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Все о Майкле Джексоне. Статьи, рассказы знакомых, фанатов и т.д./Everything about Michael Jackson, articles, friend&fan's stories etc.

Интервью тех,кто с ним работал и тех,на кого он повлиял

Re: Интервью тех,кто с ним работал и тех,на кого он повлиял

#121  Сообщение Liberian Girl » 28 окт 2014, 01:27

«Он осознавал каждый звук». Бас-гитаристы — о Майкле Джексоне

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«Примерно на пятой минуте документального фильма «This Is It» о запланированном мировом туре Майкла Джексона вы можете увидеть занимательный диалог, в котором «человек в одной перчатке» предлагает своему клавишнику сыграть ответный рифф на проникновенную басовую партию «Wanna Be Startin’ Something» в более фанковой манере. «Эффект пока еще не тот», – говорит он тихо, прежде чем безупречно пропеть требуемый грув, имитируя игру на бас-гитаре.

Басовые партии всегда были важнейшим элементом в музыке Джексона – и в исполнении студийных специалистов в Детройте, Лос-Анджелесе, Филадельфии, Нью-Йорке, и в традиционном джексоновском применении синтезаторных басов, не выходящих из моды даже сегодня. Алекс Эл, басист Джексона с 2001 года и один из семи музыкантов, появляющихся в фильме «This Is It», согласен с этим утверждением. «Бас-гитара была для него самым важным инструментом. Он часто упоминал мелодичную игру Пола Маккартни в «Битлз», Джеймса Джемерсона, бывшего чуть ли не главным музыкантом в «Мотаун», или левую руку Стиви Уандера».


Портал «Bassplayer» в 2010-м году опубликовал подборку из бесед с басистами, работавшими с Майклом Джексоном в разные периоды его жизни. Юлия Сирош перевела ее для сайта michaeljackson.ru.

«В попытке исследовать предпочтения Короля поп-музыки более подробно, а также разузнать, каково было играть для него басовые партии, мы обсудили с Элом всю подноготную трехмесячных репетиций перед туром «This Is It». Мы также связались с несколькими другими бывшими басистами Джексона.

Алекс Эл

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Уроженец Детройта, Эл начал свою карьеру примерно так же, как и Jackson 5, заполучив бас-гитару в девять лет, а в двенадцать заняв освободившуюся вакансию в фанк-рок-коллективе, который возглавляли его старшие братья и в котором насчитывалось 12 инструментов. В 17 лет он уже открывал концерты «Gap Band» и «Cameo» в летнем туре с Карлом Карлтоном. Затем Эл перебрался в Лос-Анджелес и поступил в музыкальный институт. В 1997 году он играл с Элом Дебарджем, Бобби Брауном, Дайаной Росс и «Spice Girls», а позднее – в студийной группе Куинси Джонса для телевизионного варьете-шоу «Vibe». Благодаря популярности программы Эл стал востребованным сессионным музыкантом. Его навыки игры на контрабасе и клавишных басах помогли ему заполучить работу у таких гигантов, как Джордж Бенсон, Пол Саймон, Стинг и Смоки Робинсон, а также Дженет Джексон, Тупак Шакур, «Pussycat Dolls» и многие другие.

После отмены тура Джексона работы для Эла было хоть отбавляй: он играл в новом альбоме Мэрайи Кэрри, выступал в оркестре Куинси Джонса и исполнял партии в саундтреке фильма с участием Кристины Агилеры, «Бурлеск». Его также можно было ежедневно видеть в вечерних ток-шоу Джорджа Лопеза. И все же опыт работы с Майклом Джексоном, а затем потеря знаменитого друга и артиста остаются самыми значимыми событиями в его творческой жизни.


- Как ты получил работу в «This Is It»?
Помнится, я работал с Грэгом Филлингейнсом в шоу «Vibe». Потом он позвонил мне и пригласил выступить на концертах Майкла, посвященных тридцатилетию его сольной карьеры, в 2001 году. После этого я выполнял для Майкла различную сессионную работу в студии, некоторые треки продюсировал Джон Барнс в студии Вестлейк, там же, где когда-то записывали «Thriller». Думаю, когда-нибудь они выпустят эти треки. Ну, а затем мне позвонил клавишник Майкл Бирден, который работал в туре музыкальным директором. Я раньше уже работал с ним, и он сказал, что Майкл попросил на бас именно меня. Я сразу же схватился за эту возможность, поскольку не сомневался, что он снова перевернет весь мир на уши.

- Кто аранжировал песни?
Майкл выбрал почти 50 песен, а затем мы проработали примерно половину для лондонских концертов. И Майкл, и Бирден оба работали над аранжировками, но третьим главным элементом в этом стали танцовщики. Что бы Майкл ни отрабатывал с ними на дневных репетициях, по ночам мы шлифовали эти элементы в музыке. К примеру, восьмитактовое вступление к песне могло разрастись до 11 тактов, поскольку этого требовала хореография, и Майкл рассчитывал, что мы это запомним. На сцене не разрешалось пользоваться какими-либо шпаргалками или нотными листами.

- Какой у тебя был подход к басовым партиям, и сколько творческой свободы у тебя было?
Как я уже говорил в фильме, все партии необходимо было играть в точности как в альбомных версиях, поскольку Майкл знает каждую нотку, вплоть до одной шестнадцатой, и всегда настаивает на том, чтобы отталкиваться от оригинальных партий. Оттуда мы уже искали способ обновить партию в соответствии со вкусами Майкла; он хотел освежить эти партии. Разумеется, нельзя слишком активно менять основную басовую партию, скажем, в «Billie Jean», но легато в бридже позволяет развить ее. Поначалу я никак не мог найти приемлемую степень изменений – делал то слишком много, то слишком мало, но со временем разобрался, как сыграть так, чтобы все вокруг заулыбались. Больше всего свободы у меня было в попурри хитов Jackson 5 [«I Want You Back»/»The Love You Save»/»I’ll Be There»]. Туда очень подходил современный стиль Джемерсона, и пока я исполнял различные жанры, то обнаружил, что именно его манера игры повлияла на меня больше всего. Ну, и, поскольку я много работал с барабанщиком Джонатаном Моффеттом раньше, мы изрядно повеселились, добавляя такое звучание «осовремененной» школы в музыку.
- Какие инструкции касательно басовых партий давал Майкл?
Обычно его инструкции больше касались исполнения, без конкретики. Даже в такой стабильной повторяющейся партии, как в «Billie Jean», он говорил: «Знаешь, Алекс, а ведь необязательно, чтобы в конце партия ощущалась так же, как во вступлении». В таком грандиозном шоу, с семью музыкантами, четырьмя бэк-вокалистами, дюжиной танцовщиков и всеми сценическими декорациями невозможно сыграть слишком масштабно. Здесь роль играют твои эмоции и отдача – привнести в партии свежую энергию и дух. Нам казалось, что мы круто играли, а Майкл говорил, что мы могли бы сыграть лучше.

- Кто решал, какие именно басовые партии (гитарные или клавишные) ты будешь исполнять в каждой песне?
Это была моя работа – подобрать то, что будет звучать лучше всего. И снова мой подход оставался прежним: сохранить то, что было в альбомной записи, и улучшить его. Я слушал записи Jackson 5, держа под рукой гитары. Я звонил Грэгу Филлингейнсу и расспрашивал, какие синтезаторные сэмплы использовались в «Thriller». Он отвечал: «Минимуг с двумя вибраторами вместо трех», и так далее. Каждый вечер дома я примерно час занимался программированием, чтобы добиться нужного звучания клавишных. И поскольку бас-гитара и синтезаторный бас были ключевыми в звучании музыки Майкла, приходилось выкручиваться: в некоторых местах «Wanna Be Startin’ Something» и «Billie Jean» я играл и на бас-гитаре, и на минимуге одновременно! Я делал звук погромче, левой рукой дергал струны, как на виолончели, а правой рукой играл на клавишных.

С другой стороны, для некоторых песен решение принималось по ходу дела. Я играл две синтезаторные басовые партии в «The Way You Make Me Feel» и «Smooth Criminal», но как-то раз я взял в руки свою джазовую бас-гитару, сыграл на ней «Smooth Criminal», и звук получился более фанковым. Все сказали, что именно так мне и следует играть. В «Beat It» я использовал пятиструнную бас-гитару Music Man и играл на ней слэпом, чтобы сохранить ощущение ритм-энд-блюза. Это классическая рок-песня, но она должна двигаться, дышать, жить. Майкл часто говорил: рок должен быть фанковым, а фанк — роковым.


- Чем этот опыт стал для тебя?
Это было благословением, во всем. В музыкальном плане я очень многому научился у Майкла, настолько он всегда был готов ко всему и осознавал каждый звук. Так что теперь я чувствую, что мог бы сыграть на любом масштабном концерте в любой стране. Я очень горжусь тем, что он регулярно приглашал меня поработать с ним за последние девять лет. Многие мои любимые бас-гитаристы играли с ним, поэтому я счастлив тоже быть частью истории.
Что же касается личного, то я говорю о человеке, который приходил на репетицию каждый день и спрашивал, можно ли ему повесить полотенце на подставку моего синтезатора! Я был одним из последних, кто уходил с репетиции в ночь перед его смертью, и он поблагодарил меня за любовь и поддержку. На следующий день по пути в Стэплс-центр я начал получать гору смс-ок. Когда я приехал, мне оставалось только ждать вместе со всеми, и когда нам подтвердили, что его в самом деле больше нет с нами, мы все впали в истерику. Через месяц мы выступали на той же сцене и с тем же оборудованием на концерте в память о нем. Это было очень печально. Единственное, что я могу сказать, это то, что мы потеряли ангела на земле. Ангела музыки.


Джеймс Джемерсон-мл. и Джеймс Джемерсон-старший
Джемерсон-старший: работал в различных треках Jackson 5; Джемерсон-мл. работал в альбоме «Triumph», 1980.


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Когда Jackson 5 впервые появились в «Мотаун», ведущим басистом там был мой отец, и он был под большим впечатлением. Он принес домой их запись и сказал: «Парни, у меня тут есть для вас кое-что». Мы были очень взволнованы, поскольку ребята были одного с нами возраста и уже стали звездами, а наш отец играл на их пластинках.
Я лично работал с Майклом и «The Jacksons» на записи альбома «Triumph». Марлон пригласил меня в студию записываться с Тито, Рики Лоусоном, Грэгом Филлингейнсом и Дэвидом Уильямсом. Мы весь день играли и записывали музыку. Тем временем, пришел Майкл, и когда мы вернулись с обеда, нам сказали не входить в студию, поскольку Майкл там плачет. Мы испугались, что с музыкой что-то не так, но Марлон пояснил, что Майкл всегда пускает слезу, когда ему действительно очень нравится музыка. Они все послушали и согласились, что нужно оставить текущие версии записей. Мое имя не упомянули на обложке альбома, но для меня было честью работать с одной из самых выдающихся и талантливых звезд нашего времени.


Чак Рэйни
«Ben», 1972; «Dancing Machine»/»It’s Too Late to Change the Time», 1974


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Майкл был одним из самых великих талантов, которых я знал. У него было отточенное чувство уместности, которое наверняка очень помогло ему стать первоклассным певцом, танцовщиком и исполнителем. «Don’t Stop ’Til You Get Enough» и «Billie Jean» — мои любимые песни, хотя мне немного жаль, что басы Луиса Джонсона так мало слышны в этих композициях. Я встречался с Майклом лишь однажды, мы куда-то летели через всю страну. Джермейн узнал меня, поблагодарил за работу в «Dancing Machine» и познакомил меня со всей семьей.

Натан Уоттс
«Destiny» [Epic, 1978]; «Triumph» [Epic, 1980]; «Say, Say, Say», с Полом Маккартни [Pipes of Peace, Capitol, 1983]; «Muscles», с Дайаной Росс [Endless Love, RCA, 1981]


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Майкл был лучшим артистом и самым добрым человеком, которого я когда-либо встречал. Когда мы записывали «Destiny», я как-то раз проспал, и он заехал за мной на своем роллс-ройсе, чтобы отвезти меня в студию. Заехал сам, поскольку только что получил водительские права! В басовых партиях он в основном велел мне играть в своей манере. В «Heartbreak Hotel» [«This Place Hotel», альбом «Triumph»] он начал пританцовывать и напевать ритм, чтобы показать мне, чего именно он хотел. Он был мастером грувов. Майкл также пригласил меня сыграть в «Say, Say, Say», и я понял, что мы пишем демку, по которой Пол Маккартни потом будет играть басовую партию сам. Он отнес запись Полу, тот послушал, и ему понравилось, поэтому он оставил мою партию в записи, а потом прислал мне копию своего альбома с автографом. Мою демо-запись для песни Майкла «Muscles», которую он написал для Дайаны Росс, также сохранили без изменений. Многие мои карьерные успехи свершились благодаря ему, и я скучаю по нему каждый день.

Луис Джонсон
[i]«Off the Wall» [Epic, 1979]; «Thriller» [Epic, 1982]; «We Are the World», 1985; «Dangerous» [Epic, 1991]; «HIStory» [Epic, 1995]
[/i]

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Майкл был большой добряк, и его смерть очень огорчила меня. Мне повезло работать с ним над его сольными альбомами, и он всегда позволял мне свободно проявлять свое творчество. Моей работой было придумывать басовые партии, и Майкл полностью доверял мне. Порой он напевал какую-нибудь вариацию того, что играл я, или просил меня внести изменения там и сям, или говорил: «Вот эта часть должна быть реально крутой, играй здесь вдвое мощнее». Куинси Джонс и звукоинженер Брюс Свиден были так же открыты моим предложениям, начиная с выставления эквалайзеров для моих басов и заканчивая использованием бас-гитары и синтезаторных басов. Я работал с Майклом в двух альбомах после того, как он ушел от Куинси, но все было уже иначе. Я приходил, играл под трек или драм-машину, или же просто сэмплировал какую-то ноту. В последний раз я видел Майкла в его домашней студии, он записывал «Come Together» [из альбома «HIStory»]. Я всегда буду помнить, с какой радостью мы вместе играли живьем на сессиях «Off the Wall», Майкл и все прочие смеялись, зная, что здесь создается волшебство. После каждого дубля мы наперегонки бросались в аппаратную, едва не сбивая друг друга с ног, чтобы успеть занять наилучшее место, и орали – «громче, громче!».

Натан Ист
«Victory» [Epic, 1984]; «Bad» [Epic, 1987]; «HIStory» [Epic, 1995]; «Invincible» [Epic, 2001]


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Майкл – невероятно добрая душа в студии, свой в доску, постоянно шутил и делился с нами едой. Помню, дальше по улице был магазин «7-11», и он веселья ради рядился в какую-нибудь маскировку и проверял, узнает ли его там кто-нибудь или нет. Для него это было высшим удовольствием! Он был необычайно одарен и на сессиях всегда знал, что делает. Мы не особо общались по поводу басовых партий, но пару раз Куинси Джонс выходил ко мне из аппаратной и напевал мне гениальнейшие нюансы или переходные фразы, которые Майкл только что напел ему. И я всегда был благодарен им за это. Когда меня вызывали в студию, я знал, что увижу самый необыкновенный талант и буду работать с ощущением, что здесь с твоей помощью творится история. Помню, когда мы записывали «I Just Can’t Stop Loving You», я думал, как она будет звучать на радио по всему миру. Майкл был одним из величайших артистов всех времен. Изумительный певец, танцовщик, композитор и продюсер – он умел все. Такого, как он, больше никогда не будет, и для всех нас это страшная потеря.

Фрэдди «Ready» Вашингтон
Спецвыпуск «Motown 25», 1983; тур «HIStory», 1996- 1997; сессии в неизданных треках примерно в 2000 г.


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Думаю, как артист и исполнитель, Майкл стоит в одном ряду с такими легендами, как Синатра, Сэмми Дэвис, Фред Астер и Джеймс Браун. С ним было очень здорово работать в туре, он совершенно не зазнавался и любил веселиться и смеяться. Помню, он сказал нам, что все мы, музыканты, чувствуем нужный грув для того, чтобы исполнять его музыку. Мне запомнилось его невероятное чувство уместности и правильности ощущений. Я наблюдал за ним во время концертов, и во всех его телодвижениях чувствовался этот самый грув. Смотришь на него и видишь все акценты и ритмические рисунки, исполняемые барабанщиком. Он знал все свои песни вдоль и поперек. Его движения давали мне мощный заряд энергии и вдохновения.

Бобби Уотсон
Разовый сессионный бас-гитарист в «Rock With You», альбом «Off the Wall» [Epic, 1979]


Уотсон записывал три трека Рода Темпертона во время сессий «Off the Wall». Все они были позднее перезаписаны с басистом Луисом Джонсоном. Из указанных трех треков в оригинальном состоянии в альбом попала только «Rock With You». «Брюс Свиден позднее сказал мне, что Джонсон сыграл более жесткую басовую партию, но песня утратила магию. Он сказал: «Чувак, мы взяли этот трек, «Rock With You», и нам пришлось оставить твою басовую партию! Ты взорвал ее! Мы изъяли ее из трека, и песня тут же сдохла. Именно твой бас вдохнул в нее жизнь». Это очень порадовало меня».

Уэйн Педцуотер

Этот басист играл в поздних нью-йоркских сессиях «HIStory”, включая четырехчасовую сессию для трека «Money».
«Майкл все время засовывал мне под струны всякие вещи, чтобы получить желаемый приглушенный тон. Затем он притащил в студию множество самых разных колонок, чтобы послушать, как звучит партия. Как-то раз, пока я играл, он вдруг начал крутить регуляторы на моей гитаре!»


Источник: статья для портала Bassplayer, впервые опубликована 1 февраля 2010 г.

Перевод: Юлия Сирош
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Re: Интервью тех,кто с ним работал и тех,на кого он повлиял

#122  Сообщение Liberian Girl » 31 окт 2014, 09:40

Lashawn Daniels Talks Michael Jackson's 'Invincible' Album & What He Learned From The King of Pop

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Re: Интервью тех,кто с ним работал и тех,на кого он повлиял

#123  Сообщение Liberian Girl » 05 ноя 2014, 01:39

How Branding Launched Michael Jackson’s Solo Career

Getting your career started in the design industry can be a challenge, which is why we’ve put together the Branding Yourself and Your Design Career Collection. With these five resources, you’ll enter the design industry with confidence and learn how to keep up the good work once you’ve landed your dream job.

Don’t Stop Till You Get Enough” was the first big hit from Off the Wall, the album that first and finally distinguished Michael Jackson from the rest of the Jackson 5. And that phrase could also describe Mike Salisbury’s process of art directing what became Michael’s most iconic cover image. This is in spite of the fact that Epic Records used dumb and inappropriate title lettering and did a lousy printing job.

Изображение

Above: concept sketch illustrated by Toril Bækmark

For the past half-century Mike Salisbury has successfully branded magazines and motorcycles, perfumes and theme parks, Levi’s and Gotcha, Raiders of the Lost Ark and Jurassic Park. And, most notoriously, Joe Camel. Smokin’ Joe was actually the subject of my first Print interview with Mike, and was recently reprinted and deconstructed in Steven Heller’s Writing and Research for Graphic Designers.

Off the Wall was released in 1979, when Michael Jackson’s personal reputation had not yet been blemished. And since this year marks the 35th anniversary of Mike’s ushering in Michael’s coming out on his own, I got a behind-the-curtains account of Mike’s creative triumph over a variety of temperamental and logistical obstacles in order to produce his seminal image. And the man who branded the “King of Pop” wraps up the interview with an extended riff on his early career trajectory.


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Michael Dooley: How does Michael’s shoot compare with album covers you’ve art directed for other pop stars?

Mike Salisbury: George Harrison took more work. He wasn’t difficult but we were way out in Henley on Thames, England shooting film that was sent to London for processing then back to us at Friar Park, his estate, to review, then shoot more. It was a tight deadline and there was no way to get prints and retouching. And I had no concept. Nor did I get one from anyone else.

I wanted the cover to be a big deal portrait of just George, yet impressionist. Wandering through his ancient greenhouse one of the days I was there I went outside and saw him through a mossy broken window and had him move close to that and shot him with a longish lens to create, I think, an almost painterly portrait.

For the inside of the covers I used another long lens and from a distance shot him full figure, looking down, walking along a hedge, with him at the far left edge of the frame. Sort of Sergio Leone. That gave me a contrast to the full head shot. And, I think, it gave me two views of George Harrison not captured before. He went with my choices. No problem.


With George, Randy Newman, James Taylor, and Ricky Lee Jones I had the support of their producer, Russ Titelman. But no problems. The music business was very much teamwork. Unlike some jobs, such as the marketing of over 300 movies I worked on. That had a lot of voices and opinions on the client side, with a lot of input but also a lot of change orders.

I had Norman Seeff shoot Ricky Lee for me because she was perfect, with her own styling, for his style of glamor shot. And James had specific ideas, and to carry them out I again used Norman, to have the shots be technically perfect, to have James’ concepts read without any interpretation by the photographer.

I had Steve Harvey shoot Michael for me because we just got along.

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Dooley: It was Michael’s performance in The Wiz that made you want to brand him. What did you see there?

Salisbury: To me he was no longer that kid on the Saturday morning kids’ TV show. He was a major performer. And I think he had to hold back not to upstage the rest of the headliner cast. I thought he needed to be positioned as his own star. He needed to be branded as Michael Jackson.

Dooley: How did you hit on the tuxedo metaphor to connect his emerging from his family’s shadows with Frank Sinatra’s early opening in Vegas?

Salisbury: Sinatra coming onstage in a tux said big deal performer. And I wanted Michael to taken as a big deal performer. And Michael got it.

Dooley: At first, his agent had rejected the concept. Luckily for you, Michael had been in the office throughout your pitch, but he was hiding behind the drapes. Did you find that odd?

Salisbury: It was odd but very cool. And businesslike that he was there to see the presentation. That was Michael Jackson.

Dooley: Why did he originally insist on shooting at the Griffith Observatory?

Salisbury: My only thought was it was the iconic teenage location: Rebel Without a Cause and that memorable scene there with the knife fight. But there was no way the classic deco architecture would not overpower Michael as an individual.

He was late for the shoot, roaring up the hill in a blue Rolls with his new driver’s license in his wallet and a dent in every fender. He had the tux on a hanger, and the loafers. Park guards continually patrolled the observatory and we didn’t have much time between their rounds.

Michael ran to the men’s room, but it was closed! Without a pause he went to the ladies’, changed, did his own makeup, and was out and ready. A real trouper.

The architecture of the entire building meant nothing to my concept but I had found a circular stairway on the side of a tower overlooking the Hollywood sign in the distance behind the bust of James Dean that might work as a simple stage.

I got Michael up a few stairs and he leaned against the wall of the tower and with the sun setting over the Hollywood hills behind him we got it just as the park guard was passing the observatory and on his way to our location.


Изображение


Dooley: Why did he want to wear white socks?

Salisbury: It was a very typical ’40s, ’50s American young adult thing, but also emulated by Cary Grant, almost, I think, to offset his too-much handsomeness. I also wanted to use the socks and make it work for the concept.

Dooley: And why did you outfit him in a women’s tux?

Salisbury: He was too thin for a men’s fit. And most mens’ tuxedos didn’t have the style of Yves St. Laurent.

Dooley: After the Observatory shoot failed to capture the attitude and style you wanted, how easy was it to convince him to do a reshoot?

Salisbury: No problem. Michael Jackson was about getting it done right.

Dooley: So now you have a studio location, but it’s not working out. You walk outside, see a loading dock area, and get inspired. You give it a backstage Broadway theater vibe, and there’s your set. A neat bit of serendipity and creative improvisation. Do you recall another shoot that came together for you in the final moments?

Salisbury: Truman Capote wanted me to shoot him in his Palm Springs home to replicate the Cartier-Bresson shot of him on the back cover of his first book, Other Voices, Other Rooms. It’s a photo which he said the world found so scandalous because of his age and the pose. After a day of doing that he took off the silly hat, gold rimmed aviator sunglasses and art director attitude and quit posing. And I said, “Just look at me.” And he did.


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Dooley: Back to Michael. Having him hike up his pants legs with his thumbs in his pockets, Gene Kelly style, perfectly conveys that boy-to-man concept. How calculated was that move?

Salisbury: Gene Kelly did it to show off his footwork, with his white socks and loafers. But it was also to symbolize a young American in Kelly’s An American in Paris, which I wanted to symbolize in the look for Michael. Also, it put some personality and graphics into the picture, and contrast. And it offset the seriousness of the tux, as did my getting him to pose almost emulating the replica of Donatello’s David that Michael had in the foyer of his San Fernando Valley townhouse. I also had the glow airbrushed around the socks for a bit of magic sparkle that led to the real sparkling socks and glove.

And I got Michael to smile.

Dooley: As the branding developed you were asked about adding white gloves to his ensemble. Why did you suggest only one?

Salisbury: I thought two was a bit too Mickey Mouse.


Изображение


Dooley: Let’s wrap with a big picture topic. How has your knack for being in the right places at the right times helped build your career back in the early 1960s?

Salisbury: I was surfing at the take-off point of that cultural phenomenon, and I created logos for surf companies like Gordon & Smith and Birdwell beach britches. I was hired as the first combination art director, illustrator, reporter, ad designer, copywriter for Surfer magazine.

Surfer art direction experience got me hired by Playboy as an art director in their classic period where I was fortunate to work on the classic “James Bond girls” cover. Next I was hired by Carson Roberts Advertising in Los Angeles; for one thing, because I proved could draw. I was sending them a comic strip as a resume, to work with Terry Gilliam just as he was working his way into Monty Python. There I created and produced not just print but TV, including my own animation.


Изображение


Probably the most influential of opportunities I had was to be hired as art director of West, the weekly magazine of the Los Angeles Times, because of the good word ABC-TV’s Joel Siegel, then at Carson Roberts with me, gave Jim Bellows [innovative editor who cultivated many New Journalism writers]. Bellows was recreating the Times at the time, including West.

At West I had the freedom of design. And also freedom to produce editorial concepts, take pictures, and hire the best creatives to make me look good. I marketed myself with that magazine and got jobs shooting for Vogue, Bazaar, Esquire, and the London Sunday Times. My West work also got me the album cover work.

A friend of Bellows recommended me to Jann Wenner, Rolling Stone’s publisher and editor, to art direct and redesign that paper as it was growing up. And West, along with my album cover work, got me hired as Creative Director of United Artists Records. At the same time! I had to quit one or the other. Eventually I quit both.

Leaving Rolling Stone, I was hired by Tony Seiniger [the Hollywood poster designer responsible for Jaws] to create motion picture marketing: posters, ads, title designs, and marketing materials for movies positioned to a new, younger market typified in some ways by the Rolling Stone reader, movies such as Star Wars. This led to me being hired as a Creative V.P. at Wells Rich Green Advertising at that take-off period of contemporary movies, to market films and fashion.

I was recommended to Foote Cone Belding Advertising at the height of their graphic advertising concepts for Levis, I think because of my graphic work and stylized fashion work. But I took them into realism, branding 501 with TV for the new Levis cut for women and the “Travis, you’re a year too late” commercial, working with the great Executive Creative Director Mike Koelker.


Изображение


Leaving Foote Cone, I opened an office in L.A., working with a real talent, photographer and art director Lloyd Ziff. And the first phone call I answer I hear, “This is Francis Coppola. I have a magazine, City of San Francisco. And George Lucas said I should hire you.” City led me to work with Francis on his films. Back in L.A. my office created title treatments for Raiders and Jurassic, posters including Basic Instinct and Moulin Rouge, trailers such as my Rocky IV with the exploding gloves.

The exposure of West, Rolling Stone, and other major work also got me writing assignments for Forbes and Men’s Journal. I wrote about my work and pop culture, and about adventure travel by car and motorcycle all over the world. And that’s led to my now creating TV shows.


Изображение


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Re: Интервью тех,кто с ним работал и тех,на кого он повлиял

#124  Сообщение Liberian Girl » 28 ноя 2014, 02:49

'Michael Jackson? I was more excited about The Human League!'

Steve Barron, who directed Michael Jackson's Billie Jean video, talks to Rupert Hawksley about working with the Eighties' biggest music artists and his new memoir, Egg n Chips & Billie Jean: a Trip Through the Eighties

Изображение

Steve Barron and Michael Jackson on the set of the music video for Billie Jean

“I was more excited about The Human League,” laughs Steve Barron, as he tells me about the time he was asked to direct the video for Michael Jackson’s hit single, Billie Jean. “I was more disappointed about not doing The Jam’s Down in the Tube Station at Midnight.” This was 1982.
A decade later, the Billie Jean video was inducted into the Music Video Producers Hall of Fame and now, some 32 years after the video was released, Barron has written a book, titled Egg n Chips & Billie Jean: a Trip Through the Eighties. The music video that least excited Barron has, in many ways, come to define him.




The 58-year-old Dubliner has since directed a number of successful feature length films including Teenage Mutant Ninja Turtles (1990), Rat (2000) and the hugely popular Mike Bassett: England Manager (2001), a sequel to which is due to be released next year. He has also been nominated for 27 Emmy Awards and five Golden Globes.
However, it is Barron’s creative output during the Eighties, when he was working with and producing music videos for artists such as Fleetwood Mac, Madonna, Dolly Parton, A-ha (Magne Furuholmen from the band designed the artwork for a special edition of the memoir), Paul McCartney and David Bowie, that forms the basis of this fascinating memoir, released earlier this month.




On first meeting Madonna, for example, Barron writes: “Lying on the floor. Naked apart from her little white knickers, one worked-out leg folded over the other in mid dance-step or mid pose or stretch or whatever else she was in the mid of. She turns to look up at me in the doorway.”

On a late-night telephone call from Bowie: “[He’s] not sure whether he’s talking to me or to my [answer] machine. He’s calling from Gstaad, just seen the finished video. It’s probably late there. He’s had a few and he’s gushing. And slurring a bit.” It's all deliciously indiscreet.
Barron now spends much of his time in LA but was in London recently to speak at the inaugural Music VidFest at the Southbank Centre. I took this opportunity to visit Barron in his West London home to ask him about the art of producing music videos in the YouTube age and to discover exactly how he went from making the tea on various film sets to hanging out with The Jam and The Only Ones and directing some of the most influential music videos of all time.


An exclusive extract from Egg n Chips & Billie Jean: a Trip Through the Eighties has been reproduced below this interview.

Was writing the book a cathartic experience?

SB: It was quite a cathartic experience. I wrote it in two chunks; I just went away for some of it and did nothing else for 14 hours a day, which is the best way of doing it.

I imagine all sorts of memories came flooding back…

SB: Memories kept popping out of the woodwork. I’d be writing about a specific day in the Eighties, and suddenly I would be back near the street where I once was with Michael Jackson – La Brea [in Los Angeles]. It’s a very particular street between Highland and Santa Monica that I drove up and down many times. It is almost the route to everywhere: not far from the Chateau Marmont where you’d hang out, [near the] Sunset Marquee, so it seemed to be at the centre of everything. I did once add up that I’d spent a total of four years at the Sunset Marquee during the Eighties.

When I went to write about all of that, I kept driving again and smelling La Brea, which has a very specific, dry smell. It has a smell that is very hard to describe: it’s LA, but it’s dry, dust meets petrol. It was very different to London, which has always got this very familiar, but sort of dank feel.

It was obviously a special time…

SB: Things came together at a certain time; in a certain atmosphere; when, culturally, things were at a certain place. Culture was in a pretty bad way. When you look at movies in the Eighties, we weren’t in great shape, creatively.

And so there was a massive opportunity for something to come along and change, in particular, the rhythms. And we realised that we didn’t have to just do what we’d seen before. We could be open to something completely original or extraordinary. There was a bunch of us who felt that way at the same time, and we began kicking open the door and the door kept opening, so we just piled in and had a great experience creating some absolute rubbish – and some stuff that has stayed around. I am really, really happy that I was there to experience, and lucky enough to experience, that journey through the Eighties.

And how do you feel about the state that culture is in today?

SB: My heart bleeds for music video directors who are trying to get through now on formats such as YouTube. There isn't an industry, it's falling away. Whereas we had a massive opportunity, there was a gaping hole to be filled. Right now, such a thing does not exist, there's just a mass of everything with no holes to fill. You just have to shout louder. And there are some great videos being done that would have won MTV Video of the Year 10 times over back in the day. It is much harder to get appreciated because there is so much noise around. But there is some really great stuff out there.

Let’s go back to how it all started. How did you arrive at a stage when Michael Jackson’s agent is calling you to ask you to direct the video for Billie Jean?

SB: I left school early and became a camera assistant; a tea boy, really. I leaned to make a great cup of tea and got very involved with a lot of good film crews, who were doing a lot of good films. At the time I was really good at the tea and I think I was quite efficient at being perceptive of what might be needed.

Who gave you that first break?

SB: I worked with a film director called Peter Macdonald who was absolutely brilliant. He was involved with Cabaret (1972), A Bridge Too Far (1977), Superman (1978); all these major films. He was a brilliant operator, but he also had a real discipline about him which I’d never really seen.

I’d come out of school where it was all about getting away with what you could, and suddenly I couldn’t get away with anything. If I’d been out late the night before, he’d put me on the crane with the zoom, give me the most tricky job, where I couldn’t move out of my seat because of the balance. I would be hungover as hell. And he would have me doing the most complicated zoom, ending up on a close-up of Michael Caine. That was the best growing up I could do because it was a real discipline for someone who had become unwieldy at school. Even though I was someone who was really young, I was in the know technically, without training, just from observing.

And how did you then make the jump from working on film sets to directing and producing music videos?

SB: I’m hanging out with people like The Jam or Siouxsie and the Banshees. The music’s really interesting and we all tended to end up at the Speakeasy Club, so my social life is around music, not film.

The bands were my mates and they’re all curious about me working on these big movies. There were very few people who were connected in any way to music and film, there really wasn’t a crossover. And suddenly I was on that bridge and, even though I was just loading the film, the music people didn’t know the difference between that and a director. So it was like, ‘can you make one of those films that you’re working on for us?’

What was the first music video you made?

SB: The very first band that I filmed was The Only Ones, for their single Another Girl Another Planet. But the band I first connected with was The Jam. They were becoming really big. I wasn’t friends with them but I’d attempted to film a day at the Reading Festival that they were headlining, and so I met their manager and we filmed some of it. The Jam were aware that I was around trying to put these things together. At the time, what I was producing weren’t even called videos; they were called promotional films. I remember it changing between 1978 and 1980. At first, bands were saying ‘get me one of those promotional films’ and then suddenly it was a case of, ‘get me one of those videos’. It was then that the music video was born.

The following extract is taken from Egg n Chips & Billie Jean: a Trip Through the Eighties, by Steve Barron

Madonna? You'd better be really good at what you do with a name like that or you're f---ed. And this song just isn't up my strasse in the slightest. I'm burning up, burning up for your love, burning up, burning up for your love. Why does anyone think that's going to be massive? Certainly not me.

Mind you, I'm not exactly the greatest judge of what’s going to number one, am I?

But, still, I'd have to come up with a concept. I'd have to have an idea that feels right with the track. And it would have to be a cool idea. And if I don't think the track is cool, how can I come up with an idea that’s cool with the track? It's not my sort of music. I've still got, ‘They smelt of pubs, and Wormwood Scrubs, and too many right wing meetings’ humming around in my brain. The Jam is where my head is still at. This 'Madonna' will never be in the same stratosphere as The Jam.

No, I'm not going to New York on my own to meet some blonde chick called Madonna who Warners think is going to be massive, even if they are stumping up a bit more cash than usual for a first time artist.

"Come on. You managed to drag yourself out in front of the Nolan Sisters," Simon chortles. "I promised Warners you'd at least meet her. Then if you don't like we can wriggle out of it. She's a very cool dancer apparently."

I can't believe he's promised them. I'm on holiday.

"Oh, she's been practising in front of the mirror then?" It might be enough of the sarcy cynicism. Starting to hear myself whining.
"Actually, she saw the MJ video and she thought it was genius and she really wants to meet you."

"Yeah, well, I'm on holiday."

F---ing annoying. What am I doing here? Where is this bleeding apartment block? How did I agree to this? I'm burning up alright! That biting wind is bouncing off those stone Soho buildings right into my grumpy face. What number was it? That doesn't make sense. Where's the number on that building then?

This must be it. Smelly corridor. Crapped-out lift. Where's the penthouse suite then? There's seventeen buttons of floors but not a dicky bird about 'the penthouse suite'. How would she have a penthouse suite anyway? Nobody knows her from Adam.

Maybe a rich boyfriend? Maybe just rich. Never mind, you're here. Must be on the 17th floor then.

Ping.

Woah.

The 17th floor looks derelict. This can't be right; there's masonry and s--t all over the floor. Oh, look. Now I get it. There's a paper plate taped to the flaking wall with an arrow pointing up the crumbling staircase, which says 'Penthouse Suite' in biro. Penthouse Squat is what it'd say if it was being truthful.

Climb those stairs. And more stairs. And what's that thumping sound? And more stairs. And that music is pumping out up there. Dance music. That's f---ing loud. Now I'm out of breath in front of an apartment door with no bell and no knocker and nothing but another paper plate with 'Penthouse Suite' in blue biro stuck to it.

"Hello?"

Loud music.

Louder: "Helllooo?"

'Hello' isn't working. Door doesn't even shut properly. A hole where a latch might have been. I can push it open. A sort of kitchen area on the right. A couple of very grungy pots and pans by an old stove that's caked in many years of grime. There's not a stitch of furniture in the place.
"Hello?" is still being smothered by boom boom boom coming from down a narrow corridor with a very worn carpet. Is this a wind-up? She knew I was coming. She knew what time. I'm walking along the corridor. Another door. The source of the loud. Even this door has the inviting sliver of slightly open. I'm going to try shouting again. The music is deafening but I can't just walk in, can I?

I mean, this must be the bedroom.

"Hello? M – M – Ma – donna?"

F--k, that's a hard word to yell. That just doesn't feel like a name. It's feels like a thing. Or a feeling.

Or a phenomenon.

"Ma-donna?" I'm pushing the door to the bedroom open. There's a thin mattress in one corner. Against a wall is the most enormous Marshall speaker I have ever seen pumping out the loudest dance music I have ever heard. I look down.

There's Madonna.

Lying on the floor. Naked apart from her little white knickers, one worked-out leg folded over the other in mid dance-step or mid pose or stretch or whatever else she was in the mid of. She turns to look up at me in the doorway.

"Oh, hi," I think she says, pulling a towel from under to over. I can't be sure because the music is so deafening. It's actually shrouding the whole moment in a completely surreal quality; though I guess this moment just has completely surreal written all over it. I think I retreat and look away. She turns the music down.

"Hi Steve" – "I didn't hear you" – "Give me a moment" – "I'll be right with you" – She says in that husky Michigan brogue we all now know. I walk back along the corridor to the kitchen where there's a built-in breakfast table and benches. Soon she's sitting opposite me in a sexy sleeveless thing and legging type Flashdance-type thing. She's talking about music and dance and she's moving and twisting as she talks. And she's leaning her head sideways as I speak and laying her head on her hand as I tell her about my newborn and she's flicking her hair to the other side and resting her head on the table. And my mind is racing and I'm looking at her thinking that's a nice angle when she does that, and a nice angle when she does that.

And there's something captivating and compelling that's beyond sexy. There's some vibe that comes from her that's hard to put my finger on. It's hard to describe. It's a kind of light within her that gives her a quality that you don't come across very often. She's oozing it right now. What is that? Is there a word for that? What do you call that?

Duh!

Star.

Inevitable.


Изображение

The original cover design by Harland Miller

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Re: Интервью тех,кто с ним работал и тех,на кого он повлиял

#125  Сообщение MagicalLove » 07 дек 2014, 16:46

Rodney Jerkins Rocks the Tower With Barefoot Sound




Acclaimed Producer Outfits His Capitol Office and Home Studio with MM12s(December 04, 2014)

DMN Newswire–2014-12-4–Prolific producer Rodney Jerkins has outfitted his studio in the Capitol Records Tower and in his private home studio with Barefoot Sound’s flagship monitors, the MiniMain12.

Jerkins recently garnered international recognition for his production of Michael Jackson’s posthumous #1 hit, “Xscape.”

“I worked with Michael back in the 90s and started on that song in 1999, believe it or not,” Jerkins recalled.

“It’s one of those treasures that sat in the vault and I felt like it was time. Fifteen years passed by, and the world needed to hear it. His fans needed to hear it. On the album, you get both versions. You get the original, and you get the new version that I re-produced and remixed to bring it up-to-date. It was a lot of fun and I did that track using my big MiniMain12 Barefoot monitors.”

Acclaimed record producer, songwriter and musician Rodney “Darkchild” Jerkins is regarded as one of the most commercially successful producers in the history of music. He is responsible for over 160 million record sales worldwide and the winner of four Grammy Awards.
“I was looking for the perfect monitor,” Jerkins explained. “A number of monitor manufacturers came to my studio and did showcases of their new speakers. Then Barefoot came and I was immediately sold. I’m on my second pair of Barefoots now. I’ve got them in my home studio and I’ve got them here in my office in the Capitol Records Tower. I’ve got the big ones, the MM12s, and I plan on getting a third pair for another studio I’m building right now.”

The very busy Rodney Jerkins has collaborated with a broad range of popular artists, including Michael Jackson, Beyoncé, Mary J. Blige, Mariah Carey, Whitney Houston, Rihanna, Luther Vandross, Jennifer Lopez, Janet Jackson, Toni Braxton, Destiny’s Child, Lady Gaga and Britney Spears, among others.

“I find that the Barefoots are the truest for me,” he continues. “You hear the detail and the true definition of every sound. With Barefoot, it’s smooth top-in, perfectly clean. I like to listen to music loud, but these Barefoots don’t hurt. It’s loud but it’s not overpowering. Everything is tuned so perfectly.”

Among Jerkins’ most notable productions are “You Rock My World” for Michael Jackson, “It’s Not Right But It’s Okay” for Whitney Houston, “Say My Name” for Destiny’s Child, “If You Had My Love” for Jennifer Lopez, “Déjà Vu” for Beyoncé, “He Wasn’t Man Enough” for Toni Braxton and “Telephone” for Lady Gaga.

“Yes, I have the big boys, the MM12s,” concluded Jerkins. “I love them — they’re my best friends. How you hear music, and how you make music and listen to music is the most important part of this whole experience. For me, there is no other way now. You should have an experience with the sound and know that each part of song is being expressed correctly. The right speaker is what gives you that. That’s what Barefoot is.”

Barefoot Sound’s MiniMain12 is a 4-way active system with 7 drive units housed in sealed enclosures spanning 20Hz to 40kHz with vanishingly low distortion, full dynamic range and ultra-fast transient response.

Read the entire Rodney Jerkins interview here:
http://barefootsound.com/audio/a-conver ... d-jerkins/

ABOUT BAREFOOT SOUND
Barefoot Sound was founded by Thomas Barefoot with the goal of creating a new breed of studio monitor. While project studios were sprouting up all over the world, filled with outstanding gear, yet with limited space, Thomas Barefoot recognized the need for a speaker that could transcend the traditional distinctions between nearfield, main and mastering monitors. Translating effortlessly and never requiring second-guessing, Barefoot Sound monitors are recognized throughout the music industry as multifunctional masterpieces. By creating one studio monitor that fits into a small physical space with leading edge technology and astounding clarity, Barefoot has set a new standard. Handcrafted in the USA.

For more info visit: http://www.barefootsound.com tel: 503. 894. 8602

Source: gamedeveloper.digitalmedianet / MJ-Upbeat.com

Link: http://gamedeveloper.digitalmedianet.co ... foot-Sound–3645717

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#126  Сообщение Admin » 08 янв 2015, 03:49

Mick Hutson: From Oil Worker To Global Music Photographer
Мик Хатсон: От нефтянника до всемирно известного фотографа


A former North Sea oil worker told who went from drilling wells to snapping some of music’s biggest stars including Michael Jackson, Ozzy Osbourne, Kanye West and Lily Allen, is now auctioning off his photographs to raise money for charity.

Mick Hutson, 48, has gone from slaving away offshore to photographing musical idols from every corner of the globe including the likes of Michael Jackson, Sir Paul McCartney and the Rolling Stones.

Newcastle-born Hutson, moved to Aberdeen when his father got a job in the oil and gas industry. Hutson followed his father’s footsteps but his love of live music was always in the background and he routinely went to rock venues for a brisk 8am pint after coming onshore.

Mick said: ‘I’d always been one of the boys who drank in the rock bars around Aberdeen half the year, and spent the other half toiling my life away offshore.

‘I loved going to all the local rock gigs, took some photos for a few bands here and there, and decided that I wanted to get into photography as a full-time gig.’

He studied for a Masters degree in photography, taking photos of his friends’ bands as a hobby whenever he could.

Mick said: ‘It was that little side project that led me to meeting and basically becoming the apprentice of David Redfern, who was one of the greatest jazz photographers of all time.’

He had worked with and was good friends with all the greats like Frank Sinatra, Miles Davis, Ella Fitzgerald and even the Beatles.

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‘After about two or three years with him I found myself touring around Arizona with U2 and the rest is history. I’ve not stopped working since.’

Mick has photographed Aerosmith, Metallica, Alice Cooper, and even rappers such as Kanye West and 50 Cent, but one of his favourite subjects was Marilyn Manson.

He said: ‘He’s such a quiet, interesting and well-spoken guy with a lot of good points to make about the world.’

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Hutson’s years of photography have amounted to a huge collection of pictures and recently he has been selling some off at auctions to raise money for the Teenage Cancer Trust.

Now he is hoping to put on a display and auction them off in the place where it all began.

He said: ‘I’ve just finished a show for my 25th year as a photographer in Newcastle, and there’s one coming up in London, but I would love to do one in Aberdeen.’

I don’t profit from any of my shows, and they usually raise between £5,000 and £6,000.

‘Music is so important for the development of a teenager, especially one whose life is interrupted by something awful like cancer.

‘Teenage Cancer Trust have always given huge support to music and musicians for their work with kids with cancer, so I’m happy to be giving something back.’

Teenage Cancer Trust patron, Roger Daltrey, said: ‘Teenagers shouldn’t have to stop being teenagers just because they have cancer.

‘They are young people first, cancer patients second. With their incredible vigour and positivity as inspiration, we aim to keep Teenage Cancer Trust leading the world in cancer care for this age group.’

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Re: Интервью тех,кто с ним работал и тех,на кого он повлиял

#127  Сообщение MagicalLove » 12 янв 2015, 00:30

Jazz Musician Larry Williams Talks About Working At Seawind, Al Jarreau And Michael Jackson / Jazz Musician Larry Williams рассказывает о работе с Seawind, Al Jarreau и Майклом Джексоном



After beginning his career with the Seawind Group in Hawaii in the ’70s, the multi-instrumentalist Larry Williams became a highly sought musician, regularly working with Michael Jackson or Al jarreau as a legendary session musician, playing keyboards, saxophone, flute, trumpet and in various musical genres.

What are your favorite musical genre and instrument?

I do not play the trumpet. There is another Larry Williams in Los Angeles that plays the trumpet and has participated in several recordings. I have no favorite instrument. The one I like best is the one I’m playing. I spent years and thousands of hours playing these instruments to a very high level in different musical genres. I love music and whatever the genre, as long as it is high quality. If I had to choose a genre, it would be the progressive jazz because I think it’s the kind that requires the most talent.

What are your memories of early Seawind in Hawaii? And why the group is it separated at the top of his success in 1982?

I keep many many many great memories and some not so good these years. I did my musical training with this group in Hawaii. We started playing in clubs and discos. We played covers. All we wanted was to play music together (and be paid for it). After a few years, it has had enough play only then that we stopped making music for dancing and we concentrated on our own compositions. I think we are the only non-Hawaiian group from the Hawaiian scene that experienced a national success. We separated because our singer Pauline Wilson was married to our drummer and main songwriter Bob Wilson and they broke up. We continued together without singer for several years but it was not the same.

There were other good soft rock groups in Hawaii at the time as Kalapana, Lemuria, Cecilio & Kapono or Summer. How was the relationship between you?

We all knew each other well. It was a small island, a small music scene (laughs). I did some brass arrangements to Kalapana and I went to play the sax and keyboards for Cecilio & Kapono for one of their concerts at Aloha Stadium in 1976 I believe. There were about 80,000 people. They were gods of pop in that time.

The horn section Seawind was considered one of the best in the music industry and have accompanied many celebrities. How it all started there?

I met Jerry Hey and Kim Hutchfroft at the University of Indiana in 1969 and we got along very well. We went every three (but also full of other musicians from the University of Indiana) in Hawaii and this is where we trained Seawind. We shared the same taste for the good rhythm & blues, jazz, funk and improvisation. We liked a lot of copper sections and we designed our own and created our style by listening to Tower of Power horn sections, the White Trash Edgar Winter, James Brown, Chicago, Blood Sweat & Tears and other again.

You played on most albums of Michael Jackson. How were the recording sessions?

The first time I played for Michael Jackson, it was for a session led by Quincy Jones for the soundtrack of the musical The Wiz . Later, I also worked on Off the Wall, Thriller, Bad and HIStory . Maybe for a few songs for movie soundtracks too. I also played with Paul McCartney on “Ebony and Ivory” for Sir George Martin. It is on Bad I spent the most time. I spent many months working to program beats, keyboards, sax and brass section. Michael Jackson has always been shy but charming. Any sessions organized by Quincy took place in a joyful and very creative atmosphere (and they were also paid three times more expensive than the other). Michael Jackson did not interfere too much in the work sessions of the musicians were performing with Quincy except voice. I think the best of Michael was done with Quincy Jones so far.

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Michael Jackson: “Bad” (Larry is featured on keyboards and sax synth solo on Speed Demon).


You are also a longtime collaborator Al Jarreau. What’s it like working with him?

Al is the warmest and most generous artist in the world. I love making music with him. We are almost partners both.

Have you considered trying your luck solo?

The idea of having a solo career never interested me too. I do not feel the need to be at the center of a project. I prefer to play a small role in a major production being the leader of a small production. But I signed a solo CD for Sony Japan because they paid me handsomely for it and they let me complete artistic freedom. The album was released in 2001 and titled Larry Williams and Friends – The Beautiful Struggle (see on Amazon.fr ). It is currently sold out, but if all goes well, it should be re-released in Europe next year.

Is a reformation Seawind possible? What are your plans?

Here is my website that will give you a good presentation of my career and my current projects: http://willyworldmusic.com/ Seawind has reformed for a disc and a few concerts in Japan in 2005. Currently we are working on new songs and videos and hopefully rotate together next year if our respective schedules allow.

http://vallieegirl67.com/2015/01/10/jaz ... l-jackson/
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Re: Интервью тех,кто с ним работал и тех,на кого он повлиял

#128  Сообщение Liberian Girl » 15 янв 2015, 03:17

Kerry Anderson shares memories of Michael Jackson on King Jordan Radio!


Kerry Anderson shares memories of Michael Jackson on King Jordan Radio! (2)


Kerry Anderson shares memories of Michael Jackson on King Jordan Radio! (3)
Я готова верить, но надо знать во что!

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Re: Интервью тех,кто с ним работал и тех,на кого он повлиял

#129  Сообщение MagicalLove » 10 мар 2015, 22:37

Interview With Tommy ‘O’ Organ / Интервью с Tommy ‘O’ Organ


Tommy ‘O,’ one of Michael’s guitarists from ‘This Is It’ has been kind enough to talk to Callum Ross of MJWN about his guitars, his music, and of course Michael!

I have been a keen guitarist now for many years and have worked as a lead guitarist for a few bands, so can you imagine the delight when the team suggested to me that I would get a chance to interview guitar legend Tommy ‘O’ Organ, one of Michael’s guitarists from ‘This Is It.’


Tommy ‘O’ first picked up a guitar at the age of five and plays by ear, not by reading music, which is the way I like to play. He was a guitarist on Janet Jackson’s ‘Rhythm Nation’ tour and has worked with Usher, TLC, Bobby Brown and Slash to name but a few. He also toured as lead guitarist with the Jacksons on their ‘Unity’ tour and has completed numerous studio recordings with artists such as Lionel Ritchie, Jimmy Jam and Terry Lewis, Randy Jackson and the late great Ray Charles so there was plenty to ask about…not forgetting about Michael of course! :-)

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Hi Tommy ‘O’! It’s great to have such an accomplished musician willing to speak to us here at MJWN. Thank you!

Tommy ‘O': I’m honoured!

What was your very first guitar and what was the first song you ever learnt to play?

Tommy ‘O': My very first guitar was a Gibson Les Paul deluxe and the first song I ever played was ‘Batman!’

I hear that you were inspired by many artists, but I’m curious to know what it was about Angus Young (of AC/DC) that inspired you?

Tommy ‘O': I like Angus Young’s simplicity in the way he plays and his feel is excellent and his stage presence and performance is very exciting.

What is your favourite song (whether Michael related or not) to play and to listen to?

Tommy ‘O': ‘Wanna Be Startin’ Somethin”

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How did you get the chance to work with Michael on ‘This Is It?’

Tommy ‘O': Through Michael Bearden. He auditioned me, then he liked my style, the way I played and my stage presence – so I got the gig!

What guitar did you predominantly use for ‘This Is It’ and why?

Tommy ‘O': I use a specially made guitar by Akai. I used it because it was versatile to all styles of music.

How many guitars were you going to bring over to London for the ‘This Is It’ shows?

Tommy ‘O': I was going to bring twelve guitars!

Did Michael have control over which guitars you used for the set and did he have control over the amplification?

Tommy ‘O': No because if you sounded great he wouldn’t mind whatever you used. I never heard Michael once inquire about any guitars or amps because he had hired the best!

What amplification would you normally use, if you were in the studio for example, and why?

Tommy ‘O': I use my own personal amps because I like to keep my sound consistent to whatever songs I play on in the studio or live, for that matter.

Did you use any effects for the ‘This Is It’ tour? And if so, which ones?

Tommy ‘O': Yes I used a lot of Boss pedals, Hughes and Kettner effects, Akai effects pedals, several delay compression distortion pedals etc.

Did Michael give you plenty of flexibility over the way you played his songs and solo’s or did he ask you to play a certain way?

Tommy ‘O': Michael was pretty flexible on the way everybody played their parts. He just required that we listen to the CDs of the songs and the parts. And then I could play it my own way. All the solos were pretty free and open.

Were there any problems or funny moments you encountered whilst rehearsing with Michael that you can tell us about?

Tommy ‘O': Yes, (laughs) there was a big spider that was supposed to move across the stage on the song ‘Thriller’ and he thought he could get into it and ride in it, but it really wasn’t for that. It was a remote controlled spider just for show, so we all laughed and Michael
laughed too!

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What was favourite moment of working with Michael?

Tommy ‘O': Every moment of every day was an honor to work with Michael. And fun! He made it fun! He was also loving and caring, all the time.



How many guitars do you own and which is your favourite/s?

Tommy ‘O': Too many to count, I really don’t know! I rotate giving some away to less fortunate or to my fans and then companies/productions send me more for endorsements etc: My favorite is my signature guitars because, I helped create the look, feel and sound.

What are you currently working on?

Tommy ‘O': I am currently in the studio completing my solo musical debut which I am really excited about. You can listen to portions of my songs on my website – I know you’ll enjoy them! Also, I’ve been traveling to promote the music so that fans can get to know me and what I would like to express through my music. It’s about my life experiences and I am so grateful for all of the opportunities I’ve been blessed with.

If you could give any tips to guitarists who are just starting out, what would they be?

Tommy ‘O': Listen to music, all kinds of music, different styles and try to learn the notes, guitar solos from different people. Learn songs and chords the best you can.

It is now five and half years since Michael died…do you feel that he would be proud of his legacy?

Tommy ‘O': Of course!

And lastly Tommy, what do you want Michael’s fans to know about you and do you have a message for them?

Tommy ‘O': I want fans to know that I am humbled when they come to the shows, enjoy the music, tweet me, follow me on Facebook, Instagram, or visit the website and show love. I’m truly honored and love meeting and talking to as many people as I can. It’s funny because after shows, security always has to kindly ask my management team to get me out of the venue so that they can close down!

My message to everyone is to keep pursuing their dreams, never give up, success could be just one try away!


For more information on Tommy ‘O’ please use the links above or visit:

http://www.tommyoorgan.com
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Re: Интервью тех,кто с ним работал и тех,на кого он повлиял

#130  Сообщение Admin » 03 июн 2015, 00:22

Brad Sundberg Shares Memories About The Making Of Michael Jackson’s History Album
Брэд Сандберг делится воспоминаниями о создании альбома Хистори


20 Years. Let’s set the stage……

In 1994 the world was not as innocent as perhaps it was a decade earlier. Rwanda was hit with a brutal massacre. Sarajevo was under attack by the Serbs, Chechnya was having some separation issues with Russia, and the US was sending the military to the Persian Gulf.

Nancy Kerrigan got beaten with a pipe, OJ Simpson was involved in the world’s slowest car chase, arrested and charged with murder and Kurt Cobain tragically ended his own life. Tom Hanks became Forrest Gump and Whitney Houston won record of the year with “I Will Always Love You”. And Nelson Mandela was elected president of South Africa in the country’s first inter-racial election.

All in the same year that we were in New York recording an album called HIStory.

Michael married a very pretty Lisa Marie Presley (a complete surprise to us), and we all enjoyed having her in the studio. She made him happy, and I think he did the same for her. They were fun to be around.

Michael had been through a crushing amount of stress those previous years since Dangerous. I can’t imagine many people going through what he went through, and coming out the other side with as much joy, laughter and love as he did.

As we plowed through the production of the album, we were told it would be a quick three or four month project. I good-naturedly nodded my head in agreement, knowing it would take much longer – Michael’s level of perfectionism was not something to be rushed.

Originally it was to be a “Greatest Hits” with a couple new songs. But the material was so strong, and Michael had so much to say that it was becoming a larger project. Brad Buxer reminded me of the day that he, Michael and I were in one of the lounges at The Hit Factory, and I looked at Michael and said, “You need to just do a full album of new music – there is too much good stuff here.” That certainly was not the moment that the double-album was hatched, but I am glad to have at least shared my opinion on the matter.

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In the spring of 1995, after mixing and mastering were completed, we knew we were sitting on an amazing musical product. Bruce Swedien and Michael were so driven to perfection that I was actually sent to the CD plant to inspect the process and get some initial discs to take back to the studio for testing. In fact, we tested the first batch of CDs, cassettes, LPs and – Minidiscs. Remember those?



I had a full listening rig set up at Hit Factory, and I would evaluate one after an other after another. I had heard some of those songs for nearly 15 months by then. And in the case of “Earth Song” and “Come Together,” nearly a decade.

During one of those visits to a CD plant in New Jersey, I heard the news of the Oklahoma City bombing, killing so many people including a daycare full of innocent children. What a messed up world.

Michael used to talk about wanting to help every child in need, wanting to fix things that needed to be fixed. He was a dreamer, and he dreamed of a better world. He dreamed of a world filled with laughter and music, and in 1995 his contribution to our world was HIStory.

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The greatest hits assortment truly was jaw-dropping in its depth of musical enormity, but Disc 2 was what people were waiting for. And the first thing Michael wanted them to hear was the duet with his sister Janet. He had a lot of stuff to get off his chest, and “Scream” was a good place to start.

By the time HIStory was released, I had known Michael for about 11 years. Was he the same young man I originally met during Captain EO? Yes, and no. But mostly yes. He had been hurt, he had been mocked, he had been bullied. But he still laughed. He still threw water balloons out of the studio window. He still was generous with his time. He still insisted that we bring fans into the studio and made sure they were fed. He still sent my family beautiful gift baskets when each of our daughters was born. He was still Michael.

Being so close to these albums, being a part of their birth, their growth and their graduation/introduction to the public is hard to explain, almost hard for me to understand. Michael moved so fast, he worked so hard, he pushed the team, the musicians and the technology as hard as possible, but he did it all with a smile. The work was enjoyable. The challenges were fun. Of course we can manage 14 studios across the country at once (I think). Of course we can harness nearly 200 digital tracks of music and nearly 200 moving faders in two studios side-by-side with miles of cable and millions of dollars of recording equipment and have it all come together flawlessly – just give us a couple hours to work out some of the details first.

“They Don’t Care About Us” has become an anthem for many people around the world.

To this day I get chills when I hear “Stranger In Moscow”, one of my favorite MJ songs of all time.

“Earth Song” points out so vividly the world that surrounded us in 1994 and 1995, and it remains just as strong today.

“2Bad” always makes me remember the insane video Michael produced for it.



I built a giant speaker rig for him to dance to on the set, and it was played so loud that I replaced many blown speakers to keep up with his desire to feel the music. “Hurt me, Brad!!” I still can’t listen to the song a modest volume – it must be loud.

“Childhood”, “Little Susie” and “Smile” are pure magic.

Each song on HIStory represents Michael wanting to tell you something. He had been through hell, and the world was not as soft as it was during “Off The Wall”. He was older, and, like I said, he wanted to get some stuff off of his chest. But he was still Michael. He starts the record with a scream, but ends it with a smile.

I am proud of each of project, song, mix, demo, video, tour, amusement ride and special project I worked on with Michael. But I am especially proud of the “HIStory” album. It was an amazing time, and I am grateful and blessed to have been a part of it. Looking back twenty years later, I am just as proud as I was the first time I saw it for sale at Tower Records on Sunset.

Happy 20th Anniversary to the HIStory album, and a deep, sincere “thank you” to Michael for letting me be a small part of his history.

Brad

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See you in three weeks in Germany and Spain!

www.inthestudiowithmj.com/events


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