The Man Behind the Rhythm

Interview by Lissha Sadler for The Heat Seekers

Intro: I was given the opportunity to interview 9x Grammy-nominated musical legend Gerald Albright, one of the best sessions and touring musicians of the 80s. He launched his solo career with his song “Just Between Us” in 1987 at the peak of the Smooth Jazz era, becoming one of the top chart-topping artists with albums, countless radio hits, and all-star tours. Because Albright’s musical muse has taken him to many fascinating places along the contemporary R&B/urban jazz spectrum, he continues to top the charts.

“Top to bottom,” Albright says, “Whether in concert, listening to my music over the radio or CD player, I always want my listeners to be taken on a musical journey with different textures, rhythms, chord progressions, and moods. I want people to know where I’ve been and where I’m going and to let them hear that I’m in a perfect place in life.”

Lissha Sadler: Now that you were already an accomplished saxophonist by the time you went to college, what made you want to add Bass instruments to your skills?

Gerald Albright: I’ve always loved the instrument. But it wasn’t until I went to a Brothers Johnson Concert and experienced Lewis Johnson come front and center to do this incredible bass solo. I was floored, and all I could think about was bass guitar after that. I contacted a friend John Jorgenson who was on campus, and the son of the head of the music department there, Jim Jorgenson. John was a collector of instruments. I called him to see if he had an old bass sitting that he was not using that I could kind of fiddle with. The next day we connected, he gave me a bass, and I sat in my dorm room and taught myself. Fast forward, I started playing with little groups around the area for different parties to make extra money for books and things for college. The bass guitar worked out to be a massive part of my arsenal. I went on the road with Patrice Rushen as a bass shortly after graduating from the University of Redlands. I then went on to play bass with Anita Baker for two to three years. Philip Bailey from Earth, Wind, and Fire on his gospel tour. It’s still fun. To this day, I play bass on all of my records. And it’s just a fun option, as part of my arsenal, to have in terms of creating music and being able to play both in the studio and live settings.

I love it. I love it.

LS: I always want to ask about a person-go moment when thought and execution come together. What was that moment like in your career when you decided to change and release your first album?

GA: I think I have to go back even farther. As a kid, I dreamed of having a band and playing music on stage in front of a big audience. And I think it stemmed from listening to these live records that my brother had back in the day of James Brown. I was so awed by the audience’s reaction when James Brown would scream, do the split, or play one of his hit songs. At eight, I started playing saxophone, and as we talked about earlier in college, I started playing the bass and, in between, the flute, clarinet, and all the reed instruments pretty much. So early in my 20s, I started building this makeshift mini studio in my little apartment with me and my wife. I still have the little four-track reel-to-reel machine in my storage I used for my initial demo tapes back in the day. I’m doing everything on the demos, from singing to playing all the instruments. And ironically, these were the demo tapes that got my first record deal with Atlantic Records in 1985 and 1986. And I released my first record in 1987, based on these demos. So, that aha moment happened early in life and slowly evolved into a dream fulfilled in 1987. Now, I’m a solo artist that came way before smooth jazz. I was considered an R&B instrumentalist. We were doing expensive videos just like the R&B singers. We were considered an entity within the R&B world charting on all charts. So, those were good times. And I can’t tell you the delight I had in fulfilling that dream, but it was due to hard work and music. And to this day, music is the only thing I feel complete at. I just pursued, claimed, and worked toward that goal. Now I’m 22 records in, and it’s been a nice ride and a great blessing.

LS: Nine outstanding Grammy nominations. You have worked with everyone from Anita Baker, Ray Parker, Jr., Atlantic Starr, The Temptations, and Maurice White to Les McCann, Will Downing, Teena Marie, the Winans, and Whitney Houston, creating some of the timeless musical sounds. What was your most memorable session?

GA: I will say the Forgive Me Nots session with Patrice Rushen. I did the tenor sax solo. Because that pretty muchlaunched everything else that came after that. And it became the theme song for the movie Men In Black. It’s still on the radio, prevalent in fashion even today, as though it’s a brandnew single. This is a song that won’t die. It came out in the early 80s. The late 70s? And still, it is on the radio in 2023. Isn’t that crazy? So, if I had to pick one session, it would be that recording session. I’m replaying that session in my brain now: the recording studio, how it was laid out, all the folks there, and the saxophones we used back then. And it was just a wonderful, pivotal moment in my career. And when I did subsequent sessions, on tenor sax, for different artists, they would ask me to give them that vibe that I gave Patrice. So, that was like the default formula for what they wanted on their project, so it was an exciting evolution.

LS: How does your creativity and inspiration flow? How would you describe your musical ear?

GA: Honestly, it’s changed over the years. I used to have a particular pattern. I would go straight to the saxophone and try to think of a melody that could surround some music. Still, after doing so many records, I just let it flow and opened my spirit up to whatever I was gifted at the time. It could be a drumbeat, a baseline, a lyric, or a vocal hook. I’m starting from different places in creativity. So, I rarely get what they call writer’s block, where I can’t think of anything. 99% of the time I’m able to figure something out creatively.

LS: How have you grown in your craft over the years? What is the biggest lesson you have learned throughout your journey?

GA: In this volatile business, you tend to make mistakes when you’re younger, choices of managers and lawyers, etc. Certain decisions you make would have been handled differently if you had the wisdom. But I think my real blessing has been being around good people, people you can trust, and fantastic musicians and vocalists who force you to up your game because you’re so in awe of what they’re doing. Sitting down with producers like George Duke, Maurice White, and Quincy Jones kind of picking their brains helped my development. I was very fortunate that these icons took the time to sit down and give me some schooling. I think that was my entrance into getting the wisdom that I needed to refine my craft and massage the business side of the music business.

LS: Music can heal and inspire all at once, putting listeners in a dynamic trance for hours. African American Actors have pioneered the industry with that desire and a pen in hand. How does it feel to be one of the elites fueling the passion of many others that watch and admire you?

GA: Well, that’s what I live for. That’s what keeps me going. Case-in-point, I just did a jazz cruise in the second half of January. And I got a chance to talk to many of my fans. They always have stories about how my music got them through some turmoil. My music has been the backdrop of many weddings and baby-making things, so it solidified that I was in the right lane doing the right thing. That humbles me. That’s really what keeps me going, the people. You can have all the awards in the world, but if you’re not touching the people with your music, you are defeated by the purpose. I’m going to help people positively.

LS: When I listen to your music makes my soul dance. Ever since my dad introduced me to jazz, you have always been one of my favorite artists. I always hear a hint of Sunday service. What artists, groups, or songs have influenced you the most? Why?

GA: Oh, wow. Well, thank you for the compliment. I really appreciate that. It’s nice to know that my music has touched you. And when you say it has that Sunday morning influence, I lived through a lot of gospel, you know, James Cleveland, the Gospel side of Billy Preston. I’ve had a hefty dose of the gospel with all the contemporary artists, the Winans, and family and church. I’ve coupled that with many bands from the big band era. I’m speaking commercial music, like Earth Wind and Fire and Brass Construction, Cameo, and the whole Motown sound. All of this directly influenced my songwriting and approach to the instruments I played.

Smokey Robinson is a dear friend of mine, and he just got a major award at the Grammys last week. I’m just thinking about all the hits. I think he’s like seven or 800 songs over the years and written ballads. These are the songs that helped to guide what I’m doing today. And to have Smokey Robinson as a friend and fellow golfer. He’s the one that changed the careers of many people who went through Motown. I’m just fascinated that God has put me in place to meet people and have kind of a family of folks I can reach out to in a real genuine fashion. It’s just a good place to be. To be honest, it is.

LS: In April of last year, you released G -Stream 2- Turn it up, under your label Bright Music, with the single “By My Side,” which is set to be released to radio on April 17. Let’s talk about this project a bit. What is your vision for Bright Music?

GA: G Stream 2 is part of the G Stream Series. All of my projects are designed to be spiritually fulfilling projects of feelgood music and total positivity. I like to put 200% into all of my productions. G Stream 2 is a continuance of that. And I’m excited about the new single, By My Side thats coming out. It’s the only ballot on the EP. My wife named the song. It’s just heartfelt and almost has that gospel flavor to it. But, you know, it’s still jazzy enough to be on Jazz Radio, but it starts with just piano and horn, and then it, it elevates to this full ensemble of the rhythm section and things, and it’s geared towards just taking on a trip for four minutes, a nice ride. And I tried to design it to go straight to the soul with the tenor sax. And so I’m excited about it.

LS: What is next?

GA: Well, in subsequent talks with my booking agent, it looks like we’re going to have a very healthy road tour this year. We’re mainly doing domestic shows coast to coast, but then you know, we have some European stuff coming up, hopefully, some South African shows, and, you know, everything is still in development. The year is still new but Uh, but it’s shaping up very nicely. And it’s nice to have live music back. I mean, you know, we talked about COVID over two and a half-threeyear period where we were just sitting at home. You know, it’s just, it’s nice to be back, you know, playing various venues and making people happy with our music and what we do.

LS: Mr. Albright thank you for sharing your time, space, and energy with The Heat Seekers Magazine. Please share your social media and website information so everyone can keep up with your projects. GA: https://www.facebook.com/geraldalbrightmusic https://www.instagram.com/geraldalbright/ https://twitter.com/GAAlbright www.geraldalbright.com