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Al Schmitt: Unforgettable

Al Schmitt is on my mind. What a truly AMAZING man and engineer he was. I know–“amazing” gets used too often. Al, though, was amazing. I have been reflecting on the music we made together, the laughs, the incredible food (no wine!) and crazy-good times we shared. Hundreds of millions (more???) were touched by all of the music he helped make. Rest, Al. You deserve it, even if we could have used another 91 years of your beautiful soul.~ JC

Awards and honors[edit]

During his career, Schmitt recorded and mixed more than 150 Gold and Platinum albums.^[10]

He won more Grammy Awards than any other engineer or mixer. He was the first person to win both the Grammy and Latin Grammy for Album of the Year. After being Grammy nominated for his work on the film Breakfast at Tiffany’s (1961), he won his first Grammy in 1963 for engineering the Hatari! score by Henry Mancini.^[11] He was awarded two Latin Grammy Awards in 2000 including Album of the Year. In 2005 he won five Grammys for his work on Ray Charles‘ Genius Loves Company, including Album of the Year, setting the record for most Grammys won by an engineer or mixer in one night. In 2006, he was given the Grammy Trustees Lifetime Achievement Award.

In 2014, Schmitt was awarded a star on the Hollywood Walk of Fame.^[12] The star recognizes his contribution to the music industry and is located at 1750 N. Vine Street.^[13][14]

Don Was, Joe Walsh, and president/CEO of the Hollywood Chamber of Commerce, Leron Gubler were speakers at Schmitt’s Star Unveiling Ceremony.^[15] Gubler declared that August 13 would be designated “Al Schmitt Day” in Hollywood. Although Natalie Cole and Paul McCartney were unable to attend the ceremony, both released statements that were read by Gubler at the ceremony.

He was inducted into the TEC Awards Hall of Fame in 1997.^[2]

In June 2014, he won the Pensado Giant Award.^[16] In September 2014, he received an honorary doctorate from the Berklee College of Music.^[17]

(RESOURCE: https://en.wikipedia.org/wiki/Al_Schmitt)

Whitney Houston’s Star Spangled Banner: Notes from the arranger – John Clayton

Notes from the arranger – John Clayton

Thank you, Friends. I mean that. I’ve been hearing about the groundswell of supportive comments, acknowledging my work and uplifting me. It’s time that I chime in and share with you some background re how the SSB arrangement came to be.

THE FIRST PART

A couple of months before the 1991 Super Bowl, Rickey Minor, my friend, fellow bassist and music director for Whitney Houston at the time, called me and said,
“Hey, we’re going to do the national anthem at the Super Bowl. They’re giving us a symphony orchestra and we want you to do the arrangement.”

It sounded exciting and fun, and I’d never done anything as widely viewed before.

“Just 2 things—can you do it in 4/4 time instead of 3/4? Also, if you can set up some kind of groove in the orchestra percussion section.”

I could do that.

The orchestra was in Tampa and there wasn’t enough in the budget to fly me from Los Angeles to witness and help at the rehearsal. (Really? NFL? Not enough budget? Oh well.)

Rickey would go and be there for the rehearsal of my chart. I waited all day to hear something. I had to go out that afternoon and when I came back, there was a message on my machine:
“Uhm…Mr. Clayton, this is the Florida Symphony and we rehearsed your arrangement today. We have some, er…uhh…concerns. We’re actually considering using a more traditional arrangement of the piece. Could you please call us back?”

With eyes wide, I basically screamed
“Noooooooooo!!!!!!”

I called Rickey.

“It’s cool. It sounds fine. They’re going to record it, I’ll work on them. Don’t worry.”

So, they did record it and all of the planets aligned and Whitney was amazing and, and, and…

I grew up. Or, I was GROWN up by the experience.

THE SECOND PART

When I called the record label, after hearing our version would be released as a single, I wanted to discuss my royalty. Since it was a song in the public domain, I had copyrighted my arrangement. The person I spoke to at the label said he was “planning” to give me a call (yeah. sure) because they wanted me to sign away my royalty. The label would be donating royalties to the Gulf War effort. I thanked him and let him know that I would prefer to choose how I would donate my money and could you just please send me a normal royalties contract?His reply, “We’re not going to do that. And what can you do? Sue me? So, sue me.”

I reiterate, this experience GREW me up. I contacted an entertainment lawyer who was recommended by a friend and film writer. In the end (and I’m really shortening the story here), I decided to give them my royalty (insert your loud, unison “WHAT???!!!”).

To further explain, I was a young man in my 30’s with 2 small kids, just found a house we could afford, and was I putting food on the table, gig by gig. Going up against a major label?—They would have kept me in court forever, swatted me around like an insect and sucked every drop of blood from me. Goodbye house, car, perhaps sanity.

In the end, I was/am fine. I missed out on some nice money. So what? I found other opportunities for money. I found more and more chances to write, play and record. I’m over it. My family is amazing. My kids are grown, happy and making a difference in the world. I let it go. No animosity, a huge life lesson learned, an enormous business lesson learned as well, and I’m good.

That includes whatever Rickey Minor did or didn’t say in the TV interview/program. I actually haven’t seen the pre-game program that didn’t give me any props. Sure; if I would have heard them, I would enjoy the nod. Ha!—My ego likes the strokes! Positive energy is good and I’ll take it.

So, thank you for sticking up for me. I appreciate it more than you can know! With what I’ve been through lately, here’s another example of you having my back. I’m flattered and grateful.

Was it Toni Morrison—Maya Angelou?—someone succinctly said what I feel (and I’m paraphrasing): “The people who need awards, they should have them.”

When I heard that, it humbled me up real quick.

You’re awesome. Thanks for the blessing of your friendship.

Whitney Houston’s – Star Spangled Banner as arranged by John Clayton

Reunited: John Clayton, Jeff Hamilton and Bruce Forman

BACKSTORY

More fun! Bruce Forman, John Clayton, and Jeff Hamilton reunite to record their mentor’s original instruments from the iconic recording sessions!

-JC

(from Bruce):

Barney Kessel meant a lot to me. Besides being inspired by his recordings, I had the opportunity to hear him live and even shared the bandstand with him when I was in my early twenties. Then I got to tour with him! We played many times over the years and a long friendship developed. The Poll Winners recordings, which in many ways established the guitar trio as a viable jazz ensemble, are iconic, both in the content and in the spontaneity that is emblematic of jazz. His cohorts Ray Brown and Shelly Manne were also at the height of their creative powers at that time (they all did win the prestigious DownBeat Poll those years). It has been a dream of mine, since playing Barney’s guitar at his house, to get those instruments back together, with people who were mentored by their original owners in the hot seat: John Clayton, Jeff Hamilton, and myself…like kids playing their parents’ instruments.

Now, through great fortune and some telepathic intervention, I have been able to take over as caretaker of Barney’s guitar, the one he played on almost every gig and jazz recording, throughout his whole career. Ray’s bass and Shelly’s drums are also in hand, now we are ready. This is not a tribute in the classic sense, we won’t be playing their arrangements or solos, but we will be embracing the spirit of those seminal recordings and making things up on the spot, as they did over sixty years ago. They taught us these skills! John, Jeff, and I have played together before in myriad situations, and we have all played with every one of these musical heroes. This is a dream come true…and I wholeheartedly invite your participation on this journey, filled with love, joy, respect, and admiration.

Reunion: Revisiting The Poll Winners!

Bruce Forman, John Clayton, and Jeff Hamilton record their mentor’s original instruments! Visit Kickstarter for more information

Downbeat: John & Gerald Clayton – Artistry and Family

John & Gerald: Artistry & Family

Check out pianist Gerald Clayton & bassist John Clayton on the cover of DownBeat Magazine! Father & son discuss family, artistry & serving the music in the new June issue. Gerald also features his father throughout his stunning new album “Bells On Sand” which is out now!

Bruce Forman’s “Feel the Barn”

with Jeff Hamilton and John Clayton

Hal Leonard

Hal Leonard- THE WORLD’S LARGEST SOURCE FOR MUSIC PUBLICATIONS

In the late 1930s in Winona, Minnesota, the late Harold “Hal” Edstrom, his brother Everett “Leonard” Edstrom and their friend Roger Busdicker had formed a very popular dance band. Concerned that their conservative father wouldn’t approve of using the family name for a band, Harold and Ev took parts of their names and called the band Hal Leonard. As leader of the Hal Leonard Band, Ev eventually became known as “Hal Leonard.” For more information, visit www.halleonard.com

Disneyland’s All American College Band

For more than 45 years, the Disneyland Resort All-American College Band has been delivering miles of smiles, memories, and music each and every summer. The young musicians are anxious to showcase their musicianship and sprinkle it with a dash of Disney magic!

Waiting for my ride to the airport!

“Waiting for my ride to the airport. Finally headed home after an amazing (intense!!!!!) 2 weeks. First, the Vail workshop and festival. Also had a fantastic night with Lewis Nash, Terell Stafford, Dick Oatts, Bill Cunliffe, and Wycliffe Gordon here in Phoenix. Happy to be headed home with loads more to dive into!” #MostBlessedGuy!