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Up Close and Personal With D’wayne Wiggins of Tony! Toni! Tone!: By Shelah MoodyPublished on Saturday, 12 July 2014 05:45
D’wayne Wiggins and R&B super group Tony! Toni! Tone!, featuring Timothy Christian Riley and Amar Khalil (lead vocals) perform 8 p.m. and 10 p.m., July 11-12, Yoshi’s San Francisco, 1330 Fillmore Street, SF, 415-655-5600. http://www.yoshis.com/sanfrancisco.
Who are the cool cats from Oakland CA, who helped develop a style of music called neo-soul? They are Tony! Toni! Tone!, who have produced hits such as “Little Walter,” “Lay Your Head on My Pillow,” “It Never Rains (In Southern California) “Whatever You Want,” “Let’s Get Down” and the wildly popular ballad “Anniversary.”
Tony! Toni! Tone!, consisting of original members D’wayne Wiggins, his brother, Rafael Saadiq and their cousin, Timothy Christian Riley, released their first album, “Who?,” produced by Denzil Foster and Thomas McElroy, in 1988. After more than 25 years in the music industry, it still feels good, said Wiggins. .
I recently spoke with musician/entrepreneur/community activist D’wayne Wiggins, who has produced his own solo projects and other artists including Keyshia Cole and the cover band PopLyfe, featuring his sons Dylan (guitar, piano) and Jaden (bass) Wiggins and nephew, Ali Khan (DJ).
In the early 2000s, Wiggins opened the Jahva House café, where he would showcase the work of community musicians, poets and visual artists. The likes of KRS-One, E-40 and Dennis Kucinich walked through the Jahva house doors. In fact, Wiggins still markets his family blend of Jahva House coffee.
On June 2, D’wayne Wiggins hosted a record release party for British reggae star Maxi Priest, who was presented with a proclamation and a key to the City of Oakland, at Jeffrey’s Inner Circle. Their Q&A session led to a beautifully improvised unplugged version of Priest’s 1991 chart topper “Close to You” featuring Priest on vocals and Wiggins on acoustic guitar. https://www.youtube.com/watch?v=RopvkRNSmS8
During the week of our conversation, Wiggins was enjoying the sunny weather in the Bay Area with his daughter and one-year-old grandson, Carter. This weekend, Wiggins and Tony! Toni! Tone!, take the stage for two nights at Yoshi’s San Francisco.
Shelah Moody: What was it like hosting Maxi Priest listening party at Jeffrey’s Inner Circle?
D’wayne Wiggins: I’ve got a new friend. Maxi and I had a great time. First of all, I think that the event was something very new for Oakland and it came off very organic. We spoke on the phone a week and a half before when Maxi was in London. We met on the day on the event and I told him that his song “Close to You” was dope to me because it crossed the reggae and the R&B vibe perfectly. We got into a good conversation but once I started jamming with him, I thought, oh, he’s for real.
SM: Everyone loved your spontaneous, acoustic version of “Close to You.”
DW: We are from two different nations, but we were speaking through music. Maxi started out the key and I just followed him on guitar. I know how the song goes and I played it the way I felt.
SM: Do you, like Maxi Priest, have a key to the City of Oakland and a proclamation?
DW: I have a key, but I haven’t been able to use my key yet; I don’t know what doors it opens. (laughs). I have a proclamation, and Tony! Toni! Tone!, has a proclamation. We’ve also got one for my family group, PopLyfe. I received my proclamation in 1999 when I did my solo album, “The Eyes Never Lie.” The Bay Area has been supportive of true entertainment. I have to say that there has been a resurgence of that whole vibe. I’ve been lucky; I’ve been blessed to have been supported by five mayors of Oakland. I’ve been staying connected to what’s going on in Oakland since the start of our group. Tony! Toni! Tone!, which was one of the founding bands of the annual Art and Soul festival in Oakland.
SM: You’ve produced a lot of artists out of Oakland, including Destiny’s Child, Keyshia Cole and PopLyfe, featuring your sons Dylan and Jaden Wiggins. Do you consider Oakland a music mecca?
DW: I’ve always considered Oakland a music mecca. It goes back to me growing up and being able to experience artists like Carlos Santana playing in the parks. As a kid, I would see Larry Graham and Sly Stone and the local grocery stores. I would watch them rehearse. When I started traveling to other countries--Australia, Indonesia and Japan--I would see all of this information about Oakland. I was able to see the impact that we had outside of Oakland years ago. I kind of vowed to myself, whenever I work with artists, that the key is exposure and getting them out to speak about what it’s really like to have this gift, on the guitar, on the microphone, on the piano. I stress to them the impact that they can share when they take it outside of Oakland. Every artist I’ve worked with—Alicia Keys, India.Arie—they’ve all been to my House of Music recording studio in Oakland.
SM: On the subject of Tony! Toni! Tone!, did you take a hiatus from the group to work on your solo projects like your brother, Rafael Saadiq did?
DW: I did, and my solo project came out of a bad situation. There was an incident involving me and a police officer in Oakland. I did the song “Strange Fruit,” and Kedar Massenburg at Motown happened to hear the song as well as some songs that I was writing for other musicians, and he asked me to put a solo project together. The Tonys are always the foundation of whatever we do. When we do our own solo projects, like Rafael’s project or whatever, it’s still “Tony” blessed. Our foundation is very solid and we appreciate it. We are going on 26 years in the business. Truthfully speaking, that’s half the time of the Beatles. Twenty-five years of Oakland boys staying focused--what about it!
SM: How many of your family members will be a part of the Tony! Toni! Tone!, experience at Yoshi’s?
DW: It will include the originals—myself and my cousinm Timmy Christian and the band members. Our family is so broad in this industry, and we want to bring some of the people who we’ve had the opportunity to bring into the industry. There was a group called Kenya Groove that I produced years ago. They had a song on the “Menace II Society” soundtrack. I call that song the hit that never was, because that song is known all over the world; Master P sampled it and got off on it. I want to invite people like that to the stage. I don’t know if the Art and Soul festival got its name from one of the groups that we developed. I’d like to bring some of them to the stage. There are some new people who I have been gettin’ down with lately, who I might bring to the forefront. On stage, I leave it open. We are definitely going to give you the hits and we have some new followers who need to find out what the hype is about Tony! Toni! Tone!; the hype that has inspired kids to start playing guitar and piano, and developed a sound that they call neo-soul. There is a lot to say; a lot to put in those two hours or so of music that we’re gonna do at Yoshi’s. We are like a miniature Apollo Theater! There is a lot of music in our show, a lot of songs, a lot of history, a lot of information and a lot of fun!
SM: Will your sons Dylan and Jaden be a part of the show?
DW: I don’t know if they’ll be home for the summer, but if they’re in town, they definitely will be smackin’ the stage. That’s when it gets real Wiggins right there! They are currently in Los Angeles, working with Rafael Saadiq; working with his production and doing a lot of music for television. The more recent thing they did was some of the music for the film “Black Nativity” the opening piano piece.
SM: Give us some brief background on how Tony! Toni! Tone!, formed.
DW: Tony! Toni! Tone!, formed in the living room of our house on 80th and Olive Street in Oakland. It was a family business with musical instruments around and the whole bit—pianos, drums and whatever. My mother and father were supportive of us. I’m not saying that they pushed us into the industry. My mom always supported me being in talent shows and whatever else. You know, that guitar has always been like a savior for me because it distracted me from a lot of things that were going on right there in my neighborhood. I moved from west Oakland to east Oakland. That’s how it all started. Tony! Toni! Tone!, happened to be a nickname that I came up with making fun of a friend of mine. We started incorporating the name with the way we used to dress and go out to the clubs back in the day. We were playing at a friend of the family’s wedding, and we really didn’t have a name, because it was always me, my brother and Tim. It really wasn’t a full band; it was the three of us, jamming. When someone asked, what’s the name of the group, and as a joke, I’d say, Tony! Toni! Tone!, and we’d start laughing. The whole night we kept it going; and one thing led to the next and here we are.
SM: Everybody has their favorite Tony! Toni! Tone!, song. What’s the one song that you can’t leave the stage without playing?
DW: Well, of course, “Feels Good,” you know, because it just feels good. Oh man, “Lay Your Head on My Pillow,” that song reminds me of when we used to play our music and hear it coming through the speakers; when we would play the Isley Brothers. Being in the industry for 25 years, we’re celebrating our anniversary, so we’ve gotta do “Anniversary.” We have some new music that we feel really good about because it has a lot of information and it’s about celebrating life and partying.
SM: I know that you do a lot for the City of Oakland. Have you considered running for mayor?
DW: I don’t think I want a job! (laughs). No, I’ve never really considered it because it’s a lot of focus and a lot of responsibility. I think that I’m just doing it from my heart and my spirit and I get along well in Oakland. I know a lot is changing; a lot of people are not feeling good about the change that’s coming about in our city, but I embrace it. I really support what’s going on because I know that we’re gonna change history, and we’ll fix it. I know that a lot of people have to understand why we are so proud of our city and we walk around like we own the world. We do own the world! Oakland California! What!!!
SM: You have done a lot of work with the community. What causes are you currently involved in?
DW: I’ve worked with a lot of non-profits since 1988/1989. I got involved when I was doing stuff with the mayor back then. Right now, I am supporting Oakland Natives, a couple of young ladies who are originally from Oakland; they do the back pack giveaways every year to kids in school. I also have my own non-profit called Oakland Youth Aid. We have some things that are in store for the years to come that I want to make happen. Also, every other Wednesday night at 8 p.m. I host Oakland R&B Live, which is something I’d like to get people to come out to. It’s at the Imagine Affairs Art Lounge in the beautiful hub of Oakland, off of 14th Street and Broadway. It’s fly, you know; we feature all of the backline instruments like the piano, drums and guitar. People show up, sign up and get it in. Every now and then, you will catch somebody from LA pop into the spot and take the stage.
SM: Give us a preview of your new album.
DW: We have a song called “It’s a Beautiful thing; in fact I may have to give you a sample of that one. It’s straight from the guitar. We will definitely perform it at the show. It’s a beautiful thing just being able to celebrate 25 years of being in the business. We did a little something different, everybody knows, when the Tonys come, we come a little bit different that what’s out there; we stay in our lane, we run our own race.
For more information on “Tony! Toni! Tone! go to: http://www.tonytonitonemusic.com.
Black Music Month Exclusive--Shaggy, Tarrus Riley, Morgan Heritage and World Class Musicians Headline the 21st Annual Sierra Nevada World Music Festival, June 20-22 By Shelah MoodyPublished on Friday, 20 June 2014 07:35
Black Music Month Exclusive--Shaggy, Tarrus Riley, Morgan Heritage and World Class Musicians Headline the 21st Annual Sierra Nevada World Music Festival, June 20-22
By Shelah Moody
Well it’s that time again--Summer Solstice which coincides with one of northern California’s largest musical extravaganzas, the Sierra Nevada World Music Festival. Presented by founders Warren Smith and Gretchen Franz of Epiphany Artists, SNWMF XXI kicks off on Friday, June 20th at Mendocino County Fairgrounds in Boonville, CA and runs through June 22nd.
Recently, I spoke with some of the SNWMF XXI headliners and also, the supporting musicians that help shape their sound.
I remember when I first interviewed a young and upcoming singer named Tarrus Riley during his first San Francisco performance at the Apple Store in Union Square with Wayne Wonder. Since then, with hits such as “She’s Royal” “Lion Paw,” “Stay with You” and his cover of Michael Jackson’s “Human Nature,” Tarrus Riley, the son of veteran singer Jimmy Riley, has emerged as one of reggaes most in demand acts. During a Valentine’s Day concert this year in San Francisco presented by DJ Smoky, the bespectacled vocalist and his band, Black Soil, won the hearts of the audience—especially the women in the crowd. Riley performed tributes to those who paved the way for him including Jimmy Riley, Buju Banton, and Third World’s lead vocalist William “Bunny Rugs” Clarke (who passed away earlier this year).
I asked Riley about his personal concept of soul.
“It comes from my culture, my emotions, and my experience,” said Riley.
Riley described his band, Black Soil, which includes acclaimed saxophonist/producer Dean Fraser and bassist/producer Glen Browne, as the best group of musicians to come out of Jamaica. Riley’s latest album, “Love Situation” rose to the top of the reggae iTunes and the “Billboard” reggae Charts. Riley described “Love Situation” as a tribute to the rock steady era of Jamaican music, featuring original love songs.
I asked Riley if he aspired to receive Grammy recognition.
“I mean until I win a Grammy, I will be singing for the aunties and the uncles and the mommies and the daddies and the grannies,” said Riley. “It’s a family thing. Grammy’s are nice, but if not, we’re still here.”
Riley’s bassist, Glen Browne is a world renowned musician, producer, arranger and devout Rastafarian from Kingston, JA. He has previously toured and recorded with many reggae and jazz greats including Jimmy Cliff, Ziggy Marley, Luciano, Monty Alexander and Delfeayo Marsalis. On his Island Treasure label, Glen Browne recently produced a remake of the Mighty Diamonds’ reggae classic “Sweet Lady,” featuring vocalist Kamau. Glen Browne has also teamed up with his wife, Marjorie-Kay Browne and dub poet Mutabaruka on a remake of James Moody’s jazz standard “Moody’s Mood for Love.”
Tarrus Riley and Black Soil perform Sunday, June 22, on the Valley Stage at 5:30 p.m.
Grammy winning crossover reggae/dancehall artist Shaggy and his band, Hot Shot, will be bringing sex back to the Sierra Nevada World Music Festival. Shaggy, a Desert Storm veteran who was raised in New York, rose to international stardom and gained his moniker “Mr. Lova Lova” with hits such as “Boombastic,” “Luv Me Luv Me,” with Janet Jackson and his signature track, “It Wasn’t Me,” a song that made Michael Jackson smile during a tribute concert at New York’s Madison Square Garden in 2001. Speaking of crossover appeal, Shaggy was one of the few reggae acts to open for the Rolling Stones several years ago.
Eclectic guitarist Robert “Dubwise” Browne (son of Glen Browne) has been touring with Shaggy for more than a decade. Browne has also toured with Jimmy Cliff and Morgan Heritage. Browne has recorded two instrumental solo recordings, “Birth” and “Electrifying Grooves of Diversion.” He recently remixed Pharell’s megahit “Happy” in reggae style.
I caught up with Browne when Shaggy and the Hot Shot band performed at the Mezzanine nightclub in San Francisco. Browne’s influences include Jimmy Hendrix, George Benson and Junior Marvin. Browne is thrilled to be performing once again with Shaggy at SNWMF.
I asked Browne about the chemistry that has kept he and Shaggy performing together for so many years.
“Obviously, Shaggy likes how I play, but I guess it’s mutual respect,” said Browne. “I don’t do anything that he would not approve of. I tour with other artists as well, so when Shaggy is not touring, I let him know in advance so there is no clash. I guess in any job situation, when you behave yourself, you can stay as long as you want.”
Shaggy and the Hot Shot Band perform on the Valley Stage on Saturday, June 21 at 10:30 p.m.
When you think of the royal families of reggae, Morgan Heritage comes to mind. Morgan Heritage features siblings Peter, Gramps, Una, Mr. Mojo and Lukes Morgan. They are the children of veteran reggae singer Denroy Morgan.
Morgan Heritage rose to fame with conscious reggae tracks such as “Don’t Haffi Dread (To Be Rasta),” “Down by the River,” “Jah Seed” and “She’s Still Loving Me.”. During a recent performance at Slim’s nightclub in San Francisco, a third generation of Morgans, crooner 18-year-old Jemere Morgan, son of Gramps, opened the show.
I spoke with singer/keyboardist Una Morgan about the groups’ latest projects. Some members of the family, such as Gramps, who opened for India.Arie, and Mr. Mojo, who recorded a version of “The Girl is Mine” with David Hinds of Steel Pulse” have ventured into solo careers but still come back to Morgan Heritage.
“We never separated, we’ve been taking time to raise our children; as you can see, my nephew, Jemere, is here with us tonight,” said Una. “I had time to be a mom, and now I’m preparing for my solo album. Gramps and Peter have both had solo albums, and now it’s time for me to represent the women. I’m excited about it! The first single will be out this summer and the album will be out next year.”
I asked Morgan for a few words on the loss of one of the greatest voices in the industry, Bunny Rugs.
“Oh my goodness, he was one of our biggest inspirations,” said Morgan. “He and my dad were really good friends. We are very blessed and humbled to have known such a great man. May he continue to rest in peace.”
Morgan Heritage performs on the Valley Stage on Sunday, June 21 at 1:30 p.m.
For information on the Sierra Nevada World Music Fest, go to www.snwmf.com.
Ray Parker, Jr.Published on Tuesday, 20 May 2014 04:36
Ray Parker Jr., Renown Guitarist, Crooner, Producer Brings his Dynamic Sound to Yoshi’s San Francisco Story and Photos by Shelah Moody Ray Parker, Jr. and his six member band perform 8 p.m. and 10 p.m., Saturday, May 24, Yoshi's San Francisco, 1330 Fillmore Street
SF, CA 94115, 415.655.5600, http://www.yoshis.com/sanfrancisco.
Who you gonna call when you’re in need of some serious soul and funk? Ray Parker, Jr., that’s who.
Next to Michael Jackson, Ray Parker was my idol in the 1980s. On lazy, summer afternoons, I would listen to Ray Parker, accompanied by his band Raydio, croon songs such as “A Woman Needs Love,” “Jack and Jill” and “You Can’t Change That” on R&B and Pop formatted radio stations such as KIKI in Honolulu, HI and KDIA and KSOL in the Bay Area.
Although he became known for writing and producing the monster title track from the movie “Ghostbusters” in 1984, Parker is actually one of the most prolific producers in the in the industry- his credits include “Shake it Up Tonight” by Cheryl Lynn wrote “Mr. Telephone Man” by New Edition.”
This weekend, Ray Parker Jr. is sure to have booties shaking at Yoshi’s San Francisco. Parker will be backed by a six piece band including former members Raydio the members of the classic soul group, Blackbyrds.
In a brief interview, the Detroit, MI native discussed the past, present and future of his illustrious career.
Shelah Moody: I was just jamming the other day to one of my favorite Ray Parker, Jr. and Raydio instrumentals, “For Those Who Like to Groove.” Let’s start with the instrumentals that draw everyone to the dance floor.
Ray Parker, Jr.: It’s funny, because I’m a guitar player; and on every record that I’ve cut, I’ve had at least one instrumental. Some people say, “he’s playing jazz,” “he’s playing this,” but it’s just another instrumental.
SM: Did you start off as a guitarist before you began singing?
RPJ: A long time before singing. I played with the Spinners when I was 13.
SM: Along with writing and producing for Ray Parker, Jr. and Raydio, you’ve also done a lot of producing and songwriting for other established artists.
RPJ: Yes, I did a lot for Nancy Wilson; she was the first person to sing some of my songs. I’ve worked with Barry White, Diana Ross, Chaka Khan, New Edition and Boz Scaggs.
SM: You are known as the king of the 1980s crossover ballad. How did songs like “Jack and Jill” and “A Woman Needs Love” come about?
RPJ: “Jack and Jill” came about when I was desperate; that was my first song as a solo artist. I was writing and producing for other people, and along came “Jack and Jill.” I have decided that I am cutting a late seventies/early eighties album. My next album is going to sound like the songs that you mentioned, “Jack and Jill,” “A Woman Needs Love” and “For Those Who like to Groove.” It’s going to be authentic—no rapping and no funny stuff going on—just good, old fashioned music. I would call it rock and roll rhythm and blues. It’s gonna sound like the original Ray Parker and Raydio.
SM: Your love songs were recorded just when people were aching for straight forward, romantic music. Do tell the story of how you came to write “A Woman Needs Love.”
RPJ: “A Woman Needs Love”—that song came about because I was in the studio; there were four or five girls sitting on the couch in the studio. I hadn’t even started recording yet, but they were gossiping, they were male bashing and all that stuff. They were almost reciting all of the words to the song. They just kept talking about no more this, and no more double standards; they were writing all of the words for me.
SM: I last saw you perform in Oakland, CA in 2008, at an outdoor festival with Roberta Flack, Patrice Rushen and others. Do you have fond memories of working in the Bay Area?
RPJ: Oh, the Bay Area has always been fun; working on all those Herbie Hancock records there. I was also up there at Fantasy Records, recording artists. There was a time when I moved my car up there for three months, because I was there so often. I love the Bay—Sausalito, Mill Valley, it’s just an interesting area. SM: So, you recently earned a star on the Hollywood Walk of Fame. Congratulations!
RPJ: They gave it to me two months ago. It was unbelievable; it was the biggest thing that’s ever happened to me, because I’m a ghetto kid from Detroit. When I was 16, I used to walk up and down Hollywood Boulevard and read every single star. For me to have a star in the ground; I don’t think there’s a higher event that could happen; it’s unreal. I drive by my star every four or five days to make sure that it’s still there.
SM: For those of us who would like a tangible piece of Ray Parker Jr., where can we find this star?
RPJ: Oh, it can’t be at a better place. When I was a kid, I played alongside the Funk Brothers, from Detroit. My star is right next to the Funk Brothers’! Next to that star is Dizzy Gillespie’s, next to that is Thelonius Monk’s, and then Herbie Hancock’s—I played on his records. A few more stars down is George Benson’s, and I played on all of his records. He’s also a good friend. And then there is Sam Cooke, who was one of the first people I heard on the radio. I’m in good company! My star is on Hollywood Boulevard and Sycamore.
SM: I was watching a clip of you and Raydio performing “For Those Who Like to Groove” on “Soul Train” (http://www.youtube.com/watch?v=TBQssJikpZc). Can you share some memories of Don Cornelius and the iconic TV dance show?
RPJ: I loved “Soul Train.” It’s one of those things where, when you’re a kid, you say, “I’m gonna be on ‘Soul Train,” then all of a sudden you are on “Soul Train.” It’s one of those landmark victories, like getting a star on Hollywood Boulevard. Everybody wanted to be on “Soul Train,” and everybody wanted to be on the cover of “Jet” magazine. I’ve never been on the cover of “Jet” magazine. I’ve been featured inside, but I’ve never been on the cover of “Jet.” I’ve been on the cover of “Ebony” magazine.
SM: And you were on the cover of my favorite teen magazine, “Right On!” Chances are your picture was on my wall with other “Right On!” hunks.
RPJ: (Laughs). I was on the cover of “Right On!” several times. SM: We grew up in the era of traditional radio, now it seems that the direction is going in the way of digital recording and Internet radio. Do you have a preference between the two?
RPJ: I know that things have to change, and I do like some things, like Pro Tools, where you can edit you music digitally and not have to cut tape and ruin the whole song. It is uncomfortable for me to figure out how you are going to buy the record because it’s downloaded; it’s all over the place. Just like anything else in the world, things change. I do like the new cars with all the new gadgets, so I don’t think it’s fair for me to put down music just because we’re not buying vinyl records anymore. It just seemed more romantic to me when and album cover was 12 inches by 12 inches. Now, you can’t even see whose name is on it. When you get a little older, like I am; the typing gets smaller, not bigger.
SM: So, when people see you on the street, do they yell out: “Who you gonna call? Ghostbusters!!”
RPJ: Everybody screams out that song. Some people think that I’ve never done anything except that song. I’m not upset about it; it’s a blessing from God. That song is so huge that it overshines almost a lifetime of music. When people find out that I wrote “Ghostbusters,” they always have a smile on their faces, I’ve never seen anybody unhappy. It is a wonderful thing; it was number one in 52 countries. It’s just an unbelievable song; I’ve never had anything like that in my life. It’s a happy song. “Ghostbusters” was also the number one video on MTV. We really broke a lot of barriers.
SM: Is there actually a “Ghostbusters” dance like there is a Michael Jackson’s “Thriller” dance?
RPJ: I think there is. We have slot machines, toys, cartoons, the song was in a lot of commercials; it just keeps going on and on.
SM: As a black artist on vanguard of the MTV era, did you get to know Michael Jackson well?
RPJ: Of course I did. He was a wonderful person. He would play little prankster jokes and stuff like that. People like to make him out to be something else, but he was just a straight up guy with a great sense of humor. I’m good friends with the Jacksons now. I see them all the time. I used to play on all of their records. I’m always Las Vegas with Tito, Jackie and Jermaine. We’re together at least every couple of months. We all live in Calabasas.
Check out Ray Parker, Jr. on his website: http://rayparkerjr.com.
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