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Phone interview conducted July 1, 2011

In an industry that often celebrates the celebrated, Rahsaan Patterson has managed to remain relevant, despite never quite achieving mainstream success. His albums have all met with critical acclaim and displayed an artistry that isn’t concerned with churning out cookie-cutter “hits”. His sixth album BLEUPHORIA examines one’s journey to happiness. In this conversation, he talks about his own, which remains a work in progress as he explains to Darnell Meyers-Johnson…

Darnell Meyers-Johnson: Good day, this is Darnell Meyers-Johnson for Today I’m speaking with a soul music architect. He is more than just a singer or a songwriter; his voice, his vocal arrangements, his production, his songwriting and most of all, his ability to cross genres without fear all helped to build a wall of sound unlike anybody else. You know him from way back in the day as one of the young stars of “Kids Incorporated”, but he’s been giving us quality albums since 1997. He’s back with album number six, called BLEUPHORIA, featuring other awesome talent like Jody Watley, Faith Evans, Lalah Hathaway and Tata Vega, among others. Today I’m speaking with Mr. Rahsaan Patterson. How are you, sir?

Rahsaan Patterson: I’m good, how are you?

DMJ: I’m good. Thank you so much for taking time to speak with us, we do appreciate it.

RP: No problem.

DMJ: You started in this business when you were very young, around ten years old. How did you get your start back then?

RP: From a phone call. I was in New York, in bed, actually, and my mother came in and woke me up and told me that Tootie’s mother from “The Facts Of Life” was on the phone and she wanted me to sing for her. So I woke up, got on the phone, she said, “Hey, baby, can you sing me a little something?” So I sang the first line of “If Only You Knew” by Patti LaBelle. She said, “Okay, put your mom back on the phone.” I put my mom back on the phone, I got back into bed; next thing I know my mother comes back in and she’s like, “Rahsaan, you gotta wake up because we have to pack you a bag because you’re going to go to California tomorrow and you’re going to audition for a show. And if you get the part, you’re going to stay with Tootie and her mother, and if you don’t get the part she’s going to let you go to Disneyland and take you around for two weeks and then she’ll send you back home.” And so the next day I woke up, said goodbye to my family—which was a Thursday; flew to Los Angeles, auditioned for the show on Friday and started working on Monday.

DMJ: Wow. It happened just that fast?

RP: Yeah.

DMJ: Wow. And the time that you were out there doing the show, were you out there most of the time with… I hate to keep saying Tootie’s mom—what’s her name?

RP: Yeah, yeah, Kim Fields; I’m sorry. I lived with them for probably most of a year before my mother’s sister came out, and then my mother’s sister came out and then her and I moved into our own apartment. And then my mother and my sisters and my dad came a year or two years later.

DMJ: Now was your mom and Kim Field’s mom, were they friends already?

RP: No they were not, but they happened to graduate from the same performing arts high school in New York City. But one of my sister’s friends in junior high school happens to be Chip Field’s niece, so she was visiting her in California, and Chip Fields just happened to ask her, “Do you know any little boys who can sing?” And she said, “Yeah, my friend’s little brother can sing.” So they called.

DMJ: And as for your own family, do you have a musical background there? I know you said your mom went to the performing arts school.

RP: Yeah, definitely. My grandmother and her four daughters were a gospel group back in the 1950s, ’60s on the east coast circuit, and my dad sang as well, and quite a few members of my family sing on my father’s side. And then my mother’s an actress and then her sister’s a singer as well.

DMJ: Now I remember “Kids Incorporated” very well, but for those who may not be as familiar, how would you describe that show?

RP: Basically, it was “Glee” before “Glee”.

DMJ: With a younger cast, right?

RP: With a younger cast, yeah, with kids that were seventeen and under.

DMJ: And how long were you on the show?

RP: Four seasons, from ten to fourteen.

DMJ: And after the show was over, what did you do after that?

RP: I went to regular high school, and that sucked pretty bad and kind of put me into a depression.

DMJ: Why was that?

RP: Because I don’t like controlled environments like that—I don’t do well in controlled environments. If I’m sitting in class and someone tells me I can’t go outside, that really does something to my spirit. So jail would probably be the death of me, but I have no plans on going so I should be all right.

DMJ: Exactly. So I guess all the times on the show you guys must have had tutors, I would imagine?

RP: We did. We had tutors, and that was great because we only had to do three hours of school a day. And then once I went to high school it was kind of annoying because I couldn’t just be a regular student. I had all the other students who were aware of my performance on “Kids Incorporated”, so it just was disturbing.

DMJ: And did you end up actually staying to the end and formally graduating and that kind of thing there at that school, or did you at any point go back to a more home-schooling kind of thing?

RP: Yeah, that’s what I did. I went to independent studies.

DMJ: A lot of people have a hard time transitioning from child star to adult star, even within the music industry. Was that a difficult transition for you? I know you were saying high school itself was difficult, but as far as professionally?

RP: No, no. As far as professionally, no, it wasn’t. My father always took it upon himself to make sure that I was connected with managers and people in the industry who assisted me in writing songs and laying down demos and things of that nature, so the transition wasn’t difficult at all.

DMJ: You have songwriting credits with Brandy and Tevin Campbell and others. How did you get involved in that part of the business?

RP: Well, I had transitioned at about fourteen, fifteen when I sang backgrounds on one of the costars of “Kids Incorporated”. Her name was Martika, and she recorded her first album and I sang backgrounds on there. And she worked on her second album and I sang backgrounds on there, and I began to tour with her. So from working with her on her second record I met a producer by the name of Les Pierce, who was instrumental in helping me make a deal with MCA, because he and I started writing songs together for my first album.

DMJ: Weren’t there some other costars from the show who eventually became known?

RP: Yeah—Fergie…Shanice

DMJ: And you all were there at the same time?

RP: Yeah, we were all there together.

DMJ: Getting back to your songwriting credits, what are some of the songs that you’ve written for others that we may be familiar with?

RP: Besides “Baby” by Brandy I would say Tevin Campbell did a few songs that I wrote on his album BACK TO THE WORLD, that song being one of them. Chico Debarge recorded a song I wrote called “Give You What You Want” on his third solo record, and Jody Watley recorded a song I wrote on her FLOWER album—actually, two songs on her FLOWER album. Christopher Williams recorded one, back in the day.

DMJ: You did two great albums for MCA Records: your self-titled debut in ’97 and then LOVE IN STEREO in ’99. I love both those albums. Why did that partnership end?

RP: They got rid of me as well as a bunch of other acts they had that they didn’t feel were worth keeping. MCA actually folded and transitioned into Geffen, so once MCA disbanded they let go of quite a few artists there.

DMJ: So I would assume when you say “got rid of you” it was because you didn’t have any mainstream hits—it wasn’t because of the quality of the work.

RP: Yeah, it had all to do with lack of record sales, most likely, and the amount of money that had been put into it. And they didn’t see a benefit from having put all of that money into it, I guess.

DMJ: Is that something that for you personally has been frustrating? Having success, obviously, but not having mainstream hits?

RP: No, it’s not frustrating at all, because my goal in making music as an artist is not to be mainstream, so it’s not frustrating. It comes to my attention more so when people express to me that they desire for me to have more mainstream success—so from that point I’m forced to look at it, but I don’t spend my days thinking about, “Ooh, damn, I’m not mainstream.”

DMJ: Well, not for nothing—I hate using that phrase because everybody says it, but—not for nothing, but you are one of those people, you have more than what a lot of people have: you’re well-respected in this industry; your talent is respected—and a lot of people may have lots of hits but their talent isn’t really respected. People assume that they’re only successful because they’re working with a certain producer and it’s really a lot of magic in the studio, but you’re a real talent that I think a lot of people obviously—people within the industry, but even fans and people like myself who talk to other singers—the respect out there for you is enormous.

RP: Yeah, I appreciate that.

DMJ: Just carry that with you and know that anywhere that you go.

RP: Thank you.

DMJ: It would be another five years until you would come out with another album, and that was in ’04, the AFTER HOURS album, which is probably one of my favourites of yours. But when I was researching you and listening to some previous interviews, you indicated in some of them that this was kind of a dark period for you; you were going through some sort of a… I don’t know, I think you may have called it a self-destruction phase, I’m not sure exactly how you worded it. But what was going on?

RP: I may have worded it that way at that point, but ultimately it was just a breakthrough which felt at moments like a breakdown. But ultimately, a breakdown potentially is a breakthrough, and I luckily made it to the “through” part.

DMJ: That’s important.

RP: Yeah. I just had been dealing with the effects of my father’s passing at the time, and that was in 2000 when he passed away, so it really didn’t hit me emotionally until probably two years later. So it was just heavy—it was heavy. And it’s something that a lot of people go through and you don’t ever know quite what it’s going to be like until it happens to you. So luckily I was always able to continuously work and have a place to put all of that emotion and energy, so that helped me a lot: being able to go to the studio and travel and perform still. And so I’m glad to have had the opportunity to continuously make art.

DMJ: Yeah, because my next question was going to be: what role did music play in your life at that point? Did it act in any way as a healer for you or play any part in your healing process for whatever you were going through? And it sounds like it did.

RP: It did; more so, the people in my life who were aware of what I was going through had a huge impact in helping me through. Because at that time I very much had discovered for a moment that I potentially was not doing what I wanted to do in terms of making music, because I had always sang, and it’s always been what I’ve done from ten years old. And there was a moment when I realized that my father was extremely instrumental in making sure that I always sang and I always had an outlet, so for a second I thought, “Wow, am I doing this because I want to, or is it something that was just expected and designed by fate and the universe that this will be my thing?” I just had gotten to a point where I thought, “What do I want to do? Is this what I want to do?” You know what I’m saying?

DMJ: Yeah, that makes sense.

RP: So it was a period where I was like, “Wow, maybe it’s not.” But clearly it is.

DMJ: Did you ever seriously consider leaving the business altogether and just doing something else, whatever it might be?

RP: I still think that sometimes. I’m at a point now where I feel like in any relationship where you give one hundred and fifty thousand percent of yourself and your truth and your love and your expression and your communication, and when it starts to feel like, okay, maybe this is not all that you assumed it was going to be; or even getting to a point where you say, “Okay, I’ve made my point. Now where else can I go?” In the same regards as, say, Oprah Winfrey: she did everything she set out to do with that show and it was time to bring it to a close. That doesn’t mean that she’s not going to continue in the industry or produce shows, and even produce shows where she would host and interview people, but the closure of that phase. So I am at a point now where I consider that I may have made my point. Whatever point I think I was trying to make, it may be coming to a close in this area.

DMJ: You said there in that statement that a part of that feeling is that you feel like you’re giving so much of yourself, a thousand percent of yourself, but then somehow it’s not what you thought it would be. Does that mean that you feel like you’re not getting anything back in return from—I don’t know who that would be—the fans, or…?

RP: No, no, when I say that I’m saying particularly in the relationship aspect, not in the success aspect. When I do shows and I travel and people come and they buy my music and they sit in that audience, it’s beautiful—it’s wonderful. And sometimes it’s not the other person that’s not making it work—sometimes it’s just you needing something else. And occasionally that thought comes to my mind: like okay, you may need to go in another area. Just for a little while, maybe.

DMJ: Do you have other creative talents that you want to explore? Like do you paint sometimes, or whatever? Because typically, people who are in the business, whether they’re acting or singing, it seems like they’re doing a little bit of something else on the side, even if it’s just in private and nobody else really knows about it. Do you have other creative talents?

RP: Well, I started taking fine art classes, and there’s always the possibility of traveling the world and just educating oneself and spiritually finding enlightenment in the world. After spending almost thirty years of doing this within this industry, it just becomes a lot. I’m at twenty-seven years now, so it’s just a little tiresome, you know what I mean?

DMJ: Yeah, I totally understand. And if you did twenty-seven years at any other job you would probably be ready to retire, you know what I mean?

RP: Exactly. And I’m not saying that I would retire and not make music anymore—I would definitely do something else creative which would be an extension of my artistry and pick up from where my music left off. But yeah, that thought crosses my mind often, and more so now than ever before.

DMJ: Now did you ever think about producing, because I notice that you’re doing some producing here on your new album. You ever thought about doing that for other artists?

RP: Yeah, absolutely; I would love to do that and I would do that, and it all depends on folks who come and want that. So that’s what that is.

DMJ: So let’s talk about the new album a little bit: it’s called BLEUPHORIA. What does that mean?

RP: There’s several meanings to that. My perspectives tend to be quite layered, and in my music, I think one can tell that as well. But one of the definitions of that is the result that comes from the pursuit of love and truth and spirit and God, which ultimately ends up in a blissful euphoric state. So it’s a play on both of those words as well.

DMJ: Gotcha.

RP: And another is that it’s kind of another way of calling Earth something else, because when you look at it from outer space, it’s just a big blue ball. And I believe that our spiritual pursuit is to ultimately come and evolve to that ultimate godlike state amongst us all. And I feel like that if we were to get there, that would be the state—it would be Bleuphoria.

DMJ: Okay, gotcha. So let’s talk about some of the songs. Obviously, anyone who picks up the album will notice that the very first one is a cover tune from the American Songbook—a song that many people have recorded, from Frank Sinatra to Ella Fitzgerald and a long, long list of people—it’s called “I Only Have Eyes For You”. Your version is a lot different than any other that I have heard of this song, and I mean that in a good way; I mean that in a good way. But how would you describe that?

RP: I wouldn’t, because I wouldn’t know how to [laughs]. I would only say that it’s done in the fashion in which I would do it. And interestingly enough, I had no intentions of recording that song. It’s always been one of my favourites; it’s always been one of my mother’s favourites, and I think the song… my favourite version is by The Flamingoes, actually, and I just love the production of it—I love the celestial element of the production and the beauty in it, so I wanted to maintain that aspect of it in my rendition as well. But when I was working on the track for that, I had come up with a track and I was trying to come up with a melody and lyrics for a whole other song, and the first verse to “I Only Have Eyes For You” kept coming back to me. So I would say, “Okay, let me try to come up with something,” but it would always come back to “My love must be a kind of blind love”. And then I said, “Okay, Spirit is telling me I need to record this,” and so I did.

DMJ: And even though it’s different, what I like about it is that if you’re familiar with the original song, you can recognize it. Sometimes it’s frustrating when artists go in and they’re covering—especially anything from the American Songbook—and they’re covering it, and they want to put their own, I guess, flavour on it or whatever, but then you don’t recognize the melody or anything and you’re like, “That doesn’t even sound like that song.” But you can recognize the song within this production, and that’s what I really like about it.

RP: This song is a beautiful song.

DMJ: Do you think you would ever consider doing what some artists have done where they’ll do a whole cover album from the American Songbook?

RP: I have considered that. More so than covering an American Songbook, I’ve thought of picking a certain artist from that era—say, a Frank Sinatra or a Little Jimmy Scott—and I would lean more towards a Little Jimmy Scott songbook—and even though a lot of his tunes were American Songbook classics, it would be more of an homage to him and whoever else I decided to cover or pay tribute to.

DMJ: I think that would be a great idea. I can actually hear that in my head right now as we’re talking about it. There’s an interesting story on how you got together with Jody Watley for the song “Ghost”, if you don’t mind sharing that?

RP: Oh, yeah. I was at the studio and I was on Twitter, and I was tweeting and I was working, and most likely how happy I was to be in that space, and she was on Twitter at the same time and she said, “What studio are you at?” and I told her and I said, “Do you want to come?” and she came an hour later, and we did our thing.

DMJ: And it was just that easy, not a whole lot of figuring it out?

RP: No. No managers, no record companies in-between.

DMJ: That’s beautiful, when two huge talents just come together and say, “Okay, let’s just create,” and not even worry about the red-tape stuff that record company people tend to worry about.

RP: Yeah.

DMJ: Because often you have great collaborations and then you don’t hear them, because… I interviewed, I think it was Leela James last year, and she was telling me how she did a song with… I think it was Anthony Hamilton, or whatever—but it wasn’t on her album, it wasn’t going to come out because of some record company stuff, and I was just like, I wanna hear that, you know what I mean?

RP: Right.

DMJ: So it’s awesome that you guys were just able to go ahead and do that. I want to talk a little bit more about some of the guest stars on the album: you have Faith Evans on a track. Describe that track that she’s on.

RP: That’s “Crazy”, and it’s just kind of funky. When I was coming up with that track I always heard her in my head singing that chorus. So Faith and I had met several times over the years, and I think she’s cool peeps and we both have mutual respect for each other’s gift. And coincidentally, when I was attempting to reach out to her for this record, she was trying to reach out to me through a mutual friend to record with her on her most recent record. So I didn’t end up singing on her record, but she came through the studio and sang the hook on “Crazy”, and then Shanice came in and did the adlibs on the track at the end.

DMJ: And then there’s a “Noah’s Arc” connection to that song, right?

RP: Oh yeah, Daryl Stephens. He’s cool as hell, and extremely talented and gifted as well and a good songwriter. And he had sent me some of his music that he’d been working on, and I really liked his lyrics. And I had already started writing the song “Crazy”, and then one day I went into the studio and I thought, “Why not include D on the track?” So I called him and he was like, “Yeah, I’ll come through.” So he came through and put in some lyrics here and there, and that’s how that was born.

DMJ: One of those things that was meant to be.

RP: Yeah.

DMJ: One of my favourite songs on the new album, probably because it features one of my favourite singers is—

RP: Tata Vega?

DMJ: Yes! “Mountain Top”—I love that song.

RP: Thank you very much. I love Tata Vega, like she is a monster.

DMJ: So what was that like, working with her in the studio?

RP: Oh, man. My father used to play Tata Vega when I was a kid, so I grew up hearing “Get It Up For Love” and “Just Keep Thinking About You” in constant rotation, so I was very familiar with her voice long before I ever got to see “The Color Purple”. And interestingly, when I saw “The Color Purple”, I knew that that was her singing. So fast-forward all the way to last year, and Keith (Crouch) and I were in the studio deciding it would be cool if his uncle arranged some of the chorus vocals, and sure enough, I had prayed in my mind, “Lord, please have Tata Vega be at least in the choir.” So she came through with all the other folks; sang; so me and Keith are in the booth while they’re recording their part. So right before they finish I look at Keith and I’m like, “We gotta go out there and we’ve gotta ask Andre what it would cost for Tata to sing some adlibs, and if I’ve gotta pay for that shit out of my pocket I don’t give a fuck. I’ll do that shit because I need her on this motherfucker.” So sure enough, they finish, the choir starts wrapping up and getting their clothes and stuff and leaving—purses and things—and as we’re walking out to go ask him, Andre’s already telling Tata Vega to come up to the microphone and sing. So it was all just divine and authentic and special. I’m blessed that all of those artists took the time to share their gifts with me and make this record what it is.

DMJ: Talk about the meaning behind the song “Mountain Top” if you can for just a moment.

RP: It’s about being an individual. It’s about my place within this industry, the space that I’ve created for myself, and being comfortable with that.

DMJ: Right. Because the tune has such a positive vibe when you listen to it, I think the audience, the fans, will be able to take that message and apply it to whatever their personal situation is.

RP: Definitely, because it’s also about making it up that rough side of the mountain, you know what I’m saying? Finally getting past all the stuff—all the baggage, all the issues—and finally making it there and being able to stand on top and view the world from a whole, entirely different space.

DMJ: The new single is “6 AM”—is that the new one?

RP: Yes.

DMJ: And that has Lalah Hathaway on it, right?

RP: Yeah.

DMJ: She’s another favourite of mine, and of course we also love her, generally speaking, at So you’ve got to tell me—I know you guys are friends, but you’ve got to tell me what that whole experience of working with a talent like her… and let me just—I’m like excited, talking about this—but let me say, she’s just one of those people: what she does to a song, you don’t even get…

RP: Yeah.

DMJ: You may have heard the song a million times before, a million other singers, but then once she’s on it it’s like a whole new meaning for you—you’re like, “Wow, I didn’t know the song really meant all that. I’m feeling so much more.” So she’s just amazing.

RP: Oh, yeah, she is brilliant in that way. She is a brilliant singer and she has a brilliant mind, and we relate on so many levels and we have fun together; we laugh most of the time. When I was in the studio recording “6 AM”, she called me and was like, “What are you doing?” I was like, “I’m in the studio.” She was like, “Okay, I’m coming.” She came through, and she filmed some of it, I filmed some of it, and that ended up being the first little episode of our online show called the Lah! and Rah! Show, which gives people a glimpse into the process of making “6 AM”.

DMJ: And where’s that available online?

RP: That is on YouTube, and if you type in the search “the lah and rah show”: l-a-h and then the word “and” and r-a-h, it’ll come up.

DMJ: And I wanted to ask you about the song “Goodbye”. That was another one I remember sticking out for me. What can you tell me about that? And the reason why I’m asking about different songs, obviously, is because I just want to give people… since I can’t actually play the music and sample it that way, I just want to talk about a few of the tracks so they can get a good idea of what the album is like. So yeah, if you can tell me about that one.

RP: “Goodbye” is one of the ballads on the album, and that too is layered in that in one aspect, from a relationship standpoint, it’s getting to the point where you’re able to let a situation go without animosity or resentment or anger, and really wish the best for somebody. And in doing that, you ultimately karmically receive that in return. And on the other side of it, it was, for me, about being able to really let go of my father, because it took a long time to accept that he was gone, so to speak—physically, of course. Spiritually he’s still always there, but just that tangible aspect, and not being able to pick up the phone and hear his voice. So I got to a place where I was finally able to let it go. It’s still rough at times, but it’s much better now than it was.

DMJ: Are you okay?

RP: Yeah, I’m good.

DMJ: We talked about this earlier—you’ve been in the business for so long; as of today you’re still in the business; you haven’t gone off to do anything yet—

RP: I haven’t gone off to Tibet yet.

DMJ: Haven’t pulled a Dave Chappelle and run off to Africa somewhere.

RP: Or a Cat Stevens.

DMJ: Yeah, exactly. What keeps you motivated? What’s keeping you here, as of today?

RP: Being able to see that there’s more for me. Being able to constantly cultivate vision for myself and see what’s next for me—musically, personally—and taking the steps to implement that. Love going to the movies—I love great cinema. I love any great art that speaks to me. That inspires me and motivates me.

DMJ: What do you want for yourself moving forward? And answer that however you feel comfortable, whether you want to answer it from a personal standpoint or a professional standpoint.

RP: I just want contentment—I want to remain content. Contentment is everything, because there are people who are sitting in front of liquor stores with cups who are more content than a lot of us are with professional careers. So I want to always be content.

DMJ: Business-wise, is there anything in this business that you haven’t done yet that you would like to do?

RP: I kind of would like to maybe direct something, in terms of cinema or something of that nature, because I approach my albums in the same way. It’s all very visual for me, and so creating an album is very much like making a movie. And sonically and production-wise and song-wise, when I put an album together I want it to resonate in the same way for people as if they’re going to see a movie, whether it be a horror movie or a comedy or a drama—and the best movies have all of it.

DMJ: Have you ever thought about what would be obvious to me, directing a music video for one of your own songs?

RP: Oh yeah, definitely that. Several of the videos I’ve done in the past I’ve basically contributed in a directorial sense, because I conceived them and worked with the directors as we were shooting it. So yeah, ultimately I may do that, but that’s kind of obvious.

DMJ: Yeah, exactly. I’m going to let you close out our conversation by being your own music critic, and I’m going to ask you how you would rate your new album, BLEUPHORIA, up against the work that you’ve done thus far.

RP: Oh, they’re all 10’s [laughs]. They’re all 10’s.

DMJ: Is there anything that stands out on this particular record that not necessarily makes it better or worse than the others, but that makes it different?

RP: Right. The only obvious one is that I did most of the writing on all of the songs, like there’s eight songs that I wrote by myself. Normally in the past I’ve collaborated, so this is the first time I have one hundred percent songs by myself. But ultimately I can’t answer that in the way that it’s posed, because each album represents a specific space that I was in in a period of my life, and from each period I’ve grown. And in each period in making my music it’s always been authentic and it’s always been pure, so it’s still that way. So it’s just the same for me—it’s just one continuing note, really. It just so happens that the records come out years in-between the previous, but it’s one long note.

DMJ: I’m going to go back a step because I meant to ask you about a song and I didn’t, and it’s one that I actually first heard before I heard the rest of the album and that was “Easier Said Than Done”. It kind of reminded me of the beginning part of Prince’s “Sign O’ The Times”.

RP: Oh, really?

DMJ: Yeah, a little bit.

RP: You mean melodically?

DMJ: Yeah.

RP: Okay.

DMJ: But just tell me a little bit about the making of that. And that’s one that you wrote by yourself, right?

RP: Yes. That song, I was in the studio and I started coming up with the track, and minutes after I had the basic foundation down, I went into the booth and started singing what was in my head. And lyrically, it just really expresses how difficult it can be to exit a situation that one is in when they are in love, as much as they know that they need to get out. You know what I’m saying?

DMJ: I sure do.

RP: We hold on to the hope that it can be fixed and it can work out, but your gut always tells you “uh-uh.”

DMJ: So moving forward, are you going to be touring or anything in support of the record?

RP: Absolutely. The record (came) out July 19th and I have some dates in New York; after that I have dates in Dallas, in Houston and Oakland and a few other ones that are being arranged as we speak. And then hopefully there will be more.

DMJ: Now is there anyplace online where folks can look up those dates to see when you’re going to be in their area?

RP: Yeah, they can go to R-a-h-s-double-a-n dot com, and then of course my Facebook page—you just type in my name, Rahsaan Patterson. And I also have a Rahsaan Patterson music page, so if they type in Rahsaan Patterson music it’ll take them to that page and then they can get all that information.

DMJ: Are you on Twitter as well?

RP: I am on Twitter, and my Twitter is @mynameis2long with the number 2.

DMJ: Man, it’s been good talking to you. Is there anything you want to say that we haven’t talked about?

RP: No, not really, but I want to say thank you very much. And I want to extend a thank you to everyone who has supported my career and come to the shows and bought my records. I’m really appreciative of that.

DMJ: Man, I wish you the best of success with this album—

RP: Thank you.

DMJ: —and I’m going to do everything I can personally to encourage people to check it out, because I think it’s a good piece of quality work, and these days it’s hard to find real music sometimes. So, best of luck with that.

RP: Thank you.

DMJ: And anytime that you want to come through at to let us know what you’re doing, whatever you’re working on, feel free—our doors are open. And once again, thank you so much.

RP: Thank you.

DMJ: All right, man. Take it easy.

RP: Bye-bye.

About the Writer
Darnell Meyers-Johnson is a New Jersey based music journalist and creator of The Meyers Music Report ( Previously, he served as Entertainment Editor for the now defunct publication Nubian News and as Editorial Coordinator for When not conducting interviews or writing liner notes, Darnell hosts a weekly radio show, Vocal About Jazz, which streams online every Saturday from 12-2pm, EST on and iTunes.
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