|Mark and Pinetop Perkins
Industry Profile: Mark Carpentieri
By Larry LeBlanc (CelebrityAccess MediaWire)
This week In the Hot Seat with Larry LeBlanc: Mark Carpentieri, owner of M.C. Records.
Few contemporary label heads can lay claim to playing drums behind such an array of legendary music figures as R.L. Burnside, Hubert Sumlin, Wild Child Butler, Jorma Kaukonen, Robert Cray and Pinetop Perkins.
Nor are there many label chiefs who have also produced such a full-tilt boogie load of leading roots, gospel, and blues artists that includes: Odetta, Pinetop Perkins, Kim Wilson, Susan Tedeschi, Ruth Brown, Big Jack Johnson, Marie Knight, Joan Osborne, Madeleine Peyroux, Phoebe Snow, and Victoria Williams.
Meet Mark Carpentieri, owner of M.C. Records in Northport, New York.
From Lynbrook, Long Island, Carpentieri began his music career in 1984, hosting a respected weekly blues program on WBAU in Garden City, New York. He spent a decade at WBAU, leaving in 1994.
In 1986, Carpentieri started to play drums professionally with Little Mike & the Tornadoes, a respected Queens, New York-based, working-class group often called on to back such blues icons as guitarist/singer Hubert Sumlin, and pianist Pinetop Perkins.
Disenchanted with the band’s growing road schedule, Carpentieri left Little Mike & the Tornadoes in 1987 to finish his last year at Queens College in New York, where he was taking courses for a B.A. in Communications.
The following year Carpentieri launched his own band Somethin' Blue, which released two independent albums. The critical success of the recordings encouraged Carpentieri to release Mississippi bluesman Big Jack Johnson & The Oilers' "We Got To Stop This Killin'" on M.C. Records in 1996.
To date, M.C. Records has released over 30 recordings by such artists as Odetta, Cyril Neville, Kim Wilson, Gary U.S. Bonds, Cindy Bullens, and R.L.Wild Child Butler.
Do you consider M.C. Records a blues label?
It’s mostly a blues label, but I would say that it’s more of a roots label. If you look at our catalog, and if you do the math, there are more blues records by far. On the other hand, I do think that the Odetta stuff, especially her last records, were certainly in line with folk. And we have done a little bit of gospel, so I think, yeah, we’re more of a roots label.
How did you come to recently release Cindy Bullens’ wonderful solo recording “Howling Trains and Barking Dogs?”
I was very interested in working with the group (the Refugees) that she has (with Deborah Holland and Wendy Waldman). We were kind of negotiating and talking. We didn’t end up picking the album (“Unbound”) up. They self-released it for a lot of reasons. We got on really well, and we stayed in touch. Then Cindy said she had a new record and asked if I wanted to hear it. I did, and I think it is really a good record. It’s a great classic Americana record, well-written songs. You talk about songwriters. She’s a tremendous songwriter. So there was this opportunity to work with her. It worked out really well. I really like working with Cindy.
You’ve had a good run with Cindy’s album.
Yes, we have had a good run. We had a real nice ride on the Americana charts. So we are looking forward to working together again.
Cindy Bullens is certainly not a blues artist.
We have always gone for the right or left (within the musical spectrum). We are a blues label, and that was certainly there in 2000 when we did the Sleepy LaBeef record (“Tomorrow Never Comes”). But Sleepy was certainly not a blues artist by any stretch of the imagination. I just love working with people who make great music.
Like Cyril Neville?
Cyril Neville is a tremendous artist.
Where is your label at in terms of growth?
There are several releases that we are still trying to pursue and some artists that we would like to sign. Right now, I am working on that. The label is like it has always been. It’s been an interesting year. Still, we try to do interesting music with interesting artists that have something to say. That hasn’t changed.
What staff do you have?
I have an assistant, and a book keeper. When we release records we will hire outside people to work Americana radio. For radio, we often hire Leslie Rouffe at Songlines in Nashville. When we did Cyril Neville’s record (“Brand New Blues”) we hired Jeff Appleton at Marathon Entertainment to do our triple A radio (the adult alternative format), and our commercial and non-commercial radio.
How is the label distributed?
We’re with E1 in America and Outside Music in Canada. In Europe, I don’t have one distributor. I will go country by country. I’ve had a couple of records licensed through Dixiefrog Records in France, which will cover Europe.
Has the internet helped or hindered sales?
To really break it down, we are just selling a lot less music these days. How that is broken down at the end of the day I’m not sure is relevant. It is relevant in a business sense where to focus your energy but, in the ultimate sense, we are just not selling anywhere near the music we were selling 10 years ago. That’s the bottom line.
It’s about whether people will actually spend 99 cents on one of your songs or $8.00 on one of your CDs—the 10 songs that make up a CD is its own situation. So, in some ways, the internet has (made that possible) but it has also made peoples’ interest in music wane, ultimately. Or wane in owning music. Certainly, we are getting a lot (of revenue) for streaming music and things like that. That’s good, but it doesn’t make up for what the business was 8 or 10 years ago.
So much more music now passes through a smaller funnel to the public.
I think there are a couple of things. First, in terms of blues, let’s say, the audience is getting older. It’s an older audience. They have a lot of records in general. Two, there’s a lot less ability for them to find their records. You can’t go into a (retail music) store anymore. There (once) were so many places to get music. We had Tower Records which was one of the great stores; and the (retail stores) that are still there, like Borders, they have reduced the space given to CDs.
What the internet has done is that it has reduced the (pricing) perception; that for some reason paying $11 or $12 (for A CD) is expensive now, compared to 20 years ago when $16 was not expensive. With downloads, music to purchase was devalued. Why would you pay $15 for a CD? That’s crazy.
There are also more entertainment options today.
Right. You have those kinds of multiple dynamics working at the same time. That makes it less of a sale. I think between that, and being able to listen to a lot of stuff online, you can combine all of those things and the amount of purchased music is a way down. So it’s not one thing.
Forty years ago, blues and folk labels were competing in the marketplace with distinct catalogs. Market competition wasn’t as strong. Today, similar labels are competing against decades of music catalogs, and everybody else out there.
Exactly. There are a lot of things going on. If you want to pinpoint this or that or one kind of thing, (for dwindling sales) that is kind of foolish. There are a lot of things going on. It is what it is. It’s not going back. This is where we are at, so you try figure out these things based on today’s standards.
Why launch a blues label in the mid-90s?
That’s what I played, that’s what I loved, so it was doing what I knew.
Sure but why a label? You were working as a radio host, and as a drummer.
I remember that I was playing with Mike (Mike Markowitz in Little Mike & the Tornadoes), and I was 24. I was in my last year of college. This was just before he broke, and got his first record with Blind Pig. He said, “C’mon Mark, we’ve got the deal. I want you to be in the band,” and all of this stuff. I remember touring the summer of ’87; touring with Hubert Sumlin and Pinetop Perkins, and I hated it. Not that I didn’t like playing, I loved playing, but that wasn’t my life. I didn’t want to be on the road 250 nights a year. I really didn’t. And I figured that, “If I’m 25, and I hate it. This is not for me.” I was still a single guy. This was going to be a piece of cake. I was walking into a situation where I was going to be a professional musician playing. I did like that but I just thought that this was not how I wanted to do it.
What did you hate about the road?
I guess it was the lack of control. It was like, “We are going to be here, here and here, and hanging out here.” “Where are we staying?” “I don’t know.” I wasn’t crazy about all of that. A long weekend (playing) was great, but I knew what the schedule was for those guys. At that time I was doing radio. I knew the scene. I knew what everybody was working, how many nights a year they were playing.
I was like, “It sounds exciting,” but I really didn’t want to do. Not for an extended period of time. I couldn’t picture myself doing it. I liked knowing where I’m playing and where I am staying. It just didn’t appeal to me as much as it should have.
You went back to college?
That was my last year. It took me a long time to finish school. I was in Queens College (in New York), and I was getting my B.A. in Communications.
One of the difficulties of playing or recording blues today is that the book was written decades ago.
Yes it was. One of the toughest things for me is to find artists, and (projects) that are interesting. I will give you an example. About 1998, Wild Child Butler was on my label (with the album “Lickin’ Gravy.”) So I would book tours for him. He would come down and do three or four nights. So we were playing Warmdaddy’s in Philadelphia, and a bunch of the local blues guys came because Wild Child hadn’t been in Philadelphia in decades. Everybody was just yapping. Then a Muddy Waters’ track came on, and everybody stopped talking.
It’s really hard (to duplicate or beat the past in blues) because the really great people are gone. People who do it really well sometimes are just copying that (past), not that that is a bad thing. It is enjoyable for me, and I love that. But recording something and listening to something in a club are different experiences. I guess I am not a very good commerce guy because it’s really tough for me to record. Can you top that? Can you get close to that?
Or can you make records that will be around for a long time?
That’s been my goal. I haven’t always succeeded, but I’m pretty happy with the catalog.
Blues is similar to classical music in that fans just want to hear the historic catalog.
I think that it’s also a matter that a lot of the blues base is still pretty much local. It’s not that (the musicians) aren’t talented, but they aren’t nationally talented. I think that those people who are nationally talented, who you look at all of the time, they have something that is different. Some of the top blues people today, Marcia Ball and all of those people, they definitely are different. They are not doing that.
It’s kind of like comparing Bruce Springsteen and a bar band trying to play rock and roll. That is always going to sound bad or not as good or not as interesting.
It is tough being an original blues act today.
The genre itself is tougher because there is not as much growth with it (as other genres). It has gotten to a certain place and it hasn’t gone anywhere. In a lot of ways, it stopped growing in the ‘60s once blues-rock became its own thing. After that, everything has just been a copy of what happened previously.
There aren’t a lot of great blues songwriters around either.
The problem—in terms of songwriting—is where is it going to get you? If you are a really great songwriter, why would you focus in on the blues? You can’t make any money on it. At one time, there was money. Back in the ‘40s and ‘50s you could sell hundreds of thousands of your songs. Now you can’t.
A blues songwriter was lucky to get paid years ago.
It depends. It depends who they were. Whether they got paid or not at least there was stardom there.
What makes a good blues drummer?
A good blues drummer is in the pocket, and you are not thinking about the drummer. When you see a great artist, especially a blues artist who is really working on a rhythmic….especially that traditional Chicago sound; if you are paying attention to the drummer then, unless you are a drummer, that’s a problem. Drummers should be driving the band, and staying in the pocket, locked with the bass player. You probably shouldn’t be paying that much attention (to the drummer). You should be feeling it. It should be a great experience. But the drummer should be there in the pocket driving (the music).
Who do you consider the classic blues drummers?
I am a huge fan of Willie “Big Eyes” (Willie “Big Eyes” Smith who is best known for several stints with the Muddy Waters band), and his son (Kenny “Beedy Eyes” Smith) is just phenomenal. Those are two. When I listen to drums, I always like the work of Willie. He was in the pocket, and he did some interesting little fills. I always liked his fills. He was always in the pocket. To me, he is the quintessential blues drummer.
There were so many great drummers in Chicago during the Chess, Delmark and Cobra era.
All those guys back then were all so good. Pick any of those guys, and they are all great. You can’t even pick one over the other because they were so in the pocket. Fred Below (who died in 1988) and all those guys. I didn’t get to see a lot of those guys. I certainly got to see Willie and his son many times, and a lot of the other guys.
You produced Odetta’s last three recordings.
I knew her from 1998 until her death on December 2, 2008. Besides the three CDs I produced with her, she also appeared on our tribute to Sister Rosetta Tharpe, "Shout Sister Shout," and on Pinetop Perkins', “Ladies Man.” My wife and I shared many meals, and laughs with her over the years. I truly miss her. I was glad that Odetta was able to witness President Obama's election, but I wish she were here with us today to share her incredible wit and wisdom. We sure could use it.
[In Nov. 2008, Odetta's health began to decline and she began receiving treatment at Lenox Hill Hospital in New York. She wanted to perform at Barack Obama's inauguration on Jan. 20, 2009. On Dec. 2, 2008, however, she died from heart disease in New York.]
What attracted you to working with Odetta?
I read an article about Odetta, and I remember turning to my wife Catherine, and half-kidding, saying, “We should contact Odetta.” Then we started to pursue it. She was someone who I always loved and cared about, and Catherine was just a huge fan since she was a little girl. Those were the records that she would collect when she was small.
It was just an off-the-cuff situation. The timing all around was really great. We were looking for people to record. It was always tough for me to go head-to-head with the bigger blues labels like Alligator and, at that time Rounder and Blind Pig, which were constantly recording (blues and roots artists). So I always had to go to the right of that to get my artists.
How did Odetta see her career at that point? She was such a well-known folk music name, but she rarely recorded after the ‘70s. Did she feel overlooked?
I think there was a sense between management that…I will give you an example of how it worked out. To meet her, we ended up going to Orange Country, New York, and seeing her at Bodles Opera House. At that point, she was still playing guitar. Basically, she was by herself (as a solo act). She was traveling a bit by herself then. We drove her back to her hotel. We had never met her before then, so it was that kind of situation.
Whether she felt overlooked, I don’t know what she felt, but I think that there was a sense that she still (felt) she had a lot to say, and she was just waiting for the opportunity.
[The 2005 documentary film “No Direction Home,” directed by Martin Scorsese, highlights Odetta’s musical influence on Bob Dylan, the subject of the documentary. The film contains an archive clip of Odetta performing "Waterboy" on American TV in 1959.
In a 1978 Playboy interview, Dylan said, "The first thing that turned me on to folk singing was Odetta." He said he found "just something vital and personal" when he heard an early album of hers in a record store as a teenager. "Right then and there, I went out and traded my electric guitar and amplifier for an acoustical guitar.”
"I'm not a real folksinger," Odetta told The Washington Post in 1983. "I don't mind people calling me that, but I'm a musical historian. I'm a city kid who has admired an area and who got into it. I've been fortunate. With folk music, I can do my teaching and preaching, my propagandizing."]
By 1999, Odetta was better known as a name than as an artist.
I think that she was fading at that point to people. In the ‘60s, Odetta was on TV, she was on “The Johnny Cash Show” (on ABC-TV), she was a public figure. I think that the other problem was that within a couple of years she would stop playing guitar, so her health at that point was slowly starting to become problematic. So the timing (of working with her) in a lot of ways worked out well.
We were lucky that when we started working with Odetta in ’99, we were able to work with (her manager) Doug Yeager. He was great. Odetta’s years with us, she got paid a lot more money per concert, and she had an accompanist. It just worked out a lot of better.
After you began working with her in 1999, you recorded the album “Blues Everywhere I Go” that led to her first Grammy nomination in 50 years.
Yeah that whole situation was pretty amazing. It was also the first time that she was in a recording studio doing a full-length album in 17 years. I remember when we did the first playback from “Blues Everywhere I Go.” We recorded it, and then played it back. She just grabbed me, and we started dancing in the studio. She was so happy.
Another Grammy nominated album in 2007 was Odetta’s wonderful “Gonna Let It Shine” with the Holmes Brothers and pianist Seth Farber, which was was recorded live for the holidays in 2005.
Yes it was. We did it at Fordham University where (public radio station) WFUV is. WFUV was always good to Odetta. They would have these member concerts that they would do for artists, and they would make it into an event and as a fund-raising opportunity. We contacted them and said, “We’d like to do a concert and you guys can charge for it, and you can keep (the door), and we will record the show. This way it gave us a friendly venue because she had done concerts for them before. It’s a beautiful hall. It all worked out.
An emotional night?
Any time that I had the opportunity to work with Odetta, it was always emotional. She was completely on (for that album). It’s some of the best vocal work she did for us.
[“Gonna Let It Shine” was nominated for a Grammy Award for Best Traditional Blues Album. It would be the last album of new material Odetta would release during her lifetime.]
Marie Knight was supposed to sing at Odetta’s memorial service, but she was in the hospital.
Unfortunately, I found out about it the day of the wake of Odetta. That was really a double whammy. Marie Knight was supposed to sing at Odetta’s memorial. We were trying to reach her for several days. It wasn’t that unusual that I wouldn’t catch her in the day. Sometimes, she would go and see her sister. I spoke to her several weeks before, and she was always good with her dates. I ended up calling her that day; a woman answered, and it was her sister. She said, “Well, Marie’s in the hospital with pneumonia.”
Marie never recovered?
She would go between the hospital, and a nursing home, I would see her, but it was a double whammy going to Odetta’s memorial because Marie was supposed to sing there, and she didn’t. In a lot of ways, I never saw Marie again. I kept going to visit her but she was in and out (with her health).
Marie Knight was certainly an artist off the beaten path prior to you recording her.
You couldn’t be much more beaten than when I started working with her. Odetta had a name, and she was touring but Marie wasn’t. Marie wasn’t on the road and she hadn’t recorded (for years). Only a handful of gospel aficionados, knew about her because her heyday was in the ‘40s and ‘50s.
[Growing up in Newark, New Jersey, Marie Knight began singing gospel music as a child in the Church of God in Christ. She performed at Carnegie Hall in 1938 in John Hammond’s legendary "Spirituals to Swing" concert with Sidney Bechet, Count Basie and Benny Goodman. In the ’40s, Knight and Sister Rosetta Tharpe released several gospel recordings for Decca that broke through to the R&B charts, an almost unheard of feat.
After the duo split up in the mid-‘50s, Knight continued to sing gospel as well as R&B. She toured with the Drifters, Clyde McPhatter and Brook Benton. As her musical career waned, she took a job with the telephone company, and became a minister at the Gates of Prayer Church in Harlem.]
Marie was still a minister when you approached her to sing “Didn’t It Rain” on “Shout, Sister, Shout: A Tribute to Sister Rosetta Tharpe” released in 2003?
Yes, she was. I spoke to her on the phone, and she sounded so strong that I just made her an offer. I said, “Just come down to the studio.” Even if we didn’t do anything, I was going to pay her anyway.
Songs like “Precious Memories,” “Up Above My Head, I Hear Music In The Air,” “Didn’t It Rain” and “Beams of Heaven” established Marie and Sister Rosetta (who died in 1973) as one of the top American gospel acts of the ‘40s. Still, Marie was overshadowed by Rosetta Tharpe’s fame.
Yes, she was. Obviously, it was the Sister Rosetta’s show. So, (working with her) it was kind of like signing a new, very old artist and almost re-introducing her.
How did Marie come to record with you?
It was kind of an accident. We were completing the tribute to Rosetta Tharpe and Gayle Wald (a professor of English at George Washington University in Washington, D.C.) who wrote the liner notes, and wrote the biography (“Shout, Sister, Shout!”) of Sister Rosetta, contacted me and asked if I had contacted Marie Knight. I said, “Marie Knight? Are you kidding me? She must be dead for 20 years.” Gayle said, “No, she's still alive.” She was living up in Harlem. She lived in Harlem to the very end when she passed away recently (on Aug. 30, 2009).
[M.C. Records’ most ambitious, if not most celebrated, project, "Shout, Sister, Shout: A Tribute To Sister Rosetta Tharpe" was released in 2003. The album features performances by Maria Muldaur, Bonnie Raitt, Odetta, Joan Osborne, Michelle Shocked, Marcia Ball, Sweet Honey on the Rock, Phoebe Snow, Janis Ian, Victoria Williams, Tracy Nelson, Angela Strehli, Marie Knight, and the Holmes Brothers.]
I recall Marie in the ‘60s having R&B hits like “Cry Me A River” and touring with Brook Benton. Marie would have played the chitlin’ circuit while Odetta was more upscale.
Marie was much older and traveled a lot of different circles. It wasn’t where Odetta played, it wasn’t where she recorded. Odetta really wasn’t playing to a black audience for the most part. She was playing to the white folkies. That is why, I think, they never crossed paths.
They hadn’t known each other previously to working with you?
They had absolutely no idea of each other because they didn’t travel the same circles. Odetta was a folk artist and, by time she was coming up in the ‘50s and ‘60s, Marie was traveling the R&B circles. They had never met. They met up eventually because, once the record came out, and (booking agency) Concerted Efforts put the “Shout, Sister Shout!” tours together. Those two ended up being very good friends. As matter of fact, I still remember that in summer of 2008, we had both Odetta and Marie over to our house for a lunch. That was really nice. Those two became very good friends in the end.
When you telephoned Marie to ask her about recording, was she suspicious of your motives?
Marie probably was the most suspicious person I ever worked with. Even when I started managing her, she was very guarded. It took awhile for everything to warm up. Once she got (in the studio), she got paid cash. Once she saw the professionalism of how everything was run, she was very happy. But it took awhile, and we agreed to use her piano player, Floyd Waites, which I felt was something that would make her feel more comfortable. He was a piano player from her church. We only used him once. He didn’t end up touring with Marie. He moved out of the area. But that made her feel comfortable. So we started working together, but it was a bit of a slog. She was a very guarded person. Of course, at the end, we were very close.
“Let Us Get Together,” Marie’s tribute to Reverend Gary Davis in 2007 was her first full-length recording in 25 years, and her last.
Marie was much older than even I suspected. She was 89 when she died. Even in January of the year she passed, we did an interview with the BBC, and she was hounding me for work. There were a lot of things coming up. After several years, she was finally starting to break through. She was going to do Levon Helm’s Midnight Ramble. We had (Jorma Kaukonen's) Fur Peace Ranch coming up. She was working, and she was so happy. She liked the people that she was working with, and she was getting recognition. She was getting paid well, in a lot of ways, similar to Odetta.
Working with Odetta and Marie Knight, you must have felt like a musicologist.
What was great about both of them was that they had so much to offer. You listen to those Odetta records (with us), and it really stands out what she did. The Marie Knight tribute to Reverend Gary Davis is just such a beautiful record. As matter of fact, it was one of NPR’s records of the year (2007). Marie would put on such phenomenal shows. I played with her on several of her last shows. She just ended up getting pneumonia, getting really sick, and she died after about six months.
You recorded Pinetop Perkins’ “Ladies Man” in 2004, when he was 91.
I thought he was a little older, but you could be right, and he’s still around. I used to play with Pinetop back in the ‘80s. His manager Pat Morgan was saying, “Let’s do a Pinetop record.” I said, “Pat, he’s recorded the same music over and over again. He doesn’t learn songs.”
Not that he should. That’s not his problem, but for me to put out a record of the same stuff that he’s done over and over again didn’t make sense.
So I said I would think about it.
Eventually, I came up with the idea of him recording with women. I’ll never forget that when I went to the Blues Music Awards when Odetta was nominated, and Pinetop was there. It was a hot day, and he was in the hotel lobby. His tie is all out. He kind of has his head down. I said, “Pine do you want a cup of coffee? He said, “Yeah.” I get him a cup of coffee, and he’s still looking down. Then Odetta is coming down the steps of the hotel, and he straightens out his tie, and he's sitting straight as an arrow.
I guess that planted a seed. If he plays with the women folk, he’s going to rise to the occasion and we would record a lot of songs that he hadn’t done before.
And that’s exactly what happened.
And that’s exactly what happened. We ended up getting Susan Tedeschi, Madeleine Peyroux, Ruth Brown, Marcia Ball, all of these great women to work with Pinetop. In terms of his late career, that’s a pretty great record. So that’s the other thing that I keep trying to bring something out (of an artist)—even at 91—to see if they have something to say, we can figure it out. It all worked out. Pinetop was treated well, and they (the women) fawned all over him. He was very happy.
[Mississippi pianist Pinetop Perkins shares the distinction, with one of his lifelong friends, David “Honeyboy” Edwards, as being the oldest living Delta blues performers who continue to tour and perform from the past century. A sideman on countless blues recordings, Perkins played a brief cameo in the 1980 movie “The Blues Brothers” on the street outside Aretha's Soul Food Cafe having an argument with fellow bluesman John Lee Hooker over who wrote the blues classic, "Boom Boom."]
Here you are a small blues label, with limited budgets. But with your tribute albums, you have been able to attract some big names. What’s the selling point?
For people like Phoebe Snow, Joan Osborne, and Susan Tedeschi, the short list ends up being the people who get it. What I try to do is say, “Listen this is where we are at.” They understand that this (album) is not going to sell 100,000 copies—even back in 2003 when the business was better than what it is now.
These are, in fact, projects in which they have an opportunity to work with an iconic artist that they respect.
I’m very selective who I contact, and I try to get people who want to do that. They are getting paid, it’s not like we’re asking them not to get paid. But it’s not like they are going to get all of this money to do it. They are doing it because they understand that in a lot of ways, that they are helping that artist.
I think it’s also them understanding my catalog of work. When I can say that I’ve worked with Odetta and with R.L. Burnside, they understand the label. Madeleine Peyroux was such a fan of Odetta and Marie Knight that she would do anything for them. Madeleine Peyroux gets it, she’s humbled (by Odetta and Marie Knight).
It seems very strategic who you pick, as well.
Yeah. You want to pick people who really can do something that is also going to resonate. That there’s general affection between the artists you pick, and we always (record) in a way that they are there. When we worked with Susan Tedeschi, she was in the studio with Pinetop. When we recorded with Madeleine and Odetta with Pinetop, they were all in the studio together.
You weren’t doing, “We’re sending the track over.”
Sometimes that just has to happen. You have logistical situations, and you have a release date, that does happen. Not so much in my stuff, but I do understand deadlines where you just can’t do it (together). Where I think the magic comes is when we bring in people who really want success to happen, and have affection for the (other) artist.
There more intimacy in having them together in the studio as well.
Absolutely, and it's fun for everyone.
Older artists may up their game because someone young and famous is there, and younger artists are thrilled to work with people who have influenced them.
It elevates everybody’s game. When we recorded Susan Tedeschi and Pinetop, they were doing the Ottawa Blues Festival. So I went to Ottawa, and they both came into the studio. Basically, Susan just wanted to play with Pinetop. I played drums on that (session) We played for about an hour and change before we got around to recording the song (“Since I Lost My Baby”). Susan just said, “I have to have this. This is great." So if you have that energy (in the studio), you are already there. And Pinetop loved it, he had a blast. He was very happy.
You have continued drumming.
I love playing. I played drums when I was in middle school, and I also played in a (school band) band, played the snare and the bass. I wasn’t good, like everybody else at 16, I got a guitar and took lessons. I just wasn’t good at the guitar either. I kept playing and it was like, “I’m not getting this.”
How did you come to play drums?
My younger brother, for whatever reason, bought a drum set. I got behind a set, probably the second time only I had played drums behind a set. I just picked up on that really fast, I was very surprised on how quickly. I just started playing drums. My brother sold the drums, and I was like, “Okay no drums.”
Then, on a camping trip when I was 22 or so, a friend of mine said that he (and some friends) had a rehearsal studio in the basement of a store in the next town over, and they were looking for someone to come in for $40 or $50 a month. And there’s a drum set there. Those guys were really good musicians, much better than me, and they kind of let me learn to play drums. They had been playing for years.
So I started playing with them. I would go to the jams at Dan Lynch’s. He and the Holmes Brothers would hold jams, I started playing there. Within a year or two I started playing professionally. I started playing with Little Mike & The Tornadoes when I was 23.
Where are you from?
I’m from Lynbrook, Long Island. Born there and grew up there. I still live on Long Island. There’s a lot of music here, but not like it used to be.
By 23, parents tend to go, “Time to get a job, a real job. Where’s the career here?”
I was actually then working two jobs, and I was trying to keep in school, and trying to figure it all out. If I had not met that friend of a friend, I probably wouldn’t have played (drums) and done all of this other stuff.
Larry LeBlanc is widely recognized as one of the leading music industry journalists in the world. Before joining CelebrityAccess in 2008 as senior editor, he was the Canadian bureau chief of Billboard from 1991-2007 and Canadian editor of Record World from 1970-89. He was also a co-founder of the late Canadian music trade, The Record. He has been quoted on music industry issues in hundreds of publications including Time, Forbes, and the London Times. He is co-author of the book “Music From Far And Wide: Celebrating 40 Years Of The Juno Awards.”
Industry Profile Archives:
Mick The DJ, DJ/Enterpeneur 04/30/15
Jeremy Lascelles & Robin Millar, Blue Raincoat Chrysalis Group 12/01/17
Joanne Abbot Green, CMJ Music Marathon and Film Festival 10/17/08
Lee Abrams, XM Satellite Radio 11/28/03
John Acquaviva, Fund Manager, DJ and Serial Entrepreneur 07/09/15
Jay Boy Adams, Roadhouse Transportation 05/04/07
Jamie Adler, Adler Entertainment Group 05/11/07
Gary Adler, National Association of Ticket Brokers 12/04/13
Rodney Afshari, Freeze Artist Management 03/01/02
JC Ahn, VU Entertainment 04/10/13
Steve Alaimo, Vision Records & Audio Vision Studios 05/26/06
Jaye Albright, Albright & O'Malley Consulting 07/19/10
Randy Alexander, Randex Communications 10/12/07
David Alexander, Sheer Publishing 07/21/16
Eva Alexiou-Reo, FATA Booking Agency 05/14/15
Marcie Allen, Mad Booking 12/14/00
Jeff Allen, Universal Attractions 08/16/02
Marcie Allen, MAC Presents 06/05/09
Marcie Allen Cardwell, MAC Presents 12/21/07
David Allgood, Bama Theatre 01/03/11
Patrick Allocco, AllGood Concerts 10/05/07
Michele Amar, French Embassy 05/26/16
Mike Amato, Rok Tours International 02/02/07
Jeff Apregan, Apregan Entertainment Group/Venue Coalition 09/30/15
Billy Atwell, AMP Studios 12/13/07
Bob Babisch, Milwaukee World Festivals Inc. 04/02/15
Tom Baggot, thebookingagency.com 05/02/03
Stephen Bailey, EPACC & Deleware Center For The Arts 02/06/04
Cary Baker, Conqueroo 05/11/11
Vince Bannon, Getty Images 07/05/11
Phil Barber, Barber & Associates 02/04/01
Camille Barbone, WineDark Records 12/09/05
Erin Barra, Musician/Producer/Educator 07/10/14
Ben Baruch, The Fox Theatre 09/27/08
Ben Baruch, By Larry LeBlanc (CelebrityAccess) 04/05/17
Paul Bassman, Ascend Insurance Brokerage 08/03/16
Adam Bauer, Fleming, Tamulevich & Associates 02/15/02
Ed Bazel, That's Entertainment International 10/05/01
Joachim Becker, ZOHO Music L.L.C. 01/12/07
Howard Becker, Comet Technologies 05/02/11
Mark Bego, Author 06/15/07
Jim Beloff, Flea Market Music 09/20/10
Richard Bengloff, The American Association of Independent Music (A2IM) 09/12/13
Seth Berg, South Bay Music 01/30/09
Aimee Berger, 2 Generations SPA Music Management 09/24/04
David Berger, Future Beat 10/29/14
Barry Bergman, Music Managers Forum 03/14/03
Steve Bernstein, Relix LLC 09/30/05
Mark Berry, Attack Media Group 04/07/07
Scott Billington, Rounder Records 01/17/12
Jeffrey Bischoff, Cinder Block 03/24/06
Sat Bisla, A&R Worldwide/ Musexpo 03/29/10
Nina Blackwood, Sirius Satellite Radio 07/14/06
Adam Block, Legacy Recordings 11/07/13
P.J. Bloom, Neophonic, Inc. 01/24/11
Rishon Blumberg, Brick Wall Management 06/27/03
Justin Bolognino, Learned Evolution, and The Meta Agency 04/25/13
Steve "Chopper" Borges, Total Pro and Borse Techos 03/03/06
Les Borsai, Mediocre Management 01/30/04
Shane Bourbonnais, Live Nation Canada 03/21/08
Jeff Bowen, Sears Centre Arena 03/13/08
Rick Bowen, Mystic Music Experience 07/11/08
John Boyle, Sanctuary Music Group 03/19/04
Jeff & Todd Brabec, Writers/Attorneys 01/03/12
Bill Bragin, Joe's Pub at the Public Theater 08/08/03
Joel Brandes, Avenue Management Group 11/02/08
Joe Brandmeier, Moving Pictures 03/15/02
Scooter Braun, SB Projects 12/13/10
Ron Brice, 3rd & Lindsley Bar & Grill 06/08/16
Billy Brill, Billy Alan Productions 11/11/05
Doug Brown, Talent Buyers Network 09/21/01
James Browne, Sweet Rhythm 11/01/02
Bob Brumley, Brumley Music Company 02/17/16
Tony Brummel, Victory Records 05/17/09
Charlie Brusco, TBA Entertainment Corporation 10/13/01
Del Bryant, BMI 05/18/07
Cortez Bryant, Bryant Management 12/06/10
Stephen Budd, Stephen Budd Management 07/13/17
Bruce Burch, University of Georgia Music Business Program 10/09/09
Deborah Burda, Kentucky Exposition Center 08/03/07
Patti Burgart, IEBA 06/07/02
Jordan Burger, The New Musiquarium 01/22/01
Ron Burman, Roadrunner Records 08/25/06
Suzanne Cadgene, Elmore 05/19/06
Karen Cadle, KGC Productions 03/12/04
Gary Calamar, KCRW 07/10/09
Charles Caldas, Merlin 07/05/10
Brian Camelio, ArtistShare 02/29/08
David Campbell, AEG Europe 08/02/10
Tom Cantone, Foxwoods Entertainment Group 10/20/00
Tom Cantone, Foxwoods Resort Casino 07/03/03
Tom Cantone, Mohegan Sun 08/30/09
Ashley Capps, A. C. Entertainment 05/21/04
Rio Caraeff, Vevo 07/12/11
Mike Carden, Eagle Rock Entertainment 08/16/11
Charles Carlini, Carlini Group 05/16/08
Mark Carpentieri, M.C. Records 05/27/05
Mark Carpentieri, M.C. Records 01/10/11
Troy Carter, Coalition Media Group 06/07/10
Daniel Catullo, Coming Home Studios 06/22/08
Raffi Cavoukian, Folk Singer/Children's Entertainer 05/11/16
Jeffrey Chabon, Chabon Entertainment Group 08/22/02
Mike Chadwick, Essential Music & Marketing 08/01/12
Rob Challice, Coda Music Agency 03/27/13
Tom Chauncey, Partisan Arts 01/11/02
Tom Chauncey, Partisan Arts 10/04/11
Lisa Cherniak, Artists Against Racism (AAR) 07/20/01
Bob Chiappardi, Concrete Marketing 06/13/03
Joel Chriss, Chriss & Co. 10/04/02
Michael Chugg, Michael Chugg Entertainment 09/14/01
Michael Chugg, Chugg Enterprises 10/02/09
Gary Churgin, Harry Fox Agency 09/13/10
Vinny Cinquemani, S.L. Feldman & Associates 12/13/12
Barry Coburn, Ten Ten Music Group 03/28/11
Matthew Cohen, Green Room Productions 10/19/01
Ted Cohen, TAG Strategic 01/10/13
Lisa Cohen, Associated Booking Corporation 02/10/06
Steve Cohen, Music + Art Management, Inc. 03/09/07
Dan Cohen, Music & Memory 01/12/17
Michael Cohl - Part 1, S2BN Entertainment 03/06/13
Michael Cohl - Part 2, S2BN Entertainment 03/13/13
Bryan Coleman, Union Entertainment Group 02/14/12
Mamie Coleman, Fox Broadcasting 07/05/12
Dennis Condon, Disneyland Resorts 07/13/01
Peter Conlon, Peter Conlon Presents 05/20/05
Tony Conway, Buddy Lee Attractions 10/06/00
Allen Cook, TOURtech 04/16/15
Tomas Cookman, Cookman International 09/05/03
Alex Cooley, Alex Cooley Presents 07/12/10
David Cooper, Foxman.com 10/31/03
Jay Cooper, Greenberg Traurig, LLP 05/23/11
Julie Coulter, Near North Insurance Groups 06/07/01
Amy Cox, Deep South Entertainment 02/09/07
Michael O. Crain, Crain Law Group, LLC 10/09/13
Charlie Cran, The Strawberry Music Festival 04/05/10
Jim Cressman, Invictus Entertainment Group 06/06/12
Russ Crupnick, MusicWatch, Inc. 07/23/15
Todd Culberhouse, Vision Management /Vision Records and Entertainment 09/05/08
Tony D'Amelio, Washington Speakers Bureau 04/21/06
Ruth Daniel, In Place of War 08/09/17
Ray Danniels, Standing Room Only Management, and the Anthem Entertainment Group 03/05/15
Ken Dashow, WAXQ-FM (l04.3 FM) - New York 09/08/06
Hal David, Lyricist 07/26/11
David Davidian, Independant Lighting Designer/Director 06/18/04
Anthony Davis, D&L Entertainment Services, Inc. 03/02/01
Chip Davis, American Gramaphone/Mannheim Steamroller 05/31/02
Mitch Davis, Tempest Entertainment 07/16/04
Jeff Dawson, Canadian Recording Services 06/08/08
Desiree Day, USO Celebrity Entertainment 08/10/01
Shauna de Cartier, Six Shooter Records/Six Shooter Management 10/23/13
Gene DeAnna, The Library of Congress 02/21/12
Vincent Degiorgio, Chapter 2 Productions 08/01/13
Tony DeLauro, DeLauro Management 12/23/04
Valerie Denn, Val Denn Agency 04/30/01
Val Denn, Val Denn Agency 03/06/14
Robert DePugh, Alligator Records 07/29/05
Tom Derr, Rock Ridge Music 10/29/04
Paul Dexter, Masterworks Lighting Design and Road Cases 12/10/04
Marty Diamond, Paradigm 01/22/10
Glenn Dicker, Redeye Distribution/Yep Roc Records 07/07/06
Barry Dickins, International Talent Booking Agency 06/06/13
Jim Digby, Event Safety Alliance 09/01/16
Mark Dinerstein, The Knitting Factory 11/17/06
Neill Dixon, Canadian Music Week 03/03/16
Thomas Dolby, Musician, academic, technologist, and author 11/09/16
Jasper Donat, Music Matters 2009/Branded 04/24/09
Jim Donio, National Association of Recording Merchandisers 04/22/11
Marc Dottore, M. Dottore Management 04/11/03
Tim Drake, The Roots Agency 12/12/08
Mike Dreese, Newbury Comics 11/23/11
Charles Driebe, Blind Ambition Management Ltd. 09/22/06
Jeremy Driesen, Ray Bloch Productions 09/07/01
Michael Drumm, Music Link Productions 07/18/08
Angie Dunn, Lucky Artist Booking 10/13/06
Jay Durgan, MEDIAmobz 11/09/11
Erik Dyce, City and County of Denver's Division of Theatres & Arenas 08/02/02
Erik Dyce, City and County of Denver’s Division of Theatres and Arenas 08/23/10
Paolo d’Alessandro, International Solutions 06/25/14
Ros Earls, 140dB Management 02/19/14
Art Edelstein, Festival Productions 12/01/02
Bruce Eisenberg, Audio Analysts 08/31/01
Martin Elbourne, The Glastonbury Festival 12/18/09
Michael Elder, Red Entertainment 03/17/06
Tod Elmore, Sixthman 11/24/06
Paul Emery, Clear Channel Entertainment 11/19/04
Arty Erk, Citrin Cooperman 04/27/16
Joe Escalante, Kung Fu Records 07/08/05
Colin Escott, Music Historian/Journalist 07/18/11
Ritch Esra, The Music Business Registry 09/27/02
Ritch Esra, The Music Business Registry 04/24/12
Mike Esterman, Esterman Entertainment 09/01/06
Jeff Eyrich, BePop Records 11/25/05
Bob Ezrin, Bigger Picture Group 05/24/09
Lisa Fancher, Frontier Records 08/09/10
Rick Farman, Superfly Productions 10/15/04
Ray Farrell, eMusic 06/09/06
Sam Feldman, S.L. Feldman & Associates 10/25/02
Bob Feldman, Red House Records 11/24/02
Charlie Feldman, BMI 08/26/05
Paul Fenn, Asgard Promotions 11/22/09
Debra "Fergy" Ferguson, TourDesign 08/01/03
Pete Fisher, Grand Ole Opry 09/11/09
David Fishof, David Fishof Presents 01/08/01
David Fishof, Rock 'N Roll Fantasy 10/05/08
David Fishof, Rock ’n’ Roll Fantasy Camp 02/28/12
Mike Flanagin, New England Country Music Festival 09/12/08
Joel Flatow, RIAA 12/13/11
Jim Fleming, Fleming Artists 03/20/10
Joe Fletcher, Joe Fletcher Presents 01/12/06
Jeff Fluhr, StubHub 10/06/06
Nancy Fly, The Nancy Fly Agency 04/02/04
Arthur Fogel, Live Nation 08/09/09
Martin Folkman, Independent Music Awards & Music Resource Group 08/11/06
Belle Forino, Fantasma Tours 03/18/05
Fletcher Foster, Universal Records South 07/31/09
Sam Foxman, Contemporary Productions 01/06/06
Todd Frank, 4Star Entertainment, LLC 01/24/03
Bob Frank, Koch Entertainment 01/09/09
Larry Frank, Frank Productions 01/17/11
Mike Fraser, Record Producer/Engineer 10/11/08
Carl Freed, Metropolitan Entertainment 06/22/01
Elizabeth Freund, Beautiful Day Media & Management 01/26/07
Harlan Frey, Roadrunner Records 07/11/03
Adam Friedman, Nederlander Concerts 06/22/07
Ted Gardner, Larrikin Management 04/25/03
Daniel Gélinas, Festival d’été de Québec 05/23/13
Marci Geller, Sonic Underground 08/15/08
Chris Gero, Yamaha Entertainment Group 10/26/16
Steve Gerstman, SGS 07/19/02
Sandra Gibson, The Association of Performing Arts Presenters 01/09/04
Sandra L. Gibson, Association of Performing Arts Presenters 01/16/09
Steve Gietka, Trump Properties 07/30/01
Steve Gietka, SMG Entertainment 03/19/14
Darren Gilmore, Watchdog Management 03/17/16
Daniel Glass, Glassnote Entertainment Group 10/16/14
Jake Gold, The Management Trust 04/13/01
Neil Goldberg, Cirque Productions 09/07/07
Harris Goldberg, Concert Ideas 06/27/11
Neil Goldberg, Cirque Productions 04/16/14
Martin Goldschmidt, Cooking Vinyl Group 09/29/16
Harvey Goldsmith, Harvey Goldsmith Productions 06/28/10
Michael Goldstein, RockPoP Gallery 11/09/07
Seth Goldstein, Turntable.fm 09/20/11
Anna Paula Goncalves, CEO Global Brand Appeal 08/20/14
Arnie Goodman, Blue Storm Music 11/15/02
Wesley Goodman, Red Entertainment 09/16/05
Richard Goodstone, Superfly Productions 01/27/06
Christie Goodwin, Photographer 03/18/15
Rob Gordon, What Are Records? LTD 02/01/02
Steve Gordon, Entertainment Attorney 08/06/04
Yoav Goren, Immediate Music & Imperativa Records 06/10/14
Mike Gormley, L.A. Personal Development 11/10/06
Jonathan Gosselin, Gosselin Marketing & Promotions 07/02/04
Richard Gottehrer, The Orchard 04/10/09
Sean Goulding, The Agency Group London 09/12/12
Jerimaya Grabher, RPM Direct 09/26/03
Mary Granata, The Granata Agency 09/06/10
Kelly Graves, Providence Performing Arts Center/Professional Facilities Management 01/20/02
Stan Green, Stanley A. Green Lighting and Productions 12/12/03
Mark Green, Celebrity Talent Agency Inc. / Bergen Performing Arts Center 08/12/05
Jeffrey Green, Americana Music Association 03/10/06
Paul Green, The School of Rock 07/06/08
Benjy Grinberg, Rostrum Records 12/06/11
Brent Grulke, SXSW 03/06/09
Michael Gudinski, The Mushroom Group 10/29/15
Phil Guiliano, CIE USA Entertainment Inc. & OCESA PRESENTS Inc. 03/25/05
Steve Gumble, SBG Productions 06/16/06
Greg Hagglund, Vivelo! 05/07/04
Rodney Hall, FAME Music Group 11/06/09
Rob Hallett, Robomagic 02/05/15
Craig Hankenson, Producers, Inc 02/23/06
Kerry Hansen, Wynonna Incorporated 10/03/03
Eric Hanson, Ted Kurland Associates 12/20/02
Eric Hanson, Tree Lawn Artists 03/23/07
Rusty Harmon, MTM Music Management 12/06/07
Ali Harnell, Clear Channel Entertainment Nashville 08/15/03
Bob Harris, 02/06/09
Evan Harrison, Huka Entertainment 12/08/16
David Hart, The Agency Group 02/20/04
Laura Hassler, Musicians without Borders 12/02/15
Abe Hathot, Musician, composer, and music producer. 12/21/16
Steve Hecht, Piedmont Talent 08/29/12
Travis Hellyer, Mezzanine 09/02/05
Janie Hendrix, Experience Hendrix 02/01/10
Nona Hendryx, Rhythmbank Entertainment 06/02/06
Dan Herrington, Dualtone Records 07/25/03
Sara Hickman, Sleeveless/Stingray 06/30/06
Dan Hirsch, On Board Entertainment 04/04/03
Nick Hobbs, Charmenko 12/14/01
Carel Hoffman, Hilltop Live/Oppikoppi Productions 11/07/12
Ian Hogarth, Songkick 08/09/11
Gene Hollister, Rose Presents 04/08/01
Rusty Hooker, Rock Steady Management Agency 02/16/01
Jake Hooker, Hook Entertainment 05/10/02
Martin Hopewell, Primary Talent International 04/19/02
Tom Hoppa, TKO Booking Agency 09/29/06
Bobbie Horowitz, Times Square Group 01/04/02
Barney Hoskyns, Rock's Backpages 11/01/11
Bruce Houghton, Skyline Music 10/27/00
Bruce Houghton, Skyline Music 01/22/14
Andi Howard, Peak Records and Andi Howard Entertainment 09/02/03
Barbara Hubbard, ACTS 09/12/03
Laurent Hubert, BMG US 11/12/15
Seth Hurwitz, I.M.P. 04/20/09
Ariel Hyatt, Author, and founder of Cyber PR 11/23/16
Mark Hyman, Ashley Talent International 11/09/01
Brett Hyman, Category 5 Entertainment 07/23/04
Bruce Iglauer, Alligator Records 08/17/01
Bruce Iglauer, Alligator Records 05/28/14
Doug Isaac, Super Bowl Concert Series Producer (EXI) 08/24/01
David Israelite, National Music Publishers' Association 11/29/08
Tom Jackson, Tom Jackson Productions 02/06/13
Jay Jacobs, Parc Landon 09/21/07
Larry Jacobson, World Audience 09/17/04
Audra Jaeger, The Management Trust 05/09/03
Ralph James, The Agency Group 01/31/11
Jeffrey Jampol, Jampol Artist Management 07/18/12
Jean Michel Jarre, International Confederation of Societies of Authors and Composers (CISAC) 06/19/13
Michael Jaworek, The Birchmere 05/08/09
Peter Jesperson, New West Records 11/03/06
John Jeter, The Handlebar 08/15/12
Mike Johnson, Groundrush Media 02/17/06
Andrea Johnson, ICM Partners 11/02/17
Mike Gormley & Jolene Pellant, Yes, Dear Entertainment 04/23/10
Susan Joseph, Justice Entertainment Group 02/21/11
Darren Julien, Julien's Auctions 10/25/10
Henry Juszkiewicz, Gibson Guitars 09/28/10
Justin Kalifowitz, Downtown Publishing 04/20/17
Leonard Kalikow, Music Business Reference, Inc. 06/26/08
Craig Kallman, Atlantic Records 03/20/09
Steve Kane, Warner Music Canada 02/09/17
Danny Kapilian, Independent Producer 07/12/02
Mike Kappus, The Rosebud Agency 10/26/09
Andy Kaufman, Birdland 05/17/02
Wendy Kay, Mars Talent Agency 03/09/01
Lucas Keller, The Collective 03/22/11
Marty Kern, Clemson University 07/07/01
Carlos Keyes, Red Entertainment 10/08/04
Golnar Khosrowshahi, Reservoir Media Management 10/24/12
Martin Kierszenbaum, Interscope/Cherrytree Records 09/06/09
Barney Kilpatrick, Rattlesby Records 10/28/05
John Kinsner, The Walnut Room 03/28/08
Doug Kirby, LiveTourArtists 10/24/03
Steve Kirsner, Compaq Center 06/29/01
JoAnne Klabin, Sweet Relief 03/21/03
Andrew Klein, Revolution Marketing 11/05/04
Larry Klein, Producer, bassist, songwriter 03/13/12
Jack Kleinsinger, Highlights in Jazz 04/25/08
Ann Kline, Casa Kline 09/04/14
Brian Knaff, Talent Buyers Network 09/29/01
Kymberlee Knight, IEBA 11/16/00
Mike Kociela, 360 Productions 05/30/08
Stefan Kohlmeyer, Bach Technology 02/08/10
Lily Kohn, Microsoft Corporation 02/14/11
Tim Kolleth, Alligator Records 01/25/08
Al Kooper, Musician/songwriter/producer/author 02/06/14
Mitchell Koulouris, Digital Musicworks International, Inc. 02/11/05
Mark Krantz, John Schreiber Group 06/15/01
Jeff Krasno, Velour Music Group 11/19/07
Jeffrey Kruger, The Kruger Organisation 01/25/02
Harvey Kubernik, Author/historian/music journalist 08/20/15
Ted Kurland, Ted Kurland Associates 01/15/01
Jordan Kurland, Zeitgeist Artist Management 08/23/11
Carianne Laguna, Blackheart Records 03/07/08
Brady Lahr, Kufala Recordings 04/30/04
Ernie Lake, EL Records 01/19/07
Roks Lam, Wolfman Jack Entertainment 12/17/04
Anni Lam, Parc Landon 06/29/07
Gary Lane, CenterLane Attractions 10/14/05
Tom LaPenna, Lucky Man Productions 09/10/04
Camilo Lara, EMI Music Mexico/MIS 08/10/07
Gary Lashinsky, Lipizzaner Tours 05/13/05
Gregg Latterman, Aware Records 12/13/02
Tony Laurenson, Eat to the Beat 02/27/04
Emily Lazar, The Lodge 10/15/15
Bill Leabody, Leabody Systems 06/10/05
Peter Leak, 24-7 Worldwide Management 03/28/12
Steve Leeds, SR. VP/Promotion/Rock Formats at Virgin Records 07/26/02
Elliot Lefko, Goldenvoice 09/21/17
Bob Lefsetz, The Lefsetz Letter 11/14/08
Carl Leighton-Pope, Leighton-Pope Organisation 07/05/09
Steve Lemon, Live 4 Live, Inc. 12/06/02
Randy Lennox, Universal Music Canada 06/24/15
Simma Levine, Disson Furst and Partners 11/10/00
Andy Levine, Sixthman 06/08/07
Rich Levy, Clear Channel Entertainment Properties 06/25/04
Eddie Levy, Chelsea Music Publishing 07/24/14
Myles Lewis, Denise Rich Songs 12/20/10
Adam Lewis, Planetary Group 01/20/16
Terry Lickona, Austin City Limits 03/14/11
Justine Liddelow, Stage and Screen Travel Services 08/31/11
Jim Lidestri, Border City Media 09/03/15
Larry Lieberman, 4EverWild 03/28/03
Eric Lilavois, Crown City Studios, and London Bridge Studio 12/10/14
Miriam Linna, Norton Records 05/18/17
Marc Lipkin, Alligator Records 03/05/05
Tommy LiPuma (Part 1), Verve Records 11/08/10
Tommy LiPuma (Part 2), Verve Records 11/15/10
Alexander Ljung, SoundCloud 10/04/10
Andy Lo Russo, The Singing Chef 12/16/05
Phil Lobel, Lobeline Communications 08/13/04
Paul Lohr, New Frontier Touring 01/21/05
Paul Lohr, New Frontier Touring 05/17/10
Julie Lokin, New Audiences 03/23/01
Dave Lory, Artemis Records 03/30/02
Max Loubiere, Tour Director 04/11/12
Mark Lourie, Skyline Music 03/08/02
Dave Lucas, Live-360 04/28/06
Joe Lucchese, EventJoe 02/23/07
Kevin Lyman, 4 fini 03/30/01
Kevin Lyman, Vans Warped Tour 05/23/12
Jennifer Lyon, MeanRed Productions 01/18/18
Bubba Mac, 09/14/07
David Macias, Emergent Music Marketing 06/17/05
Kristen Madsen, Grammy Foundation and MusiCares 11/22/10
Larry Magid, Larry Magid Entertainment 05/04/10
Peter Malkin, PM Management 02/07/03
Toby Mamis, Alive Enterprises 02/12/01
Billy Mann, Green & Bloom | Topl1ne, Manncom 09/18/14
Tasea Margeolas, Multi Entertainment 06/23/06
Tony Margherita, dBpm Records 09/06/11
Bob Roux & Mark Campana, Live Nation 12/20/11
Lee Marshall, Magic Arts & Entertainment 09/13/02
Zach Martin, Radio Producer at New York's WAXQ-FM 08/30/02
Mario Martin, Gorgeous PR 04/27/07
Molly Martinez, Ticket Summit 2008 05/23/08
Paul Mascioli, Mascioli Entertainment 01/14/05
Michael Maska, Big Hassle 01/28/05
Ted Mason, Mi-5 Recordings 11/16/01
Steve Masur, Masur & Associates, LLC 11/21/03
Pam Matthews, The Ryman Auditorium 04/08/05
Terry McBride, Nettwerk Music Group 03/01/10
Michael McCarty, ole 06/20/11
Jim McDonald, McDonald Group 12/19/03
Virginia McEnerney, HeadCount 11/26/07
Doc McGhee, McGhee Entertainment 06/14/10
Camilla McGuinn, Tour Manager 08/24/07
Andy McLean, North By Northeast (NXNE) 04/01/05
Dennis McNally, Grateful Dead historian/publicist 09/06/02
Garry McQuinn, Back Row Productions 06/14/11
Ruthann McTyre, The Rita Benton Music Library; and president of the Music Library Association 08/31/10
Dick McVey, Musician's Referral Service 10/27/07
Katherine McVicker, Music Works International 01/08/15
John Meglen, Concerts West/AEG Live 02/21/13
Mark Meharry, Music Glue 05/28/15
Jorge Mejia, Sony/ATV Music Publishing 09/17/15
Dan Melnick, Festival Productions, Inc. 02/22/02
André Ménard, Festival International de Jazz de Montréal 06/12/09
Bob Merlis, Merlis For Hire/Memphis International Records 01/16/04
Doug Merrick, Cumberland Talent Agency and Merrick Music Group 07/21/06
Louis Messina, The Messina Group 10/22/04
Louis Messina, The Messina Group/AEG Live 07/17/09
Louis Jay Meyers, North American Folk Music and Dance Alliance 03/30/07
Louis Jay Meyers, Folk Alliance International 01/23/09
Todd Miller, House Of Blues - New Orleans 11/14/03
Jeff Miller, Fantasma Productions 03/16/07
Ben Miller, Rock Ridge Music 11/02/07
J. B. Miller, Empire Entertainment 08/22/08
Richard Mills, S.L. Feldman 11/02/09
Marty Monson, Barbershop Harmony Society 07/07/16
Linda Moran, Songwriters Hall of Fame (SHOF) 04/05/09
Jesse Morreale, Nobody In Particular Presents (NIPP) 09/20/02
Chuck Morris, Live Rocky Mountains 09/28/09
Mo Morrison, Independent production 05/24/02
Kevin Morrow, Steel Wool Entertainment 01/25/17
Nick Moss, Blue Bella Records 11/30/07
Jim Musselman, Appleseed Recordings 04/14/06
Natalia Nastaskin, United Talent Agency 04/13/16
Marc Nathan, Flagship Records 07/01/05
David Neilon, Rising Star Promotions 11/30/01
Don Neuen, Star Coaches Inc. 10/10/12
Dennis Newhall, DIG Music 10/07/05
John Nittolo, John Nittolo Productions 04/13/07
Ian Noble, Metropolitan Talent 05/23/03
Fabricio Nobre, A Construtora Música e Cultura 05/04/17
Josh Norek, JN Media, LLC 07/05/02
David Norman, Tour Manager 04/20/07
Mimi Northcott, Canadian Recording Services (CRS) 04/11/08
Bill Nowlin, Rounder Records 01/05/07
John Nugent, NY JAM Inc. 11/08/02
Andy Nulman, Just For Laughs 11/20/13
Sal Nunziato, NYCD 06/01/01
Bob O'Neal, Ryman Auditorium 06/28/02
Andrea Orbeck, Prehab Health and Fitness 03/15/10
Heather Orser, Toad's Place 01/29/01
Janet Oseroff, MultiMediaProperties 11/18/05
Marc Ostrow, Boosey & Hawkes 12/05/08
Riley O’Connor, Live Nation Canada 07/24/09
Jeremy Palmer, Buddy Lee Attractions 11/02/01
John Palmer, Megawave Records 08/31/07
Panos Panay, Sonicbids 12/23/05
Julien Paquin, Paquin Artists Agency 04/30/14
Graham Parker, WQXR-FM 11/26/14
Crispin Parry, British Underground 02/24/08
Donald Passman, Gang, Tyre, Ramer & Brown 04/09/10
Donald S. Passman, Gang, Tyre, Ramer & Brown 01/06/16
Bruce Patron, Overland Entertainment 07/28/06
Alexandra Patsavas, Chop Shop Music 09/27/11
Cheryl Pawelski, Omnivore Entertainment Group 09/26/13
Kerry Peace, Alligator Records 08/18/06
Eric Peltoniemi, Red House Records 12/14/09
Scott Perry, Sperry Media 03/11/05
Lawrence Peryer, Jr., 23 Omnimedia 11/07/08
John Peters, MassConcerts 06/07/11
Holger Petersen, Stony Plain Records 04/15/05
Jon Phillips, Silverback Professional Artist Mgmt/Controlled Substance Sound 08/29/08
Dave Pichilingi, Sound City 03/30/16
Vince Pileggi, Music Inc./Music Inc. Sounds 12/01/06
Eric Pirritt, Endit! Presents / The Fox Theatre 10/17/03
Neil Portnow, The Recording Academy 02/08/11
Louis Posen, Hopeless Records 04/04/11
Stephen Posen, Estate of Glenn Gould 01/23/13
Nadia Prescher, Madison House 06/20/03
Jeff Price, TuneCore 02/28/11
Tom Principato, Powerhouse Records 02/01/08
Roger Probert, Core Records 12/08/06
John "Grinder" Procaccini, JP Squared (JP2) 01/17/03
Mark Pucci, Independent Music Publicist 09/09/05
David Pullman, The Pullman Group 11/03/00
Rod Quinton, Saigon Sound System 04/18/11
Dolphus Ramseur, Ramseur Records 10/19/07
Jack Randall, Ted Kurland Associates 04/05/02
Jack Randall, The Kurland Agency 03/08/17
Debra Rathwell, AEG Live 05/03/13
Jeff Ravitz, Visual Terrain 02/08/08
Paul Reed, Association of Independent Festivals (AIF) 06/14/17
Rich Rees, M.P.I. Talent Agency 09/19/08
John Reese, Freeze Artist Management 08/01/08
Bill Reeves, WRIII, Inc. 10/20/06
Stephen Rehage, Rehage Entertainment 07/30/04
Lisa Reiss, Pearl Productions 08/17/07
Salaam Remi, Composer, producer, musician and label executive. 01/08/14
David Renzer, Universal Music Publishing Group 08/23/09
Alison Richard, Universal Orlando Resort 05/06/05
Kelli Richards, The All Access Group 02/07/12
Gary Richards, HARD Events 08/29/13
Sam Righi, Waterfront Entertainment Group 05/30/03
Jon Rinaldo, Joker Productions 01/02/04
Geary Rindels, Geary Rindels Enterprises, Inc. 12/05/03
Doreen Ringer Ross, BMI 01/18/08
Lisette Rioux, Island Def Jam Music Group 05/16/03
Dave Roberge, Everfine Records & Everfine Artist Management 12/03/04
Sandy Roberton, Worlds End Producer Management 02/20/09
Ty Roberts, Gracenote 01/31/12
Bill Rogers, BRE Presents 07/13/07
Ian Rogers, Topspin Media 06/01/10
Benji Rogers, PledgeMusic 12/19/13
Dave Rose, Deep South Entertainment 09/15/06
Eric Rosen, Ronald S. Bienstock & Associates 05/25/01
Stuart Ross, The Ross Group 02/23/01
David Ross, President IAAM; Director, Show Me Center 09/23/05
Jack Ross, APA Canada 09/07/17
Bobby Rossi, Ruth Eckerd Hall 02/28/03
Michael Rothschild, Landslide Records 04/29/05
Robert Rowland, Red Entertainment 06/13/08
Bill Royston, Mt. Hood Jazz Festival 03/07/03
John Rudolph, Bug Music 05/24/10
Elizabeth Rush, E.R.A. / Elizabeth Rush Agency 08/20/04
Aran Rush, Expo and Foro Imperial 02/16/07
Maurice Russell, Harry Fox Agency 10/21/05
Barron Ruth, Skyline Music 02/14/03
Andrea Sabata, Skyline Music 01/07/05
Numa Saisselin, Count Basie Theatre, Inc. 02/04/05
Ron Sakamoto, Gold & Gold Productions 01/16/10
David Salidor, dis Company 07/20/07
Shaw Saltzberg, S. L. Feldman and Associates 06/21/10
Bruce Allen & Sam Feldman, A&F Music 12/19/08
Mark Samuels, Basin Street Records 06/11/04
Jacqueline Saturn, Harvest Records 01/21/15
Tamara Saviano, American Roots Publishing 07/22/05
Tamara Saviano, Author, journalist, and producer 08/18/16
Michael Scafuto, Mountain High Entertainment 12/07/01
Steve Schankman, Contemporary Productions 12/21/01
Steve Scharf, Carlin America 10/11/02
John Scher, Metropolitan Talent 11/21/08
Al Schmitt, Producer/Engineer 02/13/10
Bobby Schneider, Tour Coordinator, Third Eye Blind 01/31/03
Jake Schneider, Madison House 04/02/14
Steven Schnur, EA Music Group 07/03/13
Elaine Schock, Shock Ink 02/19/10
Stacy Schott, Mad Booking and Events 08/22/03
Daylle Schwartz, Revenge Productions 08/19/05
Dean Sciarra, ItsAboutMusic.com 11/26/04
Joel Selvin, Author and Journalist 08/07/14
Jay Sendyk, Sendyk, Leonard & Company, Inc. 05/03/02
Jonathan Shank, Red Light Management 12/13/17
Peter Shapiro, Ideal Entertainment 04/16/04
Peter Shapiro, Dayglo Ventures/Brooklyn Bowl 11/15/17
Seth Sheck, Access Pass & Design 01/03/03
Seth Sheck, ACCESS Event Solutions 06/22/16
Seth Shomes, The Agency Group 11/12/14
Jay Sieleman, The Blues Foundation 07/18/03
Anya Siglin, The Ark 03/05/10
Bill Silva, Bill Silva Entertainment 10/19/10
Tom Silverman, Tommy Boy Entertainment 03/06/12
Steve Simon, Clear Channel Communications 05/14/04
Ralph Simon, Live Earth 07/06/07
Ralph Simon, Mobilium 04/12/11
Michael Simon, The Harry Fox Agency 08/14/13
Ron Simpson, RCS Productions 01/11/08
John Simson, SoundExchange 07/15/05
Dion Singer, Warner Bros. 12/07/09
Gram Slaton, The Community Arts Center 02/25/05
Owen Sloane, Gladstone Michel Weisberg Willner & Sloane 10/11/10
Peter Smidt, Eurosonic Noorderslag & manager Buma Cultuur 07/17/13
Garrison Snell, Gyrosity Projects 02/23/17
Mike Snider, Paradigm Talent Agency Nashville 05/17/11
Andrew Snowhite, Musictoday 05/04/01
Bruce Solar, The Agency Group 05/14/14
Nikki Solgot, Circle Talent Agency 02/18/15
Michael Solomon, Brick Wall Management 05/25/07
Mark Sonder, Mark Sonder Productions 07/25/08
Steve Sonnier, UIC Pavilion at the University of Illinois, Chicago 09/03/04
Kathy Spanberger, peermusic 06/20/12
Carolyn Specht, CIE USA Entertainment Inc. and OCESA PRESENTS Inc. 03/26/04
David Spelman, New York Guitar Festival 10/01/04
Jason Spiewak, Rock Ridge Music 04/07/06
Dan Steinberg, Square Peg Concerts 11/29/12
Dan Steinberg, Square Peg Concerts 02/18/05
Jeremy Stephan, Ventures, LLC 04/23/04
Walter Stewart, Mars Talent Agency 02/21/03
Gail Stocker, Gail Stocker Presents 11/12/04
Jon Stoll, Fantasma Productions 10/13/00
Jesse Stoll, AEG 06/27/09
Henry Stone, Henry Stone Music 06/24/05
Jason Stone, Live Nation New York 03/31/06
Howard Stovall, Resource Entertainment Group 05/28/04
Cameron Strang, New West Records 10/18/02
Don Strasburg, AEG Live Rocky Mountains 02/27/09
Barbara Strauss, Sovereign Ventures 05/12/06
Richard Stumpf, Cherry Lane Publishing 08/07/06
Deb Suckling, SUGARRUSH Music 07/27/17
Patrick Sullivan, RightsFlow 10/25/11
Bernie Swain & Harry Rhodes, Jr., Washington Speakers Bureau 12/07/00
Dean Swett, Paramour Group 06/14/02
Jake Szufnarowski, Rocks Off 05/02/08
Marc Tanner, Chime Entertainment 12/22/06
Donald Tarlton, The Donald K Donald Group 04/12/02
Tess Taylor, Los Angeles Music Network 08/09/02
Race Taylor, WPLJ - New York 10/27/06
Race Taylor, WPLJ - New York 10/27/06
Chris Taylor, Taylor 03/15/09
Peter Tempkins, DeWitt Stern Group 03/16/01
Peter Tempkins, Momentous Insurance Brokerage 03/27/09
Lisa Tenner, Tenner & Associates (EAT'M) 08/06/01
Jeremy Tepper, Diesel Only Records 10/10/03
Allan Tepper, Bicycle Music Company 09/28/07
Martin Terefe, Kensaltown Studios 05/31/11
Milun Tesovic, MetroLeap Media 10/18/09
Mandar Thakur, Times Music 08/06/15
Jerry Thompson, Promoter Line Inc. 03/05/04
Jose Tillan, MTV Networks Latin America 12/02/05
Jon Tiven, Hormone Studios 08/05/05
Adam Tobey, Concert Ideas 08/24/17
Rob Tonkin, Marketing Factory 12/17/15
John "J.T." Toomey, 25/8 Management 11/15/11
Livia Tortella, Warner Bros. Records 01/10/12
Phil Tripp, IMMEDIA! 01/19/06
Claudio Trotta, Barley Arts Promotion 11/26/01
Chris Tsakalakis, StubHub 01/11/10
Ben Turner, Graphite Media 05/10/10
Steve Vai, Favored Nations Entertainment 04/26/02
John Valentino, Fantasma Productions 04/18/03
John Valentino, AEG Live SE 11/01/10
Don Van Cleave, Coalition of Independent Music Stores 04/09/04
Casey Verbeck, Partners in Music 06/06/03
David "Boche" Viecelli, The Billions Corporation 04/18/10
Marsha Vlasic, Artist Group International 05/31/17
Mat Vlasic, Bravado 06/28/17
Ray Waddell, Billboard Magazine 08/27/04
Rob Waggener, Foundations Recovery Network 03/07/11
Jim Walczak, Racine Civic Centre 06/03/05
Jeff Walker, The AristoMedia Group 08/16/10
Carla Wallace, Big Yellow Dog Music 11/04/05
Russell Wallach, Live Nation Network 03/20/12
Steve Walter, The Cutting Room 10/24/08
Neil Warnock, The Agency Group 05/02/09
Diane Warren, Realsongs 08/14/09
Butch Waugh, RCA Label Group Nashville 01/10/03
Lauren Wayne, The State Theatre 05/09/12
Kirt Webster, Webster PR 02/03/16
Ken Weinstein, Big Hassle Media 04/22/05
Bruce Weinstein, Bethel Woods Center for the Arts 02/15/08
Larry Weintraub, Fanscape 05/18/01
Pam Weiser, Momentous Insurance Brokerage 10/11/11
Kevin Welk, Welk Music Group 01/24/12
D-J Wendt, Dmand Management 05/09/08
Alison Wenham, Worldwide Independent Network 02/13/09
Bill Werde, Billboard 08/03/11
Joel Whitburn, Record Research 11/13/09
Judd White, Tour Manager/Accountant 02/13/04
Jeff White, In Ticketing 12/16/06
Adam White, Author 09/14/16
Lisa White, Pearl Street Warehouse 10/04/17
Adam Wilkes, AEG Live Asia 10/13/16
Fenton Williams, 04/04/08
Del Williams, Right Arm Entertainment 04/18/08
Bryan "Birdman" Williams, Cash Money Records 09/13/11
Paul Williams, ASCAP 10/19/11
J.P. Williams, Parallel Entertainment 10/03/12
Kurt Willms, Green Room Productions 09/20/03
Chris Wilson, Heartbeat Records 03/02/07
Tony Wilson, Factory Records/In The City 06/01/07
Tom Windish, The Windish Agency 07/26/10
John Wiseman, XL Touring Video 05/05/06
Thom Wolke, Twincloud.com 02/08/02
Michael Wood, City Lights Entertainment 08/08/08
Keith Wortman, Blackbird Presents 03/22/17
Nigel Wright, Independant Record Producer 11/07/03
Dusty Wright, CultureCatch.com 07/27/07
Jeremiah “Ice” Younossi, A-List Talent 09/20/09
Gail Zappa, The Zappa Family Trust 10/02/14
Kevin 'Chief' Zaruk, Chief Music Management 06/10/15
Ron Zeelens, RAZco Visas 04/20/01
Rick Zeiler, Sidney Frank Importing Company 06/04/04
Danny Zelisko, Live Nation 06/19/09
Jason Zink, Emporium Presents 10/19/17
Hillary Zuckerberg, Brick Wall Management. 07/09/04
Steve Zuckerman, Global Entertainment and Media Summit 03/22/02
Paul Zullo, Muze 01/23/04
Nanette Zumwalt, Hired Power 02/03/06
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