A Conversation with Brian Culbertson – HuffPost 9.15.10

Mike Ragogna: So you named your album XII.

Brian Culbertson: I’m bringing back the Roman numeral.

MR: And you’re doing it in a fine way. XII features artists such as Chuck Brown, Kenny Lattimore, Brian McKnight, Avant, Faith Evans, Earl Klugh, and Ray Parker Jr. Why?

BC: Why? You know, I always love collaborations. To me, making music is about being in a studio with other great artists and musicians. So, I always get together to write with people and to record with people. I just love that feeling of collaboration, when everyone is in there having a great time. Some of the songs are even like a party. There were probably seven or eight of us in the studio during the making of “Feelin’ It,” for instance.

MR: Sounds like a party. Sinbad is on there too, right?

BC: Yeah. Sinbad, Ray…everybody is on that song. It was so much fun.

MR: You’re classified as “jazz,” but you’re more than that. You’re funk, you’re R&B, you’re pop…

BC: I think my new bio says, “…R&B, jazz, soul, funk, pop, mulit-instrumentalist.” It’s just kind of a mouthful.

MR: What was the recording process like?

BC: Well, this one was done like most modern pop records are done these days. You know, we went into the studio, we started writing, we went into pre-production, and we started making the tracks. A lot of this record was programmed, and I programmed everything–a lot of the drums, and synth bass, and a lot of the keyboard parts were programmed. Then, we started layering the live instruments on top of the programmed parts, which is why it’s a very modern sounding, current record. After everything was layered on, we added the singers, adding their vocal layers, and then the last thing I did was put my piano on it to fill in the holes. After that, we started mixing it and added cool effects and reverb, and EQ-ing. I don’t want to get too technical, but we make it sound good.

MR: I’m very familiar with the practice of filling in the holes at the end, but usually it’s done with the lead vocalist or sweetening. I am very surprised to hear that the piano came last.

BC: Yeah.

MR: Normally, you’d record the rhythm section first, then replace the piano later.

BC: I do demo the piano first.

MR: Oh, you mean you record the piano as a guide so the players know what’s coming, then you replace it in the end as a sort of final overdub.

BC: Yeah, they know roughly where it’s going to be, but in terms of the little soloistic parts, I will fit those all in later. I don’t want to get in the way, and impair anyone else who is going to potentially play in that spot.

MR: Right. Obviously, this is your twelfth album, right?

BC: Yeah.

MR: How long have you been recording?

BC: Oh, geez. Well, my first record came out in ’94. So, it’s been a few years now.

MR: You’ve accumulated quite a Facebook friends list for the album, but some of these musicians are old pals, right?

BC: Oh yeah, a lot of the people that I work with, I’ve worked with on many of my records over the years. A lot of the great studio musicians like Lenny Castro, Alex Al, Paul Jackson Jr., and Eric Marienthal are all guys that have played on many of my records. Even Ray Parker Jr., I’ve been working with for several years now. He lives nearby me, and loves playing guitar.

MR: And you’ve contributed to other artist’s albums, such as Peter White’s and Dave Koz’s.

BC: Yeah, over the years, I’ve done a lot of different things. Most recently, I just worked on the new Avant record, and the new Faith Evans record. So, I’m always meeting new people, and getting new relationships. I just, like I said, love working with different people. It’s always a learning process for me. Every time I work with someone new I might learn something that I’ve never done before.

MR: Speaking of learning something, how much do you attribute your musical chops to being the son of famed trumpeter, Jim Culbertson?

BC: Ah, yes. I got all my music from my parents, growing up. My dad–being a great trumpet player and a band director for, now, thirty-eight years–had music flowing in our house ever since I was born. So, I was destined to become some kind of musician, and I started classical piano lessons when I was eight, picked up a lot of different instruments along the way, and here we are.

MR: One of your albums that people may be most familiar with is It’s On Tonight.

BC: Yes.

MR: That debuted at number one on Billboard.

BC: It did, and it stayed up there for a few weeks too.

MR: You’ve had many albums with the Warner family, and many with the Universal group, right?

BC: Yes.

MR: How do you keep your head in your art as opposed to dealing with business aspects of your career?

BC: I’ve got to tell you, I’m not thinking about that. I’m thinking about, “What kind of music do I want to make now?” That’s all I’m thinking about. I let my manager deal with label situations, wherever we are at that point, and whoever we’re dealing with. It’s my job to make music, go in the studio, and deliver a product that they can get excited about trying to make some money off of. Ultimately, for me, it’s all about the music and the creativity.

MR: While growing up, who were some of your influences besides your dad?

BC: Well, around the house, I really listened to what my dad was listening to. He was listening to Earth, Wind & Fire, and Chicago, and Blood, Sweat & Tears, and Tower Of Power. Then there was the fusion stuff like Chic Corea, Yellowjackets, Brecker Brothers, and then David Sanborn and that whole thing. So, that’s what I grew up on.

MR: David Sanborn is one of my favorites. He appeared on a lot of old pop records as the big sax break.

BC: He was at the perfect time because sax was such an integral part of pop music in the ’80s.

MR: Right, and the ’70s as well. Who is your favorite traditional jazz artist, and who is your favorite contemporary jazz artist?

BC: Definitely, my favorite is John Coltrane. I never, never get tired of listening to his records. My favorite contemporary artist is harder to pick because there are so many. David Sanborn is right up there, but I also love George Duke. I don’t even want to play in the same room if he’s there. I’m just in awe of his talent and his musicianship, and I tell him that too. He’s like, “Ah, man. Come on.” (laughs)

MR: Do you see reality shows like American Idol continuing as strongly as over the next few years?

BC: Well, I think, like anything, it has a limited number of years. That, right now, is the fad I guess, and I personally don’t see that lasting forever, just like any pop star. Obviously, there are always exceptions, but it’s having a good run right now.

MR: I expected American Idol to last about as long as a game show, but it outsmarted me.

BC: I must admit, I don’t personally watch them. I actually don’t even watch television because I don’t have TV at home. I canceled my service five years ago, and I haven’t watched it since.

MR: So, how do you watch How I Met Your Mother?

BC: I have iTunes and there’s Hula. There are many ways that, if you need to watch something, you can watch something.

MR: I haven’t had a television in about year. Not missing it. I only cared about a handful of shows, and that’s it.

BC: Yeah, the only thing you get screwed on is you can’t watch live sporting events. So, if you’re a huge sports buff, it’s probably not a good move for you. I used to be into sports when I was in Chicago. Obviously, I was there during the Bull’s dynasty, so we had to watch every single game. Now, I’m like, “Eh.” I’ve kind of lost interest. So, now I just kind of focus on music, which is a good thing.

MR: Live versus studio recording, which is your preference?

BC: Well, it used to be studio hands down. When I was first starting out, I was a total studio rat or studio nerd or whatever you want to call it. I loved being in the studio, and I still have a studio tan, by the way. To me, I really like the control aspect, how every little part gets put in its place. Then, when I first started touring, I was very uncomfortable up on the stage. I hadn’t done it a lot; in fact, I had never actually performed on keyboard live because I was mainly a trombone player back in those days. So, when I first started touring as myself as an artist, all of a sudden, I’m out front having to talk to this audience that doesn’t know me because I’m brand new, you know? I was a nervous wreck, man.

Over the years, as I became more popular and songs started playing on the radio, people started coming to actually see me. So, I think when you see that people are coming to see you, and know the songs already, all of the sudden you get more confident. At this point, I absolutely love touring; I love performing live. It’s just an amazing thrill to be out there on that stage and just command that audience right from the start. I just love having them right on every note. It’s a blast.

MR: What do audiences cheer for most at your concerts?

BC: I think people like when you are really just seriously into it. I’ll go nuts on a couple of songs, and people will lose their minds, it’s crazy. Then, on the other side of it, I’ll do a ballad, and I use a keyboard live, so, I’ll step around to the back of it and play it backwards. That blows people away, too. Sometimes, I run around with my trombone because I still play trombone in my shows. Now, I’m playing drums in my show. I always try to flip it up and do something different to throw people off a little bit.

MR: You’ve worked with Barry Manilow, right?

BC: Yes. Actually, at this point, I would say I’ve done over thirty shows opening for Barry when he goes out of Vegas to do arena shows. We did the Staples Center in L.A., the United Center in Chicago, and obviously, many other places throughout the country. That’s been an amazing, amazing experience. I still remember the first show I did for him–I think it was in Philadelphia. He hadn’t had an opening act in, I believe, almost ten years. So, everyone was very prompt and got there right at eight o’clock when I went on because they thought he was about to come out. They’re chanting, “Barry, Barry,” and I’m thinking they’re going to crucify me, right? So, I run out, and they realize it’s not Barry. I’m looking at random people in the front row putting their arms up and looking at their watches, but during my whole set, I slowly started to win them over, and by the end of the show I had the whole audience on their feet, and we had an amazing time. Barry was so gracious, he even had me come out and perform with him on some of his stuff. So, it was definitely a great thing.

MR: And you had a career in jingles?

BC: Oh yes. Back in Chicago, I actually wrote and produced thousands of commercials. We did everything from United Airlines (hums theme), to McDonalds with the Fry Guys, if you remember that. So, that was a really cool musical training for me because I was in my early to mid-twenties at that point, while I was also doing records on the side.

MR: How did you get your jingle gig?

BC: A guy that owned the company was a guy that I took private lessons with when I was in high school, and then he was a teacher at DePaul University, kind of an adjunct professor there who taught one class. So, I continued private composition and arranging lessons with him, and a couple years later, his partner left, and he asked me if I wanted to work with him. I was like, “Oh my God, yeah.” So, I was literally thrown into sixteen-hour days doing jingles; it was insane. I kind of got burned out and quit that to move to L.A. and make records full time, and I’ve been a happy guy since.

MR: Although, kids, the lesson here is do take your piano lessons.

BC: Oh, yes. I tell all the kids that, in the beginning, it really sucked and I hated it myself. But there is a threshold that you eventually get over, and all of a sudden, it becomes fun and enjoyable. Like learning anything, it’s very difficult. But you’ve just got to stick with it, and eventually, it’s going to be cool.

MR: What advice do you have for up-and-coming artists?

BC: What I tell people is a lot of people think they need to make a whole record in order to get a record deal, and my opinion is you don’t really need a full record. You need three really well done, great songs–written well, produced well, and mixed well. A lot of people kind of forget to spend the time and the money to make it sound as good as it can possibly get because today, you’re competing against everyone. So, you really have to spend as much time, money, and energy as you can. You really have to throw your entire self into it if you want it badly. Also, get out there and use those social media outlets. Make sure you have YouTube videos of yourself performing live, go do club dates, and get a band together. There are so many things you can do. Go get a million hits on YouTube, good luck.

MR: All it takes is a treadmill, apparently.

BC: (laughs)

MR: I bet OK Go was as surprised as anyone by the phenomenon.

BC: I’m sure everyone was shocked.

MR: So, what does the future bring for Mr. Brian Culbertson?

BC: Right now, I’m about to embark on a lot of tour dates this Fall. We’re going to do a whole tour on the East coast coming up very soon. We’re probably doing a bunch of shows in the Midwest and the South, and then I head out on a cruise ship. We’re doing a weeklong jazz cruise in the Caribbean. Then, I’m going out on a Christmas tour with Dave Koz, Kenny Dilfer, and Jonathan Butler, and that will be twenty-some dates in the month of December. It’s just going to be a busy fall, so, I’m looking forward to getting out there, and you know, promoting the record.

Transcribed by Ryan Gaffney