Ian Martin
Interview 7 February
2006
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Hey Ian, thanks for doing this. How are you
Oh, it’s my pleasure
Mike, I’m doing great.
The Way, tell me about it.
How long has it been out and how's it going down.
Well it’s been in out in
the UK since early Sept. 2005. My
US release has been available at Cdbaby.com since about the same time. However, the official US release date
is January 15, 2006. That’s when
I’ll begin a bit of marketing over here in the US. It will be sent out to radio, so I hope that it will get to
the people who enjoy what I do.
Critically it’s being received really well, especially in the UK. The reviews and interest have been
great.
It got picked up by Ralph at Expansion for UK release, how did
that come about - I guess through the connection with Soul Brother
The Expansion licensing
actually came about through Andreas Hellingh. Expansion had some interest in my first CD, “One” but it
didn’t happen. I had since thought
about trying to get more exposure to the UK market, so Expansion seemed to be
the way to go.
What are the differences between the US and UK markets.
Wow, there seem to be many. I believe that people in the UK are
more open-minded when it comes to music in general. They particularly have a much stronger appreciation for
soul- even in the broader scope of “Soul” music. People seem to be more open to derivatives of soul music,
not just traditional. Now it may
be that people are the same, but those that BROADCAST the music in both markets
are different? Still the UK seems
to be more open and I don’t know what the reasons are, Do you know why that is?
In the US, “Pop” is what you’re bombarded with. The US has great soul music, but you
have to search harder for it. You
don’t hear it as easily on the radio.
I went to a Wine Bar last time I was in London; the DJ had brought me to
tears!! The music was incredible.
How long did it take to put together,
Whats your goals or thought process in putting together your
albums, because they are you but you utilise lots of other artists
I worked on the album for almost 2 years, from conception
to mixing. It’s like running a marathon, that’s the best way I can describe
what it’s like putting together an album entirely independently. And because I’m trying to make an artistic
statement, I follow my heart. So
everything takes the time it needs to take. I don’t try and get something done quickly just to get it
out. I want my inspiration to be
documented in a certain way, have a certain level of integrity. It’s a labor of love, and I want it to
be the best it can be. The creative process doesn’t always happen quickly,
although when I really get into a groove it flows. I suppose could get things done a lot faster if my goal was
to put something out that I wasn’t’ emotionally attached to.
I am a writer first, then a bass player, then a
producer/arranger. So naturally
when I want to make my statement, it will usually be through a
song/composition. I don’t sing, so I ask singers to express what I can’t. I use different voices to do that, and
that’s the part that’s unusual.
Here’s this guy “Ian” who doesn’t even sing putting out a record
featuring singers. The voice so
strongly connects with people, it’s natural for us to connect to singer to the
song- and not really anyone else. But it’s funny to me because I’m so involved
in the whole process that the only thing I don’t do is sing! When I do my albums, I really am
expressing myself, and isn’t that what we love about the people and their music
that touches us?
what tracks have been getting most attention
It’s interesting; in the
UK the tracks that I hear people are feeling are “Brother”, “Movin’ On”, and
“Release”. But in the US I hear
people are feeling, “You Are” (US Version) “Tell me if you still care” and
“It’s Your Nite.” Again the differences in the markets-I still can’t figure out
why?
Tell me about the vocalists you use, Sy Smith, Gavin Christopher particularly
are known in the UK, and Jill Zadeh through her work with
you
I was really blessed to
have some amazing people on this record, they’ re all great singers! Soul fans I’m sure know Gavin, Sy, and
Tim. They’ve been recording some
quality music for a while and have been warmly received in the UK/Europe/Japan markets. Jeff Robinson, maybe lesser known. He has a couple of albums out himself
and has an awesome voice. I’m sure
that most people don’t know Kampain, Jason, Donavan, or Kes. I met to College with Jason and
Donavan, and met Kamp and Kes when I moved to LA. Jill and Robin were both on my first records. We go back a long time now, they are
like sisters to me, I love them both dearly.
Tell me about your writing, do you write with a particular
vocalist in Mind
I rarely write with a vocalist in mind. I write the song first-or as I’m
writing a sound will come to mind, the type of voice I’d like to hear express
the song. Lyrics are the most
challenging aspect for me. It’s
easy to be trite, and I resist that.
Sometimes it’s great to be poetic, but most of the time I’m pretty
straightforward. I asked Barry
(Manilow) what the key to songwriting for him was and he said -clarity. So I guess I strive to be poignantly
simple.
You pretty much do the whole thing yourself don't you?
I did all of the
producing/arranging/programming myself, and almost all of the writing-with the
exception of the cover “Tell Me If You Still Care” (Jam and Lewis)
and “Movin’On” that I wrote with Robin McKelle. I also played a lot of
instruments on this one, I’ll do that if I know exactly what I want to hear and
can do it myself. If not, I bring
in others to do what I can’t. With
“One”, there were certain guidelines I had to follow, because they were
classroom recordings. That’s why I
really feel as though this is my first CD, because my intent from the beginning
was to make CD. So when I started
conceptualizing “The Way”, there was a much clearer vision.
Tell me about yourself, you're from Toronto originally right?
Yes, I love Toronto! Actually, I just wrote a song in
dedication of my home that may be on the next record. It was a great place to grow up, although I has changed a
lot since I was a young. A lot of
extremely diverse cultures that live together, and generally people live in
relative harmony. Probably some of
the best food you’ll find anywhere.
Music particularly gospel was in you form a young age?
Gospel music was all I
heard. I didn’t grow up listening
to soul/R&B in the house, it wasn’t allowed. But I think that is funny my music doesn’t reflect that as
much as one would think.
And you made bass your primary instrument, what kind of stuff were
you playing and listening to in your teens.
I was listening to
gospel, early Hezekiah Walker-with Aaron Hall before Guy, New King James
Version, The Hawkins Family, Clark Sisters, Milton Bronson and the Thompson
community singers. I was into a little known Canadian fusion band called
UZEB. Their bassist Alan Caron
blew my mind, a true virtuoso. I
still think that he’s one of the most accomplished bassist alive. I listened to what was on the radio,
Depech Mode, Bryan Adams, all the pop tunes of the day.
And you got into Level 42 I understand
Yeah, Level 42 changed everything. Back
then they were the ultimate blend of musicality with mainstream appeal. I hadn’t even heard of Maze, The
Ohio Players, and so many of the great soul bands of the 70’s/80’s. As I always say, I’m a late bloomer.
I’ve always been strongly connected to
vocals. I remember hearing a vocal
group when I was about 9 or 10 on the radio It was the most amazing thing I had
ever heard the harmonies were angelic, I didn’t know who it was. This was before you could go on line
and do a “search” (LOL). Anyway 12
years later I heard Take 6 and my jaw fell to the floor. I couldn’t even conceive what I was
hearing! I knew that it wasn’t the group that I had heard all those years ago,
but they were doing the same thing.
I soon after learned that it was a group called Singers
Unlimited.
And you went to Berklee?
Up to this point you were learning and
developing, were you playing out at all, or did you know that you
wanted a career in music, either performing or teaching.
When I got to Berklee, it was intimidating at first. There were so many incredible musicians
who were performing at very advance level for their ages. But after a while, I found my groove,
and developed at my pace. I played
out very seldom for the 1st couple of years in Boston, I wasn’t
musically ready yet.
I wasn’t sure which direction I was going to take
musically. A good friend of mine
chose film scoring as a major; I didn’t even know what that was. At first, I was an arranging major,
small and big bands, vocal. Then I
went to the movies with that same friend and saw “The Prince of Tides”. The music was so beautiful and moving,
I said if that’s what film scoring is, then I want to change my major. The next semester, I did.
Was Marlon Saunders at Berklee at this time?
No I don’t believe he
was, I haven’t met Marlon yet.
But you didn't settle on the East Coast, what took you to
LA?………..and its workin out?
I did live in NY for a
quick minute, I commuted back and forth between there and Boston. NY is a great city, but every time I
left to go back to Boston, I felt a great sense of relief. I guess that was pretty good sign that
NY wasn’t for me (lol). I was
playing a lot more jazz back in those days, so NY was the first choice. But I loved LA, the weather, the vibe,
and of course I would have the option of pursuing my film scoring carrer. So I thought that LA would be the
logical place for me. I’m so glad
that I made the move to LA, it has worked out wonderfully for my career. I’ve met so many people, and worked
with musicians that I never thought I would, people I grew up listening and
idolizing.
Who are your influences both in performance and writing
I’ve always been more influenced by the people around me
as a bassist. Reuben Rogers, Byron
Miller, Andrew Gouche, Paul Chambers, Ron Carter, Robert Hurst, are a few of
the bassist that have influenced me and I greatly admire. As a writer, Stevie Wonder, Babyface,
Joni Mitchell, Level 42 (the Gould brothers), Israel Houghton, Kirk Franklin,
are a few that come to mind. But
as a performer and writer, I’d say three big ones are Prince, Marcus Miller,
and Barry Manilow. Prince-I don’t
think anyone can deny his genius and I couldn’t say enough about him! Marcus
embodies everything that I strive for; he’s a master instrumentalist, composer,
bandleader, and producer. He
writes songs, sings, and I wonder if he can fly? (lol) Barry really is one of the best
performers still with us-I truly believe that. He is astutely tuned into his audience and knows how to take
them on a journey. His instincts are impeccable, and his songs speak for
themselves.
What I’ve learned the most from him is how he can
interpret any song he sings and makes it his own-not what’s in fashion, or some
may think it should be. His attention to detail is unlike anything I’ve ever
seen, and it’s like being in school again. I always say I got my BA at Berklee, but Barry is teaching
me the rest of the alphabet!
You full time in music. I guess you are. What kind of things have you done
aside from your personal material.
I am very blessed to be fulltime in music, but as a
writer/producer I haven’t done as much as I’d like to. I think that that will change soon
though. I work with Loud Neighbor
Productions (LNP) and we’ve done a few productions together. LNP was put together about 1 year ago
and it’s 4 friends who are like brothers (Nate Morton, Andrew Dorsett, Nigel
Williams and myself). Because
we’ve been playing together for so long, we decided to try and capture the same
energy and bring that into the studio.
So far, it’s worked out wonderfully.
The new CD is the second one, how did the first go. That also got some attention in the Uk,
and some tracks got released by Soul Brother
“One” was received very well, especially because there was
NO promotion behind it, just the web, word of mouth, and Andreas (lol) . Really I have to give him love because
he really did his best to put my music out there. I can honestly say that if it weren’t for him, there may
never have been a follow up CD. He
was also instrumental in the Soulbrother/Organic Soul compilation of which I
was very proud to be a part of.
Whats the music scene like around LA for you and your kind of
material.
Very tricky, my music seems to fall in the cracks between
Smooth Jazz and Soul. I really
don’t think it’s smooth jazz at all, however if you like soul and jazz you’ll
probably like my stuff. So now I’m
really getting a handle now as far as the direction to take it live. As far as radio is concerned, it’s
very, very challenging for me. As
of now, I still am not played on the radio in LA.
Do you do any shows?
What are they like.
I’ve just put a band
together and we’re going to start doing live shows soon. But because of my commitments to Barry,
it’s been challenging to really get aggressive with live dates for my
project. His new CD is at the top
of the charts and the schedule changes so frequently, that I have to wait a
while. But it will be great when
we start playing live; it’s the best of jazz and soul. We’ve started to rehearse and it sounds
incredible. I have some
great musicians and singers; it will be a lot of fun.
Tell me about some of the artists you have worked with, some big
names in Jazz & Pop
What was Maxwell like.
To work with some of the people that I have is a
blessing-especially the ones that were the most challenging. The hard ones show you what NOT to do,
so you don’t have to make the same mistakes when you forge ahead on your
own. With very few exceptions, if
an artist is very difficult, there career suffers. And the ones who are conscientious, and treat others with
respect tend to keep working. Even
if they aren’t as “big” as they once were.
I only did one show with Maxwell, so I don’t know him very
well at all. But we did rehearse
for 3 days and did the show. He
was very nice, and he’s very shy.
People sometimes mistake his shyness for eccentricity or rudeness, but
he’s not at all. I had a
great experience.
I hadn't realised that you worked with Jaheim. I'm looking forward
to his new album
My personal preferences pretty much fall in line with some of the
Soul and Nu Soul names that you have worked with like Amel Larrieu, Will
Downing Angie Bofill, Jean Carne, Liz Fields, Sy Smith, Julie Dexter - where's your
head at musically
Everywhere. I try to keep open, because that’s what
keeps an artist growing. There’s
so much music that I should know, but I don’t. But that’s ok because I’ll get there and it can only add to
my experience. But I have to say
that I “feel” soulful music.
What independent artists are you feeling right now
A few that come to mind
are Frank Mc Comb, Sy Smith, Ledisi, Sophie Delila, Raya Yarbough.
What can we look forward to in the future, your ambitions
As far as the future is
concerned, who knows? But I’m
committed to following my heart and documenting my experiences with great
music.
Anything you'd like to add.
Thanks for your time.
Thanks for having me!
Mike
www.lifeandsoulpromotions.co.uk
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