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Phone interview conducted October 21, 2011

Her jazz/funk vocal stylings are a fan favorite among readers of Maysa Leak, who often goes by just her first name, professionally, has interviewed with us several times in recent years. We spoke with her again upon the release of her ninth solo album, “MOTIONS OF LOVE.”

Known, just as well, for her work with Incognito, Maysa shared with Darnell Meyers-Johnson, what she learned from that band's front man, how she became a part of Stevie Wonder's Wonderlove, and how a recent break-up inspired her latest project...

Darnell Meyers-Johnson: Good Day! This is Darnell Meyers-Johnson for Today I am speaking with one of your favorites here, at this site. You guys love, love, love hearing from her, and for good reason. She considers herself a bit of an underground diva, but her influence in the world of R&B, soul, and jazz can't be denied. You know her very well from her years as one of the vital voices of the group Incognito. She has been on her solo journey since 1995, and is about to release her ninth album, “MOTIONS OF LOVE.” Welcome back to, the beautiful and incredible Maysa. How are you?

Maysa: Thank you, I'm good. Thank you so much.

DMJ: We do appreciate that you’re taking time out to speak with us today. We've had a close relationship with you for a number of years. We've interviewed you about four or five times, so first and foremost, I want to say welcome back home, so to speak.

M: Oh, thank you so much. This is really cool.

DMJ: We have a few things to talk about, especially your new album, but first I want to start here--which may seem like an odd place--but we'll do it anyway. As I said in the introduction, you consider yourself a bit of an underground diva, because in our previous conversations you expressed some frustration with not getting your due respect or your props, if you will, in the industry. As we approach the release of your ninth album, do you still feel that way?

M: I do, in a sense, but it’s seeming to be changing really quickly. I see a lot support for this record, and I see a lot of love for this record. I have such great guests, you know, Dwele and Stevie Wonder; they are helping me change my audience and to grow my audience. I think that those wonderful gifts of having them on the record are going to help me tremendously, and I'm looking forward to changing, so I'm not going to moan too much anymore about that. Because the thing is, when I complain about it, it's not helping anything. I need to embrace what I have. I've always been grateful for the people who have supported my music over these years. It's my 20th anniversary this year, and I'm still going strong after 20 years, and I haven’t had to have a real job, a regular job. So, obviously, I'm doing something right. My people who support the music are doing something right. I am still here, so it’s a good thing.

DMJ: I'm so glad that you mentioned the fans just now. I was going to say we know that the music business can be fickle, and sometimes the fans can be fickle, as well, but you seem to have a very loyal fan base, even with so many different acts out there.

M: They are.

DMJ: Why do you think they still hunger for new Maysa music?

M: I think, because they know that I am giving them reality. My music is like a reality show, better than a reality show, because I don’t fake anything to make it seem real. It's just that I think people know that I am singing for them, and I go through what they go through, and my whole goal is to put music out there that shows them that I am with them, that I have the same troubles that you have, and so I know how you feel, and here's some music to make you feel better; here's some music to help you get through what you are going through.

DMJ: I was a bit surprised to learn, as I was doing a little bit of research on you, that, as a child, your earliest musical influence was Melba Moore. What was it about Melba that caught your attention back then?

M: I'm not really sure, but just seeing her so powerful on stage. I think, her voice and her presence, and the audience was screaming their heads off. She was just so strong; her music was great, and all the lighting … it altogether made me know that I wanted to do that for the rest of my life. And, at six years old, it was something that overwhelmed me, and I've never forgotten that feeling.

DMJ: And when you are on stage today, do you feel powerful?

M: Oh, yes, absolutely. Melba came to a show we did in New York with Angela Bofill. I'm telling you, I was in awe. She came up on stage and stood next to me on stage. It's like, wow! It was surreal here. It was, like, here we go. It's just amazing to me--its just all amazing to me. I go from seeing her on stage, at six years old, to her standing next to me, singing on stage with me. What is that? It's, like, wow, how do you--that’s amazing to me; that’s just so, so beautiful.

DMJ: A full circle moment it sounds like.

M: Yeah, that’s exactly what it was.

DMJ: By now, most people know that you were part of Stevie Wonder's Wonderlove, his backup vocalists, but what some people still don’t know is how you and Stevie got together. Can you share that story with us?

M: My best friend, Kim Brewer had gone to California to sing with a girl group, and the girl group didn’t work out, but she got an audition with Stevie Wonder, so, she was with him about a year. I was still at Morgan, and I had a year left in school, and they came to do a Martin Luther King celebration with the Morgan State University Choir. So at the time when he came, she introduced me to him and she asked him could I audition for Wonderlove, because he was looking for another alto type voice. And she wanted me to move to California so bad, so she's like, "Maysa please, I'm going to get Stevie to give you an audition." And I was, like, wow, ok.

So I got the audition, passed the audition, and I had a year left at school and I asked Stevie could I finish school first, because my mom and dad had sacrificed so much for me to go to school. I wanted to make sure that they had my degree in their hands, and then I would go and explore life. And that’s how It worked out, and it worked out great, because I put myself in the right place at the right time by doing it, because Stevie was then working on the "Jungle Fever" project with Spike Lee.

DMJ: I know Stevie has this long, long, long history of music, but for whatever reason, that "Jungle Fever" sound track is actually one of my favorites by him.

M: I know, and it's so underrated. It's unbelievably underrated. I think that album was amazing, and I don’t think it got the play it should have gotten.

DMJ: And his voice on that album is just incredible, too. He sings well on everything, but, for some reason, on that album there was a certain fire in his vocals. What did you learn most from working with a legend like Stevie?

M: It's just a continuation of what I learned from Dr. Nathan Carter; he was the director of the Morgan State Choir: I realize that your work ethic is very important, and how you carry yourself in the industry and deal with so many people. I watched him; I watched Stevie deal with so many things all at one time. Stevie's just so amazing, because his blindness doesn't hinder him at all. I watched him walk around the studio. He knows the studio back and forth; he walks around the studio by himself. He's just so cool to me, to see him work so hard and have a command and control of everything around him, and I like that. That’s part of what I learned the most: just be a good person, work hard, and be your best at your craft, and hone your craft, and that way, you will stand out. And that’s pretty much what I learned from him.

DMJ: I understand he contributed a very special song to your new album. Can you tell me about that?

M: Yes, the song is called " Have Sweet Dreams." Originally he agreed to produce a song that my best friend, the one I told you about earlier, Kim Brewer wrote. She wrote a song that she wanted to submit to my album, and he said that he would produce it, and he rarely does that. So that was such a great treat to have that. I got to California and we started working on the song, and then he started writing another song. He was just sitting there, playing around, writing, and then all of a sudden, he just kept singing this song, and so he asked my best friend to tape him so he wouldn’t forget the song and she started taping it. She said "Well, Stevie, is this a Maysa song or a Stevie Wonder song?" He said that “this is Maysa song," and then we looked at each other, and it was like, wow! He was writing a whole new song. This is amazing.

So she ended up finishing writing the song with him, and he wrote the song, because he's really good friends with the Obama's, and he loves how Michelle is supportive to her husband. She is a very strong support to him, and he loves that, so he wrote the song about having support from a loving person who has your back all the time. And that’s how he came up with the song, "Have Sweet Dreams." It's classic Stevie, too, a really classic Stevie song.

DMJ: You did two cover albums of soul music classics, 2006's “SWEET CLASSIC SOUL,” and then, 2007's “FEEL THE FIRE.” I understand the collaboration with saxophonist Kim Waters was somewhat responsible for those albums. Can you explain how that happened?

M: We did [Aretha Franklin's] "Daydreaming" on one of his records, and Shanachie [our label], loved that song. They got such a great response that Danny Weiss of Shanachie asked me would I do a solo record of ‘70s hits, and, of course, I'm a child of ‘70s, so I was really excited to cover those songs, and I've done a little bit of that during my career. I usually do one song on the album, like one cover tune from the ‘70s on my records. But it was a thrill to get to choose ten songs, or whatever, for the record. It was really fun.

DMJ: What is it like working with Kim Waters, because I spoke with him a few days ago?

M: He's awesome. He was more like my big brother. He treats me like his favorite little sister. That’s what he'd be like all the time. And he's so good to me, and he always tells me--sends me emails and little texts saying, "You’re the best. You know you’re the best."

DMJ: Oh, so, he does tell you that, because that’s what he told me too. (Laughs) He said that you were one of his favorite people, one of his favorite singers to work with.

M: Oh, that's awesome. He's so cool. And we have a good time. I get to laugh at him; he is such a comedian. I laugh at him the whole time. It's so funny; He is really a trip. We have a good time.

DMJ: And he has a really good album, as well, coming out. We were just talking about cover songs. How do you approach covering a song that is already so well known, and so well received by the public? Is it ever intimidating for you?

M: Oh, absolutely. It's intimidating. Like they had to fight me to do "Any Love" on “SWEET CLASSIC SOUL.” I was, like, I cannot possibly cover Chaka Khan. I cannot do that; I will not do that. And they were, like, "Come on, just try it." And I was, like, "No, she is one of my heroes." She did it; its done. And most of the music like that, when you're talking about people like Patti Labelle, anybody, the music is done. It’s a classic, and it will always be the best. But the way they told me is that I just have to put my spin on it, and just sing it the way I sing it in my basement, when I'm singing along with Chaka or somebody, just to put my own vibe on it, and put what I feel into it. It's real cool. It turned out real nice, but it's still intimidating to me, and I hope and pray that these people that I am covering know that it's love and respect, and I am not trying to put no negative connotation to that. I just want them to love the music.

DMJ: Have you received any feedback from any of those people that you covered?

M: Yeah, Frankie Beverly was really excited about "Happy Feelings." He was really happy about that, and that made me feel good. He was really, really cool about that. I forgot who else, but Frankie Beverly ... I never thought I would hear from him about that, but it was real cool. He really loved the cover.

DMJ: Your new album, “MOTIONS OF LOVE,” is not a cover album, but you do a cover of Angela Bofill's "I Try" on it. You mentioned her just a moment ago. Why did you decide to do that particular song?

M: Well, it’s been a big request this year, because I've been working with Angela Bofill on her show called "The Angela Bofill Experience". She is recovering from two strokes, and she is not … I think that she probably can sing, but she is really afraid to right now. And I think, until she gets fully recovered, she's not going to try it publically right now. But she wanted to go on the road, and still experience doing shows and stuff. So what she did, her and her manager devised a show called "The Angela Bofill Experience," and they called me and asked me would I be the singer, and sing her songs for her. So, that’s what I've been doing all year, and the biggest song, closing the show is "I Try," and, so I got a lot of requests to re-do that.

DMJ: Is the show still going on?

M: Yeah, we actually have one more show in San Diego in November.

DMJ: Over the summer, I understand you also did sort of a soul music review with Jonathan Butler; is that correct?

M: Yeah. It was called "The Soul of Summer" tour.

DMJ: And how was that?

M: It was awesome. Eric Darius, myself, and Jonathan--it was so fun. I think we are going to do it again next year. He already told me that he was going to put it together for next year, again.

DMJ: I was actually trying to reach you during that time, but it just didn’t work out, so I wanted to ask you how that went. Some of your past albums were made very quickly. How long did it take to make “MOTIONS OF LOVE”?

M: We started in June and ended, pretty much, in August--just a couple of months. It kind of went fast. There was a lot going on. I was surprised it got done that quickly, because I was on tour so much with Jonathan, and I got my own shows, and there was a lot going in this summer, so I think it’s amazing that it got done that fast. But this one has magic in it. Like “A WOMAN IN LOVE,” I loved doing that record, but it was more like I crafted the record, and we put it together, and all kinds of stuff, and that didn’t take long either, but this time there seemed to be something giving it a lot of energy. So, I think that's why it didn’t take as long to finish.

DMJ: I was going to ask you if there was anything different about this particular album, or if there was a theme throughout the album.

M: Of course the main theme of the album is my breakup that I had of my long-term relationship. We had been together five years, and we broke up in June, and it was really sad.

DMJ: June of this year?

M: Yeah, June of this year. It's so funny, but we broke up, I think, on a Tuesday, and, I think, that Sunday I had to start the album. I went to the studio to work with Chris "Big Dog" Davis to start writing. We were just supposed to have writing sessions, and on the way there, to Connecticut, where the studio is, I literally wrote the song, "When It's Over," on an airplane. I was very distraught; I was crying and upset, and people probably thought I was nuts, sitting at the window seat, just crying and writing, you know, writing and crying--it was weird. That's how I wrote that song.

DMJ: Yeah. Your song writing process--is it normally born from something really deeply personal like that?

M: Oh, yes, definitely that … even songs like "Dance With Me". I just wanted to make up. That was, like, “Come on let’s make up. I apologize; let’s just fix it, and let’s just dance … Just dance with me. Forget about everything else.” And that’s kind of where I was with that, and that's how that song came about. And then there was "Day and Night,” because I had something in me; I don’t know what it is. I never really give up. I get tired--I get frustrated, but I never really give up on things that I really want, unless it’s something that is not good for me.

With the music industry, I've given up a million times, and tried to get a regular job, but it keeps calling me back. It’s just a constant. It’s the last 20 years, something always kept me going, and so, even with a breakup, that soon, something in my spirit is looking for the right person, still. I don’t give up. If this didn’t work out, and I was with him for five years, and it didn’t work out so ... because I did that before. I was by myself for seven years after my son was born. His father and I didn’t see eye to eye, so I was really frustrated. For seven years I stayed by myself, and vowed, I am not going to do that anymore; that was a miserable seven years--because I'm a person, I want love and companionship, and really look for that stuff in my life. It’s a balance. I work so hard, and I love my family really hard, so I just want somebody to love me hard, you know what I mean. Just love me, not in the crazy sense … not obsessive, but I want somebody to love me the way I want to be loved, and so I've always been looking for that … a waiting, a hoping, you know.

And so the songs, "Dance With me" and "Day and Night," they're all about being positive and still in a happy place, because I still am. I was hurt for a few minutes. I think, because the work was so hard this summer with Jonathan, and doing other stuff, it kept me going. So my biggest advice to people who are going through heartbreak is to throw yourself at some work or project or hobby or something, just to keep moving. Because if you sit still and think about it all the time, that stuff can kill you. I think people can die with broken hearts, and that’s a bad thing. That’s how I survived it. I just kept moving.

DMJ: How many songs on this album did you write?

M: I wrote, I think, eight--either eight or nine.

DMJ: I wasn’t privy to the songwriting credits, so I'm not sure which ones you wrote, but since we're talking about relationships anyway, wanted to ask you about a couple of songs. There was "You Won't Find Your Way," which, pretty much, says to somebody, "I'm not going to allow you back into my heart to hurt me again." Was that one that you personally wrote?

M: Yes, I wrote that song. I hope people don’t think I'm bitter or angry. I'm just speaking the truth, my truth, what it is. That’s what the whole thing was with our relationship: I think I just got upset. And some women can take stuff, and they can deal with stuff better. I don’t think I deal with stuff very well, because I put so much into a relationship. Nonsense - I don't deal with too well. And I said that he won't find a way back in my heart; you're not coming back anymore. I'm done, and then ended up going back to the person over and over again for five years. And I can't keep doing that over and over again. It's never going to change. If the problem we have is not going to change, then it’s time to move on.

DMJ: What about songs like "Special Place," though? That seems to have a more optimistic view, I guess.

M: It does, and it's so funny, because people are wondering, "Well, which best friend is she talking about; which man is she talking about in her life?" And actually that's just a total fantasy song. I wrote that just as something fun, just to mess with people, and see "who is she talking about" kind of thing. "You know there's a friend of mine I really like a lot … I want to be closer to, but I'm afraid to mess up our relationship." I hear that a lot, so I kind of based it on that.

DMJ: Everybody longs for love in their life, but do you think that plays a part in why you convey romance so well in your songs? I mean, obviously, you can sing. Lots of people can sing, but I don’t think as many people are as skilled in conveying that feeling of romance, and all of that, that you do in your music.

M: Wow, That’s awesome! Thank you. I think it’s probably because I'm kind of wide open. I just mentally had to change my bio. The person who did my bio--we had a long conversation and I was really open about everything, how I handled it, and how it went down, and he put everything in the bio.

At first I was like, "Oh my God, that is so funny,” I thought, but then I just said, "You know, I need to edit this bio, because I don’t want to hurt him." I don’t want that connection to be like I was out to get him, or out to hurt him. I mean, literally, it was so deep that the only thing missing was the name and address. It was crazy. And I was, like, I can't do it; I gotta change this. I don’t want to come off as some bitter, crazy person. I'm just very open with myself, and I've always been. My mother's told me, "Please stop wearing your heart on your sleeve." And I just don’t know how to not do that. I would regret it sometimes, but for the most part, that’s what's connecting people to me.

DMJ: I was just thinking, maybe that’s part of why your fan base is so loyal, too, because people are attracted to realness in general. I wanted to ask you about "Hold on," which has a very encouraging and empowering kind of spiritual message. Is that one that you wrote as well?

M: No, I didn’t write that one. That was written by a gentleman here named Rowan Chapman. I did the session and I asked him could I use this song on the album because of the words. His music is great, too, but the wording of it--I was going through so much, and listened to that song over and over when I was breaking up with this man, and so it really helped me, and it helped me put me back in the place of God. I had to really understand that God has me, so whatever happens, it's for a reason, and I got to just hold on ‘til He shows me what happened, or why it happened that way. Because everybody, we want what we want, and when it doesn’t happen the way we want it, we get upset and we get depressed, and we get all these things, but if we had true faith, then … you got to have true faith, and just believe that God … like my best friend tells me," God is the best of all planners," so when it works out, you'll understand why. And when it doesn't work out, you'll understand. You just have to be patient and wait, and that’s why I put that song on the record.

DMJ: Would you have an interest in recording a gospel album?

M: Oh yeah. That's all in the future. This album, originally, was supposed to be a taste of what's to come. If I could've put a Christmas song on here, I would have, so everybody could get an idea of what I'm going for in the future. Because that's something I haven’t done yet. I would love to do a whole gospel record, because I want to do, not just contemporary gospel or inspirational music. I want to do old-school Bible thumping kind of old-school stuff. I'm not sure if my voice is the type of voice to do that stuff, but I am going to try it, anyway. And then I am going to do a Christmas album … and on this record was supposed to be a rock song. I had a straight up rock tune. It was like funk rock, like Rufus & Chaka. It was awesome, but we didn’t have time to finish it, and I regret that, because if I had, this album would have had everything. It would show people that I can do … I want to do everything. On this, I got to do a country--what I call country. It's like a New Orleans kind of vibe.

DMJ: Which one is that?

M: That is "Your Name's Not On The List."

DMJ: I was going to ask what is that song is about, because I feel, maybe it would be better for you to explain it than for me to try and explain it.

M: The people who wrote it are called Southern Silk Duo. They wrote the song, "Motions Of Love," the title track, and they sent me that song, too, and they said, "Maysa, look, you may like this." And it's so ironic, because I'm like everybody else: I have bills to pay. I was struggling to pay the bills because of the economy and not working enough, nobody's doing a lot of shows. And so it’s funny, I'm going through the same things as everybody else. That's just a song for people to say, "You know what, I got a lot to deal with, a lot of people … I got to kiss butt, but you're not going to be one. You're not going to add to my misery." It was really cool, and I just love that song.

DMJ: And I love the new single, "Flower Girl," with Dwele. How did the two of you hook up for that?

M: Big Dog, the producer, he thought of Dwele. We were thinking about who to get to do this, the vibe on it, and he said Dwele would be awesome. So they called Dwele and that’s how they got him on there. I was excited. I was like, "Wow, you can get Dwele, for real?" And they got him.

DMJ: And then I learned that he, meaning Dwele, co-directed the video.

M: Oh yeah. One of my other producers, Rex Rideout, when I talked to him about the album, I told him Dwele was on the record. He said, "You should get Dwele to direct the video, because you know he is a serious video director." And I was like, "Really, I didn’t know anything about that." And he said, "Yeah man, you got to check his videos; he's done his own videos, and they are awesome. You got to get him to do the video." So I told the record company that’s what Rex told me, that he was good, and they talked to him about it, and then they got Matthew Cherry to help him do it. It’s serious stuff. These guys … Matthew is an awesome director, and it was just so fun, and so professional, and so laid out, and so easy. Yeah, he is going to be one of the great ones.

DMJ: I am going to have to go back and check out Dwele's videos, because I didn’t know, he had that talent.

M: Oh, yeah. Oh, yeah.

DMJ: I'm often curious with how singers see or hear themselves, and as I said in the beginning, you made a name for yourself in the worlds of R&B and soul and jazz. In which of those arenas do you think you shine best?

M: R&B, soul, and jazz, wow! I think I can't choose one. To me, they're all one and the same. I see myself mostly as a jazz/funk vocalist and that encompasses all of that, It's soulful, it’s jazzy, and you know if it’s that old R&B vibe. So I would just say that it's all me.

DMJ: Yeah. We haven’t talked a lot about Incognito, but I do want to ask you if there are any plans to get back in the studio with them.

M: Oh Yeah, actually, in December we're going in the studio to do Incognito's new album. Bluey called on the phone last week, and said, "Maysa, sing this song … sing this, sing this," and I was, like, "Okay, good, good. That’s a great key. I'll call you back." I was like, "Wow, what is that going to be?" He's like a mad scientist in the lab--calling me to make sure it sounds good enough. I could hear him getting excited, and so I'm excited to hear the song, and what comes out of that.

DMJ: What have you learned from Bluey in particular?

M: Oh, my gosh. Everything.

DMJ: I know, we don’t have enough time, right?

M: I mean, literally. Bluey is such a consummate musician. He is conscientious; he works really hard at his craft. He's really creative, and he is an open spirit. Bluey is not cut-off, so he knows music is a spiritual entity. It is spiritual, and he can embrace that, and it flows into him. And I learned that from him: to let it carry you, let the music take you, instead of trying to control it. You see, when I started In the music industry twenty years ago, with Incognito, it was all about how you look, and the song had to be three minutes and 2 seconds long; the hook has to be in the first minute, all that kind of controlled stuff. They tried to control the music, because they thought if they had a hit song in the ‘70s, or had a hit song in the ‘80s, then we got to do the same pattern again so we can keep getting hit songs. And so that cut out the creativity of the music, and so what I learned from Bluey is that he bunked all of that. I mean he had to conform a couple of things - he had some singles, he had to do some remixes - all that kind of stuff, but for the most part, Bluey just lets the music flow through him, and he puts it out for everybody to hear. That’s what I learned: don’t try to control it.

Like this album, I could have controlled it. I thought, you know what, I'm not going to make this album about this breakup. I'm going to make this album about something else. I'm tired of talking about being this; I'm tired of talking about that, but the music said, "Oh no, I am in control," and the spirit of the music just took over me, and I started writing, literally. The first day, like I said, I could not … when I was talking to Big Dog on the way to the studio, getting on the airplane, I was like, "Big Dog, I don’t know why I'm coming there. I don’t feel anything. I don’t want to write anything; there are no words. I have no ideas. There’s nothing in me." And, literally, got on the airplane, and the plane took off, and I started thinking about me and this guy, and then, all of a sudden … "When It's Over" just poured out of me. I was crying on the plane. It's just unbelievable when the music is there. That’s why musicians always are strongly encouraged to carry a kind of recording device with you, because if you don’t get it at that time, it goes to somebody else. I know it in my heart. Because there's some songs that I’ve dreamt, and didn’t get up and put in my Dictaphone, or my recorder, and I know they would be number one hit songs, and I didn’t catch it, and I regret it, and I try to remember it, and I can’t remember the song.

DMJ: You have to be in the moment when the inspiration hits.

M: Oh, absolutely.

DMJ: You’re nine albums deep into your solo career. You've already had an impressive body of work, and we certainly hope that you 're going to be around to record many, many more albums. But, after all is said and done, what do you hope is your legacy in the business?

M: I want to be known as the singer who connected with everybody, who gave great hugs, and connected with the music. That’s what I want … to know that I was accessible to everybody, and that a person doesn’t have to go through ten bodyguards to talk to me, and all that kind of stuff. And I want it to be like I was your sister, and I'm giving you great songs to help you through your life. That’s what I want.

DMJ: That's a great way to wrap up our conversation, but before we go, is there anything you would like to mention that we haven’t talked about?

M: No. That’s it. It’s all good.

DMJ: We live in the age of social media, so I do have to ask you if you're on Facebook, Twitter, or anything like that?

M: Yeah, of course, I'm on Facebook. I'm on my third page on Facebook, because I didn’t know how to do that “like” page, so I ended up adding more pages. I got Facebook and Twitter going; I got all of that stuff going.

DMJ: What is your Twitter?

M: It’s just

DMJ: Is there anything coming up in terms of touring for the new album?

M: Yeah, hopefully. We're working on some stuff for next year. All the festivals--we're starting to pull that together now. It's going to be a good year. I'm going to take out my band, my huge band, which I love, and everybody tells me it’s way too expensive to have out, but I don’t care, because I love my band, and we will be going on the road a lot next year, 2012.

DMJ: Ok. So we will be looking for that information online. And your Website, give us that real quick.

M: It's

DMJ: Well Maysa, I want to thank you so much for your time. As you already know, our doors at are open anytime you want to come through and let us know what you're doing, and I wish you much, much success with the new record.

M: Ok, thank you so much. I really appreciate it.

DMJ: Thank you, too! Be blessed.

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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