SmoothViews (SV): Welcome to SmoothViews, Michael. We are so glad to catch up with you again.  Congratulations on your amazing, new record Up Front.
Michael Manson (MM): Thank you!

SV:  More congratulations are in order for your signing with NuGroove Records.  I understand Dave Chackler is the label head there. How did you hook up with him?
MM:  My Just Feelin’ It record was on the 215 record label. Dave Chackler was part of 215.  When that label went belly up, I retained the rights to my music. Dave started NuGroove.  The plan was, we should do a new record as soon as we sign.  When 215 went out of business, Just Feelin’ It was out there but nobody could really get it.  For almost 14 months, it was just not available. That’s the reality of the music business these days.  Up Front became the vehicle to re-release some of this material, which, in my opinion, is fantastic, and to record some new material. We wanted to get some more creative juices flowing and build some new connections.

SV:  Given the sorry state of the music business, reintroducing audiences to tracks from your earlier CDs is a smart idea.
MM: I must admit, one of my major concerns was some backlash about releasing previously recorded material.  My true fans, those who have really followed my career, are really supportive. I wanted to do “Outer Drive” again; it was my biggest hit. The way we did it on Up Front  is there’s no formatting for radio, just really raw, the way we do it in a concert or the way we do it at a club.  That’s what I wanted.  And I wanted my fans to hear that because my fans are always listening, they really listen and listen intently.  That’s the reason I wanted to do “Outer Drive” again.  Actually, we broke it up into two tracks.  One is a 6 minute track; the other is about 4 minutes. But really, we played that song for 10 minutes, well, really 12 minutes.  We were having so much fun.  It’s the way we do it live, that’s why it is so long.

SV: Ah, that’s interesting.  The reprise version did sound more improvised, but I thought it was another take!  That is very cool!  It’s still the same take.
MM:  It went on way farther than that!  (laughs)

SV:  “Outer Drive” was my favorite track on the new CD.  The title track is also excellent.
MM: I love “Up Front” too, but “Outer Drive” is also my favorite on the new record. I make records so that we can expose the music.  But it’s really good to just play, like we normally play.  You’re right there. You’re doing it like you intended to do it.  So that’s what we did with “Outer Drive” this time.

SV:  I think that is why I love jazz so much because of the artistry and magic of improvisation.  The feel on the new record is really that of a live, spontaneous performance.
MM:  That’s what we were going after.  We wanted to play, stretch out, jam a little bit.  Up Front is literally just a jam.  (laughs)

SV:  Aside from “Outer Drive,” did you re-record any of the previously released tracks?
MM:  Not much rerecording had to happen.  On “Coming Right At You,” we did actually go back and re-recorded a couple of things, remixed it, and made it a lot more funky than it already was.  (laughs)

SV:  The ensemble playing really stands out on this record. Tell us about recording the new tracks.
MM:  Here’s the way we recorded the new tracks:  You get a bunch of musicians together; go in the studio and go play. That’s exactly what happened on Up Front.  My live band, the guys I use on all my concerts, we just went in the studio, blocked out the day, and just jammed.

SV:  You’ve just answered one of my questions.  I wondered if you recorded with your touring band because of the record’s “live” feel.
MM:  I think that with every record, you should be able to feel the hearts of the musicians.  Not just the one musician, not just the solo artist.  Playing bass, being an alternate support instrument, I’ve always felt like part of the band. With these jam tunes, I’m just part of the band, just trying to let everybody have their say, to move as one. People want to hear the musicians, not just one person.

SV:  That’s what’s so much fun about this record, track after track there is delicious interplay with the band and your guest artists, Jeff Lorber, Rick Braun, Kirk Whalum, George Duke, Steve Cole.  I really enjoyed Tom Braxton’s work.  How did you hook up with him?
MM: Through Kirk Whalum, actually.  Tom and Kirk are really good friends.  They were running buddies when they were both down in Texas.  They’ve known each other for a number of years.  So it was through Kirk that I hooked up with Tom.  Now I really don’t want to work without him.  He’s fantastic.  You know, he tours with me as well.  He’s got his own records, which are doing very, very well.  He’s a great player and great players, honestly, are sometimes hard to find.  I live in Chicago and he lives in Dallas, but we hook up!  That’s the way that rolls.

SV:  You mentioned touring, what are your summer plans?  Are you heading out on the road soon?
MM:  Right now, we have some dates here and there.  The summer schedule is just being put together now.  There are things to do in Chicago and some things in Texas.  We will definitely get out to Los Angeles; there’s a really wonderful radio station out there, KSBR.  They are fantastic.  We’ll go out there to do their bash and hangout with them.  There are a couple other things in the works. 

SV:  I’m sure you’ll be one busy guy.  I am curious if you have played any of the music cruises.
MM: Oh yes!  Every year I’ve been on one, up until this year.  I did the Warren Hill cruises; Brian Culbertson was the most recent one.  I’ve actually done a gospel cruise as well, the T.D. Jakes’ Gospel Cruise.  It was fantastic especially because my family was there.  Not to the usual Caribbean places, we went to Alaska!  That was actually my favorite cruise so far.  So I’ve done a number of cruises and am looking forward to doing another one soon.

SV:  I’m interested to trace your early music beginnings.  You grew up in Chicago. Your grandmother and mother both played piano.  Your father had a beat up guitar, but your brother ended up with it.  Your mother bought you a $25 bass and $25 amp.  Did you first play that guitar?
MM:  Shall I say I played at a guitar.  (laughs)  I couldn’t play it that well.  To this day, most people would be surprised; as well as I can play a bass, I can’t play guitar.  (laughs)  I tried guitar but failed miserably.

SV:  When I listen to your playing, I think how agile you are at playing melody.  But you do it on bass, but not a guitar.
MM:  That’s just what it is!  (laughs)  I grew up playing piano and played organ and piano in church.  I didn’t play bass in church.  I have a strong gospel background.  For a long time, I didn’t play any jazz.  I always studied it but never played jazz because of my religious upbringing.  I didn’t actually step foot in a club until 1995.

SV:  Your music has such heart and soul. Tell us more about the gospel influences.
MM:  If you’re not doing it from the heart, what are you doing it for?  Truth of the matter is that’s why I play.  If it’s not coming from the heart, if it’s not reaching somebody’s heart, then why do it at all?  I consider myself a real servant.  I consider my music to be the vehicle in which I serve.  The way I serve is to reach people not only to entertain them, to make them feel good, but to give them something to think about, give them some hope and encouragement.  To me, that’s what it’s all about.  That’s why I do what I do.  There’s no other purpose but that.

SV:  I do experience that uplifting quality to your music.  It is a very positive listening experience.
MM: That really is the goal.  I’ve had the opportunity to have great mentors, Kirk Whalum being one of them and George Duke, as well.  Those two are just prime examples.  Their technical ability is so fierce.  That aside, they literally play from their hearts every night.  I just admire that and want to be like that.

SV:  Did you meet Kirk through your gospel connections?
MM: First time I met him, we did The Gospel According To Jazz, Chapter 1.  And the way it came about, I had a piano/organ player who moved from Chicago to Nashville and hooked up with Kirk.  They needed a bass player, and for some reason, they couldn’t find one in Nashville.  You go figure that, I don’t understand it; Nashville is Music City!  They should know somebody!  (laughs)  They couldn’t find anybody, so they called up to Chicago and got me on this thing.  That’s how I met Kirk.  That’s how I met George.  That’s how I met Paul Jackson, Jr.

SV:  Those records were so inspiring!  So, you came to smooth jazz through another music genre. That’s so interesting how you got there.  Then you began playing with Steve Cole?
MM:  It was around that same time that I connected with Steve.  He had just started playing with Brian Culbertson.  Those two had just hooked up and they invited me to join the band.  It was around that time we got together and started touring together.  It was about a year or so later, Brian was encouraging Steve to do an album.  He said, “You know what, man, I’ll help you.  We’ll just do this album.”  That’s how Steve started his solo recording career.  And then, from that, after Steve got finished, it was Brian who came back to me and said, “You know what, you should record!  Both me and Steve will help you!”  (laughs)  It was such an encouragement and still is very much so.  It said to me “Hey man, you need to go do this because you are that talented; you really should go do this.”

SV:  You have an uncanny knack of being in the right place at the right time and building great relationships from these connections.  Your music career has unfolded so superbly for you.
MM:  Even with Up Front, there are new relationships being built and I just love that.  It really is one big happy family.  (laughs)  Sometimes people think that in this music business, people are competitive or whatever.  I don’t see it.  I see people who say, “If you’ve got music and that’s what’s in your heart, let me help you get it out there.”  I know I feel that way as well.  If there is something on somebody else’s heart and they need some help from me, I am more than willing to help support somebody’s vision.

SV:  That’s a very cool attitude.  The smooth jazz scene seems to be getting extremely competitive with fewer slots for tour dates and radio airplay.
MM: Yeah, it is tough right now.

SV:  Who are some of the people you worked with for the first time on the new record?
MM:  I worked with Najee.  Oddly enough, we were sitting in a lounge waiting to go on in Seattle and he offered.  He said, “Mike, hey man, you need me to play on the record?”  I went “Yeah!”  (laughs)  It happened just that way.  We were on the phone just about every day after that, just chatting over parts, e-mailing each other files.  It just became a great relationship.  He’s such a wonderful brother; he really is.

SV:  This warmth is reflected in his track on the record.
MM:  That’s right.  And this is my first time working with Darren Rahn, the hits maker. It was a pleasure working with him.  He is very receptive.  The product he puts out is just fantastic.  I’m really happy and we will definitely do it again.  And some of the other guys come up from the other local guys, who wanted to work on the new record with me.  I am really happy about that as well.

SV:  You’ve made it to the Top 20 with your first single, right?
MM:  Yeah!  It’s called “Comin’ Right At Ya.”  The next one is going to be “Bring It On.”  That’s original music being played on smooth jazz radio!  (laughs)

SV:  The vocalists sounded like a choir. They did a fantastic job.
MM:  You know, Armiriss Palmore, who is my vocal arranger and contractor, is just a gem.  She pulls all these people together and gets them to sound like the angelic choir that they are.

SV:  Such an amazing, full sound with gorgeous harmonies.
MM:  Yeah!  You know, this is the first time in a long time that Steve Cole and I got to work together. It was really, really special. It really was.

SV: Coming full circle.  That track with Steve was “End of the Road,” the Babyface song.  There is no warmer sound than that saxophone played by Steve Cole.  Wasn’t that gorgeous old horn his father’s?
MM:  That’s right!  I don’t know if you ever heard him but his father plays wonderful too.

SV:  There are so many great players in Chicago.  Kirk’s brother Kevin is there, yes?
MM: Yes, the Whalums have a lot of roots in Chicago. Kevin is on the record as well, on “Lovely Day.”

SV:  Yes! I really enjoy this version. It is so refreshing and alive!
MM: Most of Bill Withers’ songs have been done so many, many times. But I love the message of this song.  “Lovely Day,” it’s probably out right now in 5 different versions! However, that being said, the version that we did reflects a style of dance in Chicago called steppin’.  We wanted to do that, to pay homage to Chicago Style, Chicago Steppers Style.  So that, combined with the message, it’s a no brainer.

SV: It could be a club hit!
MM: It actually is!  For a little while now.  It’s regional of course, only in Chicago (laughs) but it’s all good!

SV:  Chicago is a terrific market!  You have Steve there and Nick Colionne too!  And a local keyboard player I admire, Michael Logan.  He’s all over the new CD.
MM: Yeah, he’s fantastic.  Oh my gosh!  I keep pushing him.  He’s got to put out a record too! (laughs)

SV:  In your sweet home, Chicago, you mentioned playing in the clubs.  Do you play those clubs routinely?
MM:  I don’t.  I wish I played there more but I don’t because a lot of times I’m on the road with others or with my own band.  It doesn’t come about as much as I would like it to.  This summer, what I want to do is have my band playing a lot in some of the clubs.  It would not only make economic sense, but just to play, to become more cohesive, and to feel each other out even more.  I’ve known my guys for a number of years but everybody evolves.  Everybody is learning new techniques, new ways to approach their instrument, and new ways to approach music.  I want to be in on that.

SV:  You mentioned you go on tour with other people.  Who?
MM:  I have been playing with Kirk Whalum.  I play every once and awhile with George Duke. I had been playing with Larry Carlton, but I just let that go.  Again, my focus right now is a solo career.

SV:  You dedicated this record to your wife, Lana. That track you wrote for her is extraordinary and romantic, “She’s Always Been There (for Lana).”  How does she participate in your music?
MM: She is actually a fantastic organist and writer and vocalist. She wrote something for my first record, but she’s mainly a gospel writer.  She really contributes as my listening post.  I’ll write something and she’ll say, “OK, let’s see how this goes.”  And “Why don’t you change this?”  She’s my biggest critic and my biggest fan.  That’s how she plays.  She is my inspiration, really.

SV:  Did you two meet at church?
MM: (laughs) No, we didn’t!  Actually it’s a wild story. Her mom is, flat out, one of the best classical piano players I’ve ever heard.  I used to take lessons as a child with her.  So I was over at their house every week.  I didn’t romantically like Lana at that time.  By the time we got into college, we had grown close.  And by the time we were in graduate school, it had gotten serious.  We’ve known each other basically all our lives.

SV:  You went to Northwestern University for your graduate degree, right?  There’s something about an intellectual setting that opens up the entire universe for exploration and to the freedom to create.
MM: Our relationship really flourished then.  There were four of us that became really close. It’s nearly 20 years now; we are still close to this day.  It was me, Lana, and a couple of other people that we met along the way in graduate school that we are still very close with.  As a matter of fact, a couple of weeks ago, I took a drive by the campus, and relived the old days. (laughs)

SV:  I am really impressed that you not only have a Bachelor degree in Arts and Music, but you have a Masters in Music Performance.
MM:  I was always taught that you should learn your craft and you should learn it well.  The educational part is something that I needed to do for me. It was just something I wanted to honor my craft.  Not that it gives me any more credibility; I don’t think it does anyway.  Either you can play or you can’t play.  Relationships are good but you have to bring something to the table.  If you aren’t doing what you’re called upon to do with quality, you won’t be doing it that long!  (laughs)

SV:  Is there anything else you’d like to say to the SmoothViews audience?  To your fans?
MM:  I appreciate all the support.  This record is definitely something that is from the heart.  Again, to my fans who are waiting on that full scale project, hang on.  But this one is certainly something that is close to my heart and I hope they enjoy it.

SV:  Congratulations on the great record and your blossoming solo career. Wishing you all the best with the record and touring. We appreciate talking with you today. 
MM:  It’s my pleasure.  It really is.

To listen and learn more about Michael Manson, visit www.mikemanson.com