Shaun Labelle – Dec. 5, 2009

The pride of Minneapolis, MN, has to be Shaun Labelle, the multi-instrumentalist composer/producer who, after years of producing records and backing others in superb fashion, finally struck gold by stepping out of the shadows and charming the smooth jazz world with his own offering, Desert Nights, which was released this past February on Innervision Records.  This fine product basically mirrors the man, a pleasant, insightful soul with a bullish determination to make his presence felt in this sphere we hold so near and dear to our hearts.  Here, then, is our chat with the charismatic musician.

TSJR: So, Shaun, let’s talk about who Shaun Labelle is, for the fans who have yet to become acquainted with you.  You’re quite the accomplished producer/musician.  I know that, at age five, you appeared in your first nationally televised commercial for the Lakeside Toys game called “Drop in the Bucket.” I understand also that is was around that time that you taught yourself to play drums, as well? Do you come from a musical or film-oriented family?

SL: Well, you know, it’s interesting because I grew up in a household where my father was already a well-known television producer. He was the producer for the Milton Berle show, and he was also a fantastic musician. He wrote jingles, and he’s very well known for writing the jingle “From the Land of Sky Blue Water,” which is Hamms Beer, as probably everybody knows. So, growing up in that environment, with him and my older brother, who is still a phenomenal jazz piano player, and my mom who is a great jazz singer, it was just inevitable that I would end up in some facet of the entertainment business, either in television or in music, and, in my case, it’s been sort of all of the above.

TSJR: Who or what influenced you to pursue a full-time career in music?

SL: I would probably say Lance, my older brother. He was already a well-established musician, and he was just a great mentor and influence. So, when I got my first set of drums at 5, that’s all I wanted to do. I mean, after school, when all of the other kids wanted to go and play games and do their thing, I just wanted to go home and play drums. I would go home and put on George Benson’s “Breezin’” record and jam to that thing until my hands hurt.

TSJR: You’ve worked with such heavyweights in the music business like the late Ray Charles, saxman Everette Harp, with whom you still maintain strong ties, Paula Abdul, Jeff Kashiwa, Ambrosia, and Steve Reid of the Rippingtons, just to name a few.  How have all of these experiences affected you?

SL: Well, to be able to say, for example, that I was fortunate enough to co-produce with the legendary Richard Perry a Ray Charles record, is something I’m very proud of and will never forget. Everette Harp and I are very, very close, and we talk all the time.  You know, I just want to say that I think the beauty of this industry is-- of course, there’s the common thread of music--but the people you meet along the way and relationships you establish along the way, they’re forever.  Nobody can take that away from you. I cherish that very much. Whenever I get into a musical situation with people, it’s always more than the music to me, it’s the friendship and bonding and the whole emotional element, as well. 

TSJR: Out of all the people with whom you’ve worked, who would you say has been the most impactful or influential in your career thus far?
 
SL: I’d have to say my older brother, Everette Harp, Jeff Lorber…well, just about everybody I’ve ever worked with. (laughs)  I mean, I’m still close friends with all of them, and we keep in touch.

Along that line, I have to tell you a cool story. When I was growing up, I think it was 1979, my brother Lance brought home a record—back then, it really was an LP (chuckles).  It was by The Jeff Lorber Fusion, and it was called Water Sign.  He said, “Hey, I want you to hear this,” and I said “Naw, I’m  o.k.” I had my George Benson’s “Breezin’,” my Roy Ayers, my George Duke’s “Brazilian Love Affair,” my Hubert Laws… I had my stash. (laughs). He said, “Naw, you’ve gotta hear this.” So, he put this record on, and I was blown away. The grooves, the changes, the arrangements, it was all so different from anything we’d ever heard.  Of course, we had Herbie (Hancock) and The Headhunters, but this was a unique new sound. I tell you, today, he is, in my opinion, the pioneer of what is smooth jazz. So, from that day on, whenever he would come to Minneapolis, back when they had  Kenny Gorelick (now Kenny G), Danny Wilson, Dennis Bradford, I’d be in the front row. (laughs) I couldn’t wait to see them! Well, probably about the third or fourth time they came to town, I was introduced to Jeff Lorber, I don’t remember know how it happened, and he ended up coming out to our gig and just sat in!  From that day on, we’ve been friends. It’s pretty awesome to be a fan of someone and later end up working with them. That’s just so cool.

TSJR: On your debut album, Desert Nights, you’re listed as playing bass and keys. Which is your primary instrument of choice, if there is one, and do you play other instruments, as well (besides drums, which we know you learned much earlier on)? 

SL: Yes, I do play other instruments, but I really got frustrated because no one was doing what I liked on bass, which was, like, the Marcus Miler thing (chuckles). I had a drummer who was THE drummer in Minneapolis at that time.  He’s now the drummer for the Steve Miller band and has been for the last 20 years. He was one of my older influences or mentors and had invited me over to his studio one day, and he had a Fender bass. I said to him, “Boy, I’d sure like to play that.” He said, “You know what? I know you. Here, I’m gonna show you two licks. Then, take the bass and go home.” Two weeks later, he was like “I knew you’d pick this up in two seconds” (chuckles).  So, I taught myself to play bass and became a bass player. I did the same thing with keyboards. I was frustrated that cats weren’t playing changes the way I liked and just decided to teach myself.

TSJR: Are you formally trained on any instruments, or have you solely learned by ear?

SL: Good question. I’ve never had a lesson in my life. All by ear. I’ve never been a theory cat. I’m kinda proud of that because people just come to me and let me do my thing. It’s always felt right.

TSJR: Jeff Lorber plays with you on the radio mix of one of the songs from Desert Nights. Which song?

SL: “Down Low.” I just knew he could be the appropriate cat to do the solo on that middle section.  The label was so anxious to get the album out, and I couldn’t get Lorber in time. So, it was released without him doing it.  I thought “If that song is ever a single, I’m gonna go back and get  Jeff to do it.”  So, just before the release, I called him up to ask if he’d do that single with me, and he said “Sure.”  He then sent me 10 solos! You just try to pick out just one of Jeff Lorber’s solos! I had a tough time because they were all killers. (laughs).

TSJR: When and where do the shows take place?

SL: As the record is progressing, I’m getting more active in terms of gigs.  I’m originally from Minneapolis, and they have a great venue here called The Dakota Jazz Club, a really cool place to play, great acoustics.  It’s going to be the first time I’ve played here in 20 years, since I was Jody Whatley’s bass player (in 1989). So, I called Jeff and he agreed that we’d do this on this coming Jan. 3 and 4.

TSJR: At one point, there was a lot of chatter about smooth jazz being dead or at the very least dying. Then came along a positive development which has led to Broadcast Architecture buying Clear Channel’s interest. BA seems to be pretty smooth jazz-oriented and even has its own SJ network, so I guess the genre just received a much-needed life raft. With its being saved, however, come questions about how the genre got into trouble in the first place. If you were on a board advising BA, what would you advise them to do to keep the genre appealing, and also, what would you tell artists and fans alike to help in that regard?

SL: I think we need to generate more live shows throughout the nation. I think if radio stations and promoters get together and just seek ways to come up with venues and ideas for more concerts, that would be great for the genre.
 
I also think that there is a kind of formula that all music uses, and maybe we should just get away  from that formula a bit and break the mold. Don’t play it so safe. I think there’s that fear of not getting played on the air, but we’ve gotta stretch and try some new and interesting things.

TSJR: Aside from the Jeff Lorber concerts, are you traveling in promotion of the Desert Nights CD, and if so, where?

SL: Yes, I am.  Several venues are coming up. I’m gonna be doing Huntsville, AL for WJUV for Jackie Anderson, who is a terrific on-air personality down there, supporting what we’re doing. Also, Palm Springs—KJAZZ, kicking it out there in the desert.  I’ve also got some people who are trying to bring me over to London, as well.

TSJR: Where can folks find out more about you and your activities?

SL: Well, I’m, of course, on MySpace at Myspace.com/ShaunLabelle. I’m also on Facebook. I also always return e-mails; so write me at slabelleproductions@comcast.net. I look forward to my fans’ e-mails, and I do answer everyone.

TSJR: Thanks much, Shaun! All the best to you and to the success of Desert Nights.  It’s a great effort.

SL: Thanks, and thanks for all of your support!

Some producers and artists work in the shadows all their musical lives. Some escape the shadows long enough to grace us with one or two hit albums before fading into obscurity again.  That just doesn’t seem like it’s in the cards for Shaun Labelle.  His deck seems loaded with aces.