Interviews

Q&A with triple Grammy winner, jazz drummer TERRI LYNE CARRINGTON

Monday, 10 April 2017 19:29 Charles Waring E-mailPrintPDF

altIt's a sad and sobering fact, perhaps - especially in an era when feminism is a potent social and political force and equal opportunities are encouraged - but the world of jazz remains a musical landscape mostly populated with men. There have been plenty of noted female singers, of course, throughout the idiom's history but women instrumentalists have been much thinner on the ground. Even in these supposedly enlightened times, gender barriers still exist and it's still hard for women to make their presence felt in an environment that has traditionally been an all-male preserve.

But there are some women currently making big waves in jazz - Grammy-winning composer and orchestrator, Maria Schneider, immediately comes to mind, as well as the Japanese pianist Hiromi. Even more of a rarity are female drummers but another Grammy-winner, sticks maven, TERRI LYNE CARRINGTON, has been successfully plying her trade for over thirty years now.

As such, she's a unique figure in jazz - a pioneer, even - and certainly is an exemplary role model for aspiring female jazz musicians to be inspired by and emulate. Interestingly, the Boston, Massachusetts-born musician - she's a composer and producer as well as a drummer - is due to fly in to Britain's second city, Birmingham, for a concert on Sunday 21st May at its prestigious Town Hall venue. Terri Lyne will be bringing her own band and focusing on material from her most recent album, 2015's Grammy-grabbing 'The Mosaic Project: Love & Soul.'

For those wishing to get an insight into her playing, she will also be holding a drum master class-cum-workshop for local students and musicians the next day, Monday 22nd May. Both promise to be illuminating, must-see, events and have been curated by Birmingham's Jazzlines organisation as part of its 'Women In Jazz' project, which was initiated in 2014 to aid and encourage female musicians to get into jazz.

SJF's Charles Waring recently spoke to TERRI LYNE, who reflects deeply on her life as a woman in jazz and shares her thoughts about some of the experiences, challenges and judgements that she has faced ...

Last Updated on Monday, 17 April 2017 11:41

 

SOUL ON THE RUN: The Tanika Charles Interview

Saturday, 18 March 2017 10:00 Bill Buckley E-mailPrintPDF

altLast year the soul community got to know about Toronto-based soul singer TANIKA CHARLES via a lovely ear-worm of a tune, 'Endless Chain'. Investigation revealed that the cut came from her album 'Soul Run' – issued on her own label. Well now that album has been picked up by European label Record Kicks and, hopefully, a wider audience can get to know 'Endless Chain' in particular and Ms Charles' talent in general! With Tanika on the threshold of greater recognition we felt it was time that we found out more. Meeting up, we started by wanting to know about her back ground and how she got into the crazy world of soul.....

I was born in Toronto and raised in Edmonton, Alberta. Growing up, we listened to a lot of music but JAZZ (my father's favourite) was at the forefront. Spyro Gyra, Bob James, George Benson, George Duke, those were my initial influences. Then later Earth, Wind and Fire, The Gap Band, Zapp and eventually transitioning to more current hip-hop and R&B. I used to love singing Whitney Houston and Mariah Carey. Well, mostly harmonizing ... those two are vocal BEASTS! Patti Labelle and Millie Jackson are my absolute heroes though. Millie with her raw and crass lyrics, Patti with her insane range and ability to maintain on stage when everything falls apart! This may sound cliché but music has the incredible ability to reach and touch us in so many ways. I truly enjoy SINGING - A career in singing was the last thing on my mind. I wanted to be a comedian or an actress!

OK, so when did you change your mind and decide to make a career from music?

I was living on a farm in Edmonton (long story) and watching a TV show about this band named Bedouin Soundclash. For some reason, I couldn't take my eyes off the television. I was just sitting there, while making and BURNING dinner, determined to meet them. I wasn't certain how, but something told me I'd be working with them. A couple months later, a girlfriend of mine called me from Toronto and said that Bedouin were holding auditions to sing BV's and I should fly down to try out. So, I did. And got the job. Decided to use that time to hone in on my skills and get comfortable on stage. Once we were off tour, it was on!

 

Last Updated on Saturday, 18 March 2017 10:21

 

HE DOES IT RIGHT - THE WILKO JOHNSON INTERVIEW

Thursday, 23 February 2017 13:35 Charles Waring E-mailPrintPDF

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With his po-faced demeanour, intense manic stare, Pyrex bowl haircut, and black-suited undertaker look, Wilko Johnson certainly caught the eye in the mid-1970s as the charismatic guitarist in the legendary Canvey Island R&B quartet, Dr. Feelgood. He was one scary-looking dude - perhaps that's why he was cast in the role of a mute executioner, Ser Ilyn Pane, in the hit TV series Game Of Thrones. But the way that he charged back-and-forth across the stage when he was in Dr. Feelgood wielding his guitar like a machine gun while firing off shard-like R&B riffs with deft, karate-like chops to the strings added to his mystique. He was sensationally fired from Dr Feelgood in '77 and co-founded Solid Senders - a short-lived, one-album outfit - before playing with Ian Dury's Blockheads. He then formed the Wilko Johnson Band, which recorded its first LP, 'Ice On The Motorway,' way back in 1981, and, amazingly and against the odds, the group is still going strong today in 2017.

The first thing that strikes you about Wilko Johnson is that he laughs a lot. Perhaps that's because he can't believe his luck - after all he's had the biggest reprieve of all and famously eluded the Grim Reaper's scythe when many others before him had failed. He'll be 70 later this year but four years ago he didn't think that he'd make it to that milestone. That was when Johnson had a life-changing bombshell dropped on him: he was diagnosed with terminal pancreatic cancer and given a matter of months to live.

"I remember I was absolutely calm, dead calm" reveals Johnson, in an interview with SJF's Charles Waring. "I didn't freak at all ...and I wasn't expecting that." Instead of being gripped with fear and panic, he matter-of-factly accepted his fate, rejected chemotherapy treatment, and vowed to live his life to the full until his allotted time was up. He quickly embarked on a farewell tour - "we played some great gigs" he laughs - and recorded what was intended to be a valedictory album called 'Going Back Home,' with The Who's Roger Daltrey. That long player was going to be Johnson's musical epitaph but later that year, he underwent surgery to remove the tumour that was the source of his ill-heath. He ended up losing not only the tumour - which weighed in at a whopping 3 Kg - but also his pancreas, spleen and part of his stomach. The operation was a success and, miraculously, freed the guitarist from the dark spectre of cancer.  

69-year-old Johnson's recovery has been extraordinary and since then he's starred in a Julien Temple-directed documentary (The Ecstasy Of Wilko Johnson), written a well-received autobiography (Don't You Leave Me Here: My Life) and curated a superb compilation exploring the Chess Records vaults called 'The First Time I Met The Blues.' Now, he brings his own career under the microscope with this 25-track/2-CD solo retrospective called 'Keep It To Myself: The Best Of Wilko Johnson,' released on the Chess imprint.

In a candid and revealing interview with SJF, the legendary rhythm and blues maven talks about his new album, his time in Dr. Feelgood and his much-publicised battle with cancer...


Last Updated on Monday, 27 February 2017 19:11

 

There's No One Like Him - UK soul star OMAR talks to SJF

Monday, 16 January 2017 20:28 Charles Waring E-mailPrintPDF

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"I hated my first single, 'Mr Postman,' so much that I didn't want to hear it again." So says UK soul grandee, OMAR LYE-FOOK, MBE, who accompanies this statement with a gravelly chuckle. "This was 1984 and after two weeks of hearing it, I couldn't stand it," he explains. "So from that point, any music that I made, I had to like because you've got to play it for the rest of your life."

Six years later, and, Omar, now 22, came up with a song that he could listen to repeatedly. It was called 'There's Nothing Like This.' "When I wrote that song, I made a demo of it and put it on a 90-minute cassette," he says. "There was 45 minutes on one side of just that song and it played and played and played. Nobody got bored of it so that was a sign that it was going to be quite a big hit."

Indeed, it was, and for many soul fans of a certain age, it was the song that represented their first acquaintance with OMAR's music. It was back in the summer of 1991 when Acid Jazz was the hip and exciting new currency in the world of British R&B and bands like the Brand New Heavies, Incognito, and the Young Disciples were setting the pace. OMAR, then 23 - a multi-instrumentalist and former percussionist for the Kent Youth Orchestra - was a label mate of the latter two groups (on Gilles Peterson's influential Talkin' Loud imprint) and broke into the UK charts with 'There's Nothing Like This.' With its summery vibe, feel-good groove and addictive chorus, for many people that particular song came to encapsulate a special moment in time and was adopted as an anthem.

'There's Nothing Like This' remains one of the highpoints in OMAR's canon even though it was recorded almost thirty years ago. Though its success has eclipsed almost everything else he has done in commercial terms, he doesn't view it as a heavy and uncomfortable  albatross around his neck.  "No, I'm very happy with it," he tells SJF. "If that's the only song of mine that people know then at least they can start with that one and then get to learn the rest," he laughs. He then reveals that some people, when they recognise him, often approach him singing the 'There's Nothing Like This's' chorus line. "For the most part it's fine," he says, "but when you're trying to meet someone or get a private moment, and people come up to you singing it, you think 'not right this second!'"

But 48-year-old OMAR - who was awarded an MBE in 2012 for his services to music - isn't content to rest on his laurels and live in the past. Though not a prolific recording artist, there's been a fairly steady stream of music during the last 25 years and now he's now about to release his eighth album, 'Love In Beats,' which follows in the wake of 2013's critically-acclaimed 'The Man.' The new LP - which features noteworthy cameos from keyboardist-of-the-moment, Robert Glasper, soul veteran, Leon Ware, spoken-word specialist the Floacist (aka Natalie Stewart) and singer Natasha Watts, to name a few - is an eclectic collision of soul, funk, jazz and Caribbean flavours that has been masterfully marinated by its genius creator together with his producer brother, Scratch Professor.

In an interview with SJF's Charles Waring, OMAR talks about his new record as well as other fascinating facets of his career, including his aspirations in the world of acting....

 

Last Updated on Tuesday, 17 January 2017 14:39

 

A DOGGETT DIALOGUE.....

Friday, 23 December 2016 18:38 Bill B E-mailPrintPDF

altBy common consent one of this year's best UK soul albums is album 'Colours' from THE DOGGETT BROTHERS. A selection of singles and mixes from the album has kept the momentum at max for the Doggett Boys but despite the success the brothers are still very much an unknown quantity in the soul community... men of mystery even! So as 2016 draws to an end we decided we all needed to know more about the Doggetts. We tracked them down to their soul lair and kicked off by demanding to know just who the Doggett Brothers are ...

The Doggett Brothers are a UK based collective of musicians and producers, with strong roots in modern soul, R&B and dance music. The (actual) Doggett Brothers are Carl and Greg Doggett. We started this whole thing as a studio project in 2010, recording our first ever record, 'Azure Sky'. Since then, it has grown and grown into something a lot bigger than we expected! The collective is now far bigger than just us, that's for sure.

OK, so how would you define your sound?

Our sound is a mix of soul and dance music. We love modern soul artists such as Dwele, but also love the electro sound of artists such as Disclosure. We have a very particular idea of what we are after, and don't compromise what we want to say. We write, record and produce all of our records, from start to beginning.

Last Updated on Saturday, 24 December 2016 15:50

 

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