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HARVEY MASON 2011 SOULMUSIC.COM INTERVIEW
HARVEY MASON: THE MUSIC MAESTRO
Phone interview recorded September 13, 2011

Harvey Mason has enjoyed a career filled with accomplishment since he began his professional journey as a drummer in the early '70s. He's literally worked with everyone from Beyonce to James Brown, is one of the founding members of Fourplay and has made a series of great solo albums: SoulMusic.com Records has just reissued three of his superb Arista albums and now has Harvey's entire output for the label on CD. David Nathan - who first began speaking with Harvey back in 1978 - catches up with this amazing music man as we celebrate the release of the new reissues...


David Nathan: Well, I’m welcoming today to SoulMusic.com a man who’s truly legendary in the world of music. He’s worked with such a long list of people that we couldn’t possibly go over them now, but it just literally covers every genre of music, from pop to jazz to R&B to rock—he’s worked with everybody. And we are very delighted at Soul Music.com through our Soul Music.com Records reissue label to have made available five of his great albums from Arista Records recorded in the seventies and early eighties, now available, of course, so a little plug there for you all to go check out the page at Soul Music.com’s Soul Music.com Records where you can find the albums EARTHMOVER, GROOVIN’ YOU, FUNK IN A MASON JAR… and I just missed one.

Harvey Mason: MARCHING IN THE STREET.

DN: MARCHING IN THE STREET, the first one, and MVP of course. So it’s really a great delight to welcome to the site today Mr. Harvey Mason.

HM: Thank you, David, it’s great to be here. I’m so happy that these are being re-released again.

DN: Well actually, that was the first thing I was going to talk to you about. And then we’re going to talk about all the activities that you’ve been up to in the last few years, and reminisce a little bit about your earlier career, and of course talk about the work you’ve done as a solo artist as well as with Fourplay. But let’s start out where we started just there, with the reissues. So how do you feel about the fact that your Arista catalogue is now available on CD?

HM: Well, for many, many years I’ve been asked by residents of the United States why they aren’t released, and I’d always tell them, “Well, they are—they’ve been released in Japan, so they’re available there online, but not here.” And it’s been a question. Now I’m just happy to hear that the big release is primarily an English version in London, so hopefully it’ll transfer to the United States. I have to bring them over myself now that they’ve been reissued. The artwork is amazing, it looks the same, and it’s great. Really nice packaging.

DN: Well, thank you.

HM: I’m very pleased.

DN: And great liner notes from some of our colleagues. Scott Galloway did a great job of course doing the liner notes for the last three: FUNK IN A MASON JAR, MVP and EARTHMOVER — the last three we reissued, I should say—and I think he really captures a lot of what you’re about and what those records are about. Before we move on to talking about what you’ve been up to in the last few years I just would like you to give us maybe a minute or two about each of the albums and tell us, when you listen now, what are your thoughts about each of them. So we’ll start out with just a couple of lines about what you think about MARCHING IN THE STREET.

HM: Well, if I may address your earlier statement about Scott Galloway, he’s a marvellous writer and he’s a very, very passionate music fan. He really gets into it deeply. I’ve known him for a while and I’m happy that he was able to do the liner notes for these because he’s serious. He understands music.

DN: Yes, absolutely.

HM: But getting back to each CD, let’s realize that it was a long time ago and I’ll do my best to recall and recollect my feelings at the time, even though I’m not quite sure I can really refresh them to the fullest. But my first CD, Marching in the Streets, was sort of an homage to my early days of growing up in Atlantic City. I was involved in a very loose sort of marching band, a community band, and then I joined a bugle corps. And that was an homage to that whole era I grew up in. That was my idea there. But as I’ve reiterated in the past, my idea for making records came from Quincy Jones, who I’ve worked with a lot. He’s one of the ultimate producers to me, and he treats it as though he’s creating a movie. He finds and picks the songs very carefully, and then he finds the characters that he would like to play on the songs, and they make the songs reach their best level.

I’ve used that formula on all my CDs, I’ve use that model from him, which I think is very intelligent. I never really concentrated on just playing the drums as a lead instrument because it’s not a lead instrument—it just plays rhythm. And I concentrate on the skills, pulling everything together, producing and making it feel as good as possible and create a sound. That was my influence for every single CD—record, as we called them—and that was the idea.

DN: And of course as we know, the one that was probably the most successful was FUNK IN A MASON JAR.

HM: Yes, it was.

DN: And to what do you attribute its success?

HM: Well, I think that CD went closer to my roots. All my CDs were very varied. But it was just good music, and I think the title had something to do with it as well. Musically, it was a very catchy title. At the time they had lots of great marketing ideas: they gave out lots of marketing jars and things like that. So I think it was a combination of the music and at the same time the marketing campaign was huge. But I think there was great music on all the CDs—they had a feel and they all came together—but that music came together, as did the one after that. Groovin’ You was pretty successful as well.

DN: Yes, absolutely. And before we leave talking about that period of your life, of course Arista Records is renowned for its leadership with Clive Davis. And how was that for you, working with him?

HM: I read his book years and years ago, and then coincidentally I ended up being called to work with The Brecker Brothers, who were on Arista at the time. These were the very, very earliest days of Arista, and I happened to meet Clive in the studio when we were recording the record. He approached me and asked me if I’d thought about being a solo artist, and I said I was creating some music now and I’d consider it. I sent it; the next thing I know I had a deal. But I hadn’t really planned on being a recording artist because I was so happy being a studio musician, which was my goal, and I was attaining that. And I was writing songs to place on other people’s CDs, so I was writing songs and just getting songs placed, songwriting. But I was creating. I was hoarding these songs that I didn’t realize what I was hoarding them for. It was one of those things where things just happen, and you don’t know why or how they happen, but they just happen. That turned out that way. And Clive was amazing, he’d book a lot of acts that were these amazing icons of the business.

It was a great challenge working with him, because Clive is into selling lots of records, so I think I spent a lot of time trying to create music that he felt was hit music that he could sell. I spent a lot of my time doing that, and I started to get frustrated that my records weren’t measuring up to what he could really sell. But he did a good job. It was amazing, because years and years later my son, who’s a famous producer now, is one of Clive’s biggest confidants and produced so many records for Clive over the years. It’s amazing how things turn around.

DN: Absolutely. Well, let’s go back just a little bit to prior to that situation. And you mentioned, of course, working on sessions and that was really your goal in going out to Los Angeles. When you think back, and I know we’re talking about quite a few years ago, are there any particular sessions that stand out to you still to this day from that time period before you began working as a solo artist?

HM: Well, I remember The Mizell Brothers were working on all the Blue Note crossover records… that was a lot of fun. It was fun. We went in and we just played and played and played and had a great time, and there wasn’t a lot of direction. They just picked the players they wanted and created great music and their music sold. It was big. So it was a lot of fun, I remember those sessions. And of course the Herbie Hancock period—making HEAD HUNTERS was an amazing experience, and I think that that turned out so well because of my experience working with The Mizell Brothers and other people. I had a real idea of how to move forward and make those type of records, so I think that aided me. Those sessions with Herbie were great… and on and on. There are so many sessions I don’t want to omit anything, but to tell you the truth, everything’s been a joy and the ones that weren’t a joy didn’t do so well. I still find it joyful to record, even though it’s not as plentiful as it was before. But when I go back in the studio and play, I just feel like, “Wow, I’m home. This is really what I set out to do.” I get so excited and I come back and say, “Wow, this is great.”

It’s almost sad that I don’t have as much sessions as I had, but no one does and that’s a shame. But I appreciate what I’ve done and I appreciate what I still do. We did a George Benson record not so long ago, and I spoke to George just yesterday. I called him and I said, “Man, let’s go out and play. Let’s do that other than planning, George, let’s get a group and play.” He said, “I want to do that.” He was at the airport and he said, “I’ll call you back.” So I’m enjoying everything that I do and still, it’s not as much, but it’s great. And what has made this all really great is Fourplay because we started this band twenty years ago, and it’s still going and it’s a brand now and we just have a great time. All the guys are great, we get along; it’s a co-op band, democracy. We have a great time.

DN: I do want to talk to you a little bit more about Fourplay, but before we get to that I do have a question that occurred to me as you were speaking about the fact that of course sessions are becoming less plentiful. A relevant question for me is of course, as we both know, as the seventies ended and the eighties began we saw the advent of drum machines. When drum machines first began, what was your reaction to that?

HM: I loved them. As a matter of fact I used them on my recordings and I played live with them… I really liked them. I loved programming them and I was trying to get different feels, so I was a big proponent of drum machines. I first ran into a Linn drum machine when I was working with Herbie, because Roger Linn had created the first one then, so I was experimenting with it then. I think I produced a record with [Lee] Ritenour using a drum machine shortly after that.

DN: Really?

HM: So I was a big proponent and really got into it. It could have been the kiss of death, but it would have moved to where it is now regardless of whether I did or not. I just tried to jump on the bandwagon. I was on the bandwagon with electronic drums, Simmons drums—I was one of the first guys to play those live. So I thought it was great, I got into it pretty heavily. And now there’s lots of samples of everything and drummers aren’t used nearly as much as they were in the old days, and there are a lot more drummers, so everything was reduced. Very few guys just stay home and work in the studios and make a great living anymore, they have to do other things—go on the road to supplement it. But that’s just the way it’s gone. It’s amazing, but it’s progress—that’s the way it goes.

DN: You mentioned about performing. Just to cap off your Arista years, did you perform a lot during that time, or was it essentially… I know obviously you had records out. Did you go out to perform to support the records, or did you basically still operate from the premise of working in the studio?

HM: The latter. I did not go out very much at all, because financially there wasn’t enough money for me to take a band out to represent the music and the CD properly—I had singers, I had horns, I had all this different stuff, so if I went out with anything less it just didn’t seem like it would fit the bill. I did one tour that I can remember was a great tour… we went up north and west to Colorado and far east. Then I played in New York a couple of times for special events. But other than that I did not travel and I didn’t really support the artist part of it, I was so happy doing the studio work, which was probably something I should have done more because I would have cultivated my solo career. Now I play solo but I still feel like I’m cultivating it—even though I have notoriety, I’m still not in the upper tier of solo artists in my genre.

DN: That’s interesting. After the Arista period was over did you focus back again on… in other words your focus continued then on doing session work. But when did you start making solo records again?

HM: After Arista, I think I did a couple of records with Stan; one was called STONE MASON. And then I did another, years later… I’m not quite sure of the time period—time elapsed—but not too long after STONE MASON. Maybe a couple of years after Arista, two or three years. And then maybe five years after that I did another record called RATAMACUE, which we did in Japan and was released in the United States.

Then a number of years passed and I made the two jazz records. Then now I’m preparing to go off with the Chameleon Band. I traveled to Japan with a band I put together called the Chameleon Band, which I feel really describes me as a drummer and as a musician—I love to see Harvey Mason the chameleon. That’s how I describe myself and I think that gives me great pride, if I can be so bold to say that. But I took a band to Japan which was very widely accepted, with Patrice Rushen and Jimmy Haslip, Azar Lawrence and Bill Summers, and we played a lot of music from the Chameleon period, and augmented it with other music. But the grooves and excitement there was amazing, so everyone’s urging me to record that band and or something coming from that, so I’m preparing to record a new CD called THE CHAMELEON and follow that format, but update it.

DN: And when did you first start working with that particular unit?

HM: A year ago.

DN: So it’s pretty recent.

HM: Yes. We haven’t done anything recent, but we were in Japan. Japan is the greatest: I’ve gone over with piano trios, I’ve gone over there with little crossover bands that I’ve performed with, and the last band I performed with was the Chameleon Band. So I’ll be going back over there this year with that band as well.

DN: And did your love affair with Japanese audiences begin back in the seventies?

HM: Yes, the first time I went to Japan was in 1973.

DN: Really?

HM: ’73, ’74, yeah. I’ve been going there ever since and it’s just amazing.

DN: And did they embrace the Arista records that we talked about? Were they really into it?

HM: Yes they did, and as a matter of fact they were released over there for a long time in CD format. So I go there and I end up signing lots of CDs.

DN: You mentioned, obviously, about Fourplay, and I think that many people who may not have known about your previous work on Arista and may not have known about the incredible amount of work you’ve done as a session musician may only know you from Fourplay. So tell us a little bit about how Fourplay came about.

HM: Well, that came about because of the wonderful relationship I’ve had with Bob James going back to the early CTI days when we became friends recording, and I think the first recording we played on together was MISTER MAGIC with Grover [Washington, Jr].

DN: Oh, fantastic.

HM: So we became instant friends and golf partners and hung out. I would tour occasionally with him, I’d do isolated dates with him … It was so fun and great. And he wanted to come to L.A. to record, and I think he was interested in recording with Lee.

DN: Lee Ritenour?

HM: Yes. He asked me to put a band together, so I got Nathan [East] and Lee and we went in and started recording the CD called GRAND PIANO CANYON, and he loved it. We all did, the magic was amazing. He said, “Man, we should be a band. Would you guys ever be in a band?” Each guy – he felt surprised - said ‘yes.’ He was working at Warners at the time and he went back and told Mo [Ostin] about it, and next thing you know we had a deal. Mo came into the studio, welcomed us to the label and we started recording and the first record went platinum and the rest is history. Now, twenty years later, [we’re onto] our third guitarist and still going strong.

DN: Now you’re referring of course to Mo Ostin, the president of Warner Brothers there.

HM: Absolutely.

DN: And the Nathan that you mentioned isn’t me, even though my name’s David Nathan…

HM: No, it’s Nathan East.

DN: It is, of course, Nathan East—just so our listeners don’t wonder if you suddenly co-opted me into a jazz band, although I can sing a little bit. Anyway, so that was really the beginning of Fourplay, and as you just pointed out, Fourplay’s been going now for twenty years. Obviously there’ve been some changes in the lineup, am I correct? How many changes…

HM: Just the guitar chair.

DN: That’s the only chair that’s changed?

HM: Yes. Lee was with us for six years, Larry Carlton followed him and was with us for thirteen years, and now Chuck for a little over a year.

DN: Who is that?

HM: Chuck Loeb.

DN: Chuck Loeb, great, great.

HM: So the band’s going strong and has new fire and new energy, and it seems like the revolving chair is the guitar chair. Everything else has been constant and we’re having a ball.

DN: And of course one of the things that probably many of the people who’ve listening to Fourplay know is that you’ve had some incredible vocalists as guests on some of the albums. I’m thinking back, of course El DeBarge is one… you’re going to have to correct me if I’m mussing anybody, but am I right that you’ve also included such people as Chaka Khan?

HM: That’s right. Peabo Bryson, Patti LaBelle, Phil Collins, Phil Perry… I can’t think of the thers….Michael McDonald, Anita Baker, Ruben Studdard. Our initial formula was we of course realized that we were in the middle of crossover music. And we just kind of came up with this Marvin Gaye song, “After the Dance”, and started talking and brainstorming, Nathan knew that El DeBarge was a serious Marvin Gaye fan in everything he’d ever done. So we cut the track and called El to see if he’d sing it, and he ran over the studio immediately and sang it. We didn’t even have a deal! No agreement or anything. Sang it, boom, and everything’s done and that was it.

DN: And was that really the first vocal recording of Fourplay’s that took off?

HM: That was the first vocal recording and the very first project and it took off, yes. It was a hit on the charts and the record was platinum. And that was our first CD.

DN: And you mentioned such a wonderful array of artists there that you’ve worked with in the studio on Fourplay albums. Is there any one in particular, one or two, that stand out for you?

HM: Every single one. Every one’s amazing. They were all unique experiences and it was just amazing. The process of coming to the person that would sing and the song was always an interesting process with Fourplay: we’d sort of brainstorm and we’d throw out ideas to see what magic comes from it, ‘this guy would be great singing it, we like this song, we like this song…” it’s sort of a formula that we’ve used in order to draw new listeners that we might not otherwise… and also to be on the radio But often without a vocalist, it’s harder to get on any of the radio stations.

DN: Well yeah, I was thinking about some of the people you mentioned, and obviously they don’t all necessarily appeal to the same audience, although we would like to think that they did. The fact is, probably people who listen to Phil Collins may not be quite as familiar with El DeBarge.

HM: Music was our primary objective. We wanted to make the best piece of music regardless of the genre or the audience—the rest is out of our hands. We just tried to make the best music we could, and if the song came out we thought about who we’d like to… we didn’t say, “Oh, this guy will sell a lot of records.” We never, ever did that. It was about the song, it was about the performance, it was about the overall sound and what was right for Fourplay. We tried to make everything Fourplay. We didn’t try, it happened.

DN: It just happened, yeah. Of course you made reference earlier in the conversation to Quincy Jones as being one of your heroes, one of your musical mentors, and of course that was one of the things that Quincy Jones has always employed, which I guess is… I think when you and I talked about liner notes for one of the albums—GROOVIN' YOU, I think it was—we talked about the importance of how you approach casting: the right singer or the right musician for a record. And it sounds like that’s what you also were doing with Fourplay.

HM: As far as the song went, yes, absolutely.

DN: How many albums has Fourplay done now?

HM: Thirteen.

DN: Wow. That’s quite an extensive catalog, isn’t it?

HM: Yes, it is. I remember the early days when we went out and we were bummed because we had a limited repertoire—we didn’t have much to play. We were, “Oh, wow.” Now we’ve reached the point where there’s so many great songs that we don’t play that we reminisce sometimes and we just go, “Wow, we should be playing that; we should be playing that.” But to think we have so many songs now and so many titles that it’s fun…. The band, we’re all great friends and we really get along, and it’s a true democracy and the music is so varied. After playing together for twenty years we can go in so many different directions, it’s a lot of fun. I hope it goes for twenty more.

DN: Wow, so you really have fun with it. It sounds really, really enjoyable.

HM: Yeah, it is really enjoyable and it’s very, very comfortable. It can be challenging, but it’s very, very cool. The new CD was challenging because Chuck Loeb brought in a couple of songs that we hadn’t written, a song called “3rd Degree”, which was a challenge because it pushed the band into a whole different area, and we get standing ovations every night with that song. Every night, everywhere.

DN: And what is that album called again?

HM: The new title’s called LET’S TOUCH THE SKY. But that song that Chuck wrote is called “3rd Degree”.

DN: “3rd Degree”, okay. And is the album out yet?

HM: Oh yeah, it’s been out for about a year.

DN: And what label is it on, just so we know?

HM: Heads Up.

DN: On Heads Up, okay. Now I’m interested in one thing: have you found that the audience for Fourplay has grown over the years? Do you have an expanding audience?

HM: As far as record sales, I would say record sales indicate that we don’t have an expanding audience—we have a decreasing audience because CD sales are down. But our live performances are still the same, a couple thousand people a pop, because primarily we’re a concert group. So our concerts have maintained a pretty steady pace—we’re still in demand and we still have a wide audience, and I’d say that the demand and the audience is a lot younger in the Asian countries.

DN: Really?

HM: Oh yeah, they are teenagers there like rock and roll [audiences]….You go to Korea, it’s amazing over there in Kuala Lumpur, Singapore and Indonesia… those are very young people that are into the music. But our audiences haven’t really dwindled from our live performances, but our CD sales have—along with everyone else in the industry, they’ve decreased.

DN: Sure, absolutely. Now let’s talk a little bit about your own solo work in recent years. You mentioned of course doing different gigs, particularly in Japan with a trio, and then you have your all-star band you just mentioned called Chameleon. How many records have you done in the last ten years as a soloist?

HM: I’d say three, probably.

DN: Three, okay. And was one of those a trio record?

HM: Two of those were trio records. TRIOS 1, which was WITH ALL MY HEART, and TRIOS 2, which was CHANGING PARTNERS. And then the third record was RATAMACUE, which was also done in the last ten years. That was nominated for a Grammy as well.

DN: Oh really? Okay. And you’ve actually won, am I right… I don’t know how many Grammys you’ve won, so you have to correct me.

HM: I’ve never won a Grammy.

DN: You’ve never won? Now that’s amazing.

HM: I’ve been nominated twelve or thirteen times but I never won.

DN: Wow, wow. That’s kind of interesting.

HM: A lot of people haven’t…

DN: Yeah, you’re in interesting company. I have to tell you, you’d be amazed at some of the people who’ve never won a Grammy or never even been nominated, that’s even more shocking.

HM: A lot of people.

DN: Well, now let’s talk for just a moment about your son. Of course you mentioned reference to him when we were talking about Clive Davis. Now am I correct, he’s really correctly Harvey Mason III?

HM: He’s really Harvey J. Mason. Yes, his middle initial is different.

DN: Okay, so he’s not exactly Harvey Mason III. And of course people who really know their music know he’s part of the production team known as The Underdogs.

HM: That’s right.

DN: And when he first showed interest in music and getting into the music business, did you have any words of wisdom for him?

HM: No, because he grew up around the business. He grew up hanging around me, and he’d been writing and taking piano lessons since he was a kid. I took one of his songs and added a bridge and had it recorded on a Grover Washington record when he was eight. So he’s had music experience in the studio right from the beginning, he understood what was going on. And he’s been writing for many years. He grew up in the beginning of the age of midi; he went through all those systems and into the age of computers, so he was well-prepared in music and had been around lots of sessions and beginning to help some of my friends when they had technical problems with programming and that sort of thing. But he actually was going to be a basketball player. That’s what he worked at, he was playing basketball in college and he blew his knee out in his senior year, otherwise he would have been drafted.

And so he came back and started working with me and working on Fourplay records, working Pro Tools and became a Pro Tools guru. Next thing you know he’s working with a couple guys and he wrote a song for a Toni Braxton record, and they gave co-production. Next thing you know he was off and running. But Damon Thomas, when he went to work with Babyface on something, the two of them hooked up and became the Underdogs… Harvey had been working with Rodney Jerkins and Damon had been working with Babyface and the two guys that were ‘the underdogs’ got together and said, “Well, let’s form our own company.” So they did and the rest is history. They’ve been a tremendous success. They broke up a few years ago and went on their own but they’re back together now because Chris Brown urged the two of them to…

DN: To reunite?

HM: …to do a record again. So he put both guys in a room together and said, “Look, I want you guys to do my record, and the only way you can do my record is if you do it together.” So they ended up getting back together after a few years of being apart.

DN: Well, how do you feel about what he’s done, as his father?

HM: Oh, it’s been amazing. I’m so proud of him, I’m so happy. He’s done amazing things. He produced a movie; Dreamgirls was nominated for an Oscar. I was on the board of NARAS [The Recording Academy] for eight years and he took my place on the board, and he’s on the board of directors for the college he graduated from, and I’m on the board of directors for the school I graduated from, the New England Conservatory, so I’m really proud of him. He’s got a family and a couple kids and he continues to work and he’s a good guy.

DN: Good. I guess we could say he’s a chip off the old block.

HM: He’s taken it to anther level I could not do, though, because he’s been into pop and that area. But it’s great, I’m happy for him.

DN: So what’s next for you?

HM: Well, I’m going to do this Chameleon project and continue to explore being a solo artist, which I enjoy more and more now I’m putting bands together and I’m being recognized a lot more… travel around and play and continue to do blockbuster movies and sessions and just enjoy life as much as possible, and have as many unique and fresh and exciting and new musical experiences… play with lots of new people, which I’m enjoying doing.

DN: One thing I did want to ask you… actually, a couple of things occurred to me. Of course you mentioned doing sessions with so many different people. Have you spent much time working as a producer yourself?

HM: Occasionally I’ll get a project. Yes, from time to time I will produce a project. I produced a great project last year which I think was a marvellous record. When Michael Jackson died, we’d been looking for an angle and I came up with this angle, songs that were popularized by Michael.: So we did this record in Japan. And her name is Charito, you should check it out. It’s a wonderful, wonderful record, and over there it’s done pretty well. Her name is C-h-a-r-i-t-o.

DN: Charito, okay.

HM: It’s a very wonderful record. I did that, and I worked on a record with a young artist named Zana ]from Serbia] recently. And I got called to do… I believe I’m about to do a record with Marlena Shaw.

DN: Really? One of my favourite, favourite people on the planet.

HM: So we talked last week and I think we’re going to do something.

DN: And for course you have the Chameleon record.

HM: Yes, I’m going to work with Marlena Shaw.

DN: Well, I can’t wait. Have you worked with Marlena before, by the way?

HM: Yes, I did a big record with her called WHO IS THIS BITCH, ANYWAY?

DN: Oh yeah, that’s her favourite album, actually.

HM: Yeah, I played on that. And we’ve been going to Japan for the last three years with a lot of those members, with David Tee and Chuck Rainey playing with her, and all sold-outs performances. We’ll be there for fifteen days as a sell-out, two shows a night. We’ve been doing that for the last three years and now I’m going to produce a record for her.

DN: Well, that is fantastically good news. She is, again, one of my favourite human beings and of course a great vocalist, and I think the combination of the two of you… this is going to be the first time you’re producing her, correct?

HM: Yes, that’s right. Yes.

DN: Wow, what a dynamite combination.

HM: I’m looking forward to it, she’s an amazing singer.

DN: She really is. Well, only in the interests of time and technology giving us the blues here a little bit—

HM: [Laughs] I love the way you put that.

DN: —I’m going to wind down, but I just want to thank you again for taking the time. I’m sure some of the people who are listening are familiar with you from different things that you’ve done, so hopefully this conversation fills in some of the blanks for them.

HM: Great. Well, thank you for having me and thanks for re-releasing the CDs and I look forward to seeing you when I come to London in November.

DN: Absolutely, Harvey. Thank you again, it’s really a pleasure. Take care of yourself.

HM: Thanks, David.

DN: Thank you. Bye-bye.


About the Writer
David Nathan is the founder and CEO of SoulMusic.com and began his writing career in 1965; beginning in 1967, he was a regular contributor to Blues & Soul magazine in London before relocating to the U.S. in 1975 where he served as U.S. editor for the publication for several decades and began being known as 'The British Ambassador Of Soul.' From 1988 to 2004, he wrote prolifically for Billboard, has penned bios, produced and written liner notes for box sets and reissue CDs for over a thousand projects. He returned to London in 2009 where he has helped create SoulMusic.com Records as a leading reissue label.
  
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