Preston Glass

Washed ashore on a lonely island in the sea is my latest guest castaway, the celebrated songwriter and producer Preston Glass.

Preston's list of achievements is breathtaking. Five time BMI award winner, he has written thirty Top10 R&B Hits and ten Top10 Pop Hits. These include: 'Miss You Like Crazy' by Natalie Cole, 'We Don't Have To Take Our Clothes Off' by Jermaine Stewart and 'Who's Zoomin' Who?' by Aretha Franklin.

Among his many production credits are a #1 hit single for Earth, Wind & Fire with 'System Of Survival', a UK #1 hit single for Michelle Gayle with 'Sweetness' and Kenny G's worldwide hit single 'Don't Make Me Wait For Love'.

There are many, many other artists he has written and produced for... and here are just some of them: 

Whitney Houston, Mase, Stanley Jordan, Lionel Richie, Jennifer Holiday, Johnny Mathis, Michael Bolton, Dionne Warwick, Johnny Gill, Patti Austin, Kathy Sledge, The Delfonics, The Temptations, Diana Ross, George Benson, Phyllis Hyman, SoulDecision, Deniece Williams, Starpoint, Philip Bailey, Anita Pointer, Valeria, Lenny Williams, Stacy Lattisaw, Angela Bofill, June Pointer, Larry Graham, Carl Carlton, Margie Joseph, Evelyn "Champagne" King, Tag Team, Ronnie Spector, Narada Michael Walden, George Howard, Pieces of a Dream, The Stylistics, Dee Dee Bridgewater, Ben E. King, Brian Culbertson, J. Friends, The Dells, Norman Connors, Jermaine Jackson, Cyndi Lauper, Kirk Whalum, Jellybean Benitez, Brenda Holloway, Ali Woodson, Imagination, The Dramatics, Alfonzo Blackwell, Freda Payne, The Natural Four, Cindy Herron, Rebbie Jackson, Jaki Graham and Shades of Lace.

Preston has released four solo albums : 'Street Corner Prophesy' in 2006, 'Music As Medicine' in 2008, 'Colors Of Life' in 2010 and 'Elevator Speech' in 2013.

A new solo album is scheduled for release on May 14, 2014.

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James Brown – I Got You (I Feel Good)

'I Got You (I Feel Good)' recorded and released as a single in 1965, was James Brown's highest charting song peaking at number three. 

The song remained at the top of the Billboard R&B Singles chart for six non-consecutive weeks and is arguably his most widely known recording.

“At an early age it impressed upon me the importance of a groove and an attitude in the recordings”.

The Beatles – Yesterday

A song originally recorded by the Beatles in 1965. Although credited to Lennon and McCartney, the song was written solely by Paul McCartney. It remains popular today and is one of the most covered songs in the history of recorded music. 

Yesterday' was voted the No. 1 Pop song of all time by MTV and by Rolling Stone magazine. In 1997, the song was inducted into the Grammy Hall of Fame. BMI asserts that it was performed over seven million times in the 20th century alone.

“I was struck by the sheer profound, yet simple beauty of this song/recording”.

Sly & The Family Stone – Everyday People

'Everyday People' was the first single by the band to go to number one on the Soul singles chart and the U.S. Billboard Hot 100 chart. As with most of Sly & the Family Stone's songs, Sly Stone was credited as the sole songwriter.

Bassist Larry Graham contends that the track featured the first instance of the 'slap bass' technique, which would become a staple of funk and other genres.

“How a message song can be so melodically happy, accessible, soulful and wide-reaching.”

The Stylistics – Betcha By Golly, Wow

'Betcha By Golly, Wow' is a song written by Thom Bell and Linda Creed that was originally recorded by Connie Stevens as "Keep Growing Strong" on the Bell Records label in 1970, but the composition scored a hit when it was released by Philadelphia soul group The Stylistics in 1972.

It was the third track from their 1971 debut self-titled album and was released as a single in 1972, reaching #3 on the U.S. Billboard Hot 100 chart. It sold over one million copies globally, earning the band a gold disc.

“The Stylistics' 'Betcha By Golly, Wow' was the start of my appreciation for Thom Bell as a writer/producer/arranger, and for the whole Philly sound thing”.

The Four Tops – Reach Out I'll Be There

Written and produced by Motown's main production team Holland–Dozier–Holland, the song is one of the most well-known Motown tunes of the 1960s and is today considered The Tops' signature song. It was #1 on the R&B charts and on the Billboard Hot 100.

Rolling Stone included this on their list of 500 Greatest Songs of All Time.

“The Four Tops just reached out and grabbed me POW!!!”

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Keep up to date with Preston Glass and find details of his new album release on May 14 by following him using the facebook link below:

Paul Homer

My latest guest to be washed ashore on a lonely island in the sea is Sussex based DJ and Radio Presenter, Paul Homer.

Originally a collector of Ska, Rocksteady & Boss Reggae, it was Paul's passion for the music that led him into becoming a DJ, combining with fellow enthusiast Mark Howard to form 'Ska-Beat-Soul'.
 
After the first set in April in the home city of Chichester, other gigs soon followed: Supporting top acts such as The Lee Thompson Ska Orchestra and The Beat, playing festivals such as 'The Great Skinhead Reunion' and 'Ska Aid' and a regular residency at Woodies in Chichester.
 
Paul & Mark now present 'Ska-Beat-Soul' as a weekly radio show on ChiSoul Radio playing the best in 60's Ska, Rocksteady & Skinhead Reggae, all on 100% heavyweight vinyl !

Nat King Cole - Unforgettable

“Unforgettable, that’s what you are……”

When trying to think of where to start on this journey of 5 tracks, I was trying to think of the song or artist that may have somehow subliminally gave me my musical addiction as a child. My parents, although not musical (in any way!) always listened to “proper music”. There was always Soul (Otis & Aretha especially) playing somewhere in the house. If Soul had a day off, it was bands like Led Zeppelin, The Who, Small Faces that took its place 

So why Nat King Cole? My Dad NEVER sang. Ever. The only time I caught him singing was to this song in the car when I was about 8. I saw him quietly singing in the rear view mirror when he didn’t think anyone was watching.  So this song will always remind me of him.

Ian Dury & The Blockheads - Plaistow Patricia

“Ar*eholes, Ba*tards, Fu**ing Cu*ts & Pr*cks!” 

I was 16. I had just found the best band in the world – Madness. I was buying their records and playing them in my bedroom every day. My Uncle Dave came round a few days later with a few albums under his arm & pulled me to one side. “If you like Madness, have a listen to these; but when you get to this one (pointing at an album with a photo of a 'raspberry' and a kid outside an underwear shop) for christ’s sake keep the volume down or your dad will kill me!” 

I can’t remember the other albums he gave me, other than Patti Smyth 'Wild Horses' and probably now my favourite album of all time – 'New Boots & Panties' by Ian Dury & the Blockheads. 

As you can imagine - straight upstairs, straight on to the rude lyrics – loved it ever since!

Andy & Joey - You're Wondering Now

“You're wondering now, what to do, now you know this is the end
You're wondering how, you will pay, for the way you did behave”

For the next couple of years, I completely immersed myself in 2-Tone. My bedroom was suddenly covered in old Specials tour posters, magazine cuttings etc. 

Then my Mum bought home a CD called “One Original Step Beyond, the Story of Ska”. At no point did anyone tell me that these songs I’d fallen in love with weren’t original!!! The Maytals, Prince Buster, Desmond Dekker, The Ethiopians - I couldn’t take it all in! This really was the “life changing moment” when it comes to where I am today in terms of music. 

The reason I chose this tune in particular is because as soon as I heard The Specials were reforming in 2009, I dragged my heavily pregnant partner to Brixton Academy so that my future son would be there to hear it! I played this song to him (through Caroline’s tummy) all the way up in the car!

The Exciters - Blowing Up My Mind

“Dynamite & Nitro-Glycerine 

are like a firecracker compared to you…..”

By the time I reached 18, I was a staunch 'Trojan Skinhead' with scooter, sideburns & my Dad’s workboots! No other music was going to dilute my ears, other than Ska & it’s various off-shoots. Going to various scooter rallies and 'do’s', I was constantly annoyed by these 'Northern Soul' tracks that really didn’t do anything for me at all. 

At a local do, a mate of mine who was DJ'ing made a bet with me. “If you don’t like the next song I play, I’ll never play another Northern Soul song in front of you again!” I don’t think it was even half-way through before I was up on the dancefloor! 

I chose this song as influential, just because it constantly reminds me that other music is out there & if I don’t like it now, I might like it later!

Clancy Eccles - Feel The Rhythm

“If you try to reach the top, they will want to see you drop….”

I’ve been playing & collecting Ska, Rocksteady and Boss Reggae now for around 20 years but have only taken up DJ'ing in the last year or so. Thanks to the support of some fantastic friends and family, I’ve been fortunate enough to support some of the acts that I grew up listening to all those years ago at the beginning of my love affair with this type of music which just blows my mind every time! 

My son is now four years old & we literally can’t go anywhere in the car without him demanding I put this track on and we sing it at the top of our voices! It gets me every time that while his mates are discovering One Direction and 'Gangnam style', he’s asking for an obscure Rocksteady tune that’s about 45 years old! 

The other reason for choosing this tune is because Caroline bought me the original Doctor Bird 45 for my birthday, but it didn’t arrive in time, so she drew the actual single with crayon, put it in a cardboard mailer (with stiffeners!) just so I had something to open on my birthday... and that’s why I love them both so much!

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Catch up with Paul's music on these sites :

 

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Drew Schultz

Washed ashore on a lonely island in the sea is my latest guest, the wonderfully talented Drew Schultz.

Starting at the age of nineteen, Drew Schultz earned his stripes as the drummer, percussionist, archivist, and substitute conductor of the legendary Motown group the Four Tops. During his time with the Tops he also performed with artists including The Temptations, Aretha Franklin, Martha Reeves & The Vandellas, The Dramatics, The Miracles, The Contours, Harold Melvin’s Bluenotes, The Velvelettes, Chairmen of the Board, Freda Payne, and more. 

As a journalist, he has published several articles on soul and R&B musicians in Modern Drummer Magazine.

Drew is the spearhead of the "Back To Class" project, a series of his original songs featuring legendary soul artists, with 50% of profits benefiting the music programs of the Detroit Public Schools. Special guests on the project have included the Four Tops, Funk Brothers, Melvin Davis, Spyder Turner, Dennis Coffey, James Jamerson Jr, Pat Lewis, McKinley Jackson, Lenny Pickett of Tower of Power/Saturday Night Live, Ken Knox of Chairmen of the Board, Joey Kingfish, and many more. 

He hopes to continue to spread the legacy of his heroes and mentors, keeping the soul alive!

"Here it is !!!  Picking only five songs is TOUGH though!"

Earl Van Dyke - The Flick

Written by James Jamerson, Earl Van Dyke, and Robert White

"I think this song is a fantastic example of the pure energy and virtuosic ease of The Funk Brothers, the legendary studio band who played the instruments on nearly every hit Motown song from 1959-1972 regardless of songwriter, singer, or producer. Lead by organist Earl Van Dyke on this 1970 live recording from Detroit's Hi Chapparal night club, the guys are absolutely tearing it up. Along with saxophonist George Benson, Earl is joined on stage here by several of the Funk Brothers' key members; drummer Uriel Jones, guitarists Robert White and Eddie Willis, percussionist Eddie "Bongo" Brown, and the game changing bassist James Jamerson. These guys truly play as a cohesive unit, with the simple song form of "The Flick" breathing alongside Van Dyke's flitting organ fills, Benson's jazzy saxophone spotlight, White's blues drenched guitar solo, and the airtight rhythm section of Willis, Brown, Jones, and Jamerson.

The jaw dropping, head bobbing climax comes when the band breaks down to let Jamerson just sit in the groove out front while Uriel's hi hat pattern and Bongo's bed of hand percussion surround his creative bass lines. Van Dyke sneaks back in with another section of organ soloing, and the entire band just barrels full force into a final hold at the performance's finish. I believe that the slick, effortless combination of jazz, blues, and raw funk on this song is a testament to how these musicians, along with the rest of the regular cast of The Funk Brothers, could feasibly be responsible for more number one hits than the Beatles, Rolling Stones, Beach Boys, and Elvis combined!" 

The Impressions - Keep On Pushing

From the 1970 album 'The Best Impressions: Curtis, Sam & Fred' written by Curtis Mayfield.

"Originally released on the 1964 LP of the same name, Curtis Mayfield & The Impressions' anthem "Keep On Pushing" is one of my all-time favorite songs. Whenever I'm hitting a patch of difficulty and self doubt, this song is always there. It might sound simple, but a line like "I've got my strength and it don't make sense not to keep on pushing" can be exactly what I need to hear at times like these. In my eyes, this tune is the epitome of persistence and motivation. It's fascinating because the lyrics never give an idea of what Curtis is pushing for, and the song never gives closure with a moment of completing the tasks at hand. It just simply says that someday he'll get there, he'll push past the obstacles ahead, and keep on keeping on.

While the original version has been a staple of radio play and compilations for the past five decades, I actually prefer the obscure, oddball re-recording that The Impressions created in 1970. At that time, having recently split with ABC-Paramount to join Curtis Mayfield's own independent Curtom Records, The Impressions were compiling a "best of" album. Instead of licensing the original recordings of their early hits from ABC, they opted to entirely recreate them specifically for this release entitled "The Best Impressions: Curtis, Sam & Fred." This new version of "Keep On Pushing" has a brand new arrangement, with the very first horn stab hitting hard like a punch in the gut. Fred Cash and Sam Gooden sound like they're quite literally pushing harder in their vocals too, with the initial harmonies in the song cutting like a hot knife through butter. A brand new vocal arrangement brings some intricacy to the verses, and Curtis even throws in a nice call back to his seminal hit "People Get Ready."

As a drummer, I'm absolutely floored by the playing on this recording. Based on the intricate, intelligent, and ballsy fills played here I would guess that the drummer is Tyrone McCullen, who was part of Curtis' band on his Curtis/Live record from NYC's Bitter End night club the following year. The fills played during the transition into the prechorus each time get more and more complicated, eventually abandoning the swung eighth note feel for mind bogglingly arrow-straight sixteenth note riffs across the kit. This is some absolutely fearless playing, and it's genius!"

Tower of Power - Both Sorry Over Nothing

From the 1973 album 'Tower of Power' written by Stephen "Doc" Kupka, Emilio Castillo, and Lenny Williams.

"Man, I'm such a sucker for a funky ballad. You know what I mean, those songs that aren't quite dance songs, but still a little too groovy to be considered a slow jam. "Both Sorry Over Nothin'" fits like a glove right into that walking tempo feel that I love so much, and it's absolutely beautiful.

The song starts right into the extremely catchy chorus, and drops into a sullen verse as the horns build up behind some tasteful guitar fills, then smoothly dropping right back into the chorus. Lenny Williams delivers a crystal clear, completely heartfelt vocal while the Tower of Power horn section weaves in and out of each phrase. After the second chorus, a series of hits and vocal riffs just melts into a smooth bridge section before shifting back into a third verse and chorus.

While all of this is some pretty creative song structure, what happens next is a totally unexpected change of pace. The last section of the song is a completely different groove introduced solely for the fade-out. Williams' vocal improvisations leave ample room for some staccato horn hits while David Garibaldi's churning, syncopated drum beat snakes between them both. On top of this bubbling beat, a subtle clarinet solo by Lenny Pickett enters, only playing for a few seconds before the song begins to fade. This last section feels like a huge tease, as the band had just reached this incredible moment that I could have listened to forever. That final section makes the journey through the song pay off in a huge way only to fade out and end far, far, far too quickly. Whoever made the decision of how quickly to end this song created an addict of me, continuing to hit the repeat button to get that final feeling of the song just opening up into that perfect groove."

8th Day - You've Got To Crawl (Before You Walk)

From the 1971 album '8th Day' written by Angelo Bond, General Johnson, Greg Perry, Ron Dunbar.

"It's hard to explain, but I feel like this song is just perfect. It was written by an absolutely all star cast of Detroit Soul legends. Angelo Bond, Ronald Dunbar and Greg Perry had collectively written for acts including Shorty Long, Freda Payne, 100 Proof Aged In Soul, Glass House, Honey Cone, and many more. General Johnson was the iconic, pleading lead singer and songwriter for Chairmen of the Board, famous for their smash hit "Give Me Just A Little More Time." On top of it all were the owners of the record label for this release, the powerhouse writing/production team of Holland, Dozier, & Holland. HDH were responsible for countless hits by the Four Tops, Supremes, Marvin Gaye, Martha Reeves & The Vandellas, and more. 

The 8th Day was a fascinating group - the name was originally used as a vehicle for a one-time release called "She's Not Just Another Woman," featuring lead singer Steve Mancha. That song became a surprise hit, but Mancha had since been assigned to the group 100 Proof Aged In Soul, responsible for the lead vocal on their hit song "Somebody's Been Sleeping In My Bed." HDH was left scrambling to find a new lead singer for a follow up release under the 8th Day name. Upon choosing Detroit drummer/writer/singer/producer Melvin Davis to lead the new 8th Day configuration, they struck gold. Melvin had been a writer responsible for tons of songs recorded on artists including J.J. Barnes, Darrell Banks, Dennis Coffey, Johnnie Taylor, Steve Mancha, Edward Hamilton, and many more. His first group, The Jaywalkers, included future Temptations' lead singer David Ruffin, and you can hear a similarity to Ruffin's gruff phrasing in his lead vocal on "Crawl." 

Melvin's vocal on this song is a powerful display of gritty chops and musical consideration. His past as a drummer with groups like Smokey Robinson & The Miracles and the Dennis Coffey Trio allowed him to apply some creative rhythms to his singing, which frequently switches between a regimented eighth note phrasing and a more conversational cadence. The record feels like a live performance with Melvin giving his all, including the entertaining stage antics that might go with it. The first line feels like he's speaking to an audience, preparing to tell them a story of a woman scorned. The insanely catchy chorus repeats his girl's insistence that he apologetically crawl back to her. The song builds into a fantastic interlude where Melvin finally gives in, breaking down onto his knees, all the while making sure that no one is around to witness him swallow his pride. The song is playful, clever, and incredibly hard to get out of your head. Just by listening to it, it's easy to picture Melvin crouched on stage, bashfully looking around as he prepares to beg for forgiveness. Underneath all of this is another masterful performance by The Funk Brothers, moonlighting for HDH's own label.

This is Detroit Soul at its finest!" 

Four Tops - (It's The Way) Nature Planned It

 

From the 1972 album 'Nature Planned It' written by Frank Wilson and Pam Sawyer.

"I think this might be my favorite song.

The year was 1972, and Motown was moving. The label had been slowly building a presence in Los Angeles with the MoWest label, Berry Gordy's new motion picture efforts, and productions on artists like the Jackson 5 being recorded out west. As the company was migrating away from Detroit some artists followed suit, while others remained in the Motor City. One of Motown's flagship acts, the Four Tops, wanted to stay in Detroit. Deciding to take more creative control of their music, they did not to renew their contract with Motown, and this tune was their swan song from the label that had made them superstars.

What a fitting send off it is - the song is a combination of thick harmonies from the Tops, a raw and earnest lead vocal by Levi Stubbs, and a lush arrangement. An orchestral swell builds from nothing, and Levi quietly enters before a guitar flurry announces the song's introduction. The verse settles into a laid back groove with sparse drums and percussion, floating strings, and flowing woodwinds. A quick set of hits gives way to the chorus, while an inhumanly quick switch from drums played with sticks to drums played with brushes betrays the Funk Brothers' subtle use of two drummers on the track. 

The LP that houses this song was one of the few to credit the musicians by name, and it appropriately lists "Bass (Personified) - James Jamerson." In addition to another typically incredible performance by The Funk Brothers, the lyrics on this song always get me. It initially sounds like a sweet love song, with Levi explaining that the love he feels is as natural and inexplicable as the sky, explaining that he'll never leave his woman. However, the very last line of the song turns the entire meaning around. As the song fades, the very last thing you hear Levi say is "why do I feel this pain?" Suddenly it's clear that this love is an unrequited one, and the song is now accompanied by a melancholy weight that might have otherwise gone unnoticed. I'm not sure whether this was a written segment of the lyrics on the part of Frank Wilson and Pam Sawyer, or if it was a simple improvisation by Levi, but it's absolutely brilliant."

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Drew's excellent 'Back To Class' is available as both audio CD and MP3 download from the usual sources, including Amazon, CD Baby and iTunes, with 50% of profits benefiting the music programs of the Detroit Public Schools.

available here

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Ann Taylor

My first guest to be washed ashore on a lonely island in the sea this year is Northern Soul Promoter and DJ, Ann Taylor.

Ann runs a monthly soul club in Teddington and the Dome Alldayers with Derek Mead in Tufnell Park. A resident DJ at Hoodoo Soul Club in Hersham, Ann has also DJ’d at Bisley, Oxford Soul Club, Isle of Wight Soul Club Rally Weekend and at various other clubs around the country.

"I grew up in Lancashire, loving Motown and other Soul music since the age of about 11 and started going to Wigan Casino in 1974  (and like a lot of people – pretending to stay at a friends house overnight!!).  I went to Blackpool Mecca as well as local clubs around, finding new friends who had a real passion for the music and not simply a 'liking' for it. My 'normal' friends thought we were all crazy and never got the feeling we all had.

Having left the North of England in 1980 to attend college, I was away from the scene for several decades (like a lot of people for one reason or another) and then I had, what I suppose you might call, a 'mid-life crisis' and decided to explore the Soul scene down South.

I had a yearning to promote and DJ. I saw Martha Reeves at the Jazz Café and an ex-Wigan Soul fan I met that night encouraged me to go for it!  So I bought some decks, mixer and, of course, MORE records and started in a local pub in Teddington on Thursday nights. Some local Soul fans and DJs became regulars, we outgrew the pub so I set up at Teddington Constitutional Club down the road. And that’s how it all re-started…
 

When Bill asked me to send him my choices for the blog, I thought 5… only 5 records!  That’s so hard to choose.

Anyway here goes….

Some of my all time favourites on the list and those would always be there and some which may have been different if I was writing this next week!"

The Belles - Don't Pretend

"Great stomper!  I love the beat and Mirwood was a great label output too.. Brenda and Patrice Holloway, Sherlie Matthews : This seemingly 'unofficial' recording was made by these three as the Holloway sisters could not sign a contract under their own names as Brenda was already signed to Motown. I often like to start off a DJ set with this. I love the voices, especially Brenda - some of her best music (imho) was never released."

Jackie Wilson - This Love Is Real

"I find it difficult to play a set without Jackie – he can do no wrong… his voice was like a musical instrument and what a showman. I love the unexpected start to the record – quite laid back and then everything kicks in (love a big arrangement). 

What a beauty."

Martha Reeves & The Vandellas - Love Guess Who

"It's very hard to select a tune by her. I especially love the violins in this one. I think Martha was underrated and I love her edgy voice."

Constellations - I Didn’t Know How To

“There’s a flame deep within my soul – and it’s burning (burning burning) out of control. I wanna speak, but can’t find the words.. and you pass me by baby having never heard”.

"What a tune…sends a huge shiver down my spine even as I write this.. I do like big round whole sounds and orchestration and I adore it played in a bigger venue. I lose myself."

Little Anthony and the Imperials - Better Use Your Head

"This again has a big dramatic orchestral sound and what a voice Anthony has – I like many other songs by them. Now… this one would actually be the one record I keep if I really was on a desert island and everything else was washed away. For me this sums up everything about my passion and love for the music and people, especially my teenage memories of Wigan Casino."

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If you love the tracks that Ann has chosen, then you are guaranteed to have a great night out here...

And click on the logo below for details of all the Soulnites :

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Robin McKelle

My latest guest castaway to be washed ashore on a lonely island in the sea is the wonderfully talented Robin McKelle.

 

Born in Rochester, New York and influenced musically by her church-choir-member mother, Robin first began to reveal her talent by performing in local R&B groups from the age of 15. 

After taking up the piano and French horn, she would go on to study Jazz at the University Of Miami before attending Boston’s prestigious Berklee College of Music, graduating in 1999. Moving to the West Coast she would regularly perform as a backing-vocalist for both Michael McDonald and BeBe Winans before subsequently returning to Berklee as a teacher. 

After being placed an impressive third in the widely-respected Thelonius Monk International Jazz Vocal Competition in Washington, DC, Robin finally begin her recording career – first coming to the public eye as a solo jazz singer with her 2006 debut album “Introducing Robin McKelle” and its 2008 follow-up “Modern Antique”, both big-band swing sessions which would in turn precede the 2010-released set “Mess Around”, which, with its more soul-jazz direction, marked the first hint of Robin’s personal yearning to return to her original R&B roots. 

2012 saw the release of Robin McKelle & The Flytones "Soul Flower", with Robin writing most of the songs.  “The Flytones acknowledgment sets this project apart from my solo and previous jazz work, and also stresses the joint effort on this album with Sam Barsh (Avishai Cohen’s former pianist) and Derek Nievergelt (her current bassist). They’re from the jazz world, but they love this music. We worked on the tracks together, some even on stage when we were touring.”  The album includes duets with soul veteran Lee Fields and with jazz vocalist Gregory Porter.

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"As an artist I am often asked the question of who my greatest influences are and what are my favorite albums or singers. I always cringe when asked this question because I feel that aside from being influenced by so many singers and musicians, I am inspired by different artists/music at different periods of my life. This makes it hard for me to pick 1 or 2 people when asked. 

Over the past year I’ve been focusing on writing and recording a new album in Memphis. While writing and researching for this album I listened to so many of my favorite artists and discovered new ones too !

I’ve compiled a few of my favorites so I hope you enjoy what I’ve been diggin’ on !"

Donny Hathaway – Live

"Donny is one of the most influential singers in my life. His tone, feel, and passion are so incredible. His phrasing is so in the pocket and yet so free. 

The band includes legendary musicians, Willie Weeks (bass) and Cornell Dupree (Guitar) on this live recording… and make no mistake, they are all killing it! 

I love all the tracks on this album but What’s Going On, The Ghetto and Jealous Guy all hit a soft spot in me and take me back to the time when I discovered Donny. He changed my life."

James Brown – Get Up (I Feel Like Being a) Sex Machine

"What can you say about JB ! I remember hearing this at a young age… I didn’t even know who JB was. I sang I Feel Good in a cover band when I was 17 and I had NO idea how much this man would end up influencing my musical path! 

His voice is so powerful and stage presence is undoubtedly amazing! THE hardest working man in show business people!!!

It was hard to pick one song or album, because I love them all so I chose this iconic tune but I especially love the live recordings because I feel that is where you can feel most of his energy and the band !"

Aretha Franklin - Live at the Filmore West

"Just so ridiculous ! 

I mean… the voice, the band, the energy is just incredible ! I would have given anything to be at that show! 

‘Nuff said !"

Gladys Knight & The Pips - Midnight Train to Georgia

"I just love Gladys’ voice. Her phasing and tone is so gorgeous. I could listen to her forever. 

I also love the lyrics because they speak about life and trying to manage your dreams and relationships. 

Gladys is one of my all time favorite singers ! 

This tune just makes me feel good !"

John Coltrane – A Love Supreme

"I had to include this album because it was the first instrumental jazz record that I really connected to. Jazz is such a part of my musical journey and it’s helped me to become a better musician and shaped my sound along the way. 

Love Supreme is so beautiful in so many ways. Coltrane’s tone is unmistakable and he plays with such passion. On the first track, Acknowledgement, the variation on the motif evolves with improvisation and groove and I found that really kept me interested and helped me understand a music that was probably way too deep for me to get as a young musician. 

Every time I listen to this album I hear something new and I hear it in a different way. It’s just a timeless album."

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Vinyl junkies will be delighted to learn that Expansion Records have released "Fairytale Ending" (for me, the standout track on the "Soul Flower" album) as a double A-side 7" c/w "Love’s Work" featuring Gregory Porter.

 

January 2014 will see the release of "Heart of Memphis" : An album recorded in the city of Soul and produced by the legendary Scott Bomar... the man behind the mixing console for many of Isaac Hayes’ and Al Green’s recording sessions.

 

Use iTunes link to to pre-order "Heart of Memphis"

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