Industry Profile: Larry Klein

— By Larry LeBlanc (CelebrityAccess MediaWire)

This week In the Hot Seat with Larry LeBlanc: Larry Klein, producer/bassist/songwriter.

Larry Klein strives to push beyond boundaries.

From touring musician to first-call session player to acclaimed producer to head of his own Strange Cargo label imprint, this scrappy, Los Angeles-based producer/bassist/songwriter has always turned away from well-worn territory to explore uncharted waters.

Last year Strange Cargo bowed in with the compilation release of noted Norwegian singer/songwriter Thomas Dybdahl’s “Songs.”

Upcoming for the label are album releases by Adam Cohen, British actress/singer/songwriter Rebecca Pidgeon, and a follow-up by Dybdahl.

One of America’s most in-demand producers (despite being under the radar publicly), Klein has been behind the board of late with sessions with Madeleine Peyroux, the Gypsy Queens, Curtis Stigers, and Sweden’s winner of Eurovision, Anna Bergendahl.

He has also been overseeing a pair of albums by his wife, Brazilian jazz performer/educator/songwriter Luciana Souza.

Klein’s studio date book continues to be crowded with upcoming sessions with Portugal’s Ana Moura; actress Michelle Dockery; as well as Decca’s recent signing, 18-year-old keyboardist Ariel Pocock.

Klein, who grew up in Monterey Park in the west San Gabriel Valley outside Los Angeles, began working toward a musical career while in his teens. An after-school musical program at University of Southern California enabled him to develop his playing and compositional skills with university professors there while still in high school.

While still a student at California State University, Klein began to sit in with various local groups. Then he did nearly five years of touring as a sideman with such jazz luminaries as Freddie Hubbard, Wayne Shorter, Willie Bobo, Carmen McCrae, Joe Henderson and others before landing a high-paying year residency on the syndicated daily TV program, “The Merv Griffin Show.”

As a session player, Klein appeared on innumerable recordings in the ‘70s, ‘80s, and ‘90s, working on projects by Robbie Robertson, Don Henley, Bob Dylan, Dianne Reeves, Bobby McFerrin, Neil Diamond, Tracy Chapman, Peter Gabriel, Warren Zevon, Bryan Adams, and others.

He has also appeared on a number of soundtracks including Martin Scorcese’s “Raging Bull” (1980), and Allison Anders’ “Grace Of My Heart” (1996).

Klein became famously connected to iconic Canadian Joni Mitchell after being hired for her 1982 album “Wild Things Run Fast.” Romance ensued, and the two married Nov. 21, 1982. The couple worked closely together for more than a decade, including on Mitchell’s 1994 Grammy-winning album “Turbulent Indigo” that chronicled the end of their marriage. Despite the split Klein helped Mitchell with her albums, “Both Sides Now” (2000) and “Travelogue” (2002).

In 1985, Klein had helmed his first solo production, Benjamin Orr's “The Lace.”

Since then, Klein has overseen productions for Herbie Hancock, Shawn Colvin, Julia Fordham, Tracy Chapman. Melody Gardot, Walter Becker, Madeleine Peyroux, Mary Black, Holly Cole, Vienna Teng, Daphné, Raul Midón, and his current wife Souza whom he married in 2006.

Klein has won four Grammy Awards, including Album of the Year, and Best Contemporary Jazz Album in 2008 for Herbie Hancock's “River: The Joni Letters” which featured performances by Norah Jones, Leonard Cohen, Tina Turner, Corinne Bailey Rae, and Souza; and back-up by jazz powerhouses Wayne Shorter (saxophone), Dave Holland (bass), Lionel Loueke (guitar), and Vinnie Colaiuta (drums).

“River: The Joni Letters” was the first jazz album to win top album at the Grammy Awards in 43 years, and only the second in the award's history; the other was “Getz/Gilberto” by Stan Getz and João Gilberto in 1965.

How is Strange Cargo set up?

It’s a very idyllic situation in that I don’t have to go into an office. I don’t have to do any of what I consider the mundane aspects of A&R. I have a great situation with (Universal Music Group International COO) Max Hole, who has been a friend for a long time. He said, “I like what you do almost all of the time. Chances are that most of the things that you come up with I will want to do.” So Max provided me with an idyllic situation--that I am able to do what I do. I find things, like Thomas Dybdahl. Now Adam Cohen’s record (“Like A Man”) is coming out (Strange Cargo/ Decca/ Universal), and a record (“Slingshot”) by Rebecca Pidgeon, who I’ve been working with, is coming out soon (on Strange Cargo/ Decca/ Universal). I’m going to be working with Michelle Dockery. I met with Ariel Pocock earlier this year, and we intend to do a record together.

Why have a record label?

I think that in this new paradigm of things, musically, one of the exciting things going on is that record companies are motivated now to get people who know how to make records to be part of the whole process of signing an artist, and being involved with all aspects of a career. To me, in some ways, that is like the final step of learning about what I do. It’s always been the way for me. That's how I got into producing records, by learning. Trying to figure out how to learn from everything that I knew; and trying to figure out how I could make something beautiful, and get it out into the world. Sort of the final step for me is to be a part of the process--whether it’s the artwork or the promotion or the marketing; to have a voice in that area that I never did before.

As a producer is this a golden era for someone with your musical scope?

It’s very strange because things for me have kind of gone backwards in the sense that as things have disintegrated in regards to the music business overall; for some combination of reasons, things have gotten busier and busier for me. As far as what to attribute that to I think, perhaps, the center of what I am interested in working on musically has always remained constant. If I were to try to encapsulate what area that I am interested in exploring in regards to making records I would say that it’s music and songwriting and records that sit in between other things.

You seem to pick projects with a “What can I learn?” attitude.

Absolutely. It is my way of educating myself. From the time that I started out listening to music as a child, I have always been interested in everything -- the complete spectrum of music. My parents had a really good record collection. So I developed an interest for all kinds of music. Even the areas I wasn’t passionate about initially, say something like polka music, when I find out a little bit more about any kind of music, I get interested. Boom and I am down the rabbit hole exploring it; learning about it; and then discovering how, perhaps, I can do something in that medium that feels fresh to me; and that also embodies some of qualities and higher areas of that particular form.

When you began working in music production, did you need to learn different syntax in order to plug into a different part of the creative process? A producer has to deal with different egos, and not every artist knows what they want.

I think about this a lot for a number of reasons. One being that young people, aspiring to be record producers or work in the area that I work, often ask me for advice. I try to distill what the most important things are about seeking to learn to do what I do. It’s very difficult because the job is different on each thing that I do. Depending on the artist, and what their strengths are. What their weak areas are. Where they need help. Where they need space, and no help. Where they need me to be just a sounding board. Where they need me to be an auteur. Where they need me to be a songwriter. Where they need me to be an arranger. Where they need me to not to be any of those things.

Producing is an interesting job for many reasons.

One of the things that is fascinating to me about it is that sometimes you are sort of a psychotherapist; and sometimes you are an interior designer for a person who has no idea of what they want to do. So you step in, and you say, “I am going to put you in this landscape, and this will work beautifully. What you do will shine set into this landscape.” And (you consider) all of the gradations in between.

Most young people who aspire to become a record producer, they are attracted to the job because they perceive it as being a position of power and authority. They are attracted to the auteur aspect of the job. The part that they don’t have any idea about is the silent part that is always going on. The part that is almost akin to the part of a Zen abbot or something. There is a very subtle aspect to the job that I have gradually learned over the years. I started out just stomping my way through things and making all sorts of mistakes.

Was your first production work with Joni?

I started producing little projects in L.A. prior to working with Joni on her records. I believe that probably the first released project that I co-produced was with Benjamin Orr.

As a session player, you worked with numerous strong-willed producers, including Mutt Lange and Daniel Lanois as well as artists like Peter Gabriel, Lindsey Buckingham, and Walter Becker who are known for having strong idea of what they want in the studio.

Oh yeah. In those cases, it’s like to going to work, and playing tennis with John McEnroe or someone like that. It really is. It is such a stimulating experience to go to work every day, and work with people who are that talented, and that strong, and that fast. Those kinds of experiences are absolutely addictive to me. If someone called me tomorrow who I put on that list, I’d be hard pressed not to just drop everything and go do something.

Obviously, you’d like to work with Claus Ogerman.

Absolutely. Claus is someone that I would love to work with before I don’t have the opportunity (Ogerman is 81). If the right thing came along for me to do with him, I would jump at the opportunity. I am a huge, huge fan. There are so many records that he’s contributed to that are hallmarks to me.

[German orchestrator/arranger/composer Claus Ogerman is renowned for his work for the Drifters, George Benson, Barbra Streisand, Antonio Carlos Jobim, Astrud Gilberto, João Gilberto, and Diana Krall.]

How do you and Luciana handle your separate careers?

It’s an ongoing puzzle to figure out. We are committed to one of us being at home at all times for our son (Noah) who is 3 1/2. He is still very young. Luciana, for the most part, really put her career on the back burner up until recently. From the time he was born. Still, she has been performing; doing enough to keep her foot in things--going here and there for performances, occasionally, but very little. Now that he’s in pre-school, and things are a little bit less intense, she is able to start doing more.

[Souza grew up in São Paulo, Brazil, the daughter of renowned composer/guitarist Walter Santos, and poet Tereza Sousa. She is a graduate of the Berklee College of Music, and has a Master's degree from the New England Conservatory of Music.]

You two are working on a new album.

We are working on two albums actually, simultaneously which is kind of her way of saying, “I’m back singing.” So we are doing one record which is “Brazilian Duos III” and then an album (“The Book of Chet”) exploring Chet Baker stylistically. More the spirit of (the late jazz trumpeter) Chet Baker than trying to emulate anything; or trying to create some kind of curio concerning Chet Baker. Something that is the spirit of what he did which was to both of us very important--and to Brazilian music, actually, very important.

American jazz musicians have a working knowledge of Brazilian music primarily from bossa nova recordings by João Gilberto, Antonio Carlos Jobim, Stan Getz, and Frank Sinatra. Being in the trenches producing Brazilian music…

I would put myself in that group to a certain extent--that I was aware of some of great Brazilian music that one would generally become aware of from being a musician and record producer who worked within the realm of pop and jazz music. But upon…

Of course, there are those great Tommy LiPuma records with João Gilberto.

The record he did with João Gilberto “Amoroso” (1976) to me is one of the few records, and I have told Tommy this directly, that “Amoroso” to me is like a diamond. It’s just flawless. I love Tommy. He’s the real deal. I’m a big fan of Tommy’s.

Working with Luciana combining Brazilian and American jazz styles would be challenging. How did you two meet?

One of my oldest friends is Billy Childs. Billy and I went to music school together. I’ve known him since the time I was 14 or so. In 2008, he had a piece that he had written for the L.A. Philharmonic that was being premiered here. It was the first time that he had a piece played by the L.A. Philharmonic. He had let me know about this, and I was busy doing a million things. Fortunately, he called me and bugged me about it again. I said, “Of course, I gotta go.” So I went to see the premiere of this piece, this incredible piece that he had written based on the poetry of children in concentration camps. In it were solo roles for both for a female voice, and a child’s voice. Lu was singing the part of the female soloist. I was just blown away by what she was doing in this piece, and went backstage and we spoke. She was aware of the work that I had done. At that point, I was going back-and-forth between New York and L.A. writing a solo record with Walter Brecker.

And Luciana was then living in New York.

She was a died-in-the-wool New Yorker. I had to yank her out of New York (when we got together). It was a difficult thing for both of us. Once we got together we had to figure out what we were going to do. “Are we going to live in New York or L.A.? Or split time? We held onto her apartment in New York for awhile. She had a great place in a great neighborhood.

As a producer you are an internationalist in that you have recently been working with artists from Israel, Portugal, Sweden, and South America. Whatever is out there that is great might interest you?

Yeah. It’s so funny because all of this has come serendipitously in a certain sense. It’s not like I decide, “Oh, I want to work with an artist from Norway.” These things just happen for me. I’ve always guided what I work on by trying to be aware of which way the wind is blowing. In that way I think quite possibly that I was influenced a lot by Joni.

Now if I think of the way that she has guided her life, her career, and her interests musically, she has always been that way. I think to some extent that I was like that before she and I met but certainly the time we spent together, I think, probably really deeply imprinted that idea on me. That the best way to find your way to fresh territory is to feel where things are going; not intellectually make decisions of, “Okay, I am going to do this. I’m going to go here and then here.” All the way along listening to what is going on in the air and guiding your decisions by what smells fresh.

America attracts artists from around the world. A decade ago, Thomas Dybdahl came to live here, and he wrote “One Day You’ll Dance For Me, New York City.”

I love that, yeah.

[In 2001, 20-year-old Norwegian Thomas Dybdahl, one of Norway's most notable musicians, had rented an apartment in Manhattan's Chelsea neighborhood. By the time he returned to he had written "One Day You'll Dance for Me, New York City” that became the title track of his first #1 album in Norway in 2004.]

America is a musical magnet. Always has been.

America has always been a dominant force culturally. I would say even more so before than now. Through the 20th century, of course it was. People that were in South America were listening to Sinatra. They couldn’t help but be affected by what was going on musically in the U.S. Whether they were in Jamaica or South America or wherever. But I think that the principal, if you try to distill it down to the germ of the idea, is that anywhere in the world people are searching for something fresh. Whether it was the Rolling Stones, and the Beatles looking over here to Chuck Berry and blues artists. Or if you look at Ana Moura, who is doing fado in Portugal, and trying to figure out, “I want to take this form beyond tradition. I want to figure out a way to do something new with this form. I love the tradition but I want to do something fresh.”

Anoushka Shankar is also doing that.

I haven’t heard this record (“Traveller”). She’s an amazing young woman. Herbie (Hancock) and I worked with her on a track ("The Song Goes On") on his last record (“The Imagine Project” in 2010). I was profoundly impressed with her. You can get to know somebody really quickly. Boy, I felt within in five minutes, “Wow, this woman is going to do something.”

With the internet, we all can be in a foreign marketplace in the sense of being able to discover music from anywhere in the world.

Well, that’s right. Along with all of the negatives factors that have been introduced, to my mind, by the web which there are plenty of, the positive part of it is that any young person or artist of any ilk can have access to so much music, and to so many different traditions musically. So yeah, you get people who are curious about exploring that is so far from what they do. That is a pretty amazing way of setting up the mulch from which some new things can evolve.

Producers can also now hear artists developing from around the world.

Yeah, exactly. Using Ana Moura as an example. When her manager sent an email to me it was like, “How did that happen?” because I had been thinking about her for a couple of years, thinking, “This woman, her voice just thrills me. I would love to work with her.” And boom, this guy gets hold of me out of nowhere. I sent a note back saying, “I can’t believe that you are sending me this because I have been thinking about Ana and working with her for quite some time.” In that sense, the immediate connections that you can make across so many miles and so many borders, both stylistically and geographically, are amazing. To be able to connect with people (with the internet), it makes things very small, and immediate.

Thomas’ music sat on your computer desk top for awhile, too.

A very good friend of mine is David Naylor who was one of the biggest producers of music videos in the heyday of music video. He has a (video production) company called DNA. Now he does more work in commercials. He works with a great photographer Jean-Baptiste Mandino who is Paris-based. Naylor is always hearing things from all over the place, and snagging certain things that appeal to him in multiple mediums. Jean-Baptiste turned him onto Thomas Dybdahl, and then one day Naylor sent me a MP3 of one of Thomas’ songs, "Love Story,” with a simple little note, “Check this out; I think you’ll like it.” I was just floored by everything about it. The production. The song itself. The conversational writing style. It was really, really fresh to me. But I didn’t know where it fit in my life. I didn’t have time to chase down this guy’s records. So it sat there on my desktop.

Time went by and, eventually, I found the right way to do a production imprint deal with Universal through Max Hole.

Strange Cargo.

Yeah. When I was presented with the opportunity to sign something to this imprint, the first thing I thought of was, “Oh, that thing on my desk top.” I went back and listened to it again. Of course, it sounded great. So I started chasing it down. I had (my manager) Sandy Roberton find out who managed Thomas. It turned out that Thomas had just extricated himself from a record deal that he wasn’t happy with, and was re-formulating what his plan would be. This led to this and that and before I knew it I was flying over to Oslo to see him play a concert.

[Thomas Dybdahl had released five albums in Norway and Denmark. The compilation “Songs” released July 12, 2011 on Strange Cargo is his introduction to American audiences. Dybdahl recently joined Tori Amos on the American leg of her “Night of Hunters” tour.]

You ended up releasing a compilation of Thomas’ music.

Well, it was an interesting problem to have. Here's a guy five records into his career, and he had just released “Waiting for That One Clear Moment” (2010) that had gone to #1 in Denmark. He is established as a high quality artist with major audiences in Norway and Denmark. He’s also got audiences in France, and Belgium. In the States anybody aware of him might have heard him on NPR a bit.

So this would be a new artist in North America.

I thought, “There is no way I can start off with someone in this position, and not try and introduce more people to this body of work that he has created for himself. That’s so impressive. “Waiting For That One Clear Moment” had just come out over there. As much as I feel that it is a really interesting record, it’s not a first record (for The U.S.). I thought that we had to bring people, or attempt to bring people, up to speed regarding what this guy does.

So Thomas and I wove together what felt like a really good thread that would lead people from the beginning to now. Then we made a plan to make a record together that would be the next new record. That is what we are in the process of working towards. In fact, we have been writing for the last two weeks toward his second record.

It was drummer John Guerin who recommended you to Joni as a session player. Did Joni come and see you play?

She might have come down because I was playing with John with gigs that he was doing with his own band, and we were playing dates around L.A. with (the late British-born vibraphonist/percussionist/pianist) Victor Feldman. I played with Victor’s band for a number of years. Sometimes he would use Guerin and Roger Kellaway and different people. Sometimes he would incorporate his sons (Trevor and Jake) into the band. I believe that she probably did see me in one or two of those contexts. Then I got the call to go in and work with her and the material that she was working toward that became “Wild Things Run Fast.”

[Larry and Joni’s relationship reportedly developed over conversations while playing the pinball machines at the A&M studio in Los Angeles where they were recording “Wild Things Run Fast.” Mitchell dedicated the album with this message: "Special thanks to Larry Klein for caring about and fussing over this record along with me.”

Mitchell told Musician magazine: "Larry and I listened to a lot of fads and we tempered them...Larry is a "sounds" man. His ear hears certain things and he'll point them out to me. So a lot of (the sound of the album) has to do with Larry's input. Credit where credit is due."]

Were you intrigued to work with Joni?

Oh God, yes. I knew of Joni’s work. I probably knew two or three of her albums. I didn’t know the earlier stuff as well. I was most acquainted with “Court and Spark,” “Hejira,” and Mingus.” The earlier work I knew bits and pieces of in a more fragmentary way.

Herbie Hancock has said the same thing.

Before we did “The River” album, he had never listened to words all that much.

[For the longest time, Hancock admitted in a 2007 interview, he ignored the lyrics of the songs he played on.]

On February 10, 2008, “River: The Joni Letters” won the Album of the Year and Best Contemporary Jazz Album honors at the 50th annual Grammy Awards, surprising the music world. Were you surprised by it winning for Album of the Year?

I don’t think that I have ever been more surprised. It was really a thrill. Doing that record with Herbie, Wayne (Shorter), and Dave Holland; and working on Joni’s music, it tied together so many different threads of my life. It tied everything together for me.

I don’t look back that much. Musically, I aspire to what Miles Davis would always say, “Let other people look back, and I will look forward.” I am always thinking about what I am working on or what I am going to do.

But there are those pinnacle moments (in your life) that you come to hear. As much as awards are not the most important thing, and certainly not a reason that you do anything--for me anyway--there are those moments. And one of them was when we won the (Album of the Year) Grammy for “River.” The other I would say was when we won (as co-producers) the Grammy for Pop Album of the Year for “Turbulent Indigo” with Joni.

For “River” you had two formidable taskmasters: Herbie, and Joni likely ready to yell, “What are you doing with my songs?” If she hadn’t liked it, she would have told you.

Oh yeah. I wasn’t talking to her about what we were doing because I could get off on the wrong track as well. But I had her voice in my head, of course. I was always thinking, “Oh God, this has to be a wonderful gift for her. It can’t be something that she puts on and screams, 'What did you do to my music.'"

Joni can be very critical.

She’s super opinioned. I had her voice inside me speaking to me all along.

When you finished “The River” did you send it to Joni or play it for her?

I played it for her. You know why? Because I had to get her to do a vocal on "The Tea Leaf Prophecy.” I’ll tell you, I was as nervous as hell. It was really nerve-racking.

But sessions for “The River” were challenging.

I remember being with Luciana in New York when we did the initial sessions of “The River.” I would come back from Avatar Studios and say, “I can’t do this. Here I am in the studio working with these guys who I have listened to in my bedroom since I was a 10-year-old, and I’m saying to them this is what we have to do in order to get the right feeling here. We need to do this and that. Dave could you please play a whole note in this bar, and do this and that here?”

It was a terribly intimidating situation to be in to be working with Wayne Shorter, Herbie, and Dave Holland and telling them how to interpret this music. I just had to steel myself every day (and think), “This is your job. You have been presented with the job of doing something new and something that is going to be a classic and honorable context for Joni’s music. You have got to be in there, and do your job.” It was tough.

These are hard-core session players as well as top-notch jazzmen.

Those guys are cut from the cloth of, “Okay, we did a first take. That sounds great.” This was like taking these songs and adapting them to an instrumental or vocal jazz approach and really turning them inside out. It was delicate business. So I was sitting with my heroes, and I was saying, “Let’s listen to this again. I’m going to give you a copy of the lyrics. Listen to what the song is about.”

The award for “River” tied so many threads of my life together for me. The “Turbulent Indigo” (Grammy) award came at the end of what was one of the difficult years of my life--Joni and I making this record in the process of splitting up; testing ourselves as to how we can do as artists.

Neither one of you considered walking away?

I’m sure that she considered that, and I probably did as well. That would have been as difficult as going on with it in a way. We didn’t split up in a state of disliking each other or in some of state acrimony.

Working on any recording is an artistic challenge, but it is also an artistic puzzle. That must have been difficult to solve in recording “Turbulent Indigo” given the circumstances.

That’s right. It really was. I still love her, and I know that she loves me too. We have a familial feeling toward each other. When I talk to her, I have the same warm feeling toward her; and I certainly did during that time. There were different times when we were working…I had moved out (to Venice) and one day we decided to go down to the Beverly Centre, and both of us got a kitten to keep us company. But it was difficult, and the songs programmatically were about the dissolution of things between us. To be rewarded at the end of this difficult journey with that (Grammy Awards) was one those wonderful moments.

[When Larry Klein and Joni Mitchell won for the best pop album for “Turbulent Indigo” at the Grammy Awards, Mitchell quipped, "Gee, Klein, considering we made this album in a state of divorce..." She also credited the cats they had bought to take the tension off the sessions. Klein thanked Mitchell, "for 10 years of instruction in the arts."

"That was such a warm win," Mitchell said later. “It was a sweet victory, it really was.]

One of the reasons your marriage with Joni ended was that you fulfilled a recording commitment after she had a miscarriage. So many people in our industry feel they only have so many years to work. Many later realize what is more important in their life.

You are now older, remarried, and have a child. Have your priorities changed?

Oh, yeah. Absolutely.

Do you regret that decision?

Of course, I do. If I really look thoroughly at the situation that was at hand at that moment, and what I knew after the fact or what I know now, I would have behaved very differently. I have to attribute the mistake to youth and being somewhat ignorant as are a lot of men to the depth, and the seriousness of what is involved in a miscarriage for a woman. I just didn’t know about it; although my mom had multiple miscarriages when I was a kid. It was completely kept out of view.

[In 1985, Joni Mitchell and Larry Klein discovered she was pregnant. In her first trimester, however, Mitchell miscarried. Klein had lined up a recording date at The Wool Hall in Beckington-Near-Bath in Somerset, England that would be his first major production; recording an album with former Cars’ bassist Benjamin Orr (“The Lace”). Klein delayed leaving until Mitchell said it was okay for him to go. Mitchell apparently came to view the decision as her husband giving his job a higher priority than her health. In 1991, their marriage fell apart.]

You learn from a first marriage. You learn to balance the personal and the work.

Yeah. I will be honest. I still wrestle with the complexity of juggling those things. But absolutely I always have to elevate family over work now. I have to say that it’s hard. It’s hard at times because things get tangled up where you think that, “This is going to move things forward in way where I will be able to provide certain things to my family in a better way if this works.”

The decision process can get complicated in that regard. In the end, you really have to guard yourself against rationalizing things in favor of the work. For me, and for anyone who does what they love for a living, to some degree it is addictive. You are always itching to get back into what you are doing because there’s some stone that you have just turned over; that you found something fresh to explore; and you are excited about it. You are anxious. You have ideas that you want to try to develop and what not. It’s easy for one to make a case to one’s self in favor of running off to some distant place and making a record; when, perhaps, where you should be is just sitting on the floor with your son and playing and doing something very simple.

Creativity is an endless string. It’s “How long will you be in the studio?” “I don’t know.”

Did you see the documentary on (the late Turkish-American producer/arranger) Arif Mardin? You have to see it because it explores this area quite beautifully. Of course, his wife (playwright Latife Mardin, wife of 48 years) says the same thing. That Arif would say that maybe he would be done in an hour; and, of course, he’s not. Then it’s three hours later, and he doesn’t exactly know when he’s going to be home, and the impact of that.

[Arif Mardin died at his home in New York in 2006 following a lengthy battle with pancreatic cancer. The 2010 documentary “The Greatest Ears in Town: The Arif Mardin Story” chronicles the career of this formidable production figure, and label executive who produced innumerable artists including: Norah Jones, Barbra Streisand, the Bee Gees, George Benson, the Rascals, Bette Midler, Queen, Aretha Franklin, Anita Baker, Phil Collins, Roberta Flack, Chaka Khan, Melissa Manchester, the Manhattan Transfer, Modern Jazz Quartet, Willie Nelson, John Prine, Dusty Springfield, and David Bowie.]

As a teenager, you were listening to jazz and you saw pianist Bill Evans perform at the Playboy Club.

That’s right. Bill Evans’ album “Symbiosis,” I know that (1974) record still by heart.

How were you able to get into the Playboy Club at 16?

Herb Mickman was a teacher who privately taught me bass and jazz harmony, probably from ’71 to ’75. He would arrange for me to get into the Playboy Club. I would pretty well go every night. I have been very fortunate to have several people in my life who took me under their wings and helped me become exposed to the right things. I was studying with Herb and he would either take me himself or arrange for me to get into clubs and go places to hear combinations of musicians that he felt would be really important for me to hear. He was an old friend of (jazz bassist) Eddie Gomez so I became a huge fan of Eddie’s.

You later began to play in different bands around L.A.

I was in a program at USC called “The Community Schools at USC.” I studied there from the time that I started 7th grade all through high school. What this program allowed a young person—if they tested into it— to do was to study with university level professors. And most of them were USC professors. All through high school, my mom would drive me over to USC, and I was able to study with these great teachers. (American conductor, pianist and composer) Michael Tilson Thomas would come in and do a lecture. That’s where I met Billy Childs; and Patrice Rushen had (earlier) studied there as well.

Music education at a young age is so important for development.

Absolutely. You can’t overestimate how important it is to have those teachers in your life who steer you in the right direction. Where you are at a point where you have so much energy. You have so much drive, and passion to pursue something, but you need someone to just nudge you in the right direction, and say, “Why don’t you go and do this and this? And go over here and here.”

Sometimes it’s just an afternoon spent with someone; or sometimes it’s a class that you take; sometimes it’s a workshop or something that takes 15 minutes.

I was incredibly lucky in this regard. I had a teacher named Wayne Bischoff from Grade 7 through high school who was an extraordinary character. He was a clarinetist and a composer who had studied with one of (Arnold) Schoenberg’s disciples. He wanted to turn the junior high in the high school music department into a college level music program. He was a real Mr. Holland kind of character.

Where did you grow up in L.A.?

In the San Gabriel Valley; in an area called Monterey Park which is now pretty much an entirely concentrated area with people that have emigrated from China or Taiwan.

[Ten miles east of downtown Los Angeles, Monterey Park is part of a cluster of cities in the west San Gabriel Valley with a growing Asian American population, making up 66.9% of its current resident population.]

My dad was an aeronautical engineer. For the most part, he was a management person on satellite projects and for a lot of space projects as well. He worked on the Viking Mars (landings). I used to go up to Vandenberg Air Force Base and see launches of satellites. My dad had security checks every year. They’d send guys out to interview our neighbors, asking, “Well, does he like to drink at parties?”

How did you land a job on Merv Griffin’s TV show?

I had been on the road a lot with Freddy Hubbard, Carmen McCrae, Willie Bobo and those different bands. At a certain point, I was starting to feel that I’d had enough of being on the road. I also have to say that as much as I loved what I was doing musically that at time I felt a real narrowness in the jazz world.

There was always this attitude towards pop music or even within jazz where you had people trying to delineate, “This is real jazz. This is the real stuff.” That sort of nonsense.

Creed Taylor was breaking down barriers with his CTI label with Freddie Hubbard, Stanley Turrentine, George Benson, Paul Desmond, Herbie Hancock, Ron Carter and others.

I love those records. For me coming up, and becoming of age in the ‘70s, the CTI records were unbelievably exciting records to me. Of course, I was listening to (Miles Davis’) “Miles Smiles” (1967) and “E.S.P.” (1965) and all of the earlier stuff by those (jazz) guys. But the records that Creed Taylor was doing were really…I know that for myself, and for people I was growing up with, those were really exciting records too; and they sounded amazing. Looking back on them, some worked better than others.

But I really felt a narrowness in the jazz world; where people were saying, “This is the real stuff and what Freddie (Hubbard) is doing is commercial.” And that’s nonsense. “And what Miles is doing, he should go back to playing ballads.” At that time I felt that there was more vitality in the pop world--that there were more things going on there that felt fresh, new and exciting to me.

What things were turning you on in pop?

I was always listening to pop and rock music. The first music that I got passionate about was the Beatles, the very early Beatles. I think that the first record I bought was a record of the Beatles backing up Tony Sheridan (“The Beatles with Tony Sheridan” on MGM, licensed from Deutsche Grammophon in 1964). That was probably the first album I ever bought. I started exploring what the Beatles were up to at that time with “Rubber Soul.” At the same time, I was listening to my parent’s record collection. They loved Nat “King” Cole, Frank Sinatra, and Wes Montgomery, and they had all of the musicals.

So your career took a turn?

I started veering toward wanting to stay put, and learn about songwriting. Develop my songwriting. Develop my abilities in the studio. And stay in L.A. I made a conscious decision to try and make things happen on that front. Then I started more session work in L.A.

It was right around the time that David Letterman’s (TV) show became the thing. I think Merv (Griffin) decided, “Okay, we are going to have to young up.” He had this band of great musicians; these jazz giants. Ray Brown was playing bass, (trumpeter) Jack Shelton, Plas Johnson, Mundell Lowe, and Nick Ceroli was playing drums. So the first person that they let go was Ray. Here I am this young kid, and I get a call to replace Ray Brown on Merv Griffin. It was surreal. I was around 22 or so.

Surely, the other musicians didn’t welcome you with open arms.

No. Of course. I was the harbinger of doom.

Who hired you?

(Conductor/arranger) Mort Lindsey. He was Merv’s musical director. It was a strange year of my life, but it was a great gig. I was able to stay in town, and the money was great. It was a steady thing, and I could send in subs. If I got a record date that I wanted to do or if I had to go out of town briefly, I could send subs.

Any cool guests?

Oh God yeah. During that time I played with Buddy Rich, George Burns, and anybody from Vikki Carr to Jerry Seinfeld. He was on as a young aspiring standup comedian. Orson Welles was on the show, it was surreal.

[Jerry Seinfeld paid homage to his early day-time, talk show experiences in “The Merv Griffin Show,” the sixth episode of the ninth, and final season of the NBC sitcom “Seinfeld.” In the episode, which aired on Nov. 6, 1997, Cosmo Kramer pretends that he hosts his own talk show using the discarded set from the Merv Griffin show, which he sets up in his apartment.]

When I looked back on it now, it was a good part of my development to have to do this kind of thing. Where I had to play behind everything from a magician to B.B. King to Sergio Mendes. It was a great experience but it became somewhat depressing after a period of time. We would spend long, long hours there waiting around. I was taping two shows a day. You are just sitting there, and listening to these things going on. It became kind of a depressing thing which motivated me to move on.

I have to say that my tenure as bass player on the Merv Griffin show was part of what motivated me to move toward producing records. It was part of the combination of elements that made me realize that being a bass player and doing studio work as a bass player wasn’t going to be ultimately satisfying to me as the centre of what I do.

So I started branching out, and really trying to develop my skills in other areas.

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.”


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, 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, 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, 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, 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, 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, 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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