Sunday, September 25, 2016

Julian Yeo '1923' Album Review


Photo:  Jessica Lin



1923 was a standout year for many reasons. ‘TIME’ magazine was launched on March 3. ‘The Hunchback of Notre Dame,’ starring Lon Chaney was released. Cecil B. DeMille directed his first version of ‘The Ten Commandments.’ Calvin Coolidge was sworn in as president following the death of President Warren Harding. The first home game played at the original Yankee Stadium, home of the New York Yankees between the New York Yankees and the Boston Red Sox occurred. The world’s first portable radio was developed in the US and the Explosion of recordings of African American musicians began including the great Louis Armstrong. It’s a great year to celebrate musically so Jazz Singer Julian Yeo has dedicated an entire album to the music of this period with his latest release titled ‘1923.’

As it says on Julian’s web site, “He sings simply, improvises with subtlety, and always swings while doing justice to the lyrics. Julian Yeo thinks of himself as a retro-jazz vocalist with a “new-old” approach. He sounds like he could have comfortably fit into the 1930s pop/jazz scene, singing with equal skill in a swing or a sweet orchestra, inspired by the relaxed and lightly swinging phrasing of Bing Crosby. Julian Yeo blends old school soul with celebrated qualities of today (and sometimes with a twist).”


Julian has picked a consistently solid assortment of sixteen songs that were all written before 1923 and remain popular to this day. Julian Yeo is a natural singer expressing both deep melancholia and upbeat joy. He creates a jazz-hipster atmosphere on this album that’s difficult to resist. He is a classic crooner, relaxed, laid-back, and easy-going. Crooners typically had soft voices that were well suited to the intimacy of the material and the night clubs they performed in, however Julian’s voice is dramatically powerful as well.

The album opens with ‘You Made Me Love You (I Didn't Want to Do It)’ from 1913 and made popular by Al Jolson and Judy Garland. The style and mood of this opening cut sets the tone for the whole album. You already know you are in for a good time. 

 Next up is ‘Hello! Ma Baby,’ a Tin Pan Alley song written in 1899. Its chorus is far better known than its verse, as the introductory song in the famous Warner Bros. Cartoon ‘One Froggy Evening’ from 1955, sung by the character Michigan J. Frog while high-stepping in the style of a cakewalk. Julian slows down the tempo and uses his nimblest and most elegant singing style to make this cut his own. Julian has raised the bar with this recording. You can forget the frog’s version.


‘Play a Simple Melody’ a song from the 1914 musical, ‘Watch Your Step,’ with words and music by Irving Berlin follows. Julian duets with himself and the results are remarkable. His breezy and sophisticated vocal style floats over the top of the melody with beautiful harmony. ‘Poor Butterfly’ is one of my favorite songs and Julian lovingly caresses the lyrics of this song first published in 1916.

‘Some of These Days’ published in 1910, and associated with the biggest star at the time, Miss Sophie Tucker is next. The top-drawer songs continue with ‘Baby Face’ made popular by Al Jolson. The addition of the vibraphone brings an ecstatic and effervescent quality. ‘Moonlight Bay’ was published in 1912. It is often sung in a barbershop quartet style. Julian takes this cut and makes it very stylish with his exquisite delivery.

This album is filled with incredible musicianship. Particularly memorable are ‘Ain't We Got Fun’ a popular foxtrot published in 1921 and symbolic of the Roaring Twenties and ‘Pack Up Your Sins and Go To The Devil’ written by Irving Berlin 1922. Julian sings these cuts with spectacular panache.


‘Paper Doll’ was written in 1915. The song has been named one of the Songs of the Century and has been inducted into the Grammy Hall of Fame. Julian’s version actually has a playful sexiness to it. He is able to do the same thing with the chestnut ‘A-Tisket, A-Tasket,’ a nursery rhyme first recorded in America in the late nineteenth century and later became a very successful and highly regarded 1938 recording by Ella Fitzgerald. I found myself asking, “Ella who?” Remarkable, as I adore everything Ella!


The album closes with ‘Baby Won't You Please Come Home,’ a blues song from 1919. The first hit version was Bessie Smith's 1923 recording. Julian has made a resplendent recording with his tribute to the music of the Twenties. The natural ease of his singing remains instantly recognizable. Joining Julian on ‘1923’ is his stride pianist and long-term collaborator, Jesse Gelber; Tom Beckham on Vibraphone; and Kevin Dorn on drums and Andrew Hall on bass. They are all top tier musicians.

Julian Yeo has been recording for ten years. ‘1923’ is his eighth release. You should also check out his earlier recordings. They are all well produced. You can hear the growth of a musical artist and his defining style.


To learn more about Julian visit his web site http://www.julianyeo.com/

Monday, September 12, 2016

Melba Moore Forever



All Photos:  Alan Mercer


Melba Moore’s story is one of many ups and downs leading her to today where she is firmly established as an iconic “All Around Entertainer.” She is constantly touring and performing and this past year released her newest album of contemporary smooth R&B ‘Forever Moore’ to critical and commercial acclaim.

Hailing from a musical family, Melba Moore graduated from the famed Arts High School in Newark, New Jersey. At the encouragement of her parents, she went on to pursue music education at Montclair State University where she earned her Bachelor of Music Education Degree. However, her inner voice told her to see if she could make it as a performer.

Melba’s stepfather, pianist Clement Moorman, introduced her to several agents which eventually landed her a role in the cult classic musical ‘HAIR.’ It was in ‘HAIR’ that Ms. Moore became the first African-American woman to replace a white actress, who happened to be the acclaimed Diane Keaton, in a lead role on Broadway. A year and a half later, she starred in ‘PURLIE,’ which earned her a TONY Award for her portrayal as “Lutiebelle". Melba later appeared alongside the iconic Eartha Kitt as “Marsinah" in the musical TIMBUKTU! Another first came when she landed the female lead role on Broadway as "Fantine" in the acclaimed musical, ‘Les Misérables.’ She was the first and last African-American woman to perform in that role.

Although Melba enjoyed working on Broadway, she didn’t want to forget about her first love…music. Deciding to focus more on her recording career, she made her recording debut on Mercury Records with ‘I Got Love,’ followed by ‘Look What You’re Doing To The Man.’ She was nominated for a Grammy Award for ‘Best New Artist.’




During this time, she had numerous Grammy nominations, recordings, and television shows, including her own variety show entitled ‘The Melba Moore-Clifton Davis Show.’ Both Melba and Clifton revealed that the show was canceled after its brief run when their relationship ended. When Melba's managers and accountants left her in 1973, she returned to Newark and began singing in benefit concerts. Her career picked up after she met record manager and business promoter Charles Huggins after a performance at the Apollo Theater in 1974. They married in 1975.

Also in 1975 Moore signed with Buddah Records and released the critically successful album, ‘Peach Melba,’ which included the hit, ‘I Am His Lady.’ The following year she scored her first significant hit with the Van McCoy-penned ‘This Is It’ a top-10 song in the UK, becoming her biggest success in that country. 'This is It' also became the number 1 disco track in the UK for that year.

In 1976 she scored her third Grammy nomination with the ballad ‘Lean on Me.’ The song is most notable for Melba's extended long note at the end. Melba gained another hit with 1979's ‘You Stepped Into My Life,’ which was released on Epic Records and hit the top 20 on the R&B charts.



In 1981 Melba signed with Capitol Records and reached the top 5 on the charts with the dance-pop/funk single ‘Love's Comin' At Ya,’ which also hit the top 20 in the UK and became a sizable hit in some European countries and followed by ‘Mind Up Tonight,’ which was another top 40 hit in the UK. A string of hits followed, including 1983's ‘Keepin' My Lover Satisfied’ and ‘Love Me Right,’ 1984's ‘Livin' For Your Love,’ 1985's ‘Read My Lips’ which later got Melba a fourth Grammy nomination for Best Female Rock Vocal Performance, making her just the third black artist after Donna Summer and Michael Jackson to be nominated in the rock category. In 1986, she scored two number 1 R&B hits, including the duet ‘A Little Bit More’ with Freddie Jackson and ‘Falling.’ She scored other popular hits including ‘Love the One I'm With (A Lot of Love)’ and ‘It's Been So Long.’

After 15 years of marriage, in 1991, Charles Huggins abruptly filed for divorce from Melba leaving the singer in emotional and financial ruins.

In 1996 she started her long-running one-woman show, ‘I'm Still Standing.’ Melba was featured in the film, The Fighting Temptations, which starred Cuba Gooding, Jr. and Beyoncé Knowles. In 2009 Melba told her life story on TV-One's ‘Unsung’ and later that year released her first R&B album in nearly 20 years, a duet with Phil Perry called ‘The Gift of Love.’

Melba was inducted into the Official Rhythm & Blues Music Hall of Fame on October 4, 2015, in Detroit. She received the prestigious 2015 Sandy Hosey Lifetime Achievement Award during the Artists Music Guild's 2015 AMG Heritage Awards broadcast held on November 14, 2015, in North Carolina.





AM:  Melba, I have been in love with you since the very early seventies. You must have many fans like me. How does that make you feel?

MM:  I do have many fans like that and after all these years I think I’m supposed to be in this business.

AM:  Yes you are!

MM:  You go through all kinds of events and challenges. You have one project after the other. You just keep trying and trying to stay relevant. After a certain amount of time I realized I am in this industry and I am supposed to be here. People want me here. It’s a different and better feeling.

AM:  You’ve come full circle in your life. By this point you are a very wise woman.

MM:  Life is it! I’m wise because I know there is a God. I’m not searching for that. I understand how God relates to me now and how much he loves everybody so I am a part of that. That’s really the way I describe my relationship with God. He tells me what I’m supposed to do in the world. That is the wisdom and a certain confidence that you have when you don’t know what you’re doing but you know he does. So you keep looking for that and you notice a pattern of success that follows.

AM:  Melba you’ve worked with everyone through the years.  People don’t know you had Luther Vandross as your back up singer. Did you see that he had a star quality when you worked together?

MM:  Absolutely! He stands out on my record singing background! He knew it too. He had certain tendencies in business as well as his talent. He also had the drive to go forward.

AM:  With so many years of making records, I’m wondering if you have a favorite period of your recordings?

MM:  Yes, most of my favorites are songs that I co-wrote. I enjoyed doing it and I was really surprised to find out I could write music.




AM:  Are you writing now?

MM: No, I haven’t had time to do it these days. The people who write really well spend a lot of time at it. It takes a lot of time and I’d rather spend time doing thigs that I need to get finished while I have strength and good health. The good thing is some of my music is still very, very popular, especially in the UK. I do get a chance to hear it and say to myself, maybe one day I will write again. It gives me hope.

AM:  Are you surprised at your longevity?

MM:  I am surprised that my music has lasted this long. I’ve been struggling my whole life to be as good as the next artist. I know how that sounds but I think it’s the human condition. Oh Wow!  The people like my music! Good!  I was considered for a Grammy award! The rejection syndrome has worked so well. (Laughter) I was going to keep trying anyway.

AM:  Did you recognize Van McCoy’s song 'Lean On Me’ would be a defining career song for you?

MM:  Perhaps I did. I can’t say for certain that I did because I’m not sure I know what that is. All I know is I heard it and I said I have to sing it! I love Aretha Franklin and anybody who sings that song. Everybody loved me singing it the way I loved it. I wasn’t really surprised but that was the first time that ever happened. That’s why if you’re smart you will believe in God because he’s the only one who knows what can happen for you.

AM:  You have developed a particular technique where you can hold these extra-long high notes seemingly forever. Is there a secret to that?

MM:  Yes, I’ve always had a small voice.

AM:  Well you’re a small person.

MM: Yes I’m a small person and I know how to project my voice now. It’s easy for someone like me to be overlooked or not even heard. You keep finding ways to touch people and remind them that you are there. Mine was stamina in an effort to get a bigger voice. I kept practicing at singing gospel because that makes you sing big and loud so you get stronger. One day the note just popped out stronger than it had ever been before. I kept doing it to see if it was really me because it sounded like it was coming from across the room. Then I realized I have to have a technique.




AM:  It is unique to you.

MM: Yes, anybody can do it but I felt I had to do it. I felt like I had to do it because I couldn’t be heard. I was at the right stage where I was still developing my style. It was the time to do that.

AM:  Your new album, ‘Forever Moore’ is phenomenal! I got it instantly. I love every song.  I knew it would be great when I heard your first single ‘Let’s Dance’ and it was so good. It’s so now!

MM:  I’ve been singing gospel the last few years so this was my first album in a long time.

AM:  These are just the most beautiful songs.

MM:  God sent them to me. He said be a good girl. Take care of your daughter and your ex-husband so he sent me some hit music.

AM:  Are you taking care of your ex-husband?

MM:  I’m trying to.

AM:  After everything you’ve been through?

MM:  Well, that’s when you’re supposed to do it. That’s when it counts to God.

AM:  That is amazing Melba. Is there anything else you really need to do?

MM: Yes, just stay on track and find out what’s coming next. Things are changing so fast and drastically and in some cases they are changing very badly. We all have to figure out how to stay safe.

AM:  We sure do!

MM:  It would be nice if I was a preacher but I’m not. That’s not what I’m supposed to do. I’ve got to continue to figure out what I’m supposed to do. That continues to change, but one thing that I do know is we are supposed to take care of each other.

AM:  I agree with that whole heartedly.

MM:  God created families. You can divorce if you want to and go get somebody else, but he created a family and that’s what I honor. A lot of the things that my ex-husband did to me and our family and to other people were very hurtful.  He’s paying for that right now in a really bad way but my hope is that it’s the time for him to learn the lessons. He can’t do what he wants to do anymore so maybe he will turn it around. He really does love his daughter so that means we’re a family. It means we have a chance and I honor that because now I’m the head of the family! (Laughter)



To learn more about Melba Moore visit her web site http://www.melbamoore.com/


Sunday, August 28, 2016

The Country Soul of Jeannie Seely



All Photos:  Alan Mercer




Along with many accolades including awards from Billboard, Cashbox and Record World, Country Music Legend Jeannie Seely has achieved No. 1 songs as a solo artist, duet partner and songwriter. Early in her career, Jeannie’s deeply moving vocals aptly earned her the nickname of “Miss Country Soul”. Jeannie’s recording of “Don’t Touch Me” not only topped the country music charts, but also earned her a Grammy Award for the “Best Country Vocal Performance by a Female”. It is ranked at No. 97 in the book ‘Country Music’s 500 Greatest Singles’ published by the Country Music Foundation, and it’s also included in ‘The Stories Behind Country Music’s All-Time Greatest 100 Songs.’

Born in Titusville, Pennsylvania, and raised on a farm outside of nearby Townville, Jeannie was singing on Meadville radio station WMGW at age 11. By 16 she was performing on TV station WICU in Erie. When she moved to Nashville upon the encouragement of friend Dottie West, Jeannie only had $50 and a Ford Falcon to her name, but within a month Porter Wagoner hired her as the female singer for his road and television series.

On September 16, 1967, Jeannie’s biggest dream came true when she became the first Pennsylvania native to become a member of the world famous Grand Ole Opry. Jeannie subsequently became the first female to regularly host segments of the weekly Opry shows. She’s also credited for wearing the first mini-skirt on the Opry stage, as well as for changing the image of female country performers.

A BMI-awarded songwriter, Jeannie’s songs have been recorded by Country Music Hall of Fame members Faron Young, Merle Haggard, Ray Price, Willie Nelson, Ernest Tubb and Little Jimmy Dickens, as well as by many other artists including Norma Jean, Doyle Lawson, Lorrie Morgan, Connie Smith, Irma Thomas, Dottie West and Tex Williams.

With Opry member Jack Greene, Jeannie recorded the hit ‘Wish I Didn’t Have To Miss You’ which began a series of successful duet recordings – and launched one of the most popular road shows in country music history. For over a decade, Jack and Jeannie toured and performed together at venues that included New York’s Madison Square Garden and London’s Wembley Arena.

Along with placing records on the Billboard country singles chart for 13 consecutive years, Jeannie also served as a radio disc jockey on her own Armed Forces Network Show, traveled on military tours throughout Europe and Asia, made numerous appearances on national television shows, published her own book of witticisms titled Pieces of a Puzzled Mind and starred in several major stage productions including Always, Patsy Cline and ‘The Best Little Whorehouse In Texas.’ Jeannie also appeared in Willie Nelson’s ‘Honeysuckle Rose’ movie and sang on the platinum soundtrack album. Jeannie has been known throughout her career as an individualist, as well as for her infectious humor. Despite personal and career setbacks that range from a 1977 near-fatal auto accident to a devastating flood in 2010 in which she lost her home, car and personal belongings, Jeannie Seely has remained a survivor with her sense of humor intact.

From her 1966 Top 10 Billboard album ‘The Seely Style’ to her 2011 self-produced CD ‘Vintage Country,’ Jeannie’s recordings have spanned six decades and provided enjoyment to country music fans all around the world.


In his book Finding Her Voice: Women In Country Music, music critic Robert K. Oermann writes, "With her chin-out, tough/tender, heart-of-gold manner, Jeannie Seely remains one of country's most completely modern female personalities.”






AM:  Jeannie, how many years have you been with the Grand Ole Opry?

JS:  I’m in my forty ninth year now. I’m holding my breath and trying to be good so I can celebrate fifty next year. (Laughter) I joined September 16, 1967. I actually have two fiftieth anniversaries in a row.  This year marks the fiftieth anniversary of my Grammy award.

AM:  The song you won for ‘Don’t Touch Me’ has never gone away has it?

JS:  No, and I am so grateful every day. When Hank Cochran and I were looking for songs to record, he asked me what I wanted to sing. I told him I’d like to have a ballad that didn’t matter if you were a male or female, young, old, married or single, that the song would affect you. He said, “You don’t want much, do you?” (Laughter) I said I want a hit song!

AM: Well you got your hit!

JS:  He did capture all I wanted in that song. The song has been recorded by many artists including many male singers. It’s just an incredible song. It’s as timely today as the day it was written.

AM:  Your recording is certainly timeless.

JS:  I saw Fred Foster who produced the record when he was inducted into the Country Music Hall of Fame. I’m so proud of him. We talked about the record and how his idea to have the one xylophone note at the very beginning got everybody’s attention.

AM:  Did you think you had a Grammy winner when you were finished recording?

JS:  Oh no, they were so new back then nobody thought about it.  I won the third one for a female Country singer. Dottie West won the first one in 1964 and Jody Miller won the second one in 1965 and I won in 1966.

AM:  How does it feel to have a Grammy after all these years?

JS:  It’s still amazing and I think the fact that it’s voted on by your peers makes that award even more special. We’re all friends in a competition, but we are all friends. Certainly in my generation, we all supported each other and wanted the best for each other. I think it probably stands true with today’s generation too. We all love the industry and we love our craft. You can’t help but admire when someone else creates something that stands on it’s own.

AM:  You have another song that I love and it’s a sexy song called 'He Can Be Mine.'

JS:  Yes, I guess it is.  Back when I lived out in the country by Hendersonville before we had the interstate you had to go out Dickerson Road and Long Hollow Pike which is a long…hollow…pike. You would lose the radio in the pike so my pattern was to write songs and that’s how I wrote that song. I got home and went straight to the piano and a tablet to write the lyrics. I had it all down except one line. Hank was there at the time and I told him, what I want to say here is “He can yahoo if he wants to” but I thought it sounded kind of silly.  He said it was a great line and if I didn’t use it he would, so I used it.

AM:  I think that’s the sexiest part of the song. Have you seen the video of you in a white pantsuit with the bare midriff?

JS: I remember the outfit but I don’t know if I’ve seen the video. I’ll have to look for it! (Laughter)

AM:  Can you tell me a little about your friendship with the late Dottie West?

JS:  Yes, Dottie was so caring, loving, giving and understanding.  We were the sort of friends who talked all the time, even in the middle of the night. I could tell her anything. She was a mentor to me.

AM:  How did you meet?

JS:  I met her when I was still living in Los Angeles. She came out to make an appearance at the old Palomino Club. She encouraged me to make the move to Nashville. She was also one of the first artists to record one of my songs. She introduced me to so many people.

AM:  Jeannie, everyone I ever mention your name to, stops in their tracks and their eyes light up and they tell me how much they love you.

JS:  What a wonderful thing to hear. Thank you for telling me that.

AM:  You must constantly be asked for advice about career longevity.  What do you tell these younger people?

JS:  The main thing is to love what you are doing. We all get frustrated at certain places in our careers and in our lives period. You must keep in mind that the frustration is just a short amount of time in the whole scope of life. Just do your best to work through those times. Keep loving what you do and keep working at your craft.

AM:  That certainly applies to everyone no matter what you do.

JS: We all have a tendency to get a little lackadaisical when we’ve been doing something for a long time. Also remember that change is important. As we get older we have a tendency not to like change as much.

AM:  Yes I am seeing that with myself.

JS:  I remind myself all the time, there’s always something good in any new change. When I look back I didn’t like all the changes going on in my heyday era, but I love my life now. I’m very grateful I’ve been able to see my dreams come true.

AM:  How do you feel about the Grand Ole Opry these days?

JS:  The Grand Ole Opry has always been one of the most coveted places for me. I grew up listening to it and even through some years where people put the Opry down and people started going to Branson, I said my heart is with the Grand Ole Opry. I was so glad I was able to get there. It’s my second home. That family is certainly a second family. 



To learn more about Jeannie Seely visit her web site http://www.jeannieseely.com/



Sunday, August 14, 2016

At Home With Gilles Marini


All Photos:  Alan Mercer




This is the sixth time Gilles Marini has been on my blog! If you haven’t seen any of the other blogs I’ve done with him then you should click the links to learn about his past and what we’ve talked about before as well as the large variety of photos I have taken of him.  They are all right below for easy access.

This time around I met with Gilles at his home in the Hollywood hills and we talked while he made me a French breakfast. (a croissant & cappuccino) After that I took a few casual shots of him. I’ve known Gilles and his family since 2008 so it is always an easy and relaxed vibe. Gilles is a total "beautiful being" and spending time with him is an elevating experience. His charm is revealed by an authentic desire to 'give to you' while he is with you. I am always happily swept up in his kinetic and loving energy. This man is sincere!

Gilles Marini exploded onto the scene as "Dante", the Casanova living in the beach house next door to Kim Cattrall's "Samantha" on the Sex and the City movie, a role which has earned him international recognition. Though people went to the theaters to see Carrie, Samantha, Miranda and Charlotte, they left with one thing on their mind....Gilles's shower scene.

Gilles has been seen on television on ‘Modern Family,’ '2 Broke Girls,'‘Castle, ‘Criminal Minds,’ ‘Windfall,’ ‘Teen Wolf,’ ‘Devious Maids,’ ‘Switched At Birth,’ ‘Hot In Cleveland,’ ‘Brothers & Sisters,’ ‘The Mysteries of Laura’ and in several soap operas, including ‘The Bold and the Beautiful’  and’ Passions.’ His recent film credits include ‘Pirates of the Caribbean: At World's End,’ ‘Mothers and Daughters,’ ‘The List’ and ‘The Boys & Girls Guide to Getting Down.’

He has appeared in many television commercials and print ads for companies like Budweiser, Clairol, Coca Cola, Ross, Chrysler, Fila, GNC, Infiniti, Mervins, Avon, Lord and Taylor, Robinsons May, etc.


Gilles lives with his wife Carole and his two children, George and Juliana in Los Angeles. 














AM:  Gilles, I loved you on ‘Devious Maids’ and was so shocked to find out you were the bad guy!

GM:  It was nice to play a bad guy. I always wanted to play a character who was more on the edge. We worked very hard to make sure the audience had no idea I was going to be a bad guy.

AM:  You have found quite a bit of work on television.

GM: Yes, it’s not like I only want to do this, but there is so much more work on the many networks and so few movies being made. There are really only four or five big movies a year. It’s a different format these days. Being on TV is the thing to do. I’ve been doing this nine years non-stop and I will never say no to movies, especially if it’s a meaningful, independent film.

AM:  Which you have done.

GM: Yes, I want to make more films in that direction. I have no complaints. Now it’s more about creating and writing some new ideas. Because of the amount of work I’ve done, I think a couple of doors are open. I can at least get people to look at a project I bring. Hopefully something comes out of it. So far the response has been phenomenal so I’m very excited.




AM:  Do you consider yourself a writer?

GM:  Writer is a big word obviously. What I do is bring ideas to the table with two of my associates. One of them is a good writer and he listens very well and then he writes the story. He’s the one who puts it down because he knows the formats. He has the talent to understand the concept I am bringing. So far we have two scripted shows that we have collaborated on.

AM:  If he writes, what do you do?

GM: I do the non-scripted side of it. I bring the synopsis to the network and they tell you if they like it or not. These are projects I’ve always wanted to do.

AM:  Are we talking dramas?

GM:  On the scripted side there is a more action based, supernatural drama and the other one is a medical drama.




AM:  What's the main difference between them?

GM: The supernatural one is more fast moving and the medical one is more every day. They would have a different fan base, but both are being received pretty well right now. I’m excited to see where it goes.

AM:  It seems logical to me that you would be more in charge of a show you are on. What's the benefit of running your own show in Hollywood?

GM:  I don’t think it’s just Hollywood. I think it’s every business. People see you one way and it’s difficult to make a network executive see you in a different light. I understand that. I don’t want to play a Boston cop. That would be stupid, but I am an actor and it would be nice for people to see me in a different light.

AM:  That's what acting is all about. 

GM:  I like to pretend to be someone else and make sure I am challenged. That is the reason I am now writing. You are the only one who knows what you are capable of. I am well aware of that. I wrote things that are challenging and things I am passionate about. Hopefully we get a go and I have a chance to show what I really can do.




AM:  I do know whatever you create will be good.

GM:  You never know. You see incredible actors with great shows lasting four episodes. Networks don’t have a lot of time, but fortunately there are a lot more networks now.

AM:  Would you be willing to be on Netflix or amazon?

GM: Willing!?! I’d love for them to say, “We love it!” They are more than the new format, they are THEE format. 

AM:  Streaming is the standard now.

GM:  I don’t know how long studios will last anymore. They could be gone ten years from now. As long as young people go see big action-packed superhero movies, the studios will be able to make four or five a year and make big money. If that template fades away, then I doubt the studios can make any type of money.



AM:  So your manager and agent will get you meetings with the networks and Netflix to pitch the shows?

GM: Yes, I’m sure they will.  It’s a long process but it’s super exciting because it’s undeniably something I want to do.

AM:  It seems to me you have just walked through the door of the time your career can be going full speed ahead.

GM:  I think from forty to fifty it will be something that can show more dimensions. I’m not a child anymore and I have a lot of life experience, but I’m not old yet. 



To learn more about Gilles visit his web site http://www.gillesmarini.com/


Sunday, August 7, 2016

Emmet Cahill Sings About Human Stories


All Photos:  Alan Mercer



Over the past few years, Emmet Cahill’s life has been transformed from a young man pursuing a career in classical music to being plunged into the world of touring across cities and performing to thousands of fans with world renowned Irish music show Celtic Thunder. After five years of phenomenal success, including three albums shooting to number 1 on the world billboard charts, Emmet is now carving out his own unique identity as a solo artist, with an eagerly anticipated debut solo album due to be released in February 2017.


Growing up in a musical household, pursuing a career in music was always a natural path for Emmet to take. From the tender age of four, his father began to provide music lessons, leading to a 5 year ‘Schola Cantorum’ music scholarship at his local secondary school. After attending formal classical training at the prestigious Royal Irish Academy of Music, Emmet soon found himself touring the world, from the United States, to Canada, to Australia as a lead singer with the Irish music group, and relishing every moment of it.


Emmet’s talents have been recognized both home and abroad. He has enjoyed success as a multiple prize winner in various competitions across Ireland, the RIAM ‘Promising young singer of 2010’, the ‘John McCormack Young Tenor Award’, as well as being voted ‘Tenor of the year’ in 2013 by The Irish Music Association in the United States in recognition of his performances on stage. He also performed in stage productions at The National Concert Hall as well as The Gaeity Theatre, Dublin.


With the release of his debut album next year, the next few months will be an exciting creative process for Emmet. During his time with Celtic Thunder, he has been immersed in a variety of distinct musical genres, awakening his passion for Irish music as well as other styles.


As he continues to challenge himself and test the boundaries of his musical character, many wait in eager anticipation of what 2017 will bring for this young solo artist.




AM:  Emmet, have you started recording your new album yet?

EC:  We start as soon as I get home to Ireland. I’ll record the vocals and piano along with the band first. We’ll be recording the orchestra later in the summer.

AM:  When will you release it?

EC:  The plan is to release it in February 2017. I’ll do a spring tour in conjunction with that. This is my first large scale album. I’m very excited about it. I’ve been working towards this for five years now.

AM:  That is a long time. Why has it taken so long to get your album out?

EC:  I think one reason is that I want to do it right. I wanted to be sure I was in the right head space to do it and obviously picking the right songs.

AM:  What are the right songs?

EC:  The songs I’ve picked have been reflective of my life experiences over the last year and a half and touring on my own. I’ve been meeting people all the time and really seeing the great connection the American people have with Irish music and culture. Also I’ve been hearing lots of human stories and that’s what this album is all about.

AM:  What are your goals with this music?

EC: We are trying to achieve bringing people back to an older time. Maybe bring back some happy memories from when they were kids. I think people are seeking this at the moment by the way the world is right now. They want to go back to more traditional ways. The songs on my album will do that as well as telling stories. We’re hoping it will be a nice mixture of those things.

AM: Can you tell me if the album is going to be Irish folk songs?

EC: I can tell you it’s no secret that what I feel I am strongest at is the old classical Irish songs. I’ll be recording ‘Danny Boy’ of course.  There’s a song called ‘My Cavan Girl’ which is a song my dad taught me. This will be about my own personal experience growing up in Ireland. I want to bring that story to the American public so I can hear their reaction. So it will be a culmination of growing up in Ireland and spending the last few years here in America.

AM: Speaking of ‘Danny Boy,’ can you believe you have made that song yours?

EC:  Well, it’s one of those songs that has been sung so many times and by so many different artists and it’s such a beautiful song, it’s open to people making it their own. It’s very kind of you to say, I’d like to think I do bring my own personality to it. Certainly I bring my own emotion to it. It’s hard to get through it without breaking down. It’s a very emotional song for me and when I sing it I see the audience reaction.

AM:  Your rendition stops people in their tracks.

EC:   Everyone has their own special connection to that song. It’s an eternally beautiful song. Even if you’ve never been to Ireland people have a connection to ‘Danny Boy.’ This is an example of what we’re trying to do with the album. We are trying to speak to people and bring out their emotions. It’s not an album with a list of songs. There will be a lot more depth to it.




AM:  What do you want people to take away with them after seeing you sing live?

EC:  I want people to come to my show and walk away feeling they have really had an experience. I want them to feel an experience because I feel a connection to it. I want people to come to a show and laugh and cry. I want people to achieve both things. I think if you can experience both those emotions then you have really been touched by the music.

AM: Don’t you think you were born to be a singer?

EC:  It’s something I’ve always done. I can’t remember a time when it wasn’t the focal point of my life.  My dad was a musician and a music teacher and my mother was a singer so it was always in the house and it was always going to be that way. Music was always going to be a part of my life. Now I didn’t think it was going to be as essential to my life as it is.

AM:  What has touring with Celtic Thunder and on your own been like?

EC:  It’s been a roller coaster ride the last five years coming to America touring, particularly the last eighteen months. It’s given me a real indication of what I want to do with my life. I do want to tell stories and bring these songs to people.

AM:  You seem to have a very close and special relationship with your fans. Why do you think that is?

EC:  First off, they are hugely supportive. I think a lot of them see me as part of their family which is lovely to hear. I’ve gotten to know so many of the fans very well. I know the majority on a first name basis. I think it’s reflective of the music I’m performing. The people are really connected to it. It’s much more personal than just being a fan.

AM:  What is your favorite part of interacting fans?

EC: The one thing I enjoy most of all is meeting people and hearing their human experiences and stories. Those are the things that I can hopefully capture when I go out on stage. I love talking to people after shows. The fans aren’t hesitant about telling me their stories and why they’re connected to a certain song. They give me an insight into their life. That’s what I’m interested in. I’m interested in human stories. When I come to America, it’s such a vast continent you meet so many types of people from different backgrounds. That’s what makes it all so interesting and so enjoyable.



To learn more about Emmet Cahill visit his web site http://www.emmetcahill.com/


Monday, August 1, 2016

The Incomparable Spanky Wilson


All Photos:  Alan Mercer  Make-up & Hair:  Rudy Calvo


Miss Spanky Wilson is an artist who is beyond categorization. Her recordings go wider than any one category.  She has achieved a strong following, especially in Europe, where her funkier tracks have graced several compilation CDs.

Spanky was born in Philadelphia, but grew up in Pittsburgh.  Her father was a professional guitarist and singer and he encouraged his daughter’s aspirations to be a singer, something she said she had always wanted to do for as long as she could remember. Her mother sang too. 

Spanky always loved jazz, because her father loved jazz.  Her mother liked blues, so she would hear the two but she really gravitated to the jazz.  Spanky made her first professional performance in Pittsburgh with brothers and Pittsburgh natives, Stanley and Tommy Turrentine, respectively saxophonist and trumpeter in 1963, at a place called the Mocambo Club.  Regular local club work followed through the sixties, culminating in her being ‘discovered’ in 1967 by Jimmy McGriff.  He took her on the road with him, culminating in Los Angeles.  It was there she came to the attention of H.B. Barnum who was becoming a noted producer/arranger. 

The first result was the ‘Spankin’ Brand New’ album, recorded in Annex Studios in Hollywood. All eleven tracks on the album were written or co-written by Howlett Smith, a notable jazz pianist, vocalist and composer.  Altogether a very classy set and bound to appeal to those who appreciate what best can be described as a ‘song stylist.’

A year later, Spanky was back with her second album, ‘Doin’ It’, a further collaboration with H.B. Barnum and a distinct move towards a straighter soul market.  ‘Doin’ It’ boasted a number of funky items that have proved popular with the cd compilers including her version of Cream’s ‘Sunshine Of Your Love’ and ‘You’, a heavy brass and fuzzy guitar item, that was sampled by Hip-Hop artist W. Ellington Felton in 2008. The intro to her song ‘Who's Sorry Now’ was sampled by the group Monosurround in 2002 and The Bahama Soul Club in 2013.

There was an enforced gap of two years before she could get back in the studios in California, again with H.B. Barnum, to cut her third album, ‘Let It Be’.  All three of her Mothers albums have been reissued in Japan by P-Vine Records.

In 1970, Spanky recorded the theme from the film ‘Kelly’s Heroes’ and its composer, Lalo Schiffrin, recommended her for a tour of Brazil, where she was particularly feted in Rio De Janeiro, resulting in her returning regularly throughout the seventies. 

Recording-wise, the next label home for Spanky was Eastbound Records.  She recorded the single coupling ‘Shake Your Head’ and ‘Home’ before being switched to the parent Westbound label for her album, entitled ‘Specialty Of The House’.  ACE Records reissued the ‘Specialty Of The House’ album with seven bonus tracks in 2007 called 'The Westbound Years.'

From that mid-seventies point, Spanky’s recordings became somewhat sporadic, guest appearances coming on albums, but this did not mean there was any let up in her performing career. In the early eighties, she became part of Benny Carter’s All Star Band, having worked with Benny before with his Quartet on one of her Brazilian trips. 

She went to Paris in 1985.  A booking at the Lionel Hampton Jazz Club at Le Méridien Etoile hotel in the city led to further work which prompted her to make Paris her home for a while.  Spanky made many appearances on record in France.

Spanky returned to Los Angeles in 2001.  She is one of the most frequently sampled artists of our time. It’s unfortunate that none of these artists whose music is sampled make a penny from that.

Spanky Wilson went to Paris in 2003 to record a live album with the François Laudet Big Band.  She has also subsequently been hot on the club scene with ‘Don’t Joke with a Hungry Man’ by the Quantic Soul Orchestra featuring Spanky Wilson. 


In 2012 Spanky collaborated with Ruckrus Robticus  for the cut, “T.G.I.F. (thank God It's Funky).’ 




AM:  Spanky, how does it feel to be back in Los Angeles after 6 years in Pittsburg?

SW: I felt like I was living in the Outer Limits or the Twilight Zone! (Laughter) It feels good to be back in the land of sunshine! I’m from Pittsburg but I’m never leaving California again.

AM:  You lived in Paris for a while too didn’t you?

SP: Yes I called Paris home for sixteen years.

AM:  What was your favorite part of living in Paris?

SW:  The city itself. In California you have to drive everywhere but in Paris you can walk to so many things and I wasn’t used to that. There are so many beautiful things to see in the city itself. I remember walking for three hours and never even realizing it. You can feel so many things too. It’s fabulous and I love that city.

AM:  They love your music too!

SW:  Well, thank goodness for that! (Laughter)

AM:  When was the last time you were there?

SW:  In 2007 while I was on tour with an English band, Quantic Soul Orchestra, that does retro R&B. I didn’t know I could sing in that style but I learned that is some other kind of music I CAN sing. Anyway we stopped in Paris and I got to see friends and my ex-husband.

AM:  You are known as an artist who is difficult to categorize.

SW:  Thank goodness for that! Thank you for saying that. I don’t like being in a box. I love all kinds of music. I only sing songs that I feel. How can I make you feel it if I don’t feel it?

AM:  How does it feel having your early recordings come back to life and find a new audience?

SW:  It feels wonderful.  I think it’s because of the London band. My music never was originally released in England. Only two songs made it to England and one is called ‘You’ written by Howlett Smith and the Cream song, ‘Sunshine of Your Love.’ So this guy in England, Will Holland looked for me for two years. I couldn’t believe it. I was so glad he found me. He looked for two years because he wanted me to sing on the songs he wrote. That’s what put me back out there. I started getting attention again.

AM:  I love the recordings you made with Westbound. What’s your favorite of those?

SW: Oh really! My favorite is the song called ‘Home’ that Howlett Smith wrote again. It’s such a beautiful, sentimental song. It can bring me to tears just listening to it.

AM: I love the album you made with the Quantic Soul Orchestra.

SW:  That’s what I was telling you, Will Holland wrote those songs and he doesn’t even know music. They have these computers where all you do is play the note on the piano and it comes up on the computer. It’s so much easier now. He created all these songs and they are all really good songs.

AM:  It seems like the music was written especially for you since you were so good and natural at singing it.

SW:  I never thought of it that way. He told me he can only hear my voice singing the songs. I couldn’t believe it. I thought nobody knew about me. It was such a compliment. I was happy about the whole thing.

AM:  And now you’re back to performing and from what I hear you are still phenomenal.

SW:  I performed at the LACMA museum in Los Angeles. It was great to see lots of old friends. It was a beautiful concert. It was completely full too. Now I am going to perform at Maverick's Flat, a legendary club in Los Angeles from the 1960’s. They are now doing a jazz series on Sunday evenings. I’ll be doing that on August 7. I got a big smile on my face.

AM:  You like performing live don’t you?

SW:  Oh I love it. It’s about connecting. I like the eye contact with people. I still get nervous before I sing. Once I’m up on stage I am OK.

AM: Spanky, you told me once you wanted to sound like a horn when you sang. Is that still true?

SW: Yes, the only singers I used to listen to were Nat King Cole and Dinah Washington. I don’t have many records of singers. I prefer listening to horn players. It had an impact on me because I’ve had some musicians tell me I sing like a horn and I think it’s because I only listened to horns. That was a compliment to me!