>Clyde Pellegrin plays keyboard on this tune. Let the rhythm shine through! He is a master at the keyboard and has had numerous bands in the past in South Louisiana. He has also served as Musical Director for a number of musicals. He lives in Houma, LA.
Whose idea was it to come up with the album title, What's the matter with that?
>Actually, "What's the Matter with That?" is the name of the single. The name of the album is "Smooth Sailing". "What's the Matter with That?" is an anti-nuclear weapon song. It is a plea from the common man to dispense with these incredibly powerful weapons and remove them from our arsenals. They are incredibly destructive and can kill hundreds of thousands of people at a time. They also pollute the air, water, and land with radioactive materials for very long periods of time. In the years following a drop, cancer rates skyrocket. Plutonium is an element which we made in the laboratory to assist in the construction of these bombs. It is highly radioactive, with a long half-life. Did you know that the probability of contracting cancer after coming into contact with only the smallest amount of plutonium is 100%.
>The point of the song is to say, leave us alone. All we want to do is lead our lives. And you don't really want these weapons anyway. You just wave them around and threaten other countries to make yourself appear stronger. But - if we go down, and you go down too - because everyone goes down. No planet.
>"Smooth Sailing", on the other hand, is the song which is the title track of the album. It is a 5-6 part a capella vocal piece. Most of the music on this CD is what I call smooth rock. Smooth harmonies, easy running melodies, and meaningful lyrics.
With it being so many artists on this project, how would you describe the creative process?
>Hmmm. Well, here's the process. I basically write the song solo. That's where I start. Then I score the arrangement, defining what instruments I'd like to use and their parts. I use partially scored parts, and partially improv parts. Then I contact the various musicians in the band who play those instruments and invite them in for a session. Finding a date that suits all of the musicians, our beautiful studio, and my schedule is often a challenge; but we get there. Then we track the instrumentals. It takes time. Then we put the vocals down. Sometimes I need to record and produce from remote studios in other states or other countries because the musicians can't make it to our specific session. After all that, I spend months in the studio mixing the tune to make it right.
If someone just discovered you guys music, what would be the main selling point to win over the fans?
>I think the main selling points would be -
- Quality popular music, with a wide variety - lots of great vocals.
- Easy on the ear material
- A positive and "up" stage show.
Do you guys plan on touring anytime soon?
>We've been primarily recording band since inception. That was the model (like Steely Dan). But we've had more and more pressure on us to play live - including suggestions that we do the New Orleans Jazz Fest. I'd love to do this. We now have a growing fan base due to radio airplay, just on the basis of the quality of our music. I do not hype the band much. My philosophy is to let the listener's ear make the decision as to whether he/she likes the music or not. The stage show is the next step up - and it should be great.
Besides music, what kind of things are you guys into?
>Hmmmm. OK, I'll start with myself. I am also a marine scientist/marine biologist/coral reef ecologist. I have spent most of my life doing that, while writing and recording as well. Roger Kimball is also a professional whiz computer programmer and analyst. He's just as good at that as he is on sax. Clyde Pellegrin is also an Independent Marketing Director at Team National. Joe Raines is entirely immersed in music, as is Mark Trentecosta.
Besides the band, who are some of the notable people who had helped you along the way?
>Another hard question. I have had many excellent music teachers along the way. In school and in private study. Orchestra leaders, choir directors, numerous independent instrumental instructors. And then there are all the musicians I have worked with over the years. Amazing. I have been challenged. I always feel that I have to make my compositions and arrangements worthy enough for these musicians to play - because they're pro's. So I work hard on that before distributing their scores. Influences: Brian Wilson, the Beach Boys, Steely Dan, Earth Wind and Fire, Chicago, Billy Fields, Kenny Rankin, Michael Franks, Antonio Carlos Jobim, Joao Gilberto, The Youngbloods, etc., etc.
What can we expect from you in the near future?
>We're working on a new album now. I don't have a title for it yet. That usually comes later. But it will be a mixture of originals plus beautiful old jazz standards which I have totally revamped. I believe it will be a beautiful album.
Any last remarks?
