throughout the United States?

ESPERANZA: Oh yes, we’re doing a lot of stuff. Just starting gosh (-chuckling-), I guess this week actually, Saturday, we’re leaving for Philly, then we are going to San Francisco. We’re doing the West Coast Tour – Seattle, Portland, San Francisco, L.A., then when that’s over, The East Coast for some dates and back to the West Coast. Then over to Europe in June, July. So, we’re getting around, we’re getting around.

TERRILL: So, when are you coming to L.A.?

ESPERANZA: We’ll be at Catalina June 11, I believe.

TERRILL: Next week.

ESPERANZA: Yes

TERRILL: I’m going to be there.

ESPERANZA: You need to come out.

TERRILL: You need to save me a spot because T is coming.

ESPERANZA: I will. That I will do.

TERRILL: I’m going to check you out, 'cause I know you’re going to do it! That’s going to be sweet. Now when you’re touring, are you touring with your own band and/or how many members are in it?

ESPERANZA: It’s a quartet now. We added a guitar player and he sings, so we kind of have that big village effect, that the record has you know.

TERRILL: So how many people total, do you have in your band?

ESPERANZA: Four

TERRILL: It’s four of y'all?

ESPERANZA: And we kind of just sing together.

TERRILL: Ok good, great. And of course many of them participated on your album right?

ESPERANZA: Yes, the only person that’s new is um, the guitarist Ricardo Voch. He wasn’t on the record. But everybody else Parlato, Genovese and Otis Brown - They are the Three on the record.

TERRILL: I’m digging it! What influenced you to play jazz?

ESPERANZA: This. I play the acoustic bass. I mean if you play certain instruments and then you end up being called for gigs, especially on acoustic bass. I mean, other instruments circulate other genres, but for acoustic bass, eventually someone’s going to ask you to do a jazz gig. Actually as I was learning it, the style of music that I was learning that was helping me to understand the role that the bass could play essentially in a band, it was jazz. It was that music.

TERRILL: Ok. Was there a particular jazz artist back in the day that you kind of put an ear to?

ESPERANZA: At the beginning, no. At the beginning, I was in a room and the teacher came in and said 'OK here’s the blues’ form and then you walk.' I was like "why, what? Yeah, whatever." And he taught me basically the concept of walking bass, which is one of the obviously, that’s one of the roots of, you know? One of the roles that a bassist does. And it kind of evolved from there, meaning I had to go investigate what bassists before me had done, in this walking idiom. And that asked the question of who are people like Ron Carter, Scottie LaFaro, Milt Hinton? Everyone in the world that can I could get my hands on basically.

TERRILL: Wow, and be able to stand up with that bass and be able to sing at the same time. Girl, that’s a remarkable feat! And the way you do it with precision. I’m sure you get a lot of feedback on that.

ESPERANZA: Well, yes. It’s weird. It’s so natural that now it doesn’t feel like a feet, a third foot. It’s like watching drummers play. Over time you learn to keep the beat going. I think it’s like the same thing. It’s kind of like second nature now.

TERRILL: Absolutely. Now aside from your music, is there anyone out there today that you are paying attention to, that you are listening to? Somebody out there in the music world that is grabbing your attention?

ESPERANZA: I’m listening to Dwele!

TERRILL: Dwele? The R&B singer?

ESPERANZA: Yes! He’s 'killing'! The stuff he does, & I have to find out the name of the other one (music artist), but I want to tell you. I’m.... Hold on a second.

(-slight pause-)

TERRILL: Yes, Dwele is good. I like his music.

ESPERANZA: Carl Thomas!

TERRILL: Ah, Carl Thomas is badd too!

ESPERANZA: Awesome. Those arrangements, ah come on now I love it!! And Bilal.

TERRILL: Bilal. Yes, he has that ….

ESPERANZA: And Matt Brewer has this record. I mean people like Ledisi, come on…!

TERRILL: Ledisi is my girl! That’s good to know, 'cause you keep yourself surrounded. You keep yourself in the presence of some good music.

ESPERANZA: Have you ever heard of this cat – there’s this girl called Darma....? A Brazilian duo. They are so hip.

TERRILL: Really. What’s their name again?

ESPERANZA: Rosana Imbelia??? I think I’m telling you the wrong last name. But it’s two Brazilian women. They, you wouldn’t believe, it’s impossible to believe there’s only 2 people.

TERRILL: Guess what, the staff, the Urban Music Scene is going to do the research, we will find them.

ESPERANZA: I’m telling you, you’re going to trip! Oh my...! I can’t believe it!

TERRILL: Really? It’s off and cracking like that huh?

ESPERANZA: I think so. I think it’s amazing!

TERRILL: All right, well I tell you what: you’re amazing! Keep doing what you’re doing girl, you know what I mean?

ESPERANZA: I will.

TERRILL: You’re changing the aspects of the young listeners as you plant your feet and hopefully will influence more young musicians like yourself, young up and coming musicians to go and take that center stage and showcase their talent. It’s a beautiful thing and I look forward, I can’t wait to see you when you come to L.A.

ESPERANZA: It’s going to be fun. You are going to have a lot of fun.

TERRILL: It’s going to be on at the Catalina Bar & Grill, right?

ESPERANZA: Uh huh.

TERRILL: Oh absolutely. And I know the East Coast has got to be popping. You had a CD release party didn’t you?

ESPERANZA: I had a CD party in Boston and also we’re about to have one out in Oakland at Yoshi’s.

TERRILL: At Yoshi’s?

ESPERANZA: Yoshi’s.

TERRILL: Yes, I know exactly where it is.

ESPERANZA: Oh yes, and then we’re going to have waffles at the waffle and chicken house across the street.

TERRILL: You mean Roscoe’s?

ESPERANZA: Yes.

TERRILL: Roscoe’s my spot.

ESPERANZA: Oh my..., oh my....

TERRILL: That’s my spot!

ESPERANZA: Oh my....!!!

TERRILL: I’m going to have to treat you to lunch over there next time I come by & say – "Hey Esperanza, it’s Terrill, I got you girl."

ESPERANZA: Thank you man, thank you brother, this is tight!

TERRILL: Likewise – I got to keep it right, so… I appreciate you stopping by. Do you want to do a part 2 of our interview down the road?

ESPERANZA: Of course. Let's Do It.

TERRILL: Maybe we could do it in LA

ESPERANZA: All right, we’ll try.

TERRILL: Is there anything you’d like to say to our Urban Music Scene readers?

ESPERANZA: Just keep your ears open! Keep them open and keep searching, that’s all.

TERRILL: All right girl. Talk To You soon!

The Urban Music Scene