Chameleon is the Concord Records debut album from legendary session drummer Harvey Mason and draws upon the rich jazz-funk heritage of the 1970s.
Co-produced by Chris Dunn, Chameleon (Releasing April 29th) showcases some of the most talented young musicians in jazz today: trumpeter Christian Scott, bassist Ben Williams, pianist/keyboardist Kris Bowers and guitarist Matthew Stevens.
Bringing even more firepower are trombonist/vocalist Corey “CK” King, saxophonist Kamasi Washington, vocalist Chris Turner, and keyboardist Mark de Clive-Lowe.
Chameleon features seven of the era’s most enduring classics infused with modern day shine, including an imaginative new arrangement of Mason’s signature song and title track. For this new version of ‘Chameleon,’ Mason invited Bill Summers to reprise his famous hinedewho intro to ‘Watermelon Man,’ a song from Herbie Hancock’s Head Hunters LP which Mason played on and arranged.”
Fans concerned about Chameleon sounding retro will take comfort in knowing that Mason has delivered an album that interjects fresh new elements on each subsequent listen.
In addition to being one of the most in-demand studio musicians of all-time, Mason still regularly records and performs as a member of the super-group Fourplay along with Bob James, Nathan East and Chuck Loeb. I spoke to him about Chameleon, his time working with Herbie Hancock and more.
How did the idea for Chameleon begin?
I first came up with the idea of creating Chameleon while I was playing solo in Japan with different configurations. Most of the people there have seen me never play with Herbie [Hancock] during that era and would often tell me that I needed to record the band and this music. My thought was that if I did it, I wanted to change the music and not play the same thing that I played back then. Chris Dunn was the one who suggested we re-record many of the songs, but use younger guys. So we chose a bunch of people, gave them songs to arrange, went into the studio and this is what we came out with. I’m very happy with it!
How is a project like this different from one done with Fourplay?
With Fourplay, the four of us have known each other for a very long time. We all write for the project and bring our own songs in and each guy produces his own song. It’s a democratic band and we all play live in the studio. With this project, I had never played with many of the guys before, so I wasn’t quite sure what to expect. But it was a magical moment. You’re just experimenting to see what happens and reacting to it.
Let’s discuss a few tracks from the album: If I Ever Lose This Heaven
Originally I didn’t plan on having any vocals, but Chris suggested the song. We asked Chris Turner to come in and sing it and I asked my son to produce the vocals. They came out with a song that I feel is worthy of being played on almost any radio station and Chris sang it incredibly well.
We gave the song to Ben Wendell (Kneebody) who came up with a great blueprint for it. Then I added Bill Summers and his patented whistles. The arrangement really sounds fresh and goes through a lot of different colors and changes.
What was it like working with Herbie Hancock on the original version?
I’ve loved Herbie from the time I was a kid when he was working with Miles (Davis). To get to be in the studio with him during that era to create and write was amazing. Whenever we play together its magical. We have a special chemistry together.
Was there a meaning behind the track Studio Life (Hold It One Second)?
I had played a drum solo that didn’t make it on a song. It was just a little snippet, but Chris thought that we could put something else with it. So we pieced it all together. It really gives people an interesting view of the recording process and what goes on in the studio.
Did you always know that you wanted to be a musician?
It was innate. Growing up, I always had this thing where I wanted to be a drummer. Even from the time I was crawling around, I was always banging on the floor with spoons and hitting pots and pans. Then in school, I had an opportunity to play drums in the orchestra. I remember my teacher there was also a violinist in the Philadelphia Orchestra and he really pushed me to be the best I could be.
What led you to become a studio musician?
Originally, I had thought about becoming a lawyer. While it was fun to play music, I wanted something that might be a little more stable. I had given thought about going to law school but then read an article about Larry Bunker and studio musicians and said “That’s what I want to do!” Right at that point I decided to switch gear. I applied to a couple of music schools, got accepted and the rest is history! I eventually went to LA and started making my way in the studio. I just kept playing without any intention of going out on the road. That’s why my discography is so large.
What’s the origin of Fourplay?
Bob James and I were friends for many years. He was coming to LA to record and asked me to help him put together a couple of bands for the project. So I put together two bands for him and one of them had Nathan (East) and Lee (Rittenour). It was the band that Bob decided to use for the entire CD. I remember it sounded so good while we were in the studio that Bob asked us if we would consider being in a band and each one of us said yes. At the time, Bob was working at Warner Brothers and went to Mo Ostin (president) to ask him if he’d support us. He immediately said yes and the next thing you know we’re in the studio and are off and running!
In your view, what makes jazz such a great form of music?
The fact that you’re able to create and play what’s in your heart and soul. You’re able to interact with other players and have the freedom of being able to spontaneously create with no preconceived ideas. It’s pure creativity and improvisation. The only thing you’re restricted by is your own mind.
For more on Harvey Mason check out his Official Website by Clicking Here!
It’s hard to believe that’s its been twenty years since multi-instrumentalist hitmaker Brian Culbertson released his debut album, “Long Night Out”. An album he created on a shoe-string budget while a student at DePaul University.
In the years since, Culbertson has become one of the most recognized artists in jazz, but always kept thinking about those early days recording in his Chicago apartment. Patiently waiting for the right time to explore the material again.
On “Another Long Night Out” Culbertson returns to his roots by revisiting the album that jump started his career. For this fresh update, Culbertson re-imagines his debut by enlisting the help from some of the greatest artists in contemporary jazz. Retaining the essence of each song while bringing the production quality to 21st century standards.
On its own, “Another Long Night Out” stands out as a time capsule of sonic goodness. Proving that a project twenty years in the making was certainly worth the wait.
I had the pleasure of speaking with Culbertson about “Another Long Night Out” and what he believes makes jazz so special.
Looking back at that first album twenty years later, what thoughts come to mind?
It’s hard to believe that its been twenty years. It seems like the older you get the faster it goes. But as the years go by, you start to find out who you are and I finally feel like I’ve hit a good stride with what life is all about for me. I’m in a good place balancing life with music.
What made you decide to revisit “Long Night Out”?
On the first album I was really limited with equipment, funds and the people I knew. Although I always liked how the songs stood on their own, I always wished the sonic palette and sound of the album could be what it is now. My goal was to redo the production of the album and bring it to life.
You have a lot of guest guitarists on the new album including Lee Rittenour, Chuck Loeb and Steve Lukather. Was there a reason you chose them?
When you get into that top echelon of guitar god, everyone does what they do best. I knew in essence what each one would bring to the song and that’s why I called them about those particular pieces. In the case of Lukather [Beautiful Liar], I knew he would just destroy it [laughs]! He came over and we literally played the song three or four times and every time it just kept getting better and better!
Saxophonist Candy Dulfer also appears on the album. What’s it like working with her?
She has such an amazing attitude and was so excited to be a part of the project. She really wants to get things perfect and I love her for that because I’m the same way. Those sessions were a lot of work, but a lot of fun.
Were there any special moments that stood out during the recording process?
I had Will Kennedy from the Yellow Jackets come in and play drums on one of the first sessions that we did. Will was a huge influence on my drum programming on the first album. To have him playing the grooves I was trying to emulate twenty years ago was a trip.
What’s the origin of the original “Long Night Out” album?
I started songwriting in junior high school and was one of the first generation of kids to grow up with the early four-track recorders and the beginnings of the Macintosh. I always knew that I wanted to get into music production and songwriting but never set out to be an artist per se. But once I moved to Chicago and started listening to the jazz station there I started thinking that it might be something I could do. So I put together a three song demo and sent it to the one person I knew who lived in LA. My friend played it for the president of his record label and a few weeks later called me up and offered me a record contract. It was crazy!
What happened from there?
The label wanted to put the album out in February, and by that time it was already August. They wanted it completed by November, so the next three months were pretty intense. I remember that right before I came to LA for the mastering we were still pulling all nighters mixing it. It was crazy. That’s why I decided to call it “Long Night Out”.
Do you have plans for another new album?
In terms of writing, the plan is to start working on some new material this summer. And I will let this out of the bag slightly. I’m going to be working in Minneapolis. It’s going to be funky [laughs].
What’s your songwriting process like?
I write in a few different ways. Sometimes I’ll just sit down at the piano or keyboard and start improvising. I’ll record the melodies and then go back and listen to see if anything really stands out. “City Lights” was one of those songs where I just literally sat down and started playing that melody. Other times though, I’ll get a groove going with a drum beat and then start layering parts on top of the beat. On those songs, the last thing I do is write the melody. I love fitting the melody into the track and making it groove as much as the beat and the bass.
How do you come up with a song title?
It’s actually pretty difficult to name instrumental music. Usually, it’s based on how the song makes you feel. On that first record, I remember half of the songs were still untitled when we were mastering it. I even had the art department calling and telling me to hurry because they had to go to print [laughs]. So I started brainstorming with a few friends about what to name them. In the case of “Beautiful Liar”, that was a song I had already written my senior year of high school. I was taking private composition lessons and had to write a pop song based on lyrics my instructor had given me called ‘Beautiful Liar’. I originally wrote it as a vocal tune based on those lyrics. When the time came to record the album, I just played it on the piano and kept the title. So there are words to the song that no one has ever heard [laughs].
What makes jazz so great?
The fact that there are no rules and you can do whatever you want. There’s so much freedom that it allows you to keep moving forward to morph and change. The live aspect of it is great too. Typical pop shows are so structured that they’re exactly the same every night. With jazz, it can be completely different from night to night. That’s what I love about it.
For more on Brian Culbertson check out his official website by Clicking Here!
There’s an old addage that says there’s strength in numbers, and that’s certainly the case when it comes to bringing four of the greatest saxophone players together for the very first time.
Dave Koz, Mindi Abair, Richard Elliot & Gerald Albright each have had successful albums and tours in their own right, but for the Summer Horns project, Koz and friends join forces to create a truly one of a kind, all star section, and an album that tips it hat to an era when classic, big horn, feel good songs ruled the airwaves.
Among the songs included on Summer Horns are slick renditions of Chicago’s “25 or 6 to 4″ as well as the Lennon/McCartney classic “Got To Get Get You Into My Life” (the latter of which borrowing a bit from the Earth, Wind and Fire arrangement). There’s also a tribute to Dave Brubek with a version of “Take Five”, one of the greatest sax melodies of all time.
Trombonist Brian Culbertson makes a guest appearance on a cover of the 1969 Sly & the Family Stone hit, “Hot Fun in the Summertime”. Jeffrey Osbourne delivers a powerful version of the Blood Sweat Tears inspired “God Bless The Child”. And Michael McDonald contributes a version of Tower of Power’s “So Very Hard to Go” that is quite possibly one of his all time best vocal performances. To coincide with the release of “Summer Horns”, the group will be taking their unique sectional sound on tour across the country.
Summer Horns not only offers the listener material that covers the real breadth of the instrument, but it also features songs with a little more “meat on the bone”. Sure, it’s a tribute to summer and good times, but more importantly, Summer Horns is an album about the real power of friendship.
I had the pleasure of speaking with Dave Koz about Summer Horns as well as his thoughts on the importance of music programs in the public school system.
What made you decide to do this type of album?
It was an opportunity for us to do something special and different for all of our fans and also a labor of love. The interesting thing was that even though we were always big fans of each others work, we had never all been in the studio together before. The four of us have such a great love and appreciation for this era of music. We all come from the same perspective of having been reared on horn section songs and horn bands.
How did you determine which songs to include?
We initially saw this as a total party record, but the more we got into it the more we realized that we had four saxophone players (each with our own unique individual sound) coming together to create this completely new horn section sound. So we decided to dig a little bit deeper and find some real melodic gems. The songs themselves are familiar, but they’re songs you may not have heard in a while. They’re classics, but they sound new and fresh.
What was it like recording the album?
We didn’t want to leave anything to chance, so we enlisted the talents of some amazing arrangers. We brought in Greg Adams (the principal arranger for Tower of Power) and Tom Scott (who’s worked with Quincy Jones and Paul McCartney among others). We really didn’t know what to expect, but I remember the first day we were recording. We all got on our mikes and were side by side and heard the sound that the four of us made to generate the section for the first time, and it was a moment of complete excitement and elation. That was the sound that we mined for this record.
What do you think makes jazz such a great genre of music?
By nature, it’s ever-changing. The target is always moving and there’s never a set standard show that you do day in and day out. It’s that element of chance and being in the moment that makes it so exciting and inspiring. It’s a surprise every night, at every show.
What are your thoughts on how music programs in schools are disappearing?
I’m a 100% product of the public school system and first picked up the sax in 7th grade. There was a saxophone class and a band and a teacher all there. That option was open for me at 13 years old. At the time, I had no idea that this would be my life’s work. but at least the opportunity was there for me to experience it. The thought that might not be the case for kids now weighs heavy on my heart, because where will the next generation of musicians come from?
It’s not just instrumental music, but also choir, drama and all of the other arts as well. Art is what keeps this country alive and moving forward. It’s also a great socialization tool. The sax is what brought me out of my shell. I was so awkward as a kid, and it really became my trusted ally. I’d love to see more kids be able to find their own “saxophone” or expression to help them become a more full human being.
Dave Koz and Friends Summer Horns will be released on June 11th, 2013
For more on Dave Koz, visit his official website by Clicking Here.
With an incredible catalog of songs accumulated over the course of his life, Michael Jackson’s music was something that transcended many different styles and influenced a generation of listeners. Growing up, I remember not only being glued to the television watching the Jackson 5 cartoon show, but also being on the front lines for the “Thriller” and “Bad” album phenomenons (the former still ranks as the biggest selling album of all time).
People just couldn’t get enough of his music; and many a child of the 80′s will tell you (albeit, secretly) that they regularly paid homage to Jackson by imitating his moonwalk or wearing the same jacket and glove style he made famous.
Like me, Grammy winning jazz guitarist Norman Brown never had the opportunity to meet the King of Pop, but his work on the new BWB album “Human Nature” channels the connection Jackson had between himself and his music in a cool and powerful way.
Fans have lamented that more than a decade has passed since Brown and BWB (with fellow jazz greats Kirk Whalum on sax and Rick Braun on trumpet) released their last album, “Groovin”. With “Human Nature”, not only has the supergroup reunited, but the reunion also allowed them the opportunity of putting their own unique spin on eleven Michael Jackson classics; including tasty renditions of “Billie Jean”, “Beat It” and “Man in The Mirror”.
I had the pleasure of speaking with Brown and discussing “Human Nature” and more in this exclusive Guitar World interview.
Human Nature will be released on June 18th, 2013
For more on Norman Brown and BWB, check out his Facebook page: https://www.facebook.com/normanbrownfans
Whether it’s writing, producing or recording straight ahead jazz records for himself or for other artists, Fabrizzio Sotti has done it all. But when it comes to his latest album, “Right Now”, Sotti does something completely different from anything he’s ever done before. Included among six brand new, original tracks are songs that have inspired the jazz guitarist from his youth. Classic songs that have been re-worked into mesmerizing jazz-pop gems, including Pink Floyd’s “The Wall,” Jimi Hendrix’s “The Wind Cries Mary,” Bob Marley’s “Waitin’ In Vain and ” U2’s “One”.
Among many guest artists, Sotti is joined on “Right Now” by R&B powerhouse Melanie Fiona, reggae superstar Shaggy and hip-hop icons Ice T and M-1 of Dead Prez. The album’s cohesive sound stems from the band, which is made up of Sotti on electric, acoustic and classical guitar, Tony Grey on bass and Mino Cinélu on drums and percussion.
I spoke with Sotti about the new album and more in an exclusive Guitar World Interview!
There are so many different influences in musical style these days that artists sometimes find the need to blend them together in order to make music that’s sonically appealing. But saxophonist Boney James believes there are really just two kinds of music: good and bad. His latest album, “The Beat” falls into the former category by cleverly combining the elements of R&B and Latin, and is already my choice for album of the year, in any genre.
From the moment I first heard this album, it immediately became clear that it would become the default soundtrack in my car wherever I went. It has elements of sound that make you want to move your feet, while others are best absorbed in the evening twilight, perhaps with a fine glass of wine. From the fresh version of Stevie Wonder’s “Don’t You Worry ‘Bout a Thing” that kicks off the album to the smoothness of “You Can Count On Me” and everything in between, the album is nothing short of brilliant. Repeated listenings find you choosing a different favorite song, something unheard of for an album in the day and age of instant gratification.
James pulls no punches in bringing out the heavy hitters for “The Beat”, including Rick Braun (“Batucada, The Beat”), Raheem DeVaughn (“Maker of Love”) and U.K. poet/musician The Floacist on “The Midas (This Is Why).”
James once envisioned himself in another career role, even having achieved a degree in History from UCLA. But that was before he decided that music was going to become his life. After four gold albums, three Grammy nominations and sales totaling more than 3 million records, it’s hard to argue that he’s made the right choice. With “The Beat”, he is certain to add to that total.
I had the pleasure of speaking with Boney James about the new album and more.
What was the spark that ignited “The Beat”?
I’ve always played around with the idea of one day doing a full-on Latin record. I began by thinking about how I could pull it off and decided to try working on an arrangement of one of my favorite Latin songs, Batucada (The Beat); which Sergio Mendes recorded. I’ve always loved the song and as I was working on it, I decided to try and take out the samba beat and put on more of an R&B back beat. It was so fresh sounding that it became an a-ha moment where I discovered that if I combined the Latin with my R&B groove, it would become this whole new thing. That’s what sparked the whole record.
Your fresh take on Stevie Wonder’s “Don’t You Worry ‘Bout A Thing” follows a similar formula.
Stevie had done a similar thing with his version by mixing the Latin with the R&B. He’s an R&B singer, but he incorporated a lot of Latin percussion into that song. So I figured I would do my version of his version of that, and it became this whole third thing.
Tell me about how you connected with Raheem DeVaughn for the track “Maker of Love”.
I had written the music for that song and needed a vocal. Raheem was someone who was on the top of my list of artists I was hoping to work with someday. So just as I’m having that thought, I get an email from Twitter saying that Raheem DeVaughn had started following me. Out of the blue, he just followed me. I emailed him and asked if he’d like to do a collaboration. I wound up sending him the track and a few days later, he sends me back this whole finished thing. I thought I was just going to get a demo, but he wrote and sang it it all in one night. It was pretty awesome.
What’s your process for songwriting?
It happens in many different ways. Usually though, I’ll be sitting in my studio practicing my saxophone when I’ll get an idea. A little shred of melody or rhythm will pop into my head and I’ll go over to the keyboard and pound out a few measures of the idea. I’ll put it down and save the file and then later on, I’ll go back to it and it starts me on this incredible journey of taking a little nugget of an idea and turning it into a song. It’s a great experience and one of the best parts of what I do. Taking something that once didn’t exist and turning it into something real. I love it.
Where do you get your song titles?
What I like to do is listen to the song many times, close my eyes and try to imagine what kind of feeling I’m getting from it and then see if there’s some kind of poetic, clever way I can communicate that in a song title. ‘Mari’s Song’ is named for my wife. Her real name is Lily, but the family calls her Mari. It’s an old nickname she has.
For ‘Sunset Boulevard’ I was thinking about driving. It’s a great street in LA that goes from downtown all the way to the beach and I thought that was an apt title.
For “Acalento (Lullaby)”, I was already thinking lullaby, but since the album had a Latin element I thought to myself, “How do you say “Lullaby” in Portuguese?” I looked it up online and luckily, it was poetic sounding. [laughs]
How would you classify your style of music?
I don’t feel like I belong to any certain style of music. I just try to do my own thing and people respond to it. It’s really gratifying.
Growing up, you started out playing clarinet and then switched over to sax. What prompted the change?
There were so many clarinets in the band at the time and the teacher needed a sax player. I was one of the better clarinet players and my teacher thought it would be easier for me to transition over, so he sort of leaned on me to do it. Right away I loved it. It opened up more of a Pop and R&B repertoire for me, as opposed to the classical style that the clarinet had been.
Who were some of your influences?
I grew up listening to a lot of Motown: Aretha Franklin, Marvin Gaye and Curtis Mayfield. As I picked up the horn, I started listening to more fusion like Grover Washington Jr., Weather Report and Chick Corea.
You have a history degree from UCLA. Was there a time where you considered pursuing another career?
I was very interested in history and originally thought I was going to be a lawyer. I thought it would be a good pre-law degree to have. About a year into college was when I discovered that music was my true love and decided to pursue it as a living. But since I had already started college, I figured I’d finish it.
What’s next for you?
I’m so proud of this new record that I’m going to dedicate the next 18 months of my life to getting out there and letting people know that it exists and making some noise.
For more on Boney James check out his official website by clicking here.
Chuck Loeb is more than just a guitarist, he’s the consummate musician. In a career that spans four decades, he’s proven himself to be a versatile composer, arranger and producer in a wide range of musical styles. In 2010, Loeb joined the smooth jazz super-group, Fourplay where he joined other musical giants Nathan East (bass), Bob James (keyboards) and Harvey Mason (drums). Fourplay’s latest release, ‘Esprit De Four’ continues the trend of beautiful arrangements and tasty guitar licks that has made the smooth jazz super group world renowned.
I spoke with Loeb about the new album and his creative process as well as what he thinks makes smooth jazz so appealing. He also gives advice on the best way to approach the instrument when it comes to improvisation.
You can read the rest of my Guitar World interview with Chuck Loeb by Clicking Here!
Lisa’s resume includes writing the song, ‘Through the Eyes of a Child‘ for the movie, ‘The Adventures Of Rocky and Bullwinkle’ (with Mark Mothersbaugh of Devo). She was also the singing voice of the princess in the movie, ‘Rug Rats in Paris’.
Now Lisa gets to flex her vocal muscles in a truly unique and fascinating way. Together with songwriter/producer Jim Peterik (Eye of The Tiger, The Search is Over), the duo has joined forces with the guitar inspired sounds of Acoustic Alchemy’s Greg Carmichael and Miles Gilderdale to bring us, “Lisa McClowry Sings Acoustic Alchemy”.
Peterik’s lyrics to ten existing Acoustic Alchemy smooth jazz instrumentals have given the songs a new life and a fresh sound. (Lisa herself joins Peterik in songwriting duties for the track, Visions Of Marrakesh). It’s the combination of lyric, melody and most of all, Lisa’s sensual voice that makes the partnership with Acoustic Alchemy so musically satisfying!
I had the absolute pleasure of speaking with Lisa and get her thoughts on the Acoustic Alchemy album. We also discuss her new Christmas release and her Christmas show at The Montrose Room in Rosemont, IL on December 14th.
LM: I had opened up for Acoustic Alchemy about a year prior to the album coming out. That’s when I first met them. Jim Peterik also came to the show and we were all behind stage when Jim told the manager that he’d always wanted to try to put a lyric to one of the Acoustic Alchemy songs. So the manager said to him, “Well, have a go at it, mate!” [laughs]
So, Jim wrote lyrics to one of the songs and we all liked it so much that we decided to do an entire albums’ worth of songs! Jim picked out his favorites and wrote lyrics for all of the tracks except for ‘Visions of Marrakesh'; which was a song that he and I sat at a Starbucks and wrote together.
LM: The first time I wrote with Jim was actually nine years ago. It’s an experience I’ll never forget. For Jim to sit at the piano and play ‘The Search is Over’ and then pull out his guitar and play ‘Eye of The Tiger’ was unbelievable; almost like an explosion.
I remember driving to his house and I was very nervous, as you can imagine. Here was a man I grew up with listening to on the radio and now I was going to be writing with him in his house. What happened was, I’d say something and then he’d have something to react to (and vice-versa). I don’t even know how the song was written. It was almost as if there was a third-party in the room that took over. The song was ‘These Open Arms’ which later was released on an album of mine.
From there, it then grew in to Jim becoming my producer and we’ve been dear friends ever since.
gJg: What was the recording process like for the Acoustic Alchemy record?
We actually never met with them during the process of recording. They were in London, and we were in Chicago. We’d have our band in Chicago lay down some tracks and then send them to Greg and Miles, who would lay down some guitar parts over what we did. It was a unique, wonderful experience recording back and forth. We definitely wanted to make sure we kept the original wonderful quality of Acoustic Alchemy.
gJg: How has the reaction been to the album?
LM: Fantastic! It’s a real treat to perform these songs live. As a singer, you really get to sink your teeth into them. The melodies allow you to show many colors in the voice. Our guitarist, Mike Aquino also enjoys the songs as well, because he can really let loose.
gJg: You also have a new Christmas EP that was recently released. Tell me about the beautiful song from that album, “Before The Tree Comes Down”.
LM: ‘Before The Tree Comes Down’ was originally written by Christa Wells and about three years ago, I released her version of the song. For this re-recorded version, Jim added a new chorus and produced it. So it went from a good song to a really, really good song with Jim’s touches.
gJg: The message of the song is so powerful.
LM: The military is a big part of me. I’m not from a military family, but am very empathic because I have friends who are in the military and live through them what it’s like to not being home for the holidays. It’s a song close to my heart because I think we can all understand family. I’m donating part of the proceeds from the song to Stars For Stripes so that we can help entertain the troops.
LM: When I was 2 my mom said that’s when it really began. I would go up to the radio and just start singing and dancing. At 7, I started playing piano by ear. I never had a lesson at the time, but was just eager to play melodies.
By the time I was 15, I was in a rock band called ‘Mischief’ as one of the keyboard players. Somehow, I found my way to the front and became the lead singer of the band and we eventually started playing in the clubs.
Because I wasn’t trained vocally (and because rock music was hard on the voice) I started taking classical lessons. I remember fighting with it at first but my teacher (who I’ve been with now for over 20 years) told me that this type of training was going to get me through five nights of singing. Through her teaching, I was able to apply a lot of those classical techniques and keep my voice healthy.
gJg: Who were some of your musical influences growing up?
LM: I remember listening to Olivia Newton John’s records. I loved the innocence of her voice. I listened to Pat Benatar, Heart and Journey as well, but I also loved my Dads’ collection of music: Frank Sinatra, Johnny Mathis and Doris Day.
gJg: What are you working on now?
LM: This past year, I was involved as the emcee for a special needs talent show called “Special Talents America”. It’s very much like American Idol but for special needs kids. It’s one of the biggest highlights of my career; being involved with these wonderful, gifted children.
I’m also gearing up for a December 14th Christmas show at the Montrose Room in Rosemont, Illinois. It’s a 300 seat intimate room and I love the location. One of the winners from the talent show will be performing with me that night as well. Her name is Mia Strayer, and she plays harp. She has such a wonderful spirit and I want everyone to hear her!
When I did the show last year, it was one of the first of my shows mixing the Acoustic Alchemy album along with traditional Christmas music. That went over extremely well. This year, I’ll be doing a lot of the same songs but with a string section. It will be a little twist to the music that people are familiar with. I’m excited about it.
Article first published as Women Who Rock: Lisa McClowry Sings Acoustic Alchemy on Technorati.
In the early 1980s, a few years before Russ Freeman gathered a bunch of his L.A. musician friends together to create the groundbreaking Rippingtons debut Moonlighting, the multi-talented guitarist and composer spent time on TV sound stages listening to orchestras play. On the band’s new album Built To Last, Freeman pays homage to those days, working with orchestral textures for the first time in addition to opening up new realms of creativity that transcend expectation.
Built To Last also celebrates one of contemporary jazz’s most enduring legacies; a twenty-five year journey that spans nearly twenty albums. The album has universal appeal, with elements of jazz, rock, pop and country combined into one eclectic mix of sonic art.
But Freeman and the Ripps really go for broke on the metal world with the music mash “Monument Monolith,” a freewheeling blast of intensity on which Freeman complements his acoustic guitar with a little of everything you’ve never heard before: “angry cannibals with boiling pots” on percussion, orchestra, solo violin and a blistering solo by heavy metal great Zakk Wylde for good measure!
I spoke with Freeman to get his thoughts on the new Rippingtons album and on celebrating a quarter century of great music!
Read the rest of my article and interview with Russ Freeman by clicking here.
In a career that spans five decades and more than forty albums, guitarist Lee Ritenour has developed a unique balance between the wisdom of experience and the enthusiasm of youth. Ritenour’s 2010 album, “6 String Theory” focused primarily on guitar and featured the winners of his 2009 guitar competition alongside guest appearances by guitar greats BB King, Steve Lukather and Slash among others.
For his new album, “Rhythm Sessions” Ritenour has added the winners of his 2012 Rhythm Section Competition which includes aspiring keyboardists, bassists and percussionists as well. The result is an album of sonic euphoria. From catchy songs like “The Village” and “LA By Bike” to the hypnotic vocal of Zamajobe on a remake of Stereophonics “Maybe Tomorrow”, there are elements that will appeal to both guitar and jazz fans alike.
I had the chance to speak with Ritenour about Rhythm Sessions, the competition and a really cool story about his days as a session player.
Check out the rest of my Guitar World interview with Lee Ritneour Here!