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The
O-Jays
This project was brought to me through Steve Corbin at MCA
in 2001. Steve initially hired me to add some additional production.
I felt that the CD did not do justice to the legacy of one
of America’s most influential R&B vocal groups.
While the talent was undeniable, we needed to put the “live”
element and feel that was such a large part of their earlier
successes back into the tracks. As usual, working with Steve
was fantastic. The CD was nominated for a Grammy in 2002.
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Chris
Korblein
I started working with Chris in the Fall of 2000 when he came
to me with tracks he had recorded with other producers. While
I liked his sound and the material he had written, I felt
that we needed to start from scratch, rather than doctoring
up what was already there. I was happy when Chris agreed to
do the record with me in the way I suggested. In the process
of working with him we developed a close friendship. I have
also had the pleasure to help Chris shape his live show as
a musical director.
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Teddy
Pendergras
Carol Childs at Electra contacted engineer Craig Burbidge
and myself about Teddy’s project. She felt the record
was missing a “finished” sound. My job was to
take Teddy’s fantastic ideas and turn it into a credible
record. I brought in musicians that I felt would bring a human
feel to the overall vibe of the record. One of the most memorable
moments for me was when we assembled a dream team of gospel
singers for the song “Glad to be Alive”, including
the Waters, Sam & Linda McCrary and the incredible Lisa
Fischer who is now on tour with the Rolling Stones to sing
the duet with Teddy. I will never forget the sound of these
voices in the studio. “Truly Blessed” was nominated
for a Grammy in 1996.
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Nicky
Holland
I meet Nicky thru another songwriter David Batteau who ask
me to help them with a demo of a song that they had just written
called “Independence Days”. Kaz Utsunomiya (at
the time VP of Virgin Music USA) liked what he had heard and
encouraged Nicky to continue working with me on her artist
demos. Richard Griffin who had just become president of Epic
records signed Nicky and decided to have me produce the record
with her after Don Was told him that he was too busy to do
it and to consider letting the person who did the demos do
the record. I had always wanted to meet Don and thank him
for essentially giving the gig to me. Richard loved what he
heard and allowed us to bring in Hugh Padgum (Sting, Phil
Collins & Genesis) to mix the album.
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Fernando
Saunders
Fernando is a dear friend and I have known him as a phenomenal
bassist. He told me that he had a deal at A&M records
and wanted me to produce it with him. At the time I had no
idea he also possessed one of the most soulful voices you
can imagine. While he believed in my abilities, the Label
and his Managers in NY told me it was not going to happen
– they were looking for a “bigger name”.
At Fernando’s insistence, a meeting was setup with another
one of my hero’s, David Anderle who was head of A&R.
Steve Sapporta of the Invasion Group (Fernando’s managers)
told me not to expect to much from the meeting. Long story
short, I met with David on the A&M lot and we talked for
about 2 hours (only about 10 minutes of that about Fernando).
The next morning, I received a call from a bewildered Steve,
saying that he has no idea what happened in that meeting,
but A&M gave their blessing for me to work on the project.
He kept asking me what I had said. I told him, we just talked
about music. It is still one of my most favorite projects
I have done. The legendary Bob Clearmountain mixed the record
it at “his” room at A&M. |
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Arranger:
Keiko Matsui
This was the artist that gave me freedom to create whatever
was in my heart. Producer Kazu Matsui told me to do whatever
I wanted to do and the chemistry worked. After getting to
know Keiko’s style on the piano, I pushed for a direction
change beginning with the album “Doll” followed
up by “Saphire” & “Dreamwalk”
yielding number one singles on NAC radio. Since then and 11
CD’s later Keiko has grown to become one of the top
Female Contemporary Jazz keyboardist in the country as well
as being recognized around the world.
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Michael
Bolton
I worked with Producer/Songwriter Jamie Houston on Michael’s
“All That Matters” album for Sony and it was a
memorable experience. One of the songs that will remain one
of my favorites of all time is a song co-written by Michael,
Jamie and the legendary Lamont Dozier (of Motown “Holland-Dozier-Holland
fame) called “Why Me”. Michael’s vocal was
just amazing. Working on a song called “The Best of
Love” (co-written by Babyface) was another highlight.
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Will
Smith
Who doesn’t love Will Smith. I have been a big fan of
his for a long time and when my good friend and producer Rob
Chiarelli called me to arrange the strings for the title track,
I was thrilled. I had some of my favorite players in L.A.
out there and we cut the track at Capitol B which is one of
my favorite rooms in town.
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Hiroshima
My first recording experience in Los Angeles was joining the
band for their debut CD on Epic called “Third Generation”.
After leaving the band to pursue studio work, I remained in
close contact with June Kuramoto who is like a sister to me.
Together we have written a few songs for this record, the
most notable being “Thousand Cranes” which I had
arranged and continues to have a life of it’s own today.
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New
Order
This was one of my most memorable sessions with famed remixer
Shep Pettibone. I had a great time playing keys as well as
one of the few solo’s I have ever done on a pop record.
The song “True Faith” went on to be a world wide
hit and I believe this version received the most airplay on
pop radio. |
