American jazz musician
Agradece a este podcast tantas horas de entretenimiento y disfruta de episodios exclusivos como éste. ¡Apóyale en iVoox! El saxofonista Wayne Shorter Ha fallecido a los 89 años de edad. Este monográfico está dedicado a algunos de sus trabajos junto a otros artistas como Milton Nascimento, Herbie Hancock, Joni Mitchell, Stanley Clarke & George Duke, Jon Lucien, Marcus Miller, Kazumi Watanabe o Steely Dan, además de su imprescindible participación en la banda Weather Report.Escucha este episodio completo y accede a todo el contenido exclusivo de Cloud Jazz Smooth Jazz. Descubre antes que nadie los nuevos episodios, y participa en la comunidad exclusiva de oyentes en https://go.ivoox.com/sq/27170
The Scott's Bass Lessons Podcast
A modern master of the electric bass, Marcus Miller has been landing dream gigs for the best part of 40 years. So when he stopped by our London studio to talk about Miles Davis, playing bass on that Luther Vandross mega hit and the fallout from slapping Jaco's Teen Town, we knew it was an interview we had to share with you.In this episode you're going to learn:Why Marcus is a true genius of the bass guitar.Which tracks are a must-listen from his incredible discography.Including the classic Luther Vandross hit ‘Never Too Much'What happened when legendary trumpeter Miles Davis called.How he developed his signature line with Sire Instruments.And much, much more.
Growing-up in Queens, Lionel Cordew was surrounded by music inside his home, in his neighborhood, and in church. His brothers were all involved in music, his mother sang in the gospel choir at the church where his father was the minister, and his neighborhood hosted block parties where cats like Lenny White, Marcus Miller, Omar Hakim, Najee and many others would often play. Lionel absorbed and adapted to many styles of music, which he's used to his benefit throughout the course of his career, as he's recorded and toured with a diverse list of musicians, including Mike Stern, Gino Vannelli, Jeff Lorber, Roberta Flack, Bill Evans, Chuck Loeb, Chieli Minucci, Wayne Krantz, and in 2015 he replaced Lee Pearson as the drummer in the legendary jazz group, Spyro Gyra. Here to discuss his musical journey in more depth is none other than Lionel Cordew.
This week, Alex visits Roger Sadowsky of Sadowsky Guitars, one of the preeminent names in handmade guitars and basses. As they walk the shop floor, Roger shares stories of some of his famous customers, explains the challenge of using endangered woods in the process of instrument building, and discusses the moment when he decided to make the shift from repairing guitars to building his own. Bassists Tanya O'Callahan and Nathan Peck also drop into the episode, to talk about the instruments that Roger has created for them.Roger Sadowsky is one of the most highly respected instrument makers in the world. His instruments are played by many of the world's greatest artists including guitarists Jim Hall, John Abercrombie, Pat Metheny, Lee Ritenour, Chuck Loeb and bass players Marcus Miller, Will Lee, Rickey Minor, Michael Rhodes, Verdine White and Jason Newsted.Roger Sadowsky websiteSadowsky on YouTubeFollow Alex on IG and Twitter @alexskonickMoods & Modes is presented by Osiris Media. Hosted and Produced by Alex Skolnick. Osiris Production by Kirsten Cluthe and Matt Dwyer. Editing and mixing by Justin Thomas. Music by Alex Skolnick. Artwork by Mark Dowd. Hosted on Acast. See acast.com/privacy for more information.
This gem from the archives was thought lost forever, but thanks to the wonders of technology we've been able to recover our chat with the great Boz Scaggs. It was recorded around the time of Boz's last album, Out of the Blues, and highlights his contemporary approach to music making, as well as the creative process behind timeless classics like 'Lowdown' and 'Hollywood'. The singer-songwriter and guitarist also speaks about gaining vocal confidence, collaborating with David Paich, David Foster and Marcus Miller, and finding your passion when it's gone.
1. Marcus Miller – Power of Soul (6:53) 2. Snarky Puppy – Something ft. Lalah Hathaway (7:44) 3. Kay-Ta – Call It Even (4:59) 4. Kay-Ta – Karate Chopin (3:19) 5. Kay-Ta – Sweet Child (5:12) 6. Kay-Ta – Secret Crush (4:16) (This is a Replay of 29 June 2016)
Broadway Drumming 101 is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber.Javier Diaz is a percussionist, educator, and composer active in New York City. Javier regularly plays with the American Symphony Orchestra, chamber music groups, and Latin Jazz/Afro-Cuban folkloric groups in the New York area. He has performed with the Los Angeles Philharmonic, the Metropolitan Opera Orchestra, New York Chamber Symphony, New Jersey Symphony, New York Pops, New York Perspectives Ensemble, John Adams' Zankel Hall New Music Band, and the Hilliard Ensemble. He has been the principal percussionist in the Broadway productions of Guys and Dolls, Phil Collins' Tarzan, The Wiz, Women on the Verge of a Nervous Breakdown, Rocky, Ain't Too Proud: The Life and Times of The Temptations, Gloria Estefan's On Your Feet!, and Once on This Island.Javier's studio credits include Steven Spielberg's West Side Story, Lin Manuel Miranda's In The Heights, ECM's Tituli (with the Hilliard Ensemble) by Stephen Hartke, two albums with David Sanborn, including Time and the River (produced by Marcus Miller), award-winning films such as Tango Flush and Jesus Camp, and many TV and radio commercials. As an Afro-Cuban/Pop percussion specialist, Javier has appeared with: Sean Kingston, Diana Ross, Gladys Knight, Chaka Khan, Patty La Belle, Lázaro Galarraga's Afro-Cuban All Stars, percussionists Angel Luís Figueroa, Cándido Camero, Román Díaz, Pedro Martínez, The Pan-American Jazz Band, The Ethnix, Anette Aguilar's Latin Jazz Group, Marta Topferova, Edmar Castañeda, Tribal Sage World Music duo project with multi-percussionist Roger Squitero, World Percussion group Kalunga, and the New York World Music Institute. An active educator,Javier has taught concert percussion at El Sistema de Orquestas Juveniles e Infantiles de Venezuela, the University of Connecticut, Rutgers University, Queens College (CUNY), New York University, and at his private teaching studio in New York City and New Jersey. He has also taught Afro-Cuban percussion seminars, classes, and clinics at the Peabody Institute, University of Southern California, Percussion Artists Workshops Los Angeles/New York, Los Angeles School District, The Juilliard School, Rutgers University, Queens College, New York University, Boston Conservatory, University of Minnesota, and Mannes School of Music in New York City.Mr. Diaz currently teaches the Afro-Latin percussion survey at the Juilliard School and directs the Afro-Cuban Percussion Ensemble at Rutgers University. His most recent book on Afro-Cuban percussion, The Afro-Cuban Handbook, has become an instant classic of the percussion literature. As a composer, Javier has written chamber music, solo pieces, orchestral works, and electronic music.He has been commissioned by the Aspen Music Festival, New York University, and the University of Southern California. An alumnus of El Sistema de Orquestas Juveniles e Infantiles de Venezuela and the Aspen Music Festival, Javier holds a BM from the University of Southern California, a MM from The Juilliard School, and a DMA from The Graduate Center (City University of New York).Clayton Craddock hosts the Broadway Drumming 101 Podcast and Newsletter. He has held the drum chair in several hit broadway and off-broadway musicals, including Tick, tick…BOOM!, Altar Boyz, Memphis The Musical, Lady Day At Emerson's Bar and Grill and Ain't Too Proud.The Broadway Drumming 101 Instagram page: InstagramThe Broadway Drumming 101 YouTube page: YouTubeFor more about Clayton, click HERE Get full access to Broadway Drumming 101 at broadwaydrumming101.substack.com/subscribe
Today we are talking about how investors are handling this recession. Like agents, they have to adapt to survive this market, and with the right strategy, thrive.Martin is the founder and host of the Stroudsburg Real Estate Investors club. With his leadership the group has gone from zero to over three hundred members in less than two years. He currently manages and operates a Real Estate Investing firm operating over five million dollars in assets and he helps investors get above average returns by investing passively in multifamily Real Estate with him and his team.Three Things You'll Learn in This EpisodeHow do you make sure everyone knows your name?How are top agents thriving during a recession?Why you need to be making content and developing a brand.ResourceCheck Out Martin's WebsiteReal Estate Marketing DudeThe Listing Advocate (Earn more listings!)REMD on YouTubeREMD on InstagramTranscripts:So how do you track new business, you constantly don't have to chase it. Hi, I'm Mike Cuevas to real estate marketing. And this podcast is all about building a strong personal brand people have come to know, like trust and most importantly, refer. But remember, it is not their job to remember what you do for a living. It's your job to remind them. Let's get started.What's up ladies and gentlemen, welcome another episode of the real estate marketing dude, podcast, folks, where we chat about today is how you diversify. When the market stops transacting by 33%. What are you gonna do during this recession, this is gonna be the best opportunity that most of us will see to actually start building wealth and you don't make a lot of money when everyone else is buying houses, you make a lot of money when no one else is, because that's where the opportunity is. And if you're not adopting the mindset of becoming a real estate problem solver, right now, people are going to be eating your lunch. So what I wanted to do today was bring on a investor, not any investor, Latino investor. That's why we got on the show here, because we support our Latinos on this show. But what we're going to talk about guys is sort of how to start thinking outside the box, here's the reality, right? You're gonna, there's gonna be a lot of opportunities. And when the market shifts like there's, there's gonna be recession, people are going to be losing their houses, their jobs, and other things. And they're going to need help. And this is why every real estate investor in the country is self attaining on the sidelines right now. They're not getting in yet, but they're just sitting there. They're putting on their helmet. They're strapping on their chin strap, and they're putting in their mouthpiece, because they're about to go to freakin feast. And that's why these markets are so exciting. And real estate agents, lenders, you guys are in the best position to take advantage of this different stuff. So we're gonna get into that a little bit further right now. But without further ado, let's go ahead and introduce our guest, Mr. Martin. Perdomo. A Superdome. All right. That's correct. Port demo. All right, Martin, why don't you go ahead and tell everyone Hello, and tell him a little bit about yourself. Hey, everyone. Thanks. Thanks for having me, Mike.Really appreciate it's an honor to be here on your show and talking to your audience. I've been investing in real estate since 2007. Man I first fell in love with real estate. When I was 1616. I grew up in New York City, born and raised in Washington Heights, and those of you that are familiar with New York, that's the hood man, it's rough in the 80s and 90s. And at 16th on my 16th on my 16th birthday. My mom kicked me out for the ninth time she said it says she got home she kicked me out. And I quickly realized my sleeping in trained and and rooftops and and parks in New York City. And then the beaches in Far Rockaway Beach, that human beings needed something really important that shelter and food, right. And that's when I first fell in love with real estate, I made a decision unconsciously that I was going to own a lot of real estate, so I never have to go through that pain again. And that's what I've done. So that was, you know, that was my debt. When I made that decision. I bought my first investment I bought my first real estate piece of real estate when I was 21.And I bought my first prop my first investment in 2007. So I was a mortgage broker. And you know, I was the guy giving people those all those bad loans. subprime loans. I was countrywide days baby. Right. I remember that remember countrywide and all those never, never before in the history of real estate has a college graduate at 21 years old had the ability to make 750 to a million dollars a year just right out of college at their first entry level job. That's the type of market it was for those you guys that weren't around back then. It was crazy man. It was we were making so much money. I rememberMike being in my conference room with my sales team and telling them I didn't know what I knew now, right? Obviously, and I remember telling my people say, Hey, man, we're giving these these loans these 300,000 loan to someone making $40,000 a year. Fundamentally, it just doesn't make sense. But I wasn't intelligent enough. I wasn't smart enough astute enough to know how to look for the opportunities. I didn't know how to prepare. Like you said, when we started earlier.The real estate investors are salivating right? They're chomping at the bit right for the opportunities that are gonna come.And you know, last year I was saying the same thing like this is not sustainable people offering me $60,000 over asking over the weekend, like put a property in the market and it's like I'm like this shit doesn't make sense. Like it's like deja vu right?It's not gonna sustain long term. When I say one thing real quick why he says that you guys gonna support point I mean cut you off. The 90% of the markets never seen a market like this. Like the agents out there. 90% of them never been through this market. Because 90% of licensed real estate agents have never seen a shift. Alright, we've been on abull market for 12 1314 fucking years. Right so no one knows what to expect, including some of the top we have one of the top agents here in San Diego, I got a little Facebook's back. You're listening. I'm talking about you, bro.The market crashed up. It's like the top agent and Sandy Berg's ever gonna crash been doing business seven, eight years? Do you guys all have egg on your face? For anyone who's saying the market is crashing? Whenever it goes up like that it is unsustainable In today's internet. Today's it's not a supply and demand issue? I don't think so. They're people want to buy houses, even though they're they're overpaying for them.It's an affordability issue. Right now that that said, that's one of the reasons of why we decided so I told you told your audience earlier we flip houses, right? So we decided our strategy now is when we flip, right? Because you got to be careful when you're flipping houses in a market like this.What you're doing, you got to really understand the data. And that is one of the things that you know, I learned from 2007 After buying my first, like 100 bought my first investment 100,000 I was $100,000 underwater, within two years. Pricing property was worth I bought it for 272 75. Same property was worth 179 Two years later, and you bought in oh seven. So you got caught your pants down? Yeah, man. Yes, sir. However, I just saw a comp of that property burned out. I had college kids and they burned it down. And that saved me. But I just saw a comp, I just bought a triplex not to combat a month ago. And the appraisal comes in here. He's like, Hey, what are you gonna bring that in at? And he's like, I don't know yet. But here's my comps. I just saw come for a property two doors down from there. Same like exact square footage of that property sold for 385. So my lesson, right? Is Real Estate is very forgiving long term. Right? If don't wait to the good old saying don't wait to buy real estate, buy real estate. Don't wait. So even if I would have hung in there 14 years later, I would have I would have I would have turned around to give up. Yeah, yeah. So so so if you know, it's about that mindset of having that long term thinking in terms of long term and not just right now, when you flip properties,like some of the things that one of the strategies I do, if you don't know what you're doing, and a lot of the pretenders are already out, right? You got Redfin just left you got glass door, leftdoor,or whatever their name or open door, whatever the name of that, like glass or that's, that's a really good way tothey all got out. And I remember talking to my team Mike, last year saying, you know, those guys can compete with us. And the reason I say that those guys can compete with us is because while they have virtually unlimited funds, right, they have all this money. We're intimate in this market. Can you imagine those of us that are seasoned? Alright, think about this for a second. Those of us that are seasoned investors.What is the toughest part of the rehab process is dealing with those freaking contractors, right? That is the toughest part, right? Those contractors will eat your freakin lunch. And can you imagine what contractors if they try that shit with us? And we're local, we're here we have boots on the ground. We have a team assembled everything. What are they doing when they get a call from Zillow? Hey, I'm Zillow in California and I want to rehab they're killing those guys. Right there. They're like, can you imagine what they're doing to them so and no disrespect to them not not throwing shade on them I just on a one to one that really can't compete right with us locally, because we're local, right? They're not they're not in the business of making money. They're in the business of spending money.And they have to spend X amount of money in those hedge fund worlds, whereas the mom and pop or the individuals are actually in the business of making money. And when I never understood what all these pods is, like, why you guys like out and like the worst times to buy, like they came out in oh seven, two member they started buying and they went out right away. It's like, Dude, you got to you create the fun, like in six months from now, then you buy all the properties, you know, by him whenever I was paying peak dollars for him, that's just like, you would think that they would do like more research on like how real estate works for these high end funds, but none of them do because they're just spending money. Like a drunken sailor. It doesn't make sense to me like, like, I study the data man. And I'm like, you know, what, why would you like why are how are you guys justifying those decisions? Right? One of the decisions we made earlier this year when we saw this, all the correction and interest rates going up. Actually, late last year, I said we're going to now shift to when we do flip a property we're only going to do properties be low sub 250, right? ARV is up to 50. And that's because in our market that's considered affordable. And what I did was I went back and I studied 1981 when interest rates were 16% Right?those kind of environment that we're kind of projecting we're going into. So I studied what investors were doing that and right. And I looked at, hey, people were still buying houses. I bought my first house in 2000. And it was I paid I had an FHA loan 9.75% interest rate was my rate, people are bitching about 7% interest rate right now, I'm like, stop it, stop, like,you know, that's not my first investment. And I was a mortgage broker, and oh, seven was 7.75. Right. And I had a 740 credit score, and I was a mortgage broker, I gave myself the absolute best deal.And so we decided we're going to only buy properties that are in the affordable space, because in 1981, the investors that were making money were were were selling properties that were affordable, then we feel based on the data income and things like that, demographically, we feel that 250 Regardless of where interest rates go, we give a good product, good clean product turnkey, we're always going to have a product, we're always going to have a buyer for that. So it's about studying the market, right, Mike? Like really knowing your shit, like really just studying and understanding what it is that you mean, I can't, I can just go buy a house and throw on some paint and granite countertops, stainless steel appliances, refinish the floors and make a bunch of money. That's what that's what the novice is doing. That's how they lose money.So let's see here. Here's you guys, if you listen in to what he's saying, like real estate investors are a large part. I've been become investor friendly. First and foremost, like for all the realtors listening to this guy become investor friendly. Because that's where the transactions are gonna go. Like, would you rather work with an investor that does like 10 houses a year would you rather work with one individual buyer is going to pitch about the GFCI outlets, and their dad is going to come to the inspection and give you a heart attack. So which wild you really want to go with it? And with that you're going to have this is why I bring him on the show is because you're going to have these conversations. I got some questions for you, Martin, because there's a lot of agents and I want to get more into your strategy. But the question for you as would you like if you had like First off, I mean, investor friendly real estate agents, you really know what I'm talking about like that know their shit, like investor friendly people that are gonna go out there and source deals for you. People that did be like, Hey, yo, do you know like, the zoning in here is way under built. If you brought this to its highest and best use, you could probably do this with that. How many people are talking that way?Dude, I host the local real estate investors meet up in my market. And I talk about this exact same exact same thing you just bought up. There is a handful, maybe three in my market that I can that can have that kind of conversation with me. And not it's not the realtors fault. They're taught to stay out of trouble. In real estate agents school, they taught they're taught to be scared and this is they've taught that anything outside of a mortgage traditional 30 year mortgage or 15 year mortgages Oh, it's illegal. And they and this is what I tell Realtors when they come is learn how to provide value to a guy like me because I'm the gift that keeps on giving right? Like I'm the gift that you know I'm the guy that's gonna give you transaction after trends you want to partner with guys it doesn't have to be me but a guy like me right? Fortunately for me my wife is a realtor so I've trained her on how to think as an investoryou got you guys are probably like going to like Valentine's day talking about cash on cash return and cap ratesyeahunderstood how to speak the languageand how to provide value to like just exactly like a ton of money with with guys like us that are we're constantly buying right the you know we're not going to pitch about little GFCI outlet we're not gonna bitch about the roof and a bunch about this like we just wanted to do it makes sense we run the numbers it makes sense our students do and you sell it to us and you're going to step in and then you're going to sell it for us so it's a double whammy right that's that's Mark playing that's playing a small well most people don't think that eight investors have a bad name like really agents Oh get the investors waiting someone's getting ripped off that's not true like guys got I'm gonna rewind what happened in oh seven people are gonna need investors to bail them out. I mean, that's just what's gonna happen. Investors yes, they make money but so do you.Right? Are you are you a dick for fucking selling me a house at a 5% rate that you just put on the MLS and you just let the MLS sell? Let's be honest, right? So you have to open your eyes to this stuff you guys and that's my only goal to show today is to really get you thinking outside the box get you guys really looking at why not only do you want to become investor friendly in this upcoming market, but also work with different investors and honestly, like, Who here wants to sell real estate for the rest of their life? Nobody. Nobody can last the reason why 90% of the business hasn't been throughshift like this is because no one last in this business for more than 10 years because it can be a grueling job. And most of the people that start out and do very well become investors themselves, you would think that makes common sense. It's like sort of the natural progression of a real estate agent, learn the market, go in there, and then eventually become the investor become your own best client at the end of the day. So let's get into some of these strategies. Now just wanted to pick that up, because I want to point you guys in the right direction to head during this recession. Because just do it, trust me.Where I wouldn't had as just being a regular residential agent anymore, I just would stay away from a adept it's time. So let's get into this, you're gonna go into the buy and hold, which is attractive. A lot of investors like to make a quick buck. It's harder to find a buy and hold. Let's get into that. strategy. First. Buy and hold is different by the bind flip. Guys, I'm sure you guys understand that. But what do you look for in a buy and hold? Like, I just want to play real estate agent and you play investor? That's what you are. And I paid you What do I look for? What kind of properties are you to buy? What's the strategy in this? So when I'm looking for buy and hold, I'm looking for bigger plays. But if you know, I don't know who your audience is, let's just I just bought a triplex. Let's just Let's just Let's just look at that right, I just bought a triplex a couple blocks from here. So that's the most recent one I bought less than a month ago. And when I looked at that, I look at a couple things, right? It's a little you run the numbers differently, right? I'm looking at, I'm looking at Cap rates, I'm looking at income, I'm looking at value, add opportunity. So So those of you that don't know capitalization, what capitalization rate is capitalization rate is my rate of return on my on what that's the rate that properties are trading at,in a particular market, right. That's how you could calculate the value. So I look at a What's the rent? Was it current rent, and that particular asset? And then I look at what can I get this rent to? And what do I have to do to the place to get it to that rent? So for instance, if I have four let's just say make even even if even numbers if I'm getting $36,000 a year for let's call it $40,000, a year from that triplex currentlyperforming so it's underperforming by like 15 grand a year, right? 15 grand a year, so I can get it to 15 to 55,000 hours a year. How much money do I have to put into the property? To get it to give me that? And then what's my valuation once I increase it to that income? So it's a it's a little bit different? Beast, right? I'm running different animals, and I'm running different different numbers. And then can I exit on a refi?too, to burn it. And maybe the people know that you're people familiar with the buy, renovate,rent, refinance, and repeat. If I can borrow it, then what's my, what's my, what's my tenants? Andwhat can I refinance it out, and while they're still cashflow, so there's a lot of different moving parts. And I'm looking at, for instance, this particular one, Mike, we it was a three units or three unit. We have crappy tenants in there, places falling apart, it's way underperforming, I mean, the rents, I can get another $600 in rents, what do I have to put into it, though I have to put in there's a hole in the roof like roofs getting done tomorrow, there's a hole in the roof is just falling apart. I have no idea how people will live like that. But my value add my upside in this particular and agents pay attention if you're predominantly listeners or agents. My value add was that there is a there's a meter in the meter base electrical meter base, there's a fourth meter in the basement. It's a walkout basement. And that was grandfathered in and there was an apartment there at one time there's a kitchen and already a bathroom in there. It's full of junk right now. But that right there turns changes that whole property, I can go in there now. But a new meter, put it rewired, put new, redo the bathroom, redo the kitchen, turn it into a brand new place, right, and I go from buying that place, I'm gonna wind up putting about 60 grand in rehab into that property. Bought that place at 219. These let's call it 201 96. Let's just call it 200 200. I'm going to put 60 in and I'm going to have 260 The after we call it ARV after repair value the new valuation because I'm fourth appreciating it the new valuation of the property projected after I'm done it's $475,000. So what can I refi it out right what what can i What can I get with that right? How much equity do I have? I just created a ton of equity for myself. This particular and I have a cash flowing asset and the asset will be paid by the by the debt is paid by the residents. And I keep the assets and I still cashflow it's a win win win win situation. You got to know how to buy. I don't kind of give you the long, long view. But that's theAre the Fit kind of the 50,000 foot view of all the moving parts? When when I'm looking at buying multifamily now something that's small, I'm gonna look at it. That simple, right? Something bigger, we purchase a 57 unit earlier this year. And that one similar strategy Hey, what was the wrench wrench for 700 we pushed him all the way to $1,100 a month, we sealed the driveway, we dropped about 200,000 The property did a bunch of a bunch of things to add value to the place. And we forced appreciate it. The asset at that scale. Now we force depreciated by about $2 million in less than a year. That's a bigger scale. It's a little bit more sophisticated, but it's same same, same product Minister same process. And if agents just learned how to like if they just got educated, listen to guys like you and learn how to do things like this man, like, like, learn how to run these numbers and bring deals like this to guys like myself. Holy smokes man, like, sky's the limit for you. Your life will be so much easier. I do have a question for you, Mike, what do you rate your projections? What are you seeing?2023 is going to look like? I think it's going to change on where you're at geographically. I think the blue states are gonna get their ass kicked. Like they already are. I'm in San Diego. They're getting crushed.I think it's an affordability issue. So the high peak markets, the Phoenix, Las Vegas, all of California.The Midwest markets seem pretty safe for the time being. But yeah, it's because I don't everyone, the typical real estate agents, oh, supply demand, there's demand. And they're just reading these talking points from National Association of Realtors. Right. But in reality, no one's considering gas prices, no one's considered inflation. And no one's talking about the stuff that takes the average Joe out of the market, and more concerned about what's going to happen tomorrow for their kids. And that's the reality of it. The average nope, people don't have savings. You guys like people act like there's a bunch of people have savings. No, the vast majority of people out there have are living paycheck to paycheck. And when everything goes up two or $300 up a month, like I'm sorry, you no longer think about buying that house, you think about your future kids tomorrow. So I don't think it's an a supply and demand issue. I think it's all affordability. And I personally think that our government is trying to crash the real estate market. That is many evidence of that they're trying to why they're doing it, we won't go into conspiracy theories. But point being is that it's happening. Right. So now with that, I think that as the recession hits, and the more and more stuff they do to crush the market here, there's gonna be people that are in distressed, and if I'm focusing on anything gets motivated sellers, and that's why we built owner advocate.com. So if you guys wanna check that out, go and check that out. I'm going all after motivated sellers. But I believe everyone needs to be a problem solver. Because when I do know from the last crash, if you guys been listened to show I mentioned a couple times, but we are Big Short Sale 25 to 35, close short sales a month, I was buying a percent of those and flipping them. But I didn't care about the transaction, what I focused on was just helping people. We did that for about two years in a row, largest short sale team in the country, doing the exact same stuff that I believe is about to happen. It's not going to be as bad as it was in oh seven. I don't think they'll I think they'll Don't ever let those foreclosures go to public. I think they'll transact and behind closed doors to the funds, and all the other things so that the public perception doesn't crash like it did last time. But there's going to be a million opportunities for the mom and pops because the eye buyers are now exiting. So there's our big cash buyer competition. And where you're at a smart like focusing on the lower dollar, the affordability within your issue is probably where I would play too, because no one knows what's going to happen tomorrow. So if you're rehabbing, I wouldn't go for the luxury rehabs right now, I wouldn't even touch them. I don't even think about them. I would do exactly what you just said. You want to be right. And the affordability areas. It's not supply and demand affordability. That's your issue. And nobody wants to get caught with their pants down. Because I could tell you I know I tell you so many people who have like I said, you guys, we both were both talking here. We both were around and oh seven doing the same stuff. And you just have to be a little bit careful. Now on the flip side of that, get excited because I'm not trying to paint doom and gloom. I think you'll have more opportunities. I think it'd be tonic opportunities right here in San Diego because I think it's going to crash you here. More so than like Florida.The Texas is the Florida's all the inbound states are still inbound. We have clients all over the country, and they're not as effective as much. But the Midwest states I think are going to be safe. But the high end luxury is what I'm seeing struggle right now. The higher end of your markets.Yeah, I'll share this with you. I went to a conference and I'm not gonna mention the conference name. It was in February, in Colorado, because I don't want to I don't want to put them in bad light. But it was this very same day, Mike that that Ukraine got invaded by Russia. And so I just flew into Colorado.And the news hit that morning and I was like, Okay, this is great. I mean, the biggest commercial real estate investors conference in our, in our industry, right, one of the biggest. So we're gonna talk about this stuff, you know, gas is starting to soar rightly, all these things and we're gonna talk about and I was so disappointed man.To your point ofwhat you said earlier how people are getting affected I was so disappointed that you had some really smart people there were people from Marcus Miller champ really, really intelligent people. And they were saying that interest rates going up at that time probably interest rates had just started going up, interest rates going up, gas prices going up and electricity going up to the level that it is right now. 30 40% increase in some some places in electrical and electrical that it was not going to affect multifamily apartment buildings. And I was so disappointed dude, I was so disappointed. I was like, how could you insult my intelligence? How could you insult my intelligence I flew all the way out here from from Pennsylvania to Colorado and you insult my intelligence and say that this war is not going to have an impact that interest rates is not going to have an impact in that we're just going to keep riding this gravy train. It's an absolute insult you understand what I'm saying?when gas prices go up and your average working class person gas prices are going up again have you looked at the gas pump they're going up because OPEC cuts production? Oh the elections over of course they're gonna Yeah. Right. Exactly right. So so so when when that occurs, right gas prices goes up and now regular Mom and Pop working class America has to spend another two or $300 a month Do you not think is going to impact my read collections? Do you not think is going to an electrical now you got to spend another 20 another 20 30% Extra in to heat up your apartment? Do you not think that's going to have an impact like you are foolish? If you expect me to believe that and we as Americans as individuals we have to be able to look at this stuff we got to be listened to people and discern and make our own decisions as to what makes sense and what doesn't make sense. I wouldn't I would go out and say that especially as a commercial because the same thing happened oh seven I was one of them. Markets number one that's what I got caught with my pants down Marcus I forgot about always appreciate the market doesn't go down. It was just my my inexperience you know, in the market. Like what you said earlier? Yeah, if you stick it in the long run, you're always gonna win. But there will go in and out and out. Like it's like we've been sampling the crypto right now. It's getting its ass kicked.But you have to just be ready to just no one knows the answer. But when things are going good no one ever wants to talk about what the negativity of it because the same thing happened. Same thing in the residential side. I was like, oh, Martin's gonna go you should buy right now. And I'm always like, Dude, I wouldn't freakin buy right now, this guy just paid off my old neighborhood, there was a house listed for three mil and it sold it for $1 million over list price. $1 million over list price. Insane. Like it's crazy, like, and then you would think that the people buying those houses aren't like you would think they're intelligent, and they think about this stuff. But they're just most times that people are buying in that price point they have so much money, they don't really give a shit like an extra 500 $250,000 isn't going to do much. But you're right where it's gonna hit his middle America. And it's gonna hit that middle America right when the spot that you're playing. So you're gonna hit distressed assets, plus, you're gonna be able to liquidate them and exit out of them.You know, what was the most interesting thing last year, when when we were flipping last year, I had quote unquote, investors. First of all, most of us investors, we don't buy real investors. And if this is you, I'm gonna apologize for you up front if you're an investor. Real investor knows how to find off market deals, get off market deals. You've mentioned it multiple times.When I had the funniest thing to me was when I had I sold multiple properties last year 40 50,000 over asking price Mike to quote unquote, Airbnb investors. And I'm like, holy shit how I'll be buying this property. You're gonna be buying that back in about six months. Back in a couple years, right? Because I was like, I look at that I'm saying how are you making these know how you penciling these numbers? I caught what investor buys first of all, you're not an investor. If you're paying 40 $50,000 over asking on the retail marketing, you're competing with retail buyers. Like like likeyou love and you competing with retail buyers. You're not a real investor. Right because a real investor is not competing with retail buyers. We're not buying to live retail buyers have the luxury of overpaying and falling in love with properties. We don't fall in love with properties.It is we running the numbers. The numbers gotta make sense if the numbers make sense we do with you. Yeah. Sherry non-emotional either works or doesn't. Like, that's why I like it.It works or it doesn't. And that's a problem with a lot of real estate guys, a lot of real estate agents. We investors have a bad rep amongst the real estate agent community at times that all but at times, oh because they look we lowball Well, that's how we make our money understand that we have to buy at a certain price point in order to be profitable. If we pay what mom and pops pay when they buy like a regular tradition. We can't be profitable. We can't We can't make a profit. Yep, make sense? What? Any final words here like what? You know, where do you think we're gonna go? You think you're gonna do more holes here? You're gonna do more flips when you think the markets gonna head? Back to you? Yeah, well, we're, I think that the market is headed for a correction. But I got to tell you, Mike, I got it wrong. And 2020 I got it got it wrong, right. 2020 I was preparing I'm salivating when when COVID hit. I was like, Yeah, this is it like this is it? I did, we're gonna I got it wrong and went the other way. I'm looking at the data, or the fear mongering has already been done. As you know, it's already all over the media, that rental housing market and this housing market that? Well, I gotta tell you, man, I just looked at the numbers. I spent a couple of hours this week looking at the numbers in my market, quarter over quarter. And men were steady, like, we are still steady. We are still like, like, I'm like, okay, yeah, interest rates are going up. People still buying. I'm looking, I'm comparing quarter over quarter like what's happening, comparing it to last year. And it's like, it's steady. So my advice is if you're going to be playing and you're going to be investing is don't be listening just to the media and word even. Don't even don't even listen to me, right? Like, if I'm telling you something, go do your own due diligence and research it and do your own due diligence. Pay attention to what's happening in your market prepare. Like I was saying, I got it wrong in 2020 I thought that we were going to the market was gonna blow up and I was gonna buy a ton of shit. And it was gonna be, you know, an amazing time. It didn't it went the other way market just demand went up, prices went up. Remember that?I could be wrong man. I, I looked at I'm looking at the data. And wow, the the interest rates are going up. And in some markets prices prices are coming down for sure we are seeing prices, but a crash. I don't know. You know, what I what we're doing is we're staying couple things. We're staying disciplined with our numbers. We're buying, right? And we're planning for a worst case and we're getting ready for if that crash does come, where we're going to continue to buy, what we are doing is we are staying in the game. We're not going to stop playing. We're paying attention. We're watching the data. We're being disciplined, and we're not deviating and we're not making any crazy bets right now in this market, because we don't know where the market is going. Overall, we're staying disciplined, and we're studying the market. We're watching the data closely. And we're watching where things go. We're watching what the feds are doing. Like, if you're in this business, you need to be paying attention to what the feds are doing. You need to be paying attention to what they're doing. I do you believe that there will be opportunity in the multifamily space. Becauseyou're here. Here's my thought, right? There's guys that had that bought larger multifamily bridge, in the garden bridge loan, were 90% LTV, and their margins were thin. So because those guys that were betting that the market is never going to stop and rinse, we're never going to stop going down and all that shit, right? Those guys that had thin margins, and their value add was 50 or 75 or 100 bucks. And now they're in this position where the banks the capital markets are saying wait a minute, rates are going up, we don't want to now they can't cash flow, and they can't make those numbers pencil out at these ratios, though things are gonna go going to be on sale next year, just just because of interest rates. So that just makes logical sense for me, I yeah, man that that's an error of the get those people with those bridge loans that can't refi into long term, they're gonna be in trouble. If their margins were thin, and they were betting that it was going to rents were going to continue to go the way they're in trouble. Those guys are in trouble. They're going to have to fire yourself. So I'm gonna be looking for those and I'm going to be for those larger more times. But as for the single family, think about it, brother is not like when you and I were back in oh seven, right? Where it was those two year arms right? 9.75 gonna reset in two or three or four years. We don't have that. Now, we have an inventory issue because people are not selling they have those two 3% interest rates. They're looking at this or saying we can weather this where am I going with it? Seven 600% Right, where am I going? Right? So so it's just a weird time. It's very different. And I'm just we're just preparing my advices prepare, getting cash every position but be disciplinedBe disciplined with the numbers and pay attention to where the opportunities are, where the puck is going, right? where the opportunities are good in either way, like it's around how you buy, right? It's on how you sell or when you say it's on how you buy, you got to buy, right, and you're good no matter what it is.And you guys just got to be careful. But I mean, just by listening to the show, you guys, can you see how you could reposition your brand and niche down in these times when the residential market slows down a little bit, you niche down, you find a niche. And that's what you lead gen. And you do one thing really well, real estate investors never have a listing issue. And I don't understand why agents ever do. And it's because they know where to put their solution and who to put in front of us is why I'm saying become a problem solver, guys, people are gonna need it. And there's gonna be a lot of opportunity out there. The only thing I would saythe one number and I agree with everything, the one thing I'm worried about, what I would put is that anyone who bought from 2022, first quarter to 12 months prior, and I'm talking specifically about the FHA as the VA loans and the 100% of your financing, like all those people, if the market does shift, like in California, we've already shifted 5.3%. So the cost of sale is 8%. In 5.3%, if you only put down 2%. Those people are already underwater. Yeah, that is that's the that's the one that's the thing, I can't get my head around. Becauseonce people see that they're underwater like Phogat. Done SWAK. That's what happened. That was the snowball effect that took place last time and I can't get my head around that. So yeah, the affordability but people want to buy people are out there that they need to buy. But they're like worried about the affordability aspect of it. But there will be a lot of opportunity. Regardless of how you look at it. Go ahead where you say, there definitely will be opportunities. My the other side to that though, Mike is yes, there's already people under water agreed agreed with you, we've seen a 7% drop in value here. We peaked here in we peaked here in April and April of this year here in the Poconos. And we've seen a 7% drop April to now which is a significant amount of time, and that's a lot. That's a big significant drop. However, the the other side to that is you have those people right to have those fHh vas, they still have those two 3% interest rates.So while they're on paper, on their water, on paper, they're on the water, what's their payments? And remember, what do people buy? You know, and this why they buy payment, they buy payments, so Hey, am I going to walk away because on paper, it says I'm 50,000 on water. And if I move my payment, my expenses for my family is gonna go up. So it's again, it's a tricky time. Like I've thrown that shit around in my head. Yeah. Tricky time. When when people pencil the numbers out, okay, do I walk away? My payment is 1500 for this 350,000 Not alone? If I go someplace else, what can I get for 1500? Right? What kind of Prop work? Can I rent for 1500? Why would I get and people have to do that math people will do that math. Some people will smart people will do that math.Right. And it's like, and like I said earlier, if you buy real estate and wait over the long haul, if this is you and you're listening, remember what I said I bought mine in oh seven for 2000 for 275. And oh nine that was 100,000 it was worth 179 and 2022 Property two doors down from there exact same property a duplex sold for 385. So if you hang in there over time, over time,real estate is very forgiving over the long haul. If you can think the long term can weather the storm maybethe data has shown me that and my message to your listeners if you're listening and you're that homeowner is hang in there and think of the long haul, right because you're gonna just make it worse for your neighbor for the economy for everyone. So if you couldn't hang in there, hang in there. If you're distressed now and you have to sell you have to sell because you lost your job and you have no choice that's a different that's a totally different story different conversations and you know guys like Mike and myself will buy themfor short sale, right?Well, you hang in there very interesting dude great conversation. Why don't you go ahead and give our listeners your closing thoughts where can they find you? Where can they learn more about your business some of your trainings and whatnot. Yeah, so so you guys can find me on check out my podcast Latinos and real estate investing podcast on Instagram. As the lead strategists look me up the lead strategist. I have a ton of stuff or you can check out my YouTube as well. I have a lot of content on YouTube. Lead strategist where I put a lot of my rehabs and a lot of a lot of cool stuff on there live videos of evicting tenants and things like that I show I like to share with people the real the real stuff, a lot of a lot ofguys out here like to show the fluff. I like to show the real, real deal.Open upI have a video like that with the with the actual constable putting this lady out. And it's interesting because people on the insert in the Internet are like, Oh, you're such an asshole. You're such this. What people don't know is they don't know the full story right? They know the full story like, Hey, I gave this lady two months free rent, I let her like, this is it like, you know, like people don't know the full context and the internet is kind of brutal like that. So anyways, go check it out. I have a bunch of stuff like that out there where we put it out real life stories. It's not a pretty business. It's a profitable business but ultimates a problem solving business, right? Someone you don't make really good at solving problems, someone's problems. That's all real estate is, Folks, we appreciate you listening to other episode the real estate marketing podcast if you like what you heard today, once you go check out one of our products is called owner advocate agent.com. If you need to sharpen in your listing strategy and get more investor friendly, that's where you do that. And if you need seller leads, we have all kinds of a for you. So go ahead and look at that. Check that out and keep listening to our show. You can reach us at real estate marketing do.com referral suite.com or the owner advocate.com. Appreciate you and have a good week and I'll see you guys next week. Bye. Thank you for watching another episode of the real estate marketing dude podcast. If you need help with video or finding out what your brand is, visit our website at WWW dot real estate marketing dude.com We make branding and video content creation simple and do everything for you. So if you have any additional questions, visit the site, download the training, and then schedule time to speak with a dude and get you rolling in your local marketplace. Thanks for watching another episode of the podcast. We'll see you next time.Transcribed by https://otter.ai
Who Is Quist...#quist #musician #newmusic #bryanferry #instrumental Quist is a Danish guitarist & artist based in Los Angeles. He has already toured the world many times as a guitarist, most recently being featured as lead guitarist with UK art rock legend Bryan Ferry (Roxy Music), who was inducted into the Rock & Roll Hall of Fame in 2019. He was featured on Bryan Ferry's album “Avonmore” (2014), alongside Nile Rodgers, Mark Knopfler, Johnny Marr, Flea and Marcus Miller – subsequently touring the world for several years in various incarnations of Ferry's band.Quist's forthcoming solo album “Breathing Space” was recorded in 2022, in his studio in North Hollywood, Los Angeles. It's a chill, dreamlike sonic universe – with lush keyboards, melodic, bluesy guitar licks and atmospheric field recordings. The album drifts through calming atmospheres of dreamy sounds with layers of meditative drums.Website: http://www.Quistorama.comYoutube: http://www.youtube.com/QuistTVInstagram: https://www.instagram.com/quistguitar/TikTok: https://www.tiktok.com/@quistguitarLinktree: https://linktr.ee/quistThanks for tuning in, please be sure to click that subscribe button and give this a thumbs up!!Email: email@example.comInstagram: https://www.instagram.com/listen_to_the_vibes_/Facebook: https://www.facebook.com/thevibesbroadcastnetworkLinktree: https://linktr.ee/the_vibes_broadcastTikTok: https://vm.tiktok.com/ZMeuTVRv2/Twitter: https://twitter.com/TheVibesBrdcstTruth: https://truthsocial.com/@KoyoteAnd Now!!! The Bandmates' club, Supporters of the channel: Matthew Arrowood Host of The ONLY Brocast podcast:https://youtube.com/channel/UCsfv1wWu3oUg42I2nOtnMTADon Hahn of In the Margins: https://www.youtube.com/c/InTheMarginsBukas Siguro: https://www.youtube.com/c/BukasS%C4%ABgur%C3%B8Will Scoville of Ranch Rehab DIY: https://www.youtube.com/c/RanchRehabDrew Lee Nicholas of DN-TV: https://www.youtube.com/channel/UC8TVqL9mn6NzPkXOLOZSX-A
#807 - Grégoire Maret The Grégoire Maret Interview is featured on The Paul Leslie Hour. Are you here? Let me guess, you're here. And let me guess you want to get in and out with today's show. You heard it's a short interview from the archives on this episode of The Paul Leslie Hour. Right. It's the interview with jazz artist Grégoire Maret. Now folks, sometimes Paul is only given a few minutes with the special guest, but what remains is nonetheless a little piece of history. Some of the interviews aren't long, but they're potent. Like this one. Ok. So, Grégoire Maret is a musician, recording artist and concert performer from Geneva, Switzerland. He is recognized as the top jazz harmonica players. Grégoire worked with people like Jimmy Scott, Pat Metheny, Marcus Miller, George Benson and many others. On this episode, he is interviewed about his debut solo album "Grégoire Maret” and more. You want to do us a favor? Oh, thank you. Just subscribe to The Paul Leslie Hour on YouTube and ring that bell. www.youtube.com/thepaulleslie If you're really in the mood to help, just go to www.thepaulleslie.com/support and put a little soup in our bowl. Know what I mean? We thank you all. And now folks, we must do what we set out to do. It's the Grégoire Maret interview. It's a short one today, but there's some cool things to learn. Roll tape. The Paul Leslie Hour is a talk show dedicated to “Helping People Tell Their Stories.” Some of the most iconic people of all time drop in to chat. Frequent topics include Arts, Entertainment and Culture.
N.Y. Electric Bassist Mike Visceglia has worked with Suzanne Vega, Jackson Browne, Avril Lavigne, Phoebe Snow, Cyndi Lauper, Bette Midler and many others. Mike also co-leads a couple projects; Then Their Were Two and Pine Cats. Then Their Were Two is a duo project with Mike on electric bass and vocalist Fiona McBain. Mike and Fiona have cultivate arrangements of pop tunes and jazz standards in a unique musical setting. Pine Cats is co-led by Visceglia and NY guitarist John Putnam. This is an americana style project with Viscelgia and Putnam being joined by other world-class musicians for the 2022 release “Bedouin Breakfast”. In addition to touring, working on the NY Broadway Scene and co-leading projects, Mike has also authored a book titled “A view from the side - Stories and Perspectives on the Music Business: Interviews with Bass Giants Will Lee, Marcus Miller, Leland Sklar, Tony Levin, and More.”The Bass Shed on IG / The Bass Shed on Twitter / View More Episodes
N.Y. Electric Bassist Mike Visceglia has worked with Suzanne Vega, Jackson Browne, Avril Lavigne, Phoebe Snow, Cyndi Lauper, Bette Midler and many others. Mike also co-leads a couple projects; Then Their Were Two and Pine Cats. Then Their Were Two is a duo project with Mike on electric bass and vocalist Fiona McBain. Mike and Fiona have cultivate arrangements of pop tunes and jazz standards in a unique musical setting. Pine Cats is co-led by Visceglia and NY guitarist John Putnam. This is an americana style project with Viscelgia and Putnam being joined by other world-class musicians for the 2022 release “Bedouin Breakfast”. In addition to touring, working on the NY Broadway Scene and co-leading projects, Mike has also authored a book titled “A view from the side - Stories and Perspectives on the Music Business: Interviews with Bass Giants Will Lee, Marcus Miller, Leland Sklar, Tony Levin, and More.”The Bass Shed on IG / The Bass Shed on Twitter / View More Episodes
Please join us in welcoming Jackiem Joyner to our studio to chat with Heart of Indie Radio Co-Host- Emme Lentino Bio: Contemporary saxophonist, author, and music producer Jackiem Joyner has set the bar high in his close to 20 years as a performer. With a number one jazz album, several Billboard chart-topping hits, and a series of critically acclaimed books to his name, he has shown himself to be the rare artist capable of transcending his instrument and reaching a mainstream audience. Now, as he begins the 18th year of his career during a time of unprecedented change in the entertainment industry, he remains as focused on his art as ever. “I don't care how hard things get, it'll never stop me from doing what I love. Playing the sax, writing music and stories, and performing live.” Jackiem was born in Norfolk, VA. At an early age, he began to show signs of the restless creativity that would later define his career. Despite his humble upbringing, he was able to get his hands on a saxophone as a child. The instrument quickly became his constant companion. After years of practice, he emerged in style with 2007's ‘Babysoul.' A masterclass in seductive smooth jazz, the album marked the arrival of a brilliant instrumentalist, and set the stage for a prolific recording career that would include Grammy runner ups, hit singles, and no shortage of critical adoration, right up through 2019's ‘Touch', and on to 2020's EP “Journey of Passion” As a performer, he has toured over 30 countries and performed with the likes of the late George Duke, Marcus Miller, Keiko Matsui, Donnie McClurkin, Angela Bofill, Najee, Kirk Whalum, Peter White, and many others. Social media handles @jackiemjoyner jackiemjoyner.com joynerbookclub.com
For many of us, the good and the bad of the holidays seem to happen to us. Emotional rollercoasters are common as we're flooded with memories and faced with creating new ones. But do we really want some of the most important times of the year to be left up to chance? On the heels of the last episode, addressing emotional resource, Abi and Justin's close friend Marcus Miller joins the conversation. Marcus shares practical ways that he develops emotional resource from the amazing moments happening right in front of him. He talks about his history of pulling the best moments out of his past holidays and how he practically applies them to the holiday season at hand. Together they discuss how to practically create and apply goodness to the holidays right now. If you're wanting to get empowered and learn how to make the holiday seasons amazing, this episode will equip you with the tool necessary to change the holiday game forever!
The Scott's Bass Lessons Podcast
Slap bass is the ultimate in-joke of bassists everywhere. But it's also an amazing rhythmic tool that can be found in everything from Flea's thumps to the sublime grooves of Marcus Miller and Victor Wooten. In the first of a two part special, we trace the course of its Marmite appeal and pick our top 3 slap bass players that you need to hear!
A History Of Rock Music in Five Hundred Songs
Episode one hundred and fifty-six of A History of Rock Music in Five Hundred Songs looks at “I Was Made to Love Her", the early career of Stevie Wonder, and the Detroit riots of 1967. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a twenty-minute bonus episode available, on "Groovin'" by the Young Rascals. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Resources As usual, I've put together a Mixcloud playlist of all the recordings excerpted in this episode. The best value way to get all of Stevie Wonder's early singles is this MP3 collection, which has the original mono single mixes of fifty-five tracks for a very reasonable price. For those who prefer physical media, this is a decent single-CD collection of his early work at a very low price indeed. As well as the general Motown information listed below, I've also referred to Signed, Sealed, and Delivered: The Soulful Journey of Stevie Wonder by Mark Ribowsky, which rather astonishingly is the only full-length biography of Wonder, to Higher Ground: Stevie Wonder, Aretha Franklin, Curtis Mayfield, and the Rise and Fall of American Soul by Craig Werner, and to Detroit 67: The Year That Changed Soul by Stuart Cosgrove. For Motown-related information in this and other Motown episodes, I've used the following resources: Where Did Our Love Go? The Rise and Fall of the Motown Sound by Nelson George is an excellent popular history of the various companies that became Motown. To Be Loved by Berry Gordy is Gordy's own, understandably one-sided, but relatively well-written, autobiography. Women of Motown: An Oral History by Susan Whitall is a collection of interviews with women involved in Motown. I Hear a Symphony: Motown and Crossover R&B by J. Andrew Flory is an academic look at Motown. The Motown Encyclopaedia by Graham Betts is an exhaustive look at the people and records involved in Motown's thirty-year history. How Sweet It Is by Lamont Dozier and Scott B. Bomar is Dozier's autobiography, while Come and Get These Memories by Brian and Eddie Holland and Dave Thompson is the Holland brothers'. Standing in the Shadows of Motown: The Life and Music of Legendary Bassist James Jamerson by "Dr Licks" is a mixture of a short biography of the great bass player, and tablature of his most impressive bass parts. And Motown Junkies is an infrequently-updated blog looking at (so far) the first 694 tracks released on Motown singles. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript A quick note before I begin -- this episode deals with disability and racism, and also deals from the very beginning with sex work and domestic violence. It also has some discussion of police violence and sexual assault. As always I will try to deal with those subjects as non-judgementally and sensitively as possible, but if you worry that anything about those subjects might disturb you, please check the transcript. Calvin Judkins was not a good man. Lula Mae Hardaway thought at first he might be, when he took her in, with her infant son whose father had left before the boy was born. He was someone who seemed, when he played the piano, to be deeply sensitive and emotional, and he even did the decent thing and married her when he got her pregnant. She thought she could save him, even though he was a street hustler and not even very good at it, and thirty years older than her -- she was only nineteen, he was nearly fifty. But she soon discovered that he wasn't interested in being saved, and instead he was interested in hurting her. He became physically and financially abusive, and started pimping her out. Lula would eventually realise that Calvin Judkins was no good, but not until she got pregnant again, shortly after the birth of her second son. Her third son was born premature -- different sources give different numbers for how premature, with some saying four months and others six weeks -- and while he apparently went by Stevland Judkins throughout his early childhood, the name on his birth certificate was apparently Stevland Morris, Lula having decided not to give another child the surname of her abuser, though nobody has ever properly explained where she got the surname "Morris" from. Little Stevland was put in an incubator with an oxygen mask, which saved the tiny child's life but destroyed his sight, giving him a condition called retinopathy of prematurity -- a condition which nowadays can be prevented and cured, but in 1951 was just an unavoidable consequence for some portion of premature babies. Shortly after the family moved from Saginaw to Detroit, Lula kicked Calvin out, and he would remain only a peripheral figure in his children's lives, but one thing he did do was notice young Stevland's interest in music, and on his increasingly infrequent visits to his wife and kids -- visits that usually ended with violence -- he would bring along toy instruments for the young child to play, like a harmonica and a set of bongos. Stevie was a real prodigy, and by the time he was nine he had a collection of real musical instruments, because everyone could see that the kid was something special. A neighbour who owned a piano gave it to Stevie when she moved out and couldn't take it with her. A local Lions Club gave him a drum kit at a party they organised for local blind children, and a barber gave him a chromatic harmonica after seeing him play his toy one. Stevie gave his first professional performance when he was eight. His mother had taken him to a picnic in the park, and there was a band playing, and the little boy got as close to the stage as he could and started dancing wildly. The MC of the show asked the child who he was, and he said "My name is Stevie, and I can sing and play drums", so of course they got the cute kid up on stage behind the drum kit while the band played Johnny Ace's "Pledging My Love": [Excerpt: Johnny Ace, "Pledging My Love"] He did well enough that they paid him seventy-five cents -- an enormous amount for a small child at that time -- though he was disappointed afterwards that they hadn't played something faster that would really allow him to show off his drumming skills. After that he would perform semi-regularly at small events, and always ask to be paid in quarters rather than paper money, because he liked the sound of the coins -- one of his party tricks was to be able to tell one coin from another by the sound of them hitting a table. Soon he formed a duo with a neighbourhood friend, John Glover, who was a couple of years older and could play guitar while Stevie sang and played harmonica and bongos. The two were friends, and both accomplished musicians for their age, but that wasn't the only reason Stevie latched on to Glover. Even as young as he was, he knew that Motown was soon going to be the place to be in Detroit if you were a musician, and Glover had an in -- his cousin was Ronnie White of the Miracles. Stevie and John performed as a duo everywhere they could and honed their act, performing particularly at the talent shows which were such an incubator of Black musical talent at the time, and they also at this point seem to have got the attention of Clarence Paul, but it was White who brought the duo to Motown. Stevie and John first played for White and Bobby Rodgers, another of the Miracles, then when they were impressed they took them through the several layers of Motown people who would have to sign off on signing a new act. First they were taken to see Brian Holland, who was a rising star within Motown as "Please Mr. Postman" was just entering the charts. They impressed him with a performance of the Miracles song "Bad Girl": [Excerpt: The Miracles, "Bad Girl"] After that, Stevie and John went to see Mickey Stevenson, who was at first sceptical, thinking that a kid so young -- Stevie was only eleven at the time -- must be some kind of novelty act rather than a serious musician. He said later "It was like, what's next, the singing mouse?" But Stevenson was won over by the child's talent. Normally, Stevenson had the power to sign whoever he liked to the label, but given the extra legal complications involved in signing someone under-age, he had to get Berry Gordy's permission. Gordy didn't even like signing teenagers because of all the extra paperwork that would be involved, and he certainly wasn't interested in signing pre-teens. But he came down to the studio to see what Stevie could do, and was amazed, not by his singing -- Gordy didn't think much of that -- but by his instrumental ability. First Stevie played harmonica and bongos as proficiently as an adult professional, and then he made his way around the studio playing on every other instrument in the place -- often only a few notes, but competent on them all. Gordy decided to sign the duo -- and the initial contract was for an act named "Steve and John" -- but it was soon decided to separate them. Glover would be allowed to hang around Motown while he was finishing school, and there would be a place for him when he finished -- he later became a staff songwriter, working on tracks for the Four Tops and the Miracles among others, and he would even later write a number one hit, "You Don't Have to be a Star (to be in My Show)" for Marilyn McCoo and Billy Davis Jr -- but they were going to make Stevie a star right now. The man put in charge of that was Clarence Paul. Paul, under his birth name of Clarence Pauling, had started his career in the "5" Royales, a vocal group he formed with his brother Lowman Pauling that had been signed to Apollo Records by Ralph Bass, and later to King Records. Paul seems to have been on at least some of the earliest recordings by the group, so is likely on their first single, "Give Me One More Chance": [Excerpt: The "5" Royales, "Give Me One More Chance"] But Paul was drafted to go and fight in the Korean War, and so wasn't part of the group's string of hit singles, mostly written by his brother Lowman, like "Think", which later became better known in James Brown's cover version, or "Dedicated to the One I Love", later covered by the Shirelles, but in its original version dominated by Lowman's stinging guitar playing: [Excerpt: The "5" Royales, "Dedicated to the One I Love"] After being discharged, Clarence had shortened his name to Clarence Paul, and had started recording for all the usual R&B labels like Roulette and Federal, with little success: [Excerpt: Clarence Paul, "I'm Gonna Love You, Love You Til I Die"] He'd also co-written "I Need Your Lovin'", which had been an R&B hit for Roy Hamilton: [Excerpt: Roy Hamilton, "I Need Your Lovin'"] Paul had recently come to work for Motown – one of the things Berry Gordy did to try to make his label more attractive was to hire the relatives of R&B stars on other labels, in the hopes of getting them to switch to Motown – and he was the new man on the team, not given any of the important work to do. He was working with acts like Henry Lumpkin and the Valladiers, and had also been the producer of "Mind Over Matter", the single the Temptations had released as The Pirates in a desperate attempt to get a hit: [Excerpt: The Pirates, "Mind Over Matter"] Paul was the person you turned to when no-one else was interested, and who would come up with bizarre ideas. A year or so after the time period we're talking about, it was him who produced an album of country music for the Supremes, before they'd had a hit, and came up with "The Man With the Rock and Roll Banjo Band" for them: [Excerpt: The Supremes, "The Man With The Rock and Roll Banjo Band"] So, Paul was the perfect person to give a child -- by this time twelve years old -- who had the triple novelties of being a multi-instrumentalist, a child, and blind. Stevie started spending all his time around the Motown studios, partly because he was eager to learn everything about making records and partly because his home life wasn't particularly great and he wanted to be somewhere else. He earned the affection and irritation, in equal measure, of people at Motown both for his habit of wandering into the middle of sessions because he couldn't see the light that showed that the studio was in use, and for his practical joking. He was a great mimic, and would do things like phoning one of the engineers and imitating Berry Gordy's voice, telling the engineer that Stevie would be coming down, and to give him studio equipment to take home. He'd also astonish women by complimenting them, in detail, on their dresses, having been told in advance what they looked like by an accomplice. But other "jokes" were less welcome -- he would regularly sexually assault women working at Motown, grabbing their breasts or buttocks and then claiming it was an accident because he couldn't see what he was doing. Most of the women he molested still speak of him fondly, and say everybody loved him, and this may even be the case -- and certainly I don't think any of us should be judged too harshly for what we did when we were twelve -- but this kind of thing led to a certain amount of pressure to make Stevie's career worth the extra effort he was causing everyone at Motown. Because Berry Gordy was not impressed with Stevie's vocals, the decision was made to promote him as a jazz instrumentalist, and so Clarence Paul insisted that his first release be an album, rather than doing what everyone would normally do and only put out an album after a hit single. Paul reasoned that there was no way on Earth they were going to be able to get a hit single with a jazz instrumental by a twelve-year-old kid, and eventually persuaded Gordy of the wisdom of this idea. So they started work on The Jazz Soul of Little Stevie, released under his new stagename of Little Stevie Wonder, supposedly a name given to him after Berry Gordy said "That kid's a wonder!", though Mickey Stevenson always said that the name came from a brainstorming session between him and Clarence Paul. The album featured Stevie on harmonica, piano, and organ on different tracks, but on the opening track, "Fingertips", he's playing the bongos that give the track its name: [Excerpt: Little Stevie Wonder, "Fingertips (studio version)"] The composition of that track is credited to Paul and the arranger Hank Cosby, but Beans Bowles, who played flute on the track, always claimed that he came up with the melody, and it seems quite likely to me that most of the tracks on the album were created more or less as jam sessions -- though Wonder's contributions were all overdubbed later. The album sat in the can for several months -- Berry Gordy was not at all sure of its commercial potential. Instead, he told Paul to go in another direction -- focusing on Wonder's blindness, he decided that what they needed to do was create an association in listeners' minds with Ray Charles, who at this point was at the peak of his commercial power. So back into the studio went Wonder and Paul, to record an album made up almost entirely of Ray Charles covers, titled Tribute to Uncle Ray. (Some sources have the Ray Charles tribute album recorded first -- and given Motown's lax record-keeping at this time it may be impossible to know for sure -- but this is the way round that Mark Ribowsky's biography of Wonder has it). But at Motown's regular quality control meeting it was decided that there wasn't a single on the album, and you didn't release an album like that without having a hit single first. By this point, Clarence Paul was convinced that Berry Gordy was just looking for excuses not to do anything with Wonder -- and there may have been a grain of truth to that. There's some evidence that Gordy was worried that the kid wouldn't be able to sing once his voice broke, and was scared of having another Frankie Lymon on his hands. But the decision was made that rather than put out either of those albums, they would put out a single. The A-side was a song called "I Call it Pretty Music But the Old People Call it the Blues, Part 1", which very much played on Wonder's image as a loveable naive kid: [Excerpt: Little Stevie Wonder, "I Call it Pretty Music But the Old People Call it the Blues, Part 1"] The B-side, meanwhile, was part two -- a slowed-down, near instrumental, version of the song, reframed as an actual blues, and as a showcase for Wonder's harmonica playing rather than his vocals. The single wasn't a hit, but it made number 101 on the Billboard charts, just missing the Hot One Hundred, which for the debut single of a new artist wasn't too bad, especially for Motown at this point in time, when most of its releases were flopping. That was good enough that Gordy authorised the release of the two albums that they had in the can. The next single, "Little Water Boy", was a rather baffling duet with Clarence Paul, which did nothing at all on the charts. [Excerpt: Clarence Paul and Little Stevie Wonder, "Little Water Boy"] After this came another flop single, written by Brian Holland, Lamont Dozier, and Janie Bradford, before the record that finally broke Little Stevie Wonder out into the mainstream in a big way. While Wonder hadn't had a hit yet, he was sent out on the first Motortown Revue tour, along with almost every other act on the label. Because he hadn't had a hit, he was supposed to only play one song per show, but nobody had told him how long that song should be. He had quickly become a great live performer, and the audiences were excited to watch him, so when he went into extended harmonica solos rather than quickly finishing the song, the audience would be with him. Clarence Paul, who came along on the tour, would have to motion to the onstage bandleader to stop the music, but the bandleader would know that the audiences were with Stevie, and so would just keep the song going as long as Stevie was playing. Often Paul would have to go on to the stage and shout in Wonder's ear to stop playing -- and often Wonder would ignore him, and have to be physically dragged off stage by Paul, still playing, causing the audience to boo Paul for stopping him from playing. Wonder would complain off-stage that the audience had been enjoying it, and didn't seem to get it into his head that he wasn't the star of the show, that the audiences *were* enjoying him, but were *there* to see the Miracles and Mary Wells and the Marvelettes and Marvin Gaye. This made all the acts who had to go on after him, and who were running late as a result, furious at him -- especially since one aspect of Wonder's blindness was that his circadian rhythms weren't regulated by sunlight in the same way that the sighted members of the tour's were. He would often wake up the entire tour bus by playing his harmonica at two or three in the morning, while they were all trying to sleep. Soon Berry Gordy insisted that Clarence Paul be on stage with Wonder throughout his performance, ready to drag him off stage, so that he wouldn't have to come out onto the stage to do it. But one of the first times he had done this had been on one of the very first Motortown Revue shows, before any of his records had come out. There he'd done a performance of "Fingertips", playing the flute part on harmonica rather than only playing bongos throughout as he had on the studio version -- leaving the percussion to Marvin Gaye, who was playing drums for Wonder's set: [Excerpt: Little Stevie Wonder, "Fingertips (Parts 1 & 2)"] But he'd extended the song with a little bit of call-and-response vocalising: [Excerpt: Little Stevie Wonder, "Fingertips (Parts 1 & 2)"] After the long performance ended, Clarence Paul dragged Wonder off-stage and the MC asked the audience to give him a round of applause -- but then Stevie came running back on and carried on playing: [Excerpt: Little Stevie Wonder, "Fingertips (Parts 1 & 2)"] By this point, though, the musicians had started to change over -- Mary Wells, who was on after Wonder, was using different musicians from his, and some of her players were already on stage. You can hear Joe Swift, who was playing bass for Wells, asking what key he was meant to be playing in: [Excerpt: Little Stevie Wonder, "Fingertips (Parts 1 & 2)"] Eventually, after six and a half minutes, they got Wonder off stage, but that performance became the two sides of Wonder's next single, with "Fingertips Part 2", the part with the ad lib singing and the false ending, rather than the instrumental part one, being labelled as the side the DJs should play. When it was released, the song started a slow climb up the charts, and by August 1963, three months after it came out, it was at number one -- only the second ever Motown number one, and the first ever live single to get there. Not only that, but Motown released a live album -- Recorded Live, the Twelve-Year-Old Genius (though as many people point out he was thirteen when it was released -- he was twelve when it was recorded though) and that made number one on the albums chart, becoming the first Motown album ever to do so. They followed up "Fingertips" with a similar sounding track, "Workout, Stevie, Workout", which made number thirty-three. After that, his albums -- though not yet his singles -- started to be released as by "Stevie Wonder" with no "Little" -- he'd had a bit of a growth spurt and his voice was breaking, and so marketing him as a child prodigy was not going to work much longer and they needed to transition him into a star with adult potential. In the Motown of 1963 that meant cutting an album of standards, because the belief at the time in Motown was that the future for their entertainers was doing show tunes at the Copacabana. But for some reason the audience who had wanted an R&B harmonica instrumental with call-and-response improvised gospel-influenced yelling was not in the mood for a thirteen year old singing "Put on a Happy Face" and "When You Wish Upon a Star", and especially not when the instrumental tracks were recorded in a key that suited him at age twelve but not thirteen, so he was clearly straining. "Fingertips" being a massive hit also meant Stevie was now near the top of the bill on the Motortown Revue when it went on its second tour. But this actually put him in a precarious position. When he had been down at the bottom of the bill and unknown, nobody expected anything from him, and he was following other minor acts, so when he was surprisingly good the audiences went wild. Now, near the top of the bill, he had to go on after Marvin Gaye, and he was not nearly so impressive in that context. The audiences were polite enough, but not in the raptures he was used to. Although Stevie could still beat Gaye in some circumstances. At Motown staff parties, Berry Gordy would always have a contest where he'd pit two artists against each other to see who could win the crowd over, something he thought instilled a fun and useful competitive spirit in his artists. They'd alternate songs, two songs each, and Gordy would decide on the winner based on audience response. For the 1963 Motown Christmas party, it was Stevie versus Marvin. Wonder went first, with "Workout, Stevie, Workout", and was apparently impressive, but then Gaye topped him with a version of "Hitch-Hike". So Stevie had to top that, and apparently did, with a hugely extended version of "I Call it Pretty Music", reworked in the Ray Charles style he'd used for "Fingertips". So Marvin Gaye had to top that with the final song of the contest, and he did, performing "Stubborn Kind of Fellow": [Excerpt: Marvin Gaye, "Stubborn Kind of Fellow"] And he was great. So great, it turned the crowd against him. They started booing, and someone in the audience shouted "Marvin, you should be ashamed of yourself, taking advantage of a little blind kid!" The crowd got so hostile Berry Gordy had to stop the performance and end the party early. He never had another contest like that again. There were other problems, as well. Wonder had been assigned a tutor, a young man named Ted Hull, who began to take serious control over his life. Hull was legally blind, so could teach Wonder using Braille, but unlike Wonder had some sight -- enough that he was even able to get a drivers' license and a co-pilot license for planes. Hull was put in loco parentis on most of Stevie's tours, and soon became basically inseparable from him, but this caused a lot of problems, not least because Hull was a conservative white man, while almost everyone else at Motown was Black, and Stevie was socially liberal and on the side of the civil rights and anti-Vietnam movements. Hull started to collaborate on songwriting with Wonder, which most people at Motown were OK with but which now seems like a serious conflict of interest, and he also started calling himself Stevie's "manager" -- which did *not* impress the people at Motown, who had their own conflict of interest because with Stevie, like with all their artists, they were his management company and agents as well as his record label and publishers. Motown grudgingly tolerated Hull, though, mostly because he was someone they could pass Lula Mae Hardaway to to deal with her complaints. Stevie's mother was not very impressed with the way that Motown were handling her son, and would make her opinion known to anyone who would listen. Hull and Hardaway did not get on at all, but he could be relied on to save the Gordy family members from having to deal with her. Wonder was sent over to Europe for Christmas 1963, to perform shows at the Paris Olympia and do some British media appearances. But both his mother and Hull had come along, and their clear dislike for each other was making him stressed. He started to get pains in his throat whenever he sang -- pains which everyone assumed were a stress reaction to the unhealthy atmosphere that happened whenever Hull and his mother were in the same room together, but which later turned out to be throat nodules that required surgery. Because of this, his singing was generally not up to standard, which meant he was moved to a less prominent place on the bill, which in turn led to his mother accusing the Gordy family of being against him and trying to stop him becoming a star. Wonder started to take her side and believe that Motown were conspiring against him, and at one point he even "accidentally" dropped a bottle of wine on Ted Hull's foot, breaking one of his toes, because he saw Hull as part of the enemy that was Motown. Before leaving for those shows, he had recorded the album he later considered the worst of his career. While he was now just plain Stevie on albums, he wasn't for his single releases, or in his first film appearance, where he was still Little Stevie Wonder. Berry Gordy was already trying to get a foot in the door in Hollywood -- by the end of the decade Motown would be moving from Detroit to LA -- and his first real connections there were with American International Pictures, the low-budget film-makers who have come up a lot in connection with the LA scene. AIP were the producers of the successful low-budget series of beach party films, which combined appearances by teen heartthrobs Frankie Avalon and Annette Funicello in swimsuits with cameo appearances by old film stars fallen on hard times, and with musical performances by bands like the Bobby Fuller Four. There would be a couple of Motown connections to these films -- most notably, the Supremes would do the theme tune for Dr. Goldfoot and the Bikini Machine -- but Muscle Beach Party was to be the first. Most of the music for Muscle Beach Party was written by Brian Wilson, Roger Christian, and Gary Usher, as one might expect for a film about surfing, and was performed by Dick Dale and the Del-Tones, the film's major musical guests, with Annette, Frankie, and Donna Loren [pron Lorren] adding vocals, on songs like "Muscle Bustle": [Excerpt: Donna Loren with Dick Dale and the Del-Tones, "Muscle Bustle"] The film followed the formula in every way -- it also had a cameo appearance by Peter Lorre, his last film appearance before his death, and it featured Little Stevie Wonder playing one of the few songs not written by the surf and car writers, a piece of nothing called "Happy Street". Stevie also featured in the follow-up, Bikini Beach, which came out a little under four months later, again doing a single number, "Happy Feelin'". To cash in on his appearances in these films, and having tried releasing albums of Little Stevie as jazz multi-instrumentalist, Ray Charles tribute act, live soulman and Andy Williams-style crooner, they now decided to see if they could sell him as a surf singer. Or at least, as Motown's idea of a surf singer, which meant a lot of songs about the beach and the sea -- mostly old standards like "Red Sails in the Sunset" and "Ebb Tide" -- backed by rather schlocky Wrecking Crew arrangements. And this is as good a place as any to take on one of the bits of disinformation that goes around about Motown. I've addressed this before, but it's worth repeating here in slightly more detail. Carol Kaye, one of the go-to Wrecking Crew bass players, is a known credit thief, and claims to have played on hundreds of records she didn't -- claims which too many people take seriously because she is a genuine pioneer and was for a long time undercredited on many records she *did* play on. In particular, she claims to have played on almost all the classic Motown hits that James Jamerson of the Funk Brothers played on, like the title track for this episode, and she claims this despite evidence including notarised statements from everyone involved in the records, the release of session recordings that show producers talking to the Funk Brothers, and most importantly the evidence of the recordings themselves, which have all the characteristics of the Detroit studio and sound like the Funk Brothers playing, and have absolutely nothing in common, sonically, with the records the Wrecking Crew played on at Gold Star, Western, and other LA studios. The Wrecking Crew *did* play on a lot of Motown records, but with a handful of exceptions, mostly by Brenda Holloway, the records they played on were quickie knock-off album tracks and potboiler albums made to tie in with film or TV work -- soundtracks to TV specials the acts did, and that kind of thing. And in this case, the Wrecking Crew played on the entire Stevie at the Beach album, including the last single to be released as by "Little Stevie Wonder", "Castles in the Sand", which was arranged by Jack Nitzsche: [Excerpt: Little Stevie Wonder, "Castles in the Sand"] Apparently the idea of surfin' Stevie didn't catch on any more than that of swingin' Stevie had earlier. Indeed, throughout 1964 and 65 Motown seem to have had less than no idea what they were doing with Stevie Wonder, and he himself refers to all his recordings from this period as an embarrassment, saving particular scorn for the second single from Stevie at the Beach, "Hey Harmonica Man", possibly because that, unlike most of his other singles around this point, was a minor hit, reaching number twenty-nine on the charts. Motown were still pushing Wonder hard -- he even got an appearance on the Ed Sullivan Show in May 1964, only the second Motown act to appear on it after the Marvelettes -- but Wonder was getting more and more unhappy with the decisions they were making. He loathed the Stevie at the Beach album -- the records he'd made earlier, while patchy and not things he'd chosen, were at least in some way related to his musical interests. He *did* love jazz, and he *did* love Ray Charles, and he *did* love old standards, and the records were made by his friend Clarence Paul and with the studio musicians he'd grown to know in Detroit. But Stevie at the Beach was something that was imposed on Clarence Paul from above, it was cut with unfamiliar musicians, Stevie thought the films he was appearing in were embarrassing, and he wasn't even having much commercial success, which was the whole point of these compromises. He started to get more rebellious against Paul in the studio, though many of these decisions weren't made by Paul, and he would complain to anyone who would listen that if he was just allowed to do the music he wanted to sing, the way he wanted to sing it, he would have more hits. But for nine months he did basically no singing other than that Ed Sullivan Show appearance -- he had to recover from the operation to remove the throat nodules. When he did return to the studio, the first single he cut remained unreleased, and while some stuff from the archives was released between the start of 1964 and March 1965, the first single he recorded and released after the throat nodules, "Kiss Me Baby", which came out in March, was a complete flop. That single was released to coincide with the first Motown tour of Europe, which we looked at in the episode on "Stop! In the Name of Love", and which was mostly set up to promote the Supremes, but which also featured Martha and the Vandellas, the Miracles, and the Temptations. Even though Stevie had not had a major hit in eighteen months by this point, he was still brought along on the tour, the only solo artist to be included -- at this point Gordy thought that solo artists looked outdated compared to vocal groups, in a world dominated by bands, and so other solo artists like Marvin Gaye weren't invited. This was a sign that Gordy was happier with Stevie than his recent lack of chart success might suggest. One of the main reasons that Gordy had been in two minds about him was that he'd had no idea if Wonder would still be able to sing well after his voice broke. But now, as he was about to turn fifteen, his adult voice had more or less stabilised, and Gordy knew that he was capable of having a long career, if they just gave him the proper material. But for now his job on the tour was to do his couple of hits, smile, and be on the lower rungs of the ladder. But even that was still a prominent place to be given the scaled-down nature of this bill compared to the Motortown Revues. While the tour was in England, for example, Dusty Springfield presented a TV special focusing on all the acts on the tour, and while the Supremes were the main stars, Stevie got to do two songs, and also took part in the finale, a version of "Mickey's Monkey" led by Smokey Robinson but with all the performers joining in, with Wonder getting a harmonica solo: [Excerpt: Smokey Robinson and the Motown acts, "Mickey's Monkey"] Sadly, there was one aspect of the trip to the UK that was extremely upsetting for Wonder. Almost all the media attention he got -- which was relatively little, as he wasn't a Supreme -- was about his blindness, and one reporter in particular convinced him that there was an operation he could have to restore his sight, but that Motown were preventing him from finding out about it in order to keep his gimmick going. He was devastated about this, and then further devastated when Ted Hull finally convinced him that it wasn't true, and that he'd been lied to. Meanwhile other newspapers were reporting that he *could* see, and that he was just feigning blindness to boost his record sales. After the tour, a live recording of Wonder singing the blues standard "High Heeled Sneakers" was released as a single, and barely made the R&B top thirty, and didn't hit the top forty on the pop charts. Stevie's initial contract with Motown was going to expire in the middle of 1966, so there was a year to get him back to a point where he was having the kind of hits that other Motown acts were regularly getting at this point. Otherwise, it looked like his career might end by the time he was sixteen. The B-side to "High Heeled Sneakers" was another duet with Clarence Paul, who dominates the vocal sound for much of it -- a version of Willie Nelson's country classic "Funny How Time Slips Away": [Excerpt: Stevie Wonder and Clarence Paul, "Funny How Time Slips Away"] There are a few of these duet records scattered through Wonder's early career -- we'll hear another one a little later -- and they're mostly dismissed as Paul trying to muscle his way into a revival of his own recording career as an artist, and there may be some truth in that. But they're also a natural extension of the way the two of them worked in the studio. Motown didn't have the facilities to give Wonder Braille lyric sheets, and Paul didn't trust him to be able to remember the lyrics, so often when they made a record, Paul would be just off-mic, reciting the lyrics to Wonder fractionally ahead of him singing them. So it was more or less natural that this dynamic would leak out onto records, but not everyone saw it that way. But at the same time, there has been some suggestion that Paul was among those manoeuvring to get rid of Wonder from Motown as soon as his contract was finished -- despite the fact that Wonder was the only act Paul had worked on any big hits for. Either way, Paul and Wonder were starting to chafe at working with each other in the studio, and while Paul remained his on-stage musical director, the opportunity to work on Wonder's singles for what would surely be his last few months at Motown was given to Hank Cosby and Sylvia Moy. Cosby was a saxophone player and staff songwriter who had been working with Wonder and Paul for years -- he'd co-written "Fingertips" and several other tracks -- while Moy was a staff songwriter who was working as an apprentice to Cosby. Basically, at this point, nobody else wanted the job of writing for Wonder, and as Moy was having no luck getting songs cut by any other artists and her career was looking about as dead as Wonder's, they started working together. Wonder was, at this point, full of musical ideas but with absolutely no discipline. He's said in interviews that at this point he was writing a hundred and fifty songs a month, but these were often not full songs -- they were fragments, hooks, or a single verse, or a few lines, which he would pass on to Moy, who would turn his ideas into structured songs that fit the Motown hit template, usually with the assistance of Cosby. Then Cosby would come up with an arrangement, and would co-produce with Mickey Stevenson. The first song they came up with in this manner was a sign of how Wonder was looking outside the world of Motown to the rock music that was starting to dominate the US charts -- but which was itself inspired by Motown music. We heard in the last episode on the Rolling Stones how "Nowhere to Run" by the Vandellas: [Excerpt: Martha and the Vandellas, "Nowhere to Run"] had inspired the Stones' "Satisfaction": [Excerpt: The Rolling Stones, "(I Can't Get No) Satisfaction"] And Wonder in turn was inspired by "Satisfaction" to come up with his own song -- though again, much of the work making it into an actual finished song was done by Sylvia Moy. They took the four-on-the-floor beat and basic melody of "Satisfaction" and brought it back to Motown, where those things had originated -- though they hadn't originated with Stevie, and this was his first record to sound like a Motown record in the way we think of those things. As a sign of how, despite the way these stories are usually told, the histories of rock and soul were completely and complexly intertwined, that four-on-the-floor beat itself was a conscious attempt by Holland, Dozier, and Holland to appeal to white listeners -- on the grounds that while Black people generally clapped on the backbeat, white people didn't, and so having a four-on-the-floor beat wouldn't throw them off. So Cosby, Moy, and Wonder, in trying to come up with a "Satisfaction" soundalike were Black Motown writers trying to copy a white rock band trying to copy Black Motown writers trying to appeal to a white rock audience. Wonder came up with the basic chorus hook, which was based around a lot of current slang terms he was fond of: [Excerpt: Stevie Wonder, "Uptight"] Then Moy, with some assistance from Cosby, filled it out into a full song. Lyrically, it was as close to social comment as Motown had come at this point -- Wonder was, like many of his peers in soul music, interested in the power of popular music to make political statements, and he would become a much more political artist in the next few years, but at this point it's still couched in the acceptable boy-meets-girl romantic love song that Motown specialised in. But in 1965 a story about a boy from the wrong side of the tracks dating a rich girl inevitably raised the idea that the boy and girl might be of different races -- a subject that was very, very, controversial in the mid-sixties. [Excerpt: Stevie Wonder, "Uptight"] "Uptight" made number three on the pop charts and number one on the R&B charts, and saved Stevie Wonder's career. And this is where, for all that I've criticised Motown in this episode, their strategy paid off. Mickey Stevenson talked a lot about how in the early sixties Motown didn't give up on artists -- if someone had potential but was not yet having hits or finding the right approach, they would keep putting out singles in a holding pattern, trying different things and seeing what would work, rather than toss them aside. It had already worked for the Temptations and the Supremes, and now it had worked for Stevie Wonder. He would be the last beneficiary of this policy -- soon things would change, and Motown would become increasingly focused on trying to get the maximum returns out of a small number of stars, rather than building careers for a range of artists -- but it paid off brilliantly for Wonder. "Uptight" was such a reinvention of Wonder's career, sound, and image that many of his fans consider it the real start of his career -- everything before it only counting as prologue. The follow-up, "Nothing's Too Good For My Baby", was an "Uptight" soundalike, and as with Motown soundalike follow-ups in general, it didn't do quite as well, but it still made the top twenty on the pop chart and got to number four on the R&B chart. Stevie Wonder was now safe at Motown, and so he was going to do something no other Motown act had ever done before -- he was going to record a protest song and release it as a single. For about a year he'd been ending his shows with a version of Bob Dylan's "Blowin' in the Wind", sung as a duet with Clarence Paul, who was still his on stage bandleader even though the two weren't working together in the studio as much. Wonder brought that into the studio, and recorded it with Paul back as the producer, and as his duet partner. Berry Gordy wasn't happy with the choice of single, but Wonder pushed, and Gordy knew that Wonder was on a winning streak and gave in, and so "Blowin' in the Wind" became Stevie Wonder's next single: [Excerpt: Stevie Wonder and Clarence Paul, "Blowin' in the Wind"] "Blowin' in the Wind" made the top ten, and number one on the R&B charts, and convinced Gordy that there was some commercial potential in going after the socially aware market, and over the next few years Motown would start putting out more and more political records. Because Motown convention was to have the producer of a hit record produce the next hit for that artist, and keep doing so until they had a flop, Paul was given the opportunity to produce the next single. "A Place in the Sun" was another ambiguously socially-aware song, co-written by the only white writer on Motown staff, Ron Miller, who happened to live in the same building as Stevie's tutor-cum-manager Ted Hull. "A Place in the Sun" was a pleasant enough song, inspired by "A Change is Gonna Come", but with a more watered-down, generic, message of hope, but the record was lifted by Stevie's voice, and again made the top ten. This meant that Paul and Miller, and Miller's writing partner Bryan Mills, got to work on his next two singles -- his 1966 Christmas song "Someday at Christmas", which made number twenty-four, and the ballad "Travellin' Man" which made thirty-two. The downward trajectory with Paul meant that Wonder was soon working with other producers again. Harvey Fuqua and Johnny Bristol cut another Miller and Mills song with him, "Yester-Me, Yester-You, Yesterday": [Excerpt: Stevie Wonder, "Yester-Me, Yester-You, Yesterday"] But that was left in the can, as not good enough to release, and Stevie was soon back working with Cosby. The two of them had come up with an instrumental together in late 1966, but had not been able to come up with any words for it, so they played it for Smokey Robinson, who said their instrumental sounded like circus music, and wrote lyrics about a clown: [Excerpt: The Miracles, "The Tears of a Clown"] The Miracles cut that as album filler, but it was released three years later as a single and became the Miracles' only number one hit with Smokey Robinson as lead singer. So Wonder and Cosby definitely still had their commercial touch, even if their renewed collaboration with Moy, who they started working with again, took a while to find a hit. To start with, Wonder returned to the idea of taking inspiration from a hit by a white British group, as he had with "Uptight". This time it was the Beatles, and the track "Michelle", from the Rubber Soul album: [Excerpt: The Beatles, "Michelle"] Wonder took the idea of a song with some French lyrics, and a melody with some similarities to the Beatles song, and came up with "My Cherie Amour", which Cosby and Moy finished off. [Excerpt: Stevie Wonder, "My Cherie Amour"] Gordy wouldn't allow that to be released, saying it was too close to "Michelle" and people would think it was a rip-off, and it stayed in the vaults for several years. Cosby also produced a version of a song Ron Miller had written with Orlando Murden, "For Once in My Life", which pretty much every other Motown act was recording versions of -- the Four Tops, the Temptations, Billy Eckstine, Martha and the Vandellas and Barbra McNair all cut versions of it in 1967, and Gordy wouldn't let Wonder's version be put out either. So they had to return to the drawing board. But in truth, Stevie Wonder was not the biggest thing worrying Berry Gordy at this point. He was dealing with problems in the Supremes, which we'll look at in a future episode -- they were about to get rid of Florence Ballard, and thus possibly destroy one of the biggest acts in the world, but Gordy thought that if they *didn't* get rid of her they would be destroying themselves even more certainly. Not only that, but Gordy was in the midst of a secret affair with Diana Ross, Holland, Dozier, and Holland were getting restless about their contracts, and his producers kept bringing him unlistenable garbage that would never be a hit. Like Norman Whitfield, insisting that this track he'd cut with Marvin Gaye, "I Heard it Through the Grapevine", should be a single. Gordy had put his foot down about that one too, just like he had about "My Cherie Amour", and wouldn't allow it to be released. Meanwhile, many of the smaller acts on the label were starting to feel like they were being ignored by Gordy, and had formed what amounted to a union, having regular meetings at Clarence Paul's house to discuss how they could pressure the label to put the same effort into their careers as into those of the big stars. And the Funk Brothers, the musicians who played on all of Motown's hits, were also getting restless -- they contributed to the arrangements, and they did more for the sound of the records than half the credited producers; why weren't they getting production credits and royalties? Harvey Fuqua had divorced Gordy's sister Gwen, and so became persona non grata at the label and was in the process of leaving Motown, and so was Mickey Stevenson, Gordy's second in command, because Gordy wouldn't give him any stock in the company. And Detroit itself was on edge. The crime rate in the city had started to go up, but even worse, the *perception* of crime was going up. The Detroit News had been running a campaign to whip up fear, which it called its Secret Witness campaign, and running constant headlines about rapes, murders, and muggings. These in turn had led to increased calls for more funds for the police, calls which inevitably contained a strong racial element and at least implicitly linked the perceived rise in crime to the ongoing Civil Rights movement. At this point the police in Detroit were ninety-three percent white, even though Detroit's population was over thirty percent Black. The Mayor and Police Commissioner were trying to bring in some modest reforms, but they weren't going anywhere near fast enough for the Black population who felt harassed and attacked by the police, but were still going too fast for the white people who were being whipped up into a state of terror about supposedly soft-on-crime policies, and for the police who felt under siege and betrayed by the politicians. And this wasn't the only problem affecting the city, and especially affecting Black people. Redlining and underfunded housing projects meant that the large Black population was being crammed into smaller and smaller spaces with fewer local amenities. A few Black people who were lucky enough to become rich -- many of them associated with Motown -- were able to move into majority-white areas, but that was just leading to white flight, and to an increase in racial tensions. The police were on edge after the murder of George Overman Jr, the son of a policeman, and though they arrested the killers that was just another sign that they weren't being shown enough respect. They started organising "blu flu"s -- the police weren't allowed to strike, so they'd claim en masse that they were off sick, as a protest against the supposed soft-on-crime administration. Meanwhile John Sinclair was organising "love-ins", gatherings of hippies at which new bands like the MC5 played, which were being invaded by gangs of bikers who were there to beat up the hippies. And the Detroit auto industry was on its knees -- working conditions had got bad enough that the mostly Black workforce organised a series of wildcat strikes. All in all, Detroit was looking less and less like somewhere that Berry Gordy wanted to stay, and the small LA subsidiary of Motown was rapidly becoming, in his head if nowhere else, the more important part of the company, and its future. He was starting to think that maybe he should leave all these ungrateful people behind in their dangerous city, and move the parts of the operation that actually mattered out to Hollywood. Stevie Wonder was, of course, one of the parts that mattered, but the pressure was on in 1967 to come up with a hit as big as his records from 1965 and early 66, before he'd been sidetracked down the ballad route. The song that was eventually released was one on which Stevie's mother, Lula Mae Hardaway, had a co-writing credit: [Excerpt: Stevie Wonder, "I Was Made to Love Her"] "I Was Made to Love Her" was inspired by Wonder's first love, a girl from the same housing projects as him, and he talked about the song being special to him because it was true, saying it "kind of speaks of my first love to a girl named Angie, who was a very beautiful woman... Actually, she was my third girlfriend but my first love. I used to call Angie up and, like, we would talk and say, 'I love you, I love you,' and we'd talk and we'd both go to sleep on the phone. And this was like from Detroit to California, right? You know, mother said, 'Boy, what you doing - get off the phone!' Boy, I tell you, it was ridiculous." But while it was inspired by her, like with many of the songs from this period, much of the lyric came from Moy -- her mother grew up in Arkansas, and that's why the lyric started "I was born in Little Rock", as *her* inspiration came from stories told by her parents. But truth be told, the lyrics weren't particularly detailed or impressive, just a standard story of young love. Rather what mattered in the record was the music. The song was structured differently from many Motown records, including most of Wonder's earlier ones. Most Motown records had a huge amount of dynamic variation, and a clear demarcation between verse and chorus. Even a record like "Dancing in the Street", which took most of its power from the tension and release caused by spending most of the track on one chord, had the release that came with the line "All we need is music", and could be clearly subdivided into different sections. "I Was Made to Love Her" wasn't like that. There was a tiny section which functioned as a middle eight -- and which cover versions like the one by the Beach Boys later that year tend to cut out, because it disrupts the song's flow: [Excerpt: Stevie Wonder, "I Was Made to Love Her"] But other than that, the song has no verse or chorus, no distinct sections, it's just a series of lyrical couplets over the same four chords, repeating over and over, an incessant groove that could really go on indefinitely: [Excerpt: Stevie Wonder, "I Was Made to Love Her"] This is as close as Motown had come at this point to the new genre of funk, of records that were just staying with one groove throughout. It wasn't a funk record, not yet -- it was still a pop-soul record, But what made it extraordinary was the bass line, and this is why I had to emphasise earlier that this was a record by the Funk Brothers, not the Wrecking Crew, no matter how much some Crew members may claim otherwise. As on most of Cosby's sessions, James Jamerson was given free reign to come up with his own part with little guidance, and what he came up with is extraordinary. This was at a time when rock and pop basslines were becoming a little more mobile, thanks to the influence of Jamerson in Detroit, Brian Wilson in LA, and Paul McCartney in London. But for the most part, even those bass parts had been fairly straightforward technically -- often inventive, but usually just crotchets and quavers, still keeping rhythm along with the drums rather than in dialogue with them, roaming free rhythmically. Jamerson had started to change his approach, inspired by the change in studio equipment. Motown had upgraded to eight-track recording in 1965, and once he'd become aware of the possibilities, and of the greater prominence that his bass parts could have if they were recorded on their own track, Jamerson had become a much busier player. Jamerson was a jazz musician by inclination, and so would have been very aware of John Coltrane's legendary "sheets of sound", in which Coltrane would play fast arpeggios and scales, in clusters of five and seven notes, usually in semiquaver runs (though sometimes in even smaller fractions -- his solo in Miles Davis' "Straight, No Chaser" is mostly semiquavers but has a short passage in hemidemisemiquavers): [Excerpt: Miles Davis, "Straight, No Chaser"] Jamerson started to adapt the "sheets of sound" style to bass playing, treating the bass almost as a jazz solo instrument -- though unlike Coltrane he was also very, very concerned with creating something that people could tap their feet to. Much like James Brown, Jamerson was taking jazz techniques and repurposing them for dance music. The most notable example of that up to this point had been in the Four Tops' "Bernadette", where there are a few scuffling semiquaver runs thrown in, and which is a much more fluid part than most of his playing previously: [Excerpt: The Four Tops, "Bernadette"] But on "Bernadette", Jamerson had been limited by Holland, Dozier, and Holland, who liked him to improvise but around a framework they created. Cosby, on the other hand, because he had been a Funk Brother himself, was much more aware of the musicians' improvisational abilities, and would largely give them a free hand. This led to a truly remarkable bass part on "I Was Made to Love Her", which is somewhat buried in the single mix, but Marcus Miller did an isolated recreation of the part for the accompanying CD to a book on Jamerson, Standing in the Shadows of Motown, and listening to that you can hear just how inventive it is: [Excerpt: Marcus Miller, "I Was Made to Love Her"] This was exciting stuff -- though much less so for the touring musicians who went on the road with the Motown revues while Jamerson largely stayed in Detroit recording. Jamerson's family would later talk about him coming home grumbling because complaints from the touring musicians had been brought to him, and he'd been asked to play less difficult parts so they'd find it easier to replicate them on stage. "I Was Made to Love Her" wouldn't exist without Stevie Wonder, Hank Cosby, Sylvia Moy, or Lula Mae Hardaway, but it's James Jamerson's record through and through: [Excerpt: Stevie Wonder, "I Was Made to Love Her"] It went to number two on the charts, sat between "Light My Fire" at number one, and "All You Need is Love" at number three, with the Beatles song soon to overtake it and make number one itself. But within a few weeks of "I Was Made to Love Her" reaching its chart peak, things in Detroit would change irrevocably. On the 23rd of July, the police busted an illegal drinking den. They thought they were only going to get about twenty-five people there, but there turned out to be a big party on. They tried to arrest seventy-four people, but their wagon wouldn't fit them all in so they had to call reinforcements and make the arrestees wait around til more wagons arrived. A crowd of hundreds gathered while they were waiting. Someone threw a brick at a squad car window, a rumour went round that the police had bayonetted someone, and soon the city was in flames. Riots lasted for days, with people burning down and looting businesses, but what really made the situation bad was the police's overreaction. They basically started shooting at young Black men, using them as target practice, and later claiming they were snipers, arsonists, and looters -- but there were cases like the Algiers Motel incident, where the police raided a motel where several Black men, including the members of the soul group The Dramatics, were hiding out along with a few white women. The police sexually assaulted the women, and then killed three of the men for associating with white women, in what was described as a "lynching with bullets". The policemen in question were later acquitted of all charges. The National Guard were called in, as were Federal troops -- the 82nd Airborne Division, and the 101st Airborne from Clarksville, the division in which Jimi Hendrix had recently served. After four days of rioting, one of the bloodiest riots in US history was at an end, with forty-three people dead (of whom thirty-three were Black and only one was a policeman). Official counts had 1,189 people injured, and over 7,200 arrests, almost all of them of Black people. A lot of the histories written later say that Black-owned businesses were spared during the riots, but that wasn't really the case. For example, Joe's Record Shop, owned by Joe Von Battle, who had put out the first records by C.L. Franklin and his daughter Aretha, was burned down, destroying not only the stock of records for sale but the master tapes of hundreds of recordings of Black artists, many of them unreleased and so now lost forever. John Lee Hooker, one of the artists whose music Von Battle had released, soon put out a song, "The Motor City is Burning", about the events: [Excerpt: John Lee Hooker, "The Motor City is Burning"] But one business that did remain unburned was Motown, with the Hitsville studio going untouched by flames and unlooted. Motown legend has this being down to the rioters showing respect for the studio that had done so much for Detroit, but it seems likely to have just been luck. Although Motown wasn't completely unscathed -- a National Guard tank fired a shell through the building, leaving a gigantic hole, which Berry Gordy saw as soon as he got back from a business trip he'd been on during the rioting. That was what made Berry Gordy decide once and for all that things needed to change. Motown owned a whole row of houses near the studio, which they used as additional office space and for everything other than the core business of making records. Gordy immediately started to sell them, and move the admin work into temporary rented space. He hadn't announced it yet, and it would be a few years before the move was complete, but from that moment on, the die was cast. Motown was going to leave Detroit and move to Hollywood.
In this Spotlight Session, we talk with Kevin Marcus Miller, founder and CEO of All Approach. They specialize in helping teams and leaders to build profitable brands on LinkedIn. We discuss things like:
Louahn Lowe is an award-winning Jazz pianist and singer, and has performed with many Jazz legends, including Charlie Owens, Kamasi, Washington, Phyllis Battle, Roy Gains, Bobby Bryant Jr., Karen Briggs, and Marcus Miller, to name a few. She has been featured on PBS on the program Literary Speak, spotlighting African American artists. Louahn has been the Musical Director/Pianist for the PEN Center USA Literary Awards (Los Angeles) for the past five years running, performing alongside As an actor, Louahn has most recently been seen in the film A Place Among The Dead, alongside Gary Oldman and Juliet Landau (2020). For more info on Louahn Lowe, visit: https://www.louahnlowe.com/home Follow Jazz Matters Inc. on all social media JazzMattersATL. Don't forget to Subscribe, Like & Share. To learn more about Jazz Matters ATL, The Jazz Matters Store or become a Supporter, visit https://www.linktree/jazzmattersatl --- Support this podcast: https://anchor.fm/jazz-matters/support
Bass Icon Releases Tribute To Legend Jack Bruce#legendarymusician #newmusic #music #bassist #JackBruce #Cream #JeffBerlin Bass icon Jeff Berlin will be releasing a new tribute album to legendary Jack Bruce titled “Jack Songs” on August 2, 2022! Jack Bruce, best known for his work with classic rock group Cream as well as his critically acclaimed solo work passed away in 2014. Jeff Berlin, who has been called “the greatest bass player in the world”, was a personal friend of Jack's and wanted to record his songs in remembrance of how Jack helped Jeff to find his own musical path.Says Jeff, “Recording the music of Jack Bruce has been the most emotional recording project of my career. Jack was the greatest bass influence I ever had. In the center of his music were these strange and wonderful bass lines weaving in and out of the key, reaching for resolutions and finding them, again, and again. Jack's playing was a living evolving improvisation.Guest performers:Sammy Hagar, Alex Lifeson, Geddy Lee, Gregg Bissonette, Gary Husband, Eric Johnson, Bill Frisell, Ron “Bumblefoot” Thal, Alex Ligertwood, Scott Henderson, Marcus Miller, Ron Carter, Tony Levin, Michael League, Nathan East, Mark King, Bruce Guttridge, Billy Sheehan and Johnny Hiland!Website: https://www.jeffberlinmusicgroup.com/Instagram: https://www.instagram.com/lumpyjazz/Facebook: https://www.facebook.com/groups/jberlinbasseducation/Facebook: https://www.facebook.com/JBerlinMusicGroupFacebook: https://www.facebook.com/jbplaysjbThanks for tuning in, please be sure to click that subscribe button and give this a thumbs up!!Email: firstname.lastname@example.orgInstagram: https://www.instagram.com/listen_to_the_vibes_/Facebook: https://www.facebook.com/thevibesbroadcastnetworkLinktree: https://linktr.ee/the_vibes_broadcastTikTok: https://vm.tiktok.com/ZMeuTVRv2/Twitter: https://twitter.com/TheVibesBrdcstTruth: https://truthsocial.com/@KoyoteAnd Now!!! The Bandmates' club, Supporters of the channel: Matthew Arrowood Host of The ONLY Brocast podcast:https://youtube.com/channel/UCsfv1wWu3oUg42I2nOtnMTADon Hahn of In the Margins:https://www.youtube.com/c/InTheMargins Bukas Siguro: https://www.youtube.com/c/BukasS%C4%ABgur%C3%B8Will Scoville of Ranch Rehab DIY: https://www.youtube.com/c/RanchRehabDrew Lee Nicholas of DN-TV: https://www.youtube.com/channel/UC8TVqL9mn6NzPkXOLOZSX-A
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**It's The Relax With Rendell Show Replay On Trax FM & Rendell Radio. Rendell Featured Boogie, Dance Classics, Contemporary Soul & Easy Listening From Booker T, Brilliant, Cania, Deodato, Isley Brothers, Jaya, Kenny G, Marcus Miller, Mike Francis, Peobo Bryson, Sheree Brown, Yvonne Verley & More. Catch Rendell Every Saturday From 8PM UK Time The Stations: Trax FM & Rendell Radio #traxfm #rendellradio #soul #funk #70ssoul #80ssoul #60s #boogie #disco #raregrooves #soulclassics #reggae #nusoul #relaxwithrendell Listen Live Here Via The Trax FM Player: chat.traxfm.org/player/index.html Mixcloud LIVE :mixcloud.com/live/traxfm Free Trax FM Android App: play.google.com/store/apps/det...mradio.ba.a6bcb The Trax FM Facebook Page : facebook.com/original103.3 Trax FM Live On Hear This: hearthis.at/k8bdngt4/live Tunerr: tunerr.co/radio/Trax-FM Tune In Radio : tunein.com/radio/Trax-FM-s225176 OnLine Radio Box: onlineradiobox.com/uk/trax/?cs...cs=uk.traxRadio Radio Deck: radiodeck.com/radio/5a09e2de87...7e3370db06d44dc Radio.Net: traxfmlondon.radio.net Stream Radio : streema.com/radios/Trax_FM..The_Originals Live Online Radio: liveonlineradio.net/english/tr...ax-fm-103-3.htm**
En esta edición especial repasamos algunas de las muchas colaboraciones que ha realizado el bajista Marcus Miller junto a otros artistas. En concreto junto a Brian Culbertson, David Sanborn, Bob James, Lee Ritenour, Dave Grusin, Boz Scaggs, Kirk Whalum, Bobby Lyle, The Brecker Brothers, Keiko Matsui y Luther Vandross.
This week in the Rockstar CMO Marketing Studio, Jeff Clark, former Research Director at SiriusDecisions/Forrester gives his advice on how to work with agencies. Ian Truscott goes backstage with Andrew Davies, who is the Chief Marketing Officer at Paddle a complete payments infrastructure for high-growth software companies, currently serving over 3000 customers. Previously Andrew was VP of Corporate Marketing at Optimizely (formerly Episerver), where he led global strategy for Demand Gen, Brand, Digital, ABM, and Content after they acquired Idio, the business he co-founded. Aside from being a co-founder, as Idio's CMO, Andrew helped build the company from scratch to a market leader in B2B content personalization. And as you'll hear, during his time at Optimizely, they integrated five acquisitions and rebranded the entire company. Finally, we wind down the week in the Rockstar virtual bar to join Robert Rose, Chief Trouble Maker at The Content Advisory. Over a cocktail, Ian and Robert chat about how we approach content marketing like golf, over a classic cocktail. If you have any thoughts or suggestions on the topics we discuss, please let us know. Enjoy! The people: Ian Truscott on LinkedIn and Twitter Jeff Clark on LinkedIn and Twitter Andrew Davies on LinkedIn and Twitter Robert Rose on Twitter and LinkedIn Mentioned in this week's episode: Andrew's company - Paddle Robert's The Content Advisory Blog Robert's latest project: Experience Advisors Rockstar CMO: Rockstar CMO on the web, Twitter, and LinkedIn Previous episodes and all show notes: Rockstar CMO FM Rockstar CMO Advisors Track List: Piano Music is by Johnny Easton, shared under a creative commons license We'll be right back by Stienski & Mass Media – on YouTube Come Together by Marcus Miller – on Spotify Learn more about your ad choices. Visit megaphone.fm/adchoices
Buddy Williams is one of the best drummers in the music world. Buddy started playing professionally at the age of eight years old and attended the prestigious High School of Music and Art (along with Noel Pointer, Tom Browne, Dave Valentine, Marcus Miller, and Bernard Wright) and, later, the Manhattan School of Music.Buddy William's credentials list as 'Who's Who of the music industry: Tom Browne, Luther Vandross, Stevie Wonder, Regina Bell, The Manhattan Transfer, Al Jerreau, Bob James, Peabo Bryson, The Grp All-Stars, Will Downing, Saidah Garrett, Melissa Morgan, Jeffrey Osborn, Ernie Watts, Houston Persons, Hugh Masakela, Richard Tee, Alex Bugnon, Chaka Khan, Nancy Wilson, George Duke, Dave Valentine, David Sanborn, Bette Midler, Stanley Turrentine, Noel Pointer, Angela Bofill, Ashford & Simpson, Herb Alpert, Linda Ronstadt, Teruo Nakamura, Sadao Watanabe, Michael Franks, Nat Adderley Sr. & Jr., Michael Jackson, Rachael Farrell, The Sisters of Glory (Thelma Houston, Cece Peniston, Phoebe Snow, Lois Walden, and Alberta Walker), Mariah Carey, Anita Baker, Leslie Uggams, Lena Horne and many more.Buddy was an integral part of the Saturday Night Live Band for over twelve years. His work is heard on numerous recordings (audio & visual), radio, and television commercials: Double Mint Gum, Kodak Film, Western Union, Lysol, M&M Candies, Navy Perfume, Hawaiian Punch, Jamaica Tourism, etc.Broadway Drumming 101 is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber.Buddy was also the drummer for the first Broadway production of The Color Purple, Motown The Musical, and the recent Bette Midler revival of Hello Dolly.Clayton Craddock hosts the Broadway Drumming 101 Podcast and Newsletter. He has held the drum chair in several hit broadway and off-broadway musicals, including Tick, tick…BOOM!, Altar Boyz, Memphis The Musical, Lady Day At Emerson's Bar and Grill and Ain't Too Proud.The Broadway Drumming 101 Instagram page: InstagramThe Broadway Drumming 101 YouTube page: YouTubeFor more about Clayton, click HERE Get full access to Broadway Drumming 101 at broadwaydrumming101.substack.com/subscribe
Photo by Waring Abbot/Getty Images. Matt Waldman kicks off RSP Storytime, a short podcast devoted to true stories. This week, Adam Dorn shares how he won a bet with Gene Simmons of KISS. Friday is my one day off from football. It's a day I devote to music lessons, reading, movies, and other mediums of value. In addition to sharing my Reads, Listens, and Views (a feature I'm bringing back to the site this year), I'm also collecting true stories from friends and colleagues. If you're interested in being a part of this, feel free to email me at email@example.com and we'll consider recording it. RSP Storytime kicks off with one of my favorite stories that I heard last year. It comes from composer, Adam Dorn. You've probably heard Adam's work as the composer for documentaries such as Richard Pryor: Omit the Logic, Robin Williams: Come Inside My Mind, and Enemies: The President, Justice & The FBI. He's also written and performed music for Six Feet Under, The Bourne Supremacy, The Devil Wears Prada, and Mr. & Mrs. Smith. The son of renowned jazz and R&B producer Joel Dorn, Adam is a lifelong Eagles fan who reached out to me last year after hearing about my penchant for drawing parallels to football and improvisational music and deciding we were going to become great friends. Adam and I share a love for Funk, R&B, and Jazz. Adam's longtime friendship with Marcus Miller began as a student-mentor relationship. If you don't know Marcus Miller, he's a renowned performer and producer who is also one of the kings of the electric bass. https://www.youtube.com/watch?v=rpSlxS5Xkso I share these things about Adam because I want to set the stage for the story. Imagine Adam as a 17-year-old bassist with a full-blown Philly wise-ass mentality in the late 1980s learning his craft from Miller when he runs into KISS bassist, Gene Simmons while working as a grunt in a recording studio. Now imagine Simmons dismissing Adam's musical hero and their conversation degenerating into a bet that takes them into the streets of New York and leads to the ultimate comeuppance. Enjoy.
In case you haven't heard, there is a new(ish) high school in Bend and its girl's soccer team is already making a name for itself. Plus, Robby Scharf of Mid-Major Media joins the show to 4A/3A/2A football, can La Pine similar success again after a semifinal run a year ago? Also, Marcus Miller of Prep Talk Eugene provides some insight in the big-time matchup between Summit and Thurston -- two of 5A's best football teams.
The Scott's Bass Lessons Podcast
From geeking out on Michael Jackson's Earth Song to meeting Marcus Miller, upcoming Slap Accelerators to a dedicated SBL marketplace, in today's episode Scott and Ian take a deep dive into SBL's future plans. So grab your coffee, take a seat, and let's go!
The Third Story Podcast with Leo Sidran
Earlier this month Stephen Colbert made an announcement about his band. Jon Batiste would be leaving and Louis Cato would be the new musical director. For some, Louis Cato is not a familiar name. In fact he has been hiding in plain sight for years now, both as a member of Batiste's Stay Human Late Show band and also as what he refers to as a super sideman. Louis Cato is living proof that some people are simply given a gift. Born in Lisbon, Portugal and raised mostly in North Carolina, Louis began playing drums at age 2. By the time he started high school he was a credible drummer, bassist, guitarist, trombone and tuba player. He found his way deeper and deeper into music despite the fact that, as he says, he was “raised in a bubble”. Louis didn't hear secular music until he was almost 18 years old, but the music he learned in church, and the music he played in the church with his mother gave him a deep foundation for a career in music. When he did eventually hear the music and the musicians that would inform his professional journey, he quickly understood that he had a place in that world. Soon he was playing with the likes of Marcus Miller, John Scofield, Q-Tip, Snarky Puppy, Jon Batiste, and Bobby McFerrin among others. He joined the Late Show band when Colbert took over the job as host, back in 2015 and has been a regular on the show ever since. In this interview, done in 2018, Cato talked about the difference between making music in church and playing secular music, what it means to “learn what you already know” and how surviving a terrible tour-bus accident changed his outlook on life and music. www.third-story.com www.patreon.com/thirdstorypodcast www.wbgo.org/studios
Wallace Roney – Don’t Stop Me Now – 7:05 Marcus Miller; Ben Hong – I Still Believe I Hear – 7:06 Steve Gadd Band; Walt Fowler; Larry Goldings; Jimmy Johnson; Michael Landau – Africa – 8:08 Branford Marsalis – The Ruby And The Pearl – 8:53 Esbjörn Svensson Trio – Tide of Trepidation – Live […]
#David sanborn and Marcus Miller # run for cover # one of the Greatest saxophonist ever and one of the greatest Bass players ever team up on this jazz Funk fusion jam# song composed by Marcus Miller # respect and Dap --- Support this podcast: https://anchor.fm/mr-maxxx/support
The Wisdom Coalition Podcast — Well Of Wisdom (WOW)
We will all struggle but how can we reframe our circumstances and use our struggles for learning, growing and improving our outlook? In this episode, we speak to a remarkable cardiac arrest survivor, Kevin Marcus Miller, a marketing & business growth consultant who, in his 20's, was slammed with an undetected heart condition that made his heart stop, not once, but 12 times! In a very honest conversation, Kevin tells The Wisdom Coalition https://www.thewisdomcoalition.com/ how almost dying has changed the way he is living. He urges us all to, “Put hope back on your playlist.” On his most difficult days, Kevin tells himself, “My greatest joy is tomorrow.” His story and his outlook will amaze you. Now, he says, he lives his life urgent: urgent to be his best, to love and to live. This is one compelling conversation!
This episode, Judy interviews José André, a disabled piano prodigy. Jose is a self-taught musician who has performed internationally since the age of six. Enjoy Judy and José's discussion about his deep love of music and journey thus far. Plus, you'll get to hear José play the piano twice in this episode. The transcript for this episode is available here. This episode is sponsored by The KITE Research Institute's virtual conference on national parks accessibility in Canada. Learn more and register at parksaccessibilityconference.ca. Follow José on Instagram and Facebook @joseandre.bo José André Montaño is 17-year-old self-taught musician who delights listeners across the Americas. He discovered his piano skills in a self-taught way at the age of four. Since then, he has been fascinated with music. At 6 years old, José formed and led his first Latin Jazz band. José has performed internationally with live presentations that have received standing ovations in Italy, Canada, Malaysia, Finland, Brazil, Peru, Mexico, and Colombia. He also performed at the DC Jazz Festival, Mid Atlantic Jazz Festival, International Jazz Day, and other venues. He has shared stage with Marcus Miller, Jason Moran and Renee Fleming, and other renowned musicians. Each year outstanding young musicians with disabilities from around the world receive the VSA International Young Soloist Award. In 2019 José André was one of the recipients and performed at the John F. Kennedy Center as an emerging artist. During the 2nd Annual Columbia Lighthouse for the Blind "Lighting the Way" Gala; José André was presented with the Visionary Award recognizing the achievements of his talented as a person with vision loss. Related Links: José's Website The Kennedy Center's Tribute to Pope Francis Cajón Peruano Instrument Visual Description: The Cajón Peruano is a rectangular wooden box with a circle cut out in the middle of the back panel. The player sits on the top of the instrument in a straddle position. They use their hands to hit the front of the box to create drum rhythms. This episode's Ask Judy question came from @natleef on Instagram and @heatherisuppose on Twitter. If you'd like to submit a question for Ask Judy, send it to firstname.lastname@example.org or DM Judy on Instagram or Twitter. Find a shortened video version of this interview on Judy's YouTube channel. Intro music by Lachi. Outro music by Gaelynn Lea.
Jeff Antoniuk has such an interesting background, having been born in Canada, and growing up in Nigeria. He's performed with Tim Hagans, Sherrie Maricle, Ingrid Jensen, Walt Weiskopf and Marcus Miller. He has fronted his own bands as a performer and composer, winning accolades from JazzTimes Magazine. Jeff is a well-respected educator, and currently is […]
Myles Sanko – Rainbow in Your Cloud – 4:10 Marcus Anderson; Darnell Showcase Taylor – Soul Ties – 4:06 Keiko Matsui; Marcus Miller – Echo – 4:15 Eric Darius; Justin Lee Schultz – That’s My Jam – 4:19 Ilya Serov; Dave Koz – Heat – 3:54 Summer Rain – Phil Morisson – 6:31 Javier Colon […]
Estreno de 'Dosage', segundo álbum de la banda danesa OTOOTO, y repaso a novedades de la música Smooth Jazz protagonizadas por JJ Sansaverino, Eme-Eme-Project, Lou Pomanti, Byron Miller y Marcus Anderson. En el bloque del recuerdo recuperamos él único disco del dúo Homi & Jarvis, en el que participaron músicos como Dave Grusin, Marcus Miller, Lee Ritenour, David Sanborn o Toots Thielemans.
Acoustic Tuesday Show with Tony Polecastro
Ever wondered what slide is the best for playing slide guitar? Brass? Bronze? Glass? Heavy? Light? All this will — and more — will be covered in this episode of Acoustic Tuesday! Bottleneck slides are perhaps the most important piece of gear for playing slide guitar...besides your guitar, of course! That's why I've dedicated a whole episode to discussing the importance of picking out the right slide. There are so many choices out there. It can be totally overwhelming. And sometimes, when you're overwhelmed, you just go with the cheapest price. I'm here to advise you against doing that. Instead, take a look at these 10 slide manufacturers to see what to look for in a high-quality slide that can work within your budget. I'll also add that I have a preference for bronze or brass slides. I explain why in the video, but it ultimately boils down to a combination of tone and feel. I really love the heavy feeling of a slide that sits comfortably on my finger and has enough weight that it isn't bouncing off the strings. In addition to talking about slides for slide guitar, you'll also hear from a TAC Family member and Guitars For Vets member on how she is able to achieve all of her guitar goals this year. Inspiring stuff, and I highly recommend you heed her advice! Featured in this Episode... - Robert Barnett - Caitlin Canty - Marcus Miller - Scott's Bass Lessons - Paste Magazine - Cristina Vane
#Bernard Wright who do you love # one of the most talented singer,songwriter and musician to emerge over the past 45 years# song composed by Bernard Wright and lenny white# producers lenny white and Marcus Miller # sampled by LL cool J # lougin# respect and Rip
Tonight's special guest is Marcus Miller from Pensacola, Florida. In 1967, desperate to flee an abusive father, he ran away from home at age eleven. His journey that would took him from central Oregon down to California, east into Nevada, and across the country to Florida, on freight trains, Greyhound Bus, and hitchhiking. The trek took one hundred and sixty-three days. It was not accomplished without many setbacks and obstacles. 'I was abused by hobos in a trainyard, was robbed by a woman after I helped fix her car, and kidnapped in KansasI was placed on a work farm with sixteen other kidnapped children. My youth quickly vanished and I arrived in Florida an older and much wiser young man." Marcus explains further, "In Miami I hired on as crew to a schooner and sailed into the Caribbean, arriving in St. Thomas V.I." He was eventually recruited and trained by a Panamanian based military contractor that was sanctioned by the U.S. State Department. "I worked with them for over twenty years rescuing kidnap victims from Colombia, Central America, and Mexico." Marcus explains, "My education was acquired from working and living on the streets, back alleys, fetid jungles, and dank ports in third world countries. Now I travel across the U.S. in an RV, writing action-adventure novels." Marcus currently has nine novels published and available on Amazon, and is presently nearing completion of book #10, 'Predators' Highway', a novel about human trafficking. "I am 66 years old and enjoy fishing, hiking, camping, cooking, and researching my novels."
The List: A Right Fiction Podcast
We've been dancing around this topic now for almost 2 years, but today we are here! Today we are gonna dig into Miles Davis…. His songs and albums have come up in so many different episodes we have done. And rightfully so, because he is a giant of music and his DNA is in a lot of the music we listen to today. But we knew if we were gonna try and tackle the task of trying to create a list of our favorite Miles Davis songs that we needed to have a super special guest to help us. And fortunately for all you folks out there, we were able to find just the right person to join us to discuss all our Favorite Miles Davis recordings.Special Guest: Adam FalconHe is a singer and songwriter from New York and has worked with Roberta Flack, Marcus Miller, Nona Hendryx, Steve Jordan, Phyllis Hyman, Sophie B. Hawkins, The Village People, Jim Lauderdale, Robert Palmer and the list goes on. In addition to his own wealth of experience and stories, Adam also has a profound connection with Miles Davis, which is why we've asked him on the show today. www. adamfalcon.comwww.therightfiction.comSpotify Playlist "Favorite Miles Davis Recordings"
Separating ourselves from the nature of love leaves us feeling alone, in a state of fear and abandonment. This disconnection from love drives us to exhibit controlling behavior as we fight for a sense of safety and peace. Unfortunately, any safety or peace we experience through control is an illusion and short lived. In this final episode on faith and emotions, Marcus Miller joins the conversation to tackle the repercussions of our independence from a creator that is unrelenting love. Together they address the destructive nature of control and the joy that comes when we choose to surrender and trust in something much bigger than ourselves. If you're ready to experience a life fully lived, this episode will give you a dose of hope and inspire you to step back and take a deep breath as you realize you've there's a good Papa extremely invested in your story.
This week we do a deep dive on Marcus Miller and discuss his impact as a bassist, songwriter, and composer. We also get into Maurice Fitzgerald and Fred Hammond in our Churchin' segment.
FOLLOW US ON IG! https://www.instagram.com/gearandbeerpodcast/ Mike Khalil is a superb guitar and steel guitar player from LA, now living in Nashville. We do a little playing, discuss learning on the gig, talk about comping behind solos, have a couple frosty barley pops and of course ask and answer some fun questions! Be sure to follow and subscribe to our channels! LINKS: RockBoards: https://www.rockboard.de/en/ Neville Brothers - Live On Planet Earth https://youtube.com/playlist?list=OLAK5uy_mr1xAOaiCZyNgIhy89bsEDMJ30dpQoF0g Miles Davis - Star People https://youtube.com/playlist?list=OLAK5uy_mJmVteCMPiyNrBcds6IG-g6YsGnecMQvg Bernard Wright Links: Bernard Wright - "Nard https://youtube.com/playlist?list=OLAK5uy_nbX5TcVUJk29yTmdpUsfrAYRLG0nvy4zo Nard with Marcus Miller https://www.youtube.com/watch?v=NIp6-PB1P_w Nard with Ghost Note https://www.youtube.com/watch?v=cKVizrM82oc Nard with Wayne Shorter https://www.youtube.com/watch?v=qzUebR2gNYs Bernard Wright, Wes Stephenson, John Carruth https://www.youtube.com/watch?v=QjUqncAm4Cc Los Recuerdos De El Alajambra - Francisco Tarrega https://www.youtube.com/watch?v=SHNOUPmkFlI IG HANDLES: https://www.instagram.com/khalilinit/ https://www.instagram.com/guitarkillah/ https://www.instagram.com/lindonmccarty/ --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/rob-miller08/support
Music Matters with Darrell Craig Harris
Listen in on my super fun chat with the highly respected keyboardist, producer, writer, Jason Miles , a really nice man with a huge story. He shares snippets of his exciting and revealing 'New Book' titled: The Extraordinary Journey of Jason Miles ~ A Musical Biography A series of short stories that brings you into the inner-sanctum of what it was like to work with artists like Miles Davis, Luther Vandross, Chaka Khan, Marcus Miller, David Sanborn, Roberta Flack, AMO... You are right in the studio, and on the road getting a birds eye view of Music History... Below are some quotes from Musical luminaries about working with Jason Miles. “Genius” -Miles Davis-1991 "Jason Miles is a Great Musician" -Chick Corea-2021 “Jason Miles has raised the level of excellence for the musicians who have had the good fortune of working with him, myself included. He has enriched the lives of the millions of people who have listened to the music he plays, the recordings he produces and the countless musicians he mentors and inspires. The work he did with my friends, Miles Davis and Marcus Miller have helped to define the modern face of jazz music." - Roberta Flack Please checkout Jason Miles 'New Book' pre-order page, his website, and his social media channels. https://music.apple.com/us/artist/jason-miles/81372193 https://open.spotify.com/artist/1ydw5TMqZC6HCz5l9z3xvL https://www.youtube.com/channel/UCsaENQ28A9rTF3YzYJlJuWQ https://twitter.com/JasonMiles https://www.facebook.com/jasonmilesmusic This episode of Music Matter is sponsored by Switcher Studio and @KathyIrelandWorldwide with support from Shure Shure UK Music Crowns , and Rodney Hall FAME Recording Studios in Muscle Shoals, Alabama. Also, Nigel J. my co-producer and voice over talent, all while running - Music Tribes Unite & VoiceWrapStudio.com A Big Shout and thanks to our friends at #AudioGeer , @sullenfamily and the awesome support! #Shure #MV7 #podcast mic! Please check out our Music Matters podcast on @spotifypodcasts Hey, also check out the New Music Matters Podcast Website- and Music Matters SWAG - Please, support, LIKE and helps us grow - check out our Social Media pages:
Welcome to "Inside The Juno Reactor" Podcast Episode 2: EL AMIR - Flamenco Guitarist for Hans Zimmer & JR SYNOPSIS: Juno Reactor & EL AMIR talk about EL AMIR's roots and background as a guitar and oud player, Flamenco & Paco de Lucía, his journey as a musician working with Juno Reactor, Hans Zimmer (World of Hans Zimmer), and Radio Tarifa, composition and his work in the film industry on titles such as "No Time To Die". GUEST BIO: Amir John Haddad - EL AMIR is a German-Spanish flamenco guitarist and multi-instrumentalist. He was the official oud, bouzouki, and guitar player for Radio Tarifa for almost ten years and in that role received a nomination for Best Folk Album at the Latin Grammy Awards of 2004. He plays and toured with Hans Zimmer, Juno Reactor, and Marcus Miller among many. GUEST LINK: www.amirjohnhaddad.com/en/ Produced by Kenji Productions - www.kenjiproductions.com Discover more at: www.junoreactor.com
Music Matters with Darrell Craig Harris
What a pleasure to chat with this legend of music. Let me ask you a question: What do Miles Davis, Luther Vandross, Sting, Roberta Flack, Whitney Houston, Chaka Khan, George Benson, Michael Jackson, David Sanborn, Vanessa Williams, and hundreds of other legendary artists and musicians have in common? Yes...they've all worked with Grammy Award-winning producer, keyboardist, composer, arranger, and synthesist Jason Miles. For 46 years, Miles has contributed his vast array of talents and deep musicality to the success of these and countless other superstars and independent artists. This man's talent, knowledge, and stories could fill a book Actually, Jason Miles will be doing just that. The book is almost complete and is titled - The Extraordinary Journey of Jason Miles...A Musical Biography. Jason gives me little snippets of insider backstage/room things that are covered in this new book. One, never to stand still, Jason shares exciting insights into the motivation(s) for his latest projects completed just before covid and while in lockdown, and he's fired up and ready to take his latest album - Kind of New- Black Magic out onto an International tour. This is a man with real genuine passion and energy for all things music, life, and love. Highly recommend you go over to his website, bookmark it and follow him on his social media channels. Let's finish off with a quote about Jason Miles from another icon of the music industry; “Jason Miles has raised the level of excellence for the musicians who have had the good fortune of working with him, myself included. He has enriched the lives of the millions of people who have listened to the music he plays, the recordings he produces, and the countless musicians he mentors and inspires. The work he did with my friends, Miles Davis and Marcus Miller have helped to define the modern face of jazz music." - Roberta Flack Here is the website link I promised to keep up to date with ALL things - Jason Miles Music - website. Plus his social media and music channels. And a 'Big Shout Out' and thanks for the support of the following: Rodney Hall FAME Recording Studios in Muscle Shoals, Alabama Shure microphones - Sullen Clothing- Nigel J. my co-producer and voice over talent, all while running - Music Tribes Unite - and VoiceWrapStudio Big thanks to our friends at #AudioGeer and the team @shure for their awesome support! #Shure #MV7 #podcast mic! Please check out our Music Matters podcast on @spotifypodcasts Hey, also check out the New Music Matters Podcast Website- and Music Matters SWAG Please, support, LIKE, and helps us grow - check out our Social Media pages:
BAAS Entertainment presents: SIX DEGREES OF... Hosted by Troy Saunders, Wanda T. & Arif St. Michael
Of course we know that Luther Vandross' vocal delivery is LEGENDARY!!! Just as legendary is Luther's music!! Luther's music had a style of its own. Not only did he have the best of the best background vocalist; but the musicians he chose were just as stellar!!! From Nat Adderley Jr to Marcus Miller, to our special guest; drummer, song writer, arranger, teacher, producer, grammy award winner, IVAN HAMPDEN JR. All of the these incredible artist helped to create that Luther Vandross sound. Tune in to this episode as we discuss what went into the production of some of Luther's biggest hits. Ivan Hampden Jr. has worked with some of best in the music industry, in all genres. He started as part of Kurtis Blow's band while still a teenager. Then went to on to play drums and percussion for the Dance Theater of Harlem and Alvin Ailey!! From there it was to Broadway with Eartha Kitt, touring Ashford and Simpson, Chaka Khan, Stephanie Mills, Vanessa Williams, Roberta Flack, Jennifer Lopez and of course the topic of this season Mr. Luther Vandross!!! Mr. Hampden is also a stellar song writer and producer. He collaborated with Luther in writing incredible songs for Luther's albums.I'm only scratching the surface of Ivan's incredible artist's 45 year career. This episode is filled with so much history and love for the the one and only Luther Vandross.
Alonzo Bodden: Who's Paying Attention?
1- This is who you are, Gruden. 2- The NFL knows. So tell us. 3- I'll be damned, Allen West finds the virus is real. 4- Don't tell me what to do with my body while I tell you what to do with your body. 5- AHHH Kyrie 6- I'm pro-life so go kill yourself, kid. 7- Still the GOAT just listen until the end 8- Marcus Miller is his name See omnystudio.com/listener for privacy information.
The Online Coaches & Fitness Pros Show
Scaling a marketing agency, with Keven Marcus Miller
Kevin Marcus Miller was Born on December 24th, 1993. He is a music producer, songwriter, and entrepreneur from Seattle, Washington, United States, has been making music for over 15 years, always with the goal of uplifting and educating his audiences.
Steve Ferrone has recorded and/or toured as a drummer with numerous high profile acts, including Tom Petty and the Heartbreakers from 1994 until now, Average White Band for eight years, George Harrison, Duran Duran, Stevie Nicks, Slash, Chaka Khan, Eric Clapton, The Bee Gees, Johnny Cash, Bryan Ferry, Peter Frampton, Whitney Houston, Pat Metheny, Marcus Miller, Steve Winwood, Paul Simon, and Jaco Pastorius – and that's just some of the acts he's been with! This was a blast of a conversation because Steve has so many great stories. He talks about his work with The Average White Band, Tom Petty & the Heartbreakers, Chaka Khan, Eric Clapton, George Harrison, and Michael Jackson. He also talks about some of his favorite bass players and more! Steve was actually a tap dancer at a young age. He was only twelve years old, and he shares how that inadvertently led to his first drumming gig. He explains how he found his sound, as a drummer, and the journey that led him to where he is today. Despite the fact that Steve has played drums on a lot of classic hits from artists such as Tom Petty and the Heartbreakers (with whom he has worked for more than twenty-five years!), Chaka Khan, Michael Jackson, and so many others, he definitely maintains a certain level of modesty, presenting the possibility that a hit with which he was involved “was already a hit and I got to play on it.” He also discusses the advent of the drum machine and electronic drums and how they initially made some drummers panic thinking that their work would become obsolete. He shares his own feelings on electronic drums and gives examples of times when he maintained the value of organic drums over electronic ones, such as when he worked on “Earth Song” by Michael Jackson. Andy and Steve also talk a little about the COVID-19 pandemic and how it affected musicians, with Steve detailing what his life and profession have been like ever since the breakout of the pandemic. He remains optimistic and hopeful that an end to the pandemic is in sight but also clarifies that he is grateful for that which he has been able to hold onto in his life. Having worked with so many high profile musicians, Steve definitely has a lot of great stories to share and makes for a very fascinating guest on the podcast! Show Highlights: [00:10] Andy gives some background information on Steve Ferrone and his career so far as a high profile drummer. [2:06] – Steve reveals where his passion for drumming comes from and shares what some of his hobbies were as a child. [5:00] – Steve reveals how he scored his first drumming gig. [7:14] – We learn how Steve found his sound as a musician. [10:19] – Steve talks about what his process is like preparing for recording in the studio. [12:27] – Steve shares the story of having worked with Duran Duran on their “Ordinary World” song. [15:18] – Steve reflects on how he feels about many musicians today playing their parts separately and sending them in rather than all being in the same room playing together. [18:55] – Steve hones in on an important lesson that he learned from Arif Mardin. [22:03] – Steve looks back on his time with The Average White Band. [22:38] – Steve and Andy discuss Tom Petty and what it was like for Steve to work with him. [24:34] – Steve talks about his time with Chaka Khan. [27:40] – Steve explains how his collaboration with Eric Clapton came about. [30:45] – We learn how Steve led a very busy life while touring with Eric Clapton because he was touring with him and with Duran Duran. [32:45] – Andy and Steve enthuse over Phil Collins' phenomenal drumming work. [35:38] – Steve talks about electronic drums and how they were incorporated into “I Feel for You” by Chaka Khan. [36:42] – Steve narrates how he came to work with George Harrison. [38:47] – Steve explains how George Harrison might hold the record for most expensive recording session ever. [41:56] – Steve describes his experiences working with different bass players. [44:00] – We learn that the business side of things is Steve's least favorite aspect of his job. [44:57] – Steve describes his experience working on “Earth Song” by Michael Jackson. [48:35] – Andy and Steve talk about what Steve is looking forward to now that we're reaching the end of the COVID-19 pandemic. [50:25] – Steve describes an experience that he had recording a project during the pandemic. [52:05] – Steve looks forward to the day when the pandemic is over but remains grateful for what he has in his life now even in a pandemic. [54:22] – Steve talks a little bit about his jazz group, The Coffee Shop Trio, and how they play. LINKS & RESOURCES Steve Ferrone - Website Mentioned in this Episode: The Music Makers - Episode 37: Jeff Babko: Keyboardist Extraordinaire & Keeping the Channels Wide Open Duran Duran - “Ordinary World” Chaka Khan - “I'm Every Woman” Chaka Khan - “I Feel for You” Phil Collins - “Easy Lover” Michael Jackson - “Earth Song” Follow The Music Makers: The Music Makers on Instagram The Music Makers podcast theme song was written and produced by Andy Kushner with help from the rhythm section and horn players of the band, SoundConnection. Sponsor: Kushner Entertainment Check out Andy's Other Podcast: The Wedding Biz