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RANDY MULLER:
30 YEARS OF GROOVIN’ U!
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Can’t forget’ bout the very first time we met. Was something like a few years ago in Miami. He was standing on his own by some pool, wearing a WMC badge and this exactly is how I happened to put a name on his face… Damned, I guess I simply couldn’t believe it, being in front of a man among those who got me into funk back in the mid seventies, producing killer grooves for acts such as Mark Radice, B.T. Express, Brass Construction then later on Funk Deluxe and Skyy to name a few. The recent release of his new Groovin’ U album under the Randy Muller Boom Chang Bang moniker give us the opportunity to retrace the story of one of the biggest producers in the world. Ladies & gents, please welcome Randy Muller…
Yaow Randy. Always a pleasure havin’ news from you and a true honour welcoming you for the very first time here on IDMW. To a new generation of music lovers, your name may sound unfamiliar. Could you give us a few words about you as an introduction?
Well, I am a composer, producer, thinker, father, flautist, arranger, concerned world citizen, lover of animals and all forms of funky music…
Let us know about your family background. I mean, did you happen to receive any musical tuition back then. What’s got you to become a musician, then a producer? My father and mother were not “musicians” per se. However, I can recall my dad playing an interesting variety of music around the house; from Mario Lanza, Nat King Cole, Jim Reeves and Beethoven to The Mighty Sparrow, Byron Lee, The Platters,Duke Ellington and James Brown, to name a few. In retrospect, both of my parents seemed to have had good vocal chops and most of all, a great love for the arts, and especially music.
I recall my very first attempt at forming a band. I was at about the age of seven or so back in what was then called British Guiana (Guyana). I remember collecting the discarded steel drums from the then popular band of the day, retuning them and recruiting about seven friends from around the neighborhood to form a band…
Most of my musical education took place after I arrived in NY. I had finally convinced my grandmother to buy me a $16.00 guitar I used to gaze at every day, as I passed a local pawnshop. I began entering school talent shows during my elementary school days, as I learnt to play the guitar from books I got from the library. I later became a member of a very popular Guyanese band called The Panharmonics, in which I played not only the steeldrum, but drums, flute, keyboards and guitar as well…
It was while I was in this band, and coupled with music classes I took in the New York City public school I attended, that I was introduced to the notions and formalities of music theory, arranging and composition. I later went on to study music in both High school and college, although, ironically, I never majored in this field even though music would always be a part of my life…
As far as getting into the production side of things, most of that came from my experience in the studio either as a musician or arranger. Through observation I was able to learn about microphones, the board and various techniques of recording and reproducing sound. I must, however, give props to John Bradley, the very first real engineer I had the opportunity to work with, and also Jeff Lane for the work I did with him in the early days with BT Express, Garnett Mimms, etc. I have had a penchant for technology. Even today, I largely hand built the studio I use. So I think, coupled with my passion for music, the production thing was a natural progression for me.
Were you destined to become who you are? The ones who’ve influenced you…
I can’t imagine myself not doing what I do. I believe music is at the core of my existence. I guess they had it right when I was introduced at a school award ceremony as someone who “eats, sleeps and drinks music”. I don’t know if it’s destiny or what, but I love what I do. However, I see myself as more than just a musician. I also, have a great interest in social issues, politics, religion, media, etc. In fact my academic training is in these areas. However, I believe music is a perfect medium for expression of ideas, fears or concerns to a wide and attentive audience. Although I try to be very subtle in this regard. Especially when it comes to dance music, where one is probably seeking to escape or dance away their hard everyday realities.
As far as my influences, I grew up with a great deal of Caribbean rhythms around me, as well as country, blues, classical, big band jazz and soul. But in terms of arrangement and sound, I think Thom Bell, Isaac Hayes, James Brown and groups like Mandrill, Tower Of Power and Chicago had a lot to do with where I ended up. I can remember digging that whole Isaac Hayes “Black Moses” thing and listening to that “Shaft” album over and over and over again. It was a new fresh and exciting sound at the time.
With regard to the flute, at the top of the list is Hubert Laws. I love all of his CTI albums. In terms of his versatility, style, technique, sound and soul-quotient, the man is as accomplished as they come. I don’t think he getting the kind of props he deserves in some circles. I’m still striving to be at least approaching his musical vicinity. He sets the standard in terms of where I would like to end up. And I know I have quite a journey ahead.
Herbie Mann is also cool. But my very first encounter with the flute was when I was a child in Guyana (Then British Guiana). There was an old man ; I guess he would be described as a “homeless man” today. But every Christmas Eve, very late at night, he would play X-mas songs on what seemed to be is most valued possession: his flute. Sounds of “Silent Night” would waft into my room as I waited for Santa’s arrival. In my quiet little village, the sound of George’s flute was the only sound one could hear for quite a distance. Although I was terrified of this old bearded man during the day, somehow on Christmas Eve the peaceful sound of his playing just captured me. I knew then that this is the instrument I want to play.
He made such an impression that when I arrived in New York, and was given a choice as to what instrument I wanted to play in school, my hands was probably the first to be raised for the flute. So I tell people, although he is long dead and gone, a significant part of me is owed to this “homeless man,” who most likely had no clue of his positive contribution, impact or influence on a young mind taking it all in. Decades later, and more than a thousand miles away, George lives every time I play that piece of pipe.
Right, let’s restick to what to many young people may seem like the various elements of a (biiiig) puzzle covering no less than 4 decades of activities. In other words, something which could be resumed as Past, Present and… Phuture with you being of one the most talented and prolific producers of the disco/funk era, then working with Kenny Dope on various projects and eventually jump on the house wagon with the help of youngers producers, before droppin’ a first album under your own name in the so called smooth jazz vein…
PAST
As far as we can see, if technology has allowed people to come with new sounds, it has always been synonymous with the death of things from a period to another. Many 70’s outfits like Chic for instance or those Italo US projects such as Change, BB&Q Band and the likes have never regained their intitial status once their members began to use technology by the end of 1983. How have you felt yourself at the time?
Well, I definitely had to attend to that issue at the time. Especially regarding Brass Construction. Obviously, central to the group’s sound is the use of live horns. I recall putting together the track “Walkin’ The Line” with this very issue in mind. So I tried to blend the two: marry acoustical sounds with technology. The rhythm tracks featured live drums, Fender Rhodes, guitar and live percussion. The bass was basically a Prophet V. Most of the ornamentation was synth. Live horns topped it all off. I remember even adding a female singer in order to affect a more modern or fresher sound to the act. But it was a very tough call. Some fans did not embrace the change and saw it as a betrayal of our original sound. However, many welcomed it. But I remember being torn between staying true to the sound the group had become known for and satisfying a growing trend in the market…
One act that did very well in making the transition though was Kool & The Gang. Their newly added upfront singer was a great move on their part in revamping their sound and securing a solid position on the charts. It certainly contributed towards their longevity.
I believe that period was pivotal to many acts as burgeoning technology worked to change the sound, aesthetics and economic landscape of the music industry.
Baltimore singer, Ultra Naté said on these columns that if house music doesn't work the way it should, it's mainly a question of lack of artist development (investment) from the record labels… Isn’t that this kind of situation which has caused the end of disco/funk at the time ?Well, I believe there are several factors that can explain the waning of disco/funk and other genres in the record industry. But I think central to the demise was the corporatisation of the industry. There was a time when we had a plethora of privately owned record companies,( Stax, Buddah and Motown comes to mind.) that, although still with profit in mind, had a deep and passionate commitment to the music and acts on their label. They saw it as a long-term commitment. They took the time to develop their acts. One didn’t have to sell a million records to stay in the game.
However, I think there is a bitter irony at work here, in that the very success of many of the indies attracted Wall Street to the music game prompting a series of corporate acquisitions that eventually spelled doom to many of the labels and acts that prospered under the indi banner. For example, in 1977, Polygram bought a fifty percent stake in Casablanca and in 1980 bought the remaining half for $15 million. They ended up going out of business in 1984!!!
There is an endemic bottomline-only mentality to the corporate culture that I think works to undermine the creative process, especially when applied to music. And today this phenomenon is even more widespread as the corporate virus of “bottomline-only” analysis pervades what’s left of this industry. The increased utilization of technology such as synths, drum machines in the early days was a big plus to the corporations that were looking to cut costs and bolster profits. So one keyboard served not only to change the sound of our music ( which isn’t necessarily a bad thing) but it also deprived many very talented musicians of vital work.
One has to remember the size of the bands that were popular in those days. They represented a financial burden that the record companies were only too willing to jettison. Musician union payments to which the companies were mandated to contribute on behalf of the recording musicians would be diminished with the increased use of synths,keyboards and drum machines. And by the way, some of the very corporations that run and own record companies helped to develop the gadgets that would serve to affect the role of the musician in the music business.
And the corporate culture and the obsession with the bottomline only is quite evident even at the few remaining mid-size or indi labels. Especially in dance music. I am appalled at the almost slave-like wages and terms many of the labels offer artists and producers. Many big-name DJ’s and artists with well-establised names and reputations are subjected to onerous and slave-like terms in contracts that many of the labels barely honor. Many dance artists get only a paltry advance and quite often never see a penny thereafter. And this is not only on the performance side. Many indi dance labels have to be dragged, kicking and screaming simply to pay mechanical or writer’s royalties. As they know most of the Djs, artists and producers they deal with typically lacks the resources to afford a lawyer to look after their interests. So they carry on with impunity; without fear.
So, Ultra’s observation has some merit. For the labels, the zeitgeist “is make all you can make, invest the least amount”. There is always another idealist artist around the corner that can be used for fodder and replace the dissatisfied.
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What you used to produce - funk music which was also considered as dance music – had some strong media support with radios like WBLS at the time. How come has the situation changed?I think the biggest change in radio the top-down nature of it today as opposed to back in the day. In NY there was Frankie Crocker at WBLS who, if he heard a record in the club that he thinks is hot, would put it on the air, sometimes the next day. Back then radio reflected pretty much what the people wanted. It was bottom-up. In a way, truly democratic.
Today, most of the big stations are government by “experts,”focus- group research, and big-label dollars. So that corporate pall has captured radio as well. So many established and new acts are now turning to the Internet to get their music heard. However, I see the same thing that happened to the indies in the early days starting to happen in this venue as well. But I think live performance will be the salvation of what we do. It is the final monopoly we as creators or music makers have with which we may be able to carve out a decent living. So the live venue will be our medium. Radio as we know it will not be the place to be when it comes to original, pioneering or cutting edge music.
Looks like you’ve disappeared for some time. How come then? How have you lived this period?
Well, my decision to take a break stemmed from my experiences on the road and my desire to focus and enhance my personal life. The Brass Construction thing had become quite burdensome. Not unlike many such groups, I think we had reached our zenith. I became frustrated as I sensed a lack of growth in what we were doing. There was no challenge. Moreover, I started to feel as if I were engaged in a one-man uphill battle. And there were glaring signs as we struggled to maintain cohesion on the road. I always maintained that whenever the music thing started to feel like “work” to me, although I would never quit making music, it was time for a change. Sales were lagging; it was time to reconstruct ourselves, if you will. However,I did’nt sense a willingness on the part of the other parties involved to do the necessary work to take us to the next level. Therefore, I believe it was August 24, 1986 (‘A date that will live in infamy’-to borrow that famous quote) Brass Construction did its last show in London. Not long after that, we all went our separate ways.
Since then, I have been blessed with a wonderful daughter, I returned to college to get a graduate degree in International Relations, and have been doing some writing with regard to social and political issues. However, a good portion of my time is spent running my publishing companies which administer most of the Skyy, Brass and Cameron copyrights, attending to my passion for the flute and doing all the things I had no time for while touring and doing the group thing.
But, in terms of production, I continued making records. Skyy had a #1 record (“Start of a Romance”) in 89’ and in 90’ “Real Love’ topped the charts as well. In addition, I began spending time developing my label Plaza Records. This platform gave me an opportunity to try new things. I’ve been doing a few house things, afrobeat, hip hop and ofcourse smooth or nu-jazz. What’s cool about it is that I also devolped my own online shop ( plazarecords.com ) where folks can checkout and download my music. One can also go to traxsource.com, I-tunes etc. as well.
So the short answer to your question is that I have been quite busy, enjoying family and living well in the interim.
PRESENT
I remember our very first meeting by the beginning of the 2000’s. I couldn’t believe it while havin’ a look at your WMC badge and wondered what such an artist like you was doin’ in Miami at the time…
Your touch was quite recognizable as the producer of bands such as Brass Contruction, Skyy, Funk Deluxe and the likes. Is it one of the reasons why you've came to work with one of the most identifiable producer around (Kenny Dope)? Well, the idea of working with Kenny was that of a friend of mine, Ted Esposito. I was thinking about doing a compilation of some of my favorite tracks. However, he thought it would be a much stronger package if we get one of the hot “younger guys’ on the scene to help put it together. Kenny was his first choice. His reputation with the Bucket Heads, Masters At Work and his penchant for the classics was definitely a consideration. I think it was one of my best decisions. Kenny is just great to work with. He has an amazing sense of groove and originality while at the same time showing a wonderful reverence towards the music. He is a refreshing multi-lingual purist that can hit you up with the freshest of beats and at the same time pump that hard- to- get iconic track from way back when that would blow your mind.
Looks like you’ve built some partnership with Kenny. Could it give life to an album?
We are definitely planning to do future collaborations.
Funny how the DJ's have got such a key position in today's environment… Any comment ?
Well this goes back to what I said earlier about music and bottomline-thinking. All that matters to the promoters is that his venue is filled with paying customers who are there to have a fun experience. However, today’s DJ’s contribute a bit more than in the old days. They come as part of a larger entertainment spectacle; an audio/visual experience that many are quite willing to pay for. And not unlike popular groups back in the day whose names served as a draw, today’s Djs come with brand names like Van Dyk, Vega,Dope, Cox, et-al. and large followings that any promoter would love.
Many people around are currently doin’ remixes or reedits in addiction to some gems of yesteryears being rereleased. Could it be taken as the translation of new appetites for those sounds of the past ? A thirst for sophistication as opposed to the roughness of purely electronic sounds.
Yes I believe so. I think there is something essential about the honesty and interplay of live music. Kenny and I were just chatting about this very subject and he observed the irony of the usage of samples and loops today. Many of the loops used is an attempt at capturing that classic live feel that constitutes many of the records of the past especially the 60s and 70s and early 80s. We both agree that live performance is the future. In fact, he is building a studio at this very moment that’s geared to live performance. It will be equipped with all of the classic instruments like Fender Rhodes, several drum sets, B3 organ, Arp keyboard and so on. This joint will be rockin’. And I think one will be able to hear the difference in the music that will be coming out of there…
But people are always looking for change. Just think of the transitions we have make in terms of music in the last several decades. I think we have moved away from live instruments and performance, especially in R&B and club music (The country and rock guys still use guitars and live drums, for the most part). So much so, that we are beginning to reach a point of sonic saturation. So now a change is in order. The elecronic sampled “new sounds” are beginning to ware stale and too familiar. As everyone is beginning to “paint’ with the very same brush. Therefore I think the acoustic or live sound will be the new sound of the future. What’s old will become new again…
The late Barry White used to say that the key thing was to have a trademark (a personal formula) at the time. And no matter how you would remix it as long as you keep the basics. It pretty much looks like you’ve followed that path with the revamp of the ‘Call Me’ classic on your new album…
“Call Me” is one of my favorite tracks, so I thought it would be fun to do a smoother version of it on flute with my new Boom Chang Bang band. A friend of mine had me laughing the other day when he stated that I’ve been around for so long that I’m now able to cover myself.(lol)
You have been mostly reknown as a keyboardist, delivering infectious riffs in your productions back in the daze, meanwhile the flute looks like taking the center stage in your new offering. One comment…
As I mentioned earlier, I have a great passion for the flute. Although I played on Phil Fearon and Galaxy’s “Everybody’s Laughing” and used to do a short segment on flute during the Brass Construction shows, among other outings, most people don’t know me as a flautist. But the truth is this instrument gives voice to things I cannot say musically, otherwise. And boy do I have much to say.-lol.
As a music maker I don’t believe in being static. We, like any other individual should be allowed to grow and express one’s many aspects. I am not interested in being 16 or 21 years old again. I am a maturing person and therefore should be able to express one’s self appropriately. One should be allowed the lassitude of more sophisticated expressions. My Randy Muller Boom Chang Bang “Grooving U” speaks to this desire. However, even with my adjusted change in musical vocabulary, I have to say, it’s got to be funky or soulful. Even in the smooth-jazz context.
But not to worry, I will still be doing the funky stuff on the keys as I prepare various other projects. Especially my 70’s funk project, Soul Biscuits, which will feature live horns and grooves, just like in the old days. I am very excited about this. I hope to have this ready by the beginning of the new year…
This instrument to me is synonymous with sensuality, mainly associated with classical music or jazz as illustrated by the contributions of the late Herbie Mann and Hubert Laws, as opposed to the modern groove. One specific reason, as far as you’re concerned?
The flute repertoire is very much classically based, and so it tends to produce players with a very conservative propensity. Jean Pierre Rampal is a master flautist, so is Galway. These guys display amazing discipline and technique. However, players like Herbie Mann and especially Hubert Laws, for whom I genuflect even within 100 mile radius of his sound, are able to speak in a classical voice and when necessary, throw down with a funkier/grittier sound that tended to translate in the commercial realm. That often clean, perfect, romantic yet stoic, uppity representation of the instrument does not serve to bolster the flute’s reputation especially in the genre of music we tend to listen to. Also, since the better players tend come with a heavy classical background, the flute has developed a bad reputation when it comes to soul and hip expression. In fact, a friend of mine who is a well respected radio promo person, was mentioning to me the other day, that a certain program director tend to stay away from the flute and the violin in terms of adds on his smooth jazz station. Of course he will remain nameless. (lol). But I hope to help change that.
I remember your first reaction when I invited you to answer my questions, sayin’ you wasn’t too sure as to how this album of yours might interest our readers. One reaction? Could it be because of the labellization which has led to the fragmentation of music as a whole over those last decades?
I simply thought that most of your readers would know me for my funk and dance stuff. I wasn’t too sure that they would be ready to accept such a seemingly drastic change in my musical expression. Most people when they hear “smooth-jazz” would tend to think of very groove-less music with barely a kick drum. And to top it off with the flute, which is not known for being the funkiest instrument!!! I think there was some cause for hesitation. But the good news is that this album, though under the moniker ‘smooth-jazz,’ still manage to make the head move and the body rock. The title track “Grooving U’ is a good clue as to what I was trying to achieve: Smooth, but funky and soulful.
But in terms of media we are definitely moving from broadcasting, whereby we can listen to one station and hear a wide variety of music, as was my experience when I was younger, to narrow-casting where one can tune into a station and listen only to a specific style of music. I believe this relates to the fragmentation of music to which you refer. As an artist the tendency today is to fit into a nice neat box. One has to pick a label and perform by it. I find it hard to accept that. The various genres I step into are all constituents of my totality: my musical self.
You’ve no doubt influenced a whole bunch of musicians along those last 3 decades. Who’s influenced you as far as this new album is concerned?After I saw Kenny G’s massive success in the smooth jazz area and a growing tendency of the genre towards a funkier sound, I thought it would be interesting to do a project on flute, but with a more soulful edge. As I started to listen to smooth jazz on radio, it became glaringly obvious that there was a need for a project like Boom Chang Bang. The New York station I listened to started to play funkier and even houseyer music, which I thought was heading right up my alley. However, most of the music I heard featured guitar, piano, sax, some trumpet, vocals, but hardly any flute. So I thought it was a great void for me to try to fill. My influence was basically the great musicians I heard like Najee, Incognito, Paul Hardcastle, Boney James, Will Downing, Chris Boti, Dave Koz etc. But Hubert Laws remains my most significant inspiration when it comes to the flute.
Once again, was somehow surprised bein’ said by you that this album may not interest our readers. Would you mean by this that those of’em interested in the reputedly upfront forms of modern groove could pass on it due to its smooth jazz vein?
I think one has to get over the “smooth –jazz label attributed to this album. The grooves run from smooth ballad to Brazilian samba, to the seventies-sounding Ramsey Lewis-type booty-shakin’ title track,“Groovin’ U,” to a Sade-esque vocal track (“Standin’ In Da’ Rain”) to the housey vibe of “Devotion, which has been doing quite well in terms of sales on Traxsource.com which is frequented by the dance or club heads. So I think the “smooth-jazz moniker might not be most descriptive of this Boom Chang Bang debut album. I think one should listen first and then form his or her own opinion as to where on the musical spectrum this album should be placed.
Is this smooth jazz approach something that you’ve had in your mind for quite some time?
Yes, this project, or something involving myself on the flute has been in my craw for some time now. I am happy and relieved that I have been able to make it happen.
PHUTURE
Have you been tempted to think of a remixed version of it, the way you’ve done for instance with the ‘Devotion’ single at the beginning of this year?
Yes, I definitely intend to have a few remixes done on a few cuts. “Groovin' U,” “Bala” and even “Call Me" come to mind. I think it would help broadening the Boom Chang Bang audience…
What about your Worm Theory moniker which saw you expressing yourself on a more electronic vein?
I should have a new Worm Theory track released in about a month.
Still in touch with the people you used to work with back in the 70’s/80’s? Could we expect some resurfacing kind of thing from them?
Well, although it doesn’t seem like it, we are talking about more than two decades. Most of the crew has gone on to do other things with their lives, just as I have. With regards to Brass Construction, I think it is pretty much a certainty that I would not be working with that scenario anytime soon.
In fact, although it may sound strange, these days, I tend to distance myself from anything associated with Brass Construction and that period in my existence. I generally like to look forward as there is so much more to do musically…
Those days in the 70s and 80s were fun and exciting. They are certainly part of who I am at present. And I certainly can’t erase what we have been lucky enough achieved. However, those days are long gone. The social contexts that gave birth to the music and even the relationships at that time are quite different now.
However, funk is still funk and I am very much interested in getting back to the fundamentals. I think my Soul Biscuits project is an attempt at reaching back and harnessing the energies and spirit of the 60s and 70s,in this post-911 social milieu, although I recognize it will never be the same as back in the days. However, I will attempt to capture the essence of the grooves back then on this album. But funk and soul is what this one is all about. And speaking of resurfacing, the former lead singer of Skyy, Denise and her two sisters now go by the name “The Ladies of Skyy” and can be found doing occasional shows here and there. I witnessed her performance just the other day, and I must say she sounds great. It’s very possible that we might end up doing something together down the road. Who knows? Working with Solomon,Skyy and the girls was always a pleasure.
Let us know a bit more about your Plaza Records label?
Plaza Records was originally established in 1988. It has been primarily a Soul/Dance label. However we have since branched out to releasing Afro-beat, techno, House, Hip Hop and now, by way of our newest imprint, Wavehill Records, we now are stepping into the smooth-jazz market with the Randy Muller Boom Chang Bang CD. As I mentioned earlier, we do have our own online store where one can checkout what we have been up to and download a favorite track. Our address is www.plazarecords.com. Also one can go directly to our Wavehill smooth-jazz division at www.wavehillrecords.com. And by the way, for those who are not feelin’ the download thing, one can order the Boom Chang Bang CD at cddbaby.com (www.cdbaby.com/cd/randymuller). Downloads are also available on I-tunes and Napster and of course traxsource.com and dancerecords.com, among others.
Some other projects in the Peace Pipe…line?
In terms of projects in the pipeline, we have that Soul Biscuits album planned for early 2008, a year-end Plaza compilation comprising of our top selling tracks and mixes of the year. We also have a CD package of soulful chill grooves with the working title “Plaza After Dark” that I am very excited about. Worm Theory will be dropping a track in the next thirty days, or so. Last but certainly not least, we plan to have a new Boom Chang Bang single ready for the new year as well.
As for me personally, if the vibe is right, I hope to be going on the road with my Randy Muller Boom Chang Bang band in the new year.
Any chance to see you next March in Miami?
Yes, if the Gods allow, I will definitely be in Miami in 2008.
Peace, love & respect, MFSB
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INTERVIEW
