Michael Manson: Behind the BEATS

We take you 'Behind the Beats' to learn more about the artists that play on our airwaves. This week: Michael Manson.

Today’s BEATS Artist Spotlight shines on the very talented musician Michael Manson, who’s new single “Just To See You Smile” was recently selected as a pick of the week.

Allen Kepler: Michael, tell us how this new single “Just To See You Smile” came about.

Michael Manson: The new single was kind of a gamble for me, as bass players usually write funky, rhythm-driven tracks. I wanted to do something a little different. I’ve been blessed to write really good melodies, and I believe I have an ability to convey my heart and spirit when writing these types of songs. So, as a departure from my regular funky cool tracks, I wanted to explore my “beautiful side.”

This song is specifically inspired by a good friend and one of the pillars of Smooth Jazz, Dave Koz. Additionally, my wife of 38 years, Lana, inspired me to write something beautiful as well. When I married her 38 years ago, I made a promise to always want to see her happy and smiling. Thus, the song is kind of dedicated to her but inspired by Dave. It also features my good friend Nomad on guitar, along with a number of amazing musicians who join me on this. I hope people see another side of me because that’s the goal of this song. Bass players can write pretty melodies as well. That is what I want the audience to take from this. I hope people enjoy the song, and it makes them smile.

AK: And this tune will be featured on your upcoming album “Rideshare.” Tell us about the project.

MM: The new album Ride Share is coming along really well. I'm so looking forward to having people hear this new record. It’s amazing. I have a number of styles that I’m exploring and I’ve already collaborated with some great people who are going to join me on this new project. I will always do at least one song that is dedicated to and inspired by my good friend and mentor, George Duke, who is awesome. I am also just finishing a tribute track for another guy from Chicago who passed away way too soon, Nick Colionne. I’m writing a song called "Big Ole Windy" for him—a kind of bluesy, jazzy song that is in remembrance of him. We miss him a lot, too.

I have planned collaborations with Nathan Mitchell, Jeff Lorber, Everette Harp, Paul Jackson, Marquell Jordan, and James Lloyd from the group Pieces of a Dream.  I happen to be a servant of the music, so when the music is begging for a certain sound or vibe, I call the people who are appropriate to add to each track that I produce. So in that case, there will be even others as the songs are produced that are gonna be added to the mix as well.

I’ve been at this for a long time, and this will be my sixth record, but I’m finding that there’s such wonderful young talent out there that I want to collaborate with. There is a young bass player named Blair Bryant, who is an amazing player and I definitely want to work with him. I’m coming to grips with the reality that I have been at this for a long time and there’s some young talent coming up that I want to help. I want them to help me as well, so we’re looking to explore that side on the new record “Ride Share."

AK: Anyone on your wish list for future collaborations?

MM: There will probably be some young artists that I would like to collaborate with and be inspired by, but as far as my generation is concerned, I would probably like to do something with Dave Koz and maybe a vocal piece with either Kenny Lattimore or Maysa.

AK: You have already performed with many great artists over the years. Can you share a few highlights?

MM: I have been blessed to play with some of the best musicians on the planet. It has been a joy. I guess the most influential person for me was George Duke, with whom I performed for about 17 years in his band. Through that connection, I had the opportunity to perform with many other people, including Joe Sample, Al Jarreau, Chaka Khan, and Kirk Whalum. I’ve also had the chance to tour with Brian Culbertson; we have a rich history together, and I’ve played alongside Steve Cole, Larry Carlton, and others. My fondest memory is playing internationally with George.

The most poignant moment for me as a musician was performing at the Vienna Opera House with George and Chaka Khan, knowing that the music I was contributing to was reaching people far beyond my culture and geographic background. That’s when I felt the power of music the most. I have a master’s degree in music from Northwestern University, and in my music history classes, we studied Vienna and its significance in the world of music. I felt like I had finally made a mark on music and its culture by playing at that venue and performing the music I loved with people I grew up idolizing. Musical dreams do come true.

AK: You have performed within several musical genres. Do you have a favorite?

MM: I’m not sure if I have a favorite genre of music. It’s tough to categorize music into a specific genre, but an interesting fact about my life is that my master’s degree is in orchestration and orchestra conducting; therefore, I have a great love for classical music. It’s a unique situation to be a “funky bass player” and yet have a heart and passion for classical music. Additionally, having grown up in church and embraced a Christian lifestyle, I have a great love for gospel music and the healing properties it offers. Furthermore, there is a high level of musicianship in gospel music that, in my opinion, often goes overlooked or underappreciated. And, of course, I have an excellent affinity for jazz, both traditional and contemporary. Contemporary jazz has allowed me to find my voice as a musician, enabling me to lead a band and play melodies from my heart. This genre has been wonderful for me in expressing myself as an artist.

AK: You are known for your bass guitar, but you originally played guitar before the bass. Tell us how you got started in music.

MM: As a child, it was a requirement that everyone in my family take piano lessons. We all had weekly piano lessons at the neighborhood piano teacher’s house. Coincidentally, this teacher would wind up being my mother-in-law years later. I really didn’t like the piano, though, and I hated going to my lessons because I was a little league baseball player and a football player as well, and I’d much rather be there than at a piano lesson. However, there was a bass guitar that sat in the corner of my teacher's house, and I begged my mom to let me play that instrument instead of the piano. She relented and let me play. She brought me a $25 bass and a $25 amplifier. She brought my brother a $90 guitar. I wanted to be like my brother, so I started playing guitar. However, the way I was playing the guitar was much like a bass; that’s how I switched.

I am a product of a wonderful school district music program, which is a big reason why I started the Musical Arts Institute, because students nowadays don’t have access to music like I did. Through that experience, there was a wonderful teacher named Herman Bowden, who believed in me more than anyone ever had. He was a musician and a wonderful teacher, and he took me under his wing and showed me what music and playing professionally were all about. He set me up with college and enrolled me in these costly but very impactful summer camps when I was in middle school. He was very influential. I went through high school like normal, playing both saxophone and bass. Subsequently, I went to Chicago State University and played both classical bass and jazz bass. From there, I went to Northwestern University and played both classical and jazz bass. Additionally, I studied how to conduct an orchestra, conducting both contemporary and traditional classical pieces. Needless to say, my education broadened my horizons and made me not only a better player but a better musician.

 AK: And you are also a music educator yourself.

MM: I have been an educator since 1986 when I graduated from Northwestern. My first gig was as a teacher in an orchestra for a high school and then a middle school. I taught for about 13 years, after which I took time off to begin my solo bass career. That was a special time for me. I learned about the importance of sharing with the next generation the power and discipline of music. My first teaching experience was in the affluent neighborhoods of Chicago and its suburbs.

In 2010, when I was between records, my wife and I established a nonprofit music school called the Musical Arts Institute in an inner-city environment for young people who are under-resourced, unmotivated, yet equally talented and in need of a space to express themselves artistically and emotionally. The school started out with 35 students and five instructors, and now we serve about 2,400 students per week through our various programs. We reach these children on the far side of Chicago with musical education that they normally would not receive. Because of budget cuts in the city, arts and specifically music seem to be the first areas that administrators cut. Therefore, the Musical Arts Institute steps in with music programming for schools, individuals, and families that cannot afford education or arts education.

We have so many success stories that are unbelievable. One of our alumni is now singing for the Lyric Opera of Chicago and has just signed a contract with the Metropolitan Opera in New York. That’s huge, but not everybody who graduates from our school goes into music. However, they take the skills they learn from studying music and transfer them to the paths they choose. For example, we have a student who graduated from us four years ago, and he is now studying for his doctorate in chemical engineering at the University of Chicago. But he’s a musician and attended school on a music scholarship.

We are a nonprofit organization that accepts donations.  So, anyone reading this can go to www.musicalartsinstitute.org and make a donation. I’m the executive director of the organization, and my responsibility is to raise and request $1 million per year. We are doing amazing things in the community and changing lives all the time. It takes about $1700.00 per year for each student to get the education they need. Ninety-eight percent of our students are on scholarship and receive free services. Therefore, we rely on donations from foundations and individuals like you to help us provide this life-changing service to the kids in our inner city of Chicago. Please consider a donation. Thank you.

AK: Any advice for young musicians who’d like to pursue a career in music?

MM: My advice for up-and-coming musicians is to be as prepared as possible. Be familiar with different styles of music and incorporate them into the style you choose to play. That said, you should master the style you select. You are going to be known for something specific, whether it be as a guitar player in contemporary jazz, a drummer in gospel music, or a pianist in classical music. Lean into whatever that is so you become a master of what you’ve chosen to do, and be ready for every opportunity.

Always promote yourself so people know what you’re doing. I’m a firm believer that your gift will make room for you; if you keep doing what you do, people will notice, and you’ll have an awesome opportunity and responsibility to share what’s in your heart. Every musician has something to say and express to others. Work on your heart and spirit, because whatever is in you comes out through your music. Be pure, open, and honest with your feelings so that when you express yourself through your music, it reaches the heart of someone else. What comes from the heart reaches the heart; ultimately, that is what my sharing is all about.

AK: I love your philosophy about music and what it does for the world. Please elaborate on that.

MM: Music is such a powerful thing. It is amazing that I get up every morning and have the opportunity to not only create music but also to share music with my fellow man. I’ve learned over the years that musical vibrations have the power to affect the heart and the spirit, and even have healing properties for the body. That is why musicians are so important; our art form allows us to share and pass on our musical vibrations for the benefit of ourselves and others. Music is such a gift, and we not only receive gifts but also, more importantly, give gifts. So, it is essential for musicians to remember that, while we are diligently practicing and learning techniques, ultimately music is a gift to be given so that everyone who hears it increases their quality of life. To me, that’s the power of music.

Stay caught up on the latest music and news from Michael Manson's via his website here.