When recording engineer Gaius “Al” Davis agreed to sit down with us for an interview, we were thrilled. Al has been a driving force in the soulful sound of artists from Ray LaMontagne to George Clinton. He recently engineered a tour of soul legend, Al Green. He’s in the studio with Akai Professional gear now, working on a new, soon-to-be-released Al Green album.
AP: When did you first get interested in a career in music?
AD: Back when I was in school, about sixth grade, I took an interest in school band. I started playing in symphonic band and before long I always found myself hooking up the PA gear at shows. From then on I got more into being behind the scenes than in front.
AP: How did you get involved with Al Green?
AD: I maintained his studio in Memphis as a recording engineer. We met through a music director who, like me, was from Jacksonville, Florida. He had heard of me through a mutual friend. I’d been working for George Clinton since 1992 and Al Green’s team called in 2004 asking me to work with Al. Lee “Scratch” Perry was the artist I was working with at the time. Scratch invented dub reggae, which is the same style made famous by Bob Marley and the Wailers, and Scratch produced Bob. Prior to that, Jamaica was pumping out ska music. Scratch started adding reverbs, and adding the chink-a-chink to the guitars and the rest is legend. I managed Scratch for two years and he’s a tremendous talent. He was nominated for a Grammy a few years ago.
AP: How does working with Al compare to working with other artists?
AD: Before I started working with Al Green, I’d been out for several small tours. I’ve done tours with Donny Osmond, Sophie B. Hawkins and others but Al is one of the first artists I’ve worked with who is known as an icon. He’s known for his uniquely identifiable vocals more than any other artist I’ve worked with. George Clinton and Scratch Perry were both pioneers, as in they each created a style of music. Al is a legend in a style that was established as his star rose. For example, Willy Mitchell created a whole Memphis style of soul that’s dominated with the organ, guitar, and horn-section arrangements that are distinctive. Willy Mitchell and his gang were defining the high rhythm section, while down the road you have cats like Booker T. and Otis Redding and such. The Al Green album that is out now captures that 1970s recording sound and brought it back.
AP: You’re working with Al on a new album. What is different about this new album?
AD: This album is going to be a gospel album. In the 1970s Al went into a semi-retirement and became an ordained minister and bought a church. He stopped performing secular songs. He did two gospel albums that were okay but didn’t really enjoy commercial success like his original stuff. Last year’s [Lay It Down] was the first secular album he’s done since 1976 and he’s got three Grammy nominations so it seems clear that people have been waiting for him to return to form. He’ll actually be on the 2009 Grammy TV broadcast. It looks like he’s a shoe-in for two of the categories. I’m hoping he’ll go out and do more stuff and perform more venues. Unfortunately, there are so many artists who we lost in the past few years that are not with us anymore. When it comes to soul music, there aren’t many male solo singers left, which puts Al in the forefront so people are waiting to see what he does [laughs]
Seal’s new album is all soul covers. He does two Al Green songs “Still in Love With You” and “Here I Am”. You don’t have the Marvin Gaye and Teddy Pendergrass types anymore. More female artists are still singing soul but there are few male ones.
AP: Who are some of the musicians working on the new album?
AD: Dave Stewart plays sax. Members of Al’s church band and live band including Daryl Wells Jr. and Barry Campbell are also playing. Daryl’s the drummer doing some of the programming with the MPC2500. Barry Campbell is the bassist.
AP: The MPC is often associated with hip-hop music. The new album is being produced with an MPC2500. How is this being used?
AD: We’re using it as a sampler and doing some pad triggering. We’re also doing some drum programming. Candi Staton did some gospel records that have a lot of drum programming on them. If you have heard these, tracks you can kind of see where we’re going.
AP: How is the EWI4000s electronic wind instrument being used on this album?
AD: Dave’s fantastic with the EWI. He’s using it to do breathy synth leads. We are up to about three-and-a-half tracks so far but we’re going to use the EWI for more tracks. With the EWI you’re only limited by imagination. You’re using the same fingerings as a woodwind instrument, but as far as the sounds go, the sky’s the limit, you know? Most of the sounds aren’t even going to be woodwind sounds. Dave also just finished his solo album and he used the EWI a lot on that project.
AP: You recently toured with Al Green. Was any Akai Pro gear taken on the tour?
AD: We did some shows with Chaka Khan and her band was using Ableton [Live software] so from what I can tell, I think the APC40 [Ableton Live performance controller] is going to be awesome. Of course, Dave Stewart always has his EWI with him. Sometimes he’ll use the EWI for playing “Love and Happiness”. Dave also uses it on “Simply Beautiful” when Al sings it.
Even though Dave’s been using the EWI on some of the newer stuff on the album more than he did on the road, Al believes that you don’t have to be in the guidelines of the record for a live show. The musicians have some freedom to express the sounds a little differently so that has really made for some great new variations.
AP: How have these instruments changed the way music is produced from what it was like when Al Green’s career first started?
AD: I think they fit well in streamlining some of the techniques that were in use more with George Clinton. Back in the 70s, with George and the whole Parliament thing, it was all about building the whole song around a chant or groove. Sometimes it was all about the chant, and with eight bars of that you built a song. Today we call it looping. Back then they’d have to cut and loop sections of tape or do it all live. With the MPC you don’t have to be good with a razor blade. The MPC is revolutionary because you can build a song in eight-bar loops and build the song that way. It’s really revolutionary in that respect. Think about sampling a background section with a chorus. If you were trying that 40 years ago and you wanted to loop the background singers, you would have to have them sing throughout the song through the whole take. Whereas today, you can simply put it on one MPC pad after they do it right once and trigger it whenever you need it. The MPC really helps make music production more effortless. It’s also cool because you can take two things that might not work together with regard to pitch and make them work together.
AP: When is the new album due?
AD: We’re three tracks in. It looks like we’ll be done in the Fall this year. It should be released late 2009/early 2010.
AP: Are you planning to tour again?
AD: Only thing he has on is a possible booking in Memphis. The details are still being worked out but we should know more after the Grammys. The shows get better once you win a Grammy. He’s presenting an award at the show so we’ll see how it goes.
AP: Do you have any advice for up-and-coming artists or recording engineers from your experience in the business?
AD: The best advice I have is to always do it because you love it. If you do it for any other reason, it won’t be fun anymore.
I’ve always had an easier time working as technology has changed by keeping in contact with manufacturers of your favorite gear or tools you like to use. As far as gear goes, and companies like Akai Pro and Alesis, I’ve maintained relationships because they make gear I like to use and it becomes an ingrown part of the sound that you get when you’re recording. When a favorite piece of hardware goes out of production, I want to know about it as soon as possible so I can stock up on extra parts as needed! [laugh] The best manufacturers will listen to you and if they redevelop the product, everybody wins. The end user gets what they want and they keep you as a customer.
AP: When did you first get interested in a career in music?
AD: Back when I was in school, about sixth grade, I took an interest in school band. I started playing in symphonic band and before long I always found myself hooking up the PA gear at shows. From then on I got more into being behind the scenes than in front.
AP: How did you get involved with Al Green?
AD: I maintained his studio in Memphis as a recording engineer. We met through a music director who, like me, was from Jacksonville, Florida. He had heard of me through a mutual friend. I’d been working for George Clinton since 1992 and Al Green’s team called in 2004 asking me to work with Al. Lee “Scratch” Perry was the artist I was working with at the time. Scratch invented dub reggae, which is the same style made famous by Bob Marley and the Wailers, and Scratch produced Bob. Prior to that, Jamaica was pumping out ska music. Scratch started adding reverbs, and adding the chink-a-chink to the guitars and the rest is legend. I managed Scratch for two years and he’s a tremendous talent. He was nominated for a Grammy a few years ago.
AP: How does working with Al compare to working with other artists?
AD: Before I started working with Al Green, I’d been out for several small tours. I’ve done tours with Donny Osmond, Sophie B. Hawkins and others but Al is one of the first artists I’ve worked with who is known as an icon. He’s known for his uniquely identifiable vocals more than any other artist I’ve worked with. George Clinton and Scratch Perry were both pioneers, as in they each created a style of music. Al is a legend in a style that was established as his star rose. For example, Willy Mitchell created a whole Memphis style of soul that’s dominated with the organ, guitar, and horn-section arrangements that are distinctive. Willy Mitchell and his gang were defining the high rhythm section, while down the road you have cats like Booker T. and Otis Redding and such. The Al Green album that is out now captures that 1970s recording sound and brought it back.
AP: You’re working with Al on a new album. What is different about this new album?
AD: This album is going to be a gospel album. In the 1970s Al went into a semi-retirement and became an ordained minister and bought a church. He stopped performing secular songs. He did two gospel albums that were okay but didn’t really enjoy commercial success like his original stuff. Last year’s [Lay It Down] was the first secular album he’s done since 1976 and he’s got three Grammy nominations so it seems clear that people have been waiting for him to return to form. He’ll actually be on the 2009 Grammy TV broadcast. It looks like he’s a shoe-in for two of the categories. I’m hoping he’ll go out and do more stuff and perform more venues. Unfortunately, there are so many artists who we lost in the past few years that are not with us anymore. When it comes to soul music, there aren’t many male solo singers left, which puts Al in the forefront so people are waiting to see what he does [laughs]
Seal’s new album is all soul covers. He does two Al Green songs “Still in Love With You” and “Here I Am”. You don’t have the Marvin Gaye and Teddy Pendergrass types anymore. More female artists are still singing soul but there are few male ones.
AP: Who are some of the musicians working on the new album?
AD: Dave Stewart plays sax. Members of Al’s church band and live band including Daryl Wells Jr. and Barry Campbell are also playing. Daryl’s the drummer doing some of the programming with the MPC2500. Barry Campbell is the bassist.
AP: The MPC is often associated with hip-hop music. The new album is being produced with an MPC2500. How is this being used?
AD: We’re using it as a sampler and doing some pad triggering. We’re also doing some drum programming. Candi Staton did some gospel records that have a lot of drum programming on them. If you have heard these, tracks you can kind of see where we’re going.
AP: How is the EWI4000s electronic wind instrument being used on this album?
AD: Dave’s fantastic with the EWI. He’s using it to do breathy synth leads. We are up to about three-and-a-half tracks so far but we’re going to use the EWI for more tracks. With the EWI you’re only limited by imagination. You’re using the same fingerings as a woodwind instrument, but as far as the sounds go, the sky’s the limit, you know? Most of the sounds aren’t even going to be woodwind sounds. Dave also just finished his solo album and he used the EWI a lot on that project.
AP: You recently toured with Al Green. Was any Akai Pro gear taken on the tour?
AD: We did some shows with Chaka Khan and her band was using Ableton [Live software] so from what I can tell, I think the APC40 [Ableton Live performance controller] is going to be awesome. Of course, Dave Stewart always has his EWI with him. Sometimes he’ll use the EWI for playing “Love and Happiness”. Dave also uses it on “Simply Beautiful” when Al sings it.
Even though Dave’s been using the EWI on some of the newer stuff on the album more than he did on the road, Al believes that you don’t have to be in the guidelines of the record for a live show. The musicians have some freedom to express the sounds a little differently so that has really made for some great new variations.
AP: How have these instruments changed the way music is produced from what it was like when Al Green’s career first started?
AD: I think they fit well in streamlining some of the techniques that were in use more with George Clinton. Back in the 70s, with George and the whole Parliament thing, it was all about building the whole song around a chant or groove. Sometimes it was all about the chant, and with eight bars of that you built a song. Today we call it looping. Back then they’d have to cut and loop sections of tape or do it all live. With the MPC you don’t have to be good with a razor blade. The MPC is revolutionary because you can build a song in eight-bar loops and build the song that way. It’s really revolutionary in that respect. Think about sampling a background section with a chorus. If you were trying that 40 years ago and you wanted to loop the background singers, you would have to have them sing throughout the song through the whole take. Whereas today, you can simply put it on one MPC pad after they do it right once and trigger it whenever you need it. The MPC really helps make music production more effortless. It’s also cool because you can take two things that might not work together with regard to pitch and make them work together.
AP: When is the new album due?
AD: We’re three tracks in. It looks like we’ll be done in the Fall this year. It should be released late 2009/early 2010.
AP: Are you planning to tour again?
AD: Only thing he has on is a possible booking in Memphis. The details are still being worked out but we should know more after the Grammys. The shows get better once you win a Grammy. He’s presenting an award at the show so we’ll see how it goes.
AP: Do you have any advice for up-and-coming artists or recording engineers from your experience in the business?
AD: The best advice I have is to always do it because you love it. If you do it for any other reason, it won’t be fun anymore.
I’ve always had an easier time working as technology has changed by keeping in contact with manufacturers of your favorite gear or tools you like to use. As far as gear goes, and companies like Akai Pro and Alesis, I’ve maintained relationships because they make gear I like to use and it becomes an ingrown part of the sound that you get when you’re recording. When a favorite piece of hardware goes out of production, I want to know about it as soon as possible so I can stock up on extra parts as needed! [laugh] The best manufacturers will listen to you and if they redevelop the product, everybody wins. The end user gets what they want and they keep you as a customer.
