House music has had its fair share of characters in the past, but there are few dance artists as articulate and out-spoken as Chicago’s Larry Heard, otherwise known as Mr. Fingers. Heard’s classics have included “Mystery love”, “Can U Feel It?”, “Washing machine” and “Alien”, and having been teamed with Robert Owens under the moniker Fingers Inc..
Mr. Heard had a somewhat intriguing past. It all began for Larry at about the same time that Frankie Knuckles span his first house music in Chicago’s legendary Warehouse club. Indeed, based a stone’s throw from the Warehouse, those parties and their associated vibe rubbed off on Larry.
“I would see the people down the road because my job was on the same street as the Warehouse. I’d always see the crowds because I worked nights, but I never really knew the full gist of what was going on there until afterward. When people started talking about it more and saying how the music fitted in , I realized what was going on.”
“I wasn’t too familiar with house music at that time because I was working in bands (reggae, rock, jazz, etc.) so that would occupy my time for the most part.
The Warehouse, it seems, was a necessary outlet for the Chicago groovers, in particular, the black community. In Larry’s words it was “mad but necessary”. America is a conservative place at the best of times, and people needed outlets to open up their creative minds and offer them the chance to release the tension of an every-day, boring, restrictive life.
Escapism was probably the best word to describe the Chicago club scene.
“In Chicago we’re talking about black musicians and black culture in general. There’s nothing there. It’s just – stay here, stay poor, and don’t get in our way. That’s basically the whole overtone of Chicago. Money makes the world go round. That’s fine when you are R-Kelly or Babyface, you’re a successful person. Everyone embraces you then, but when you’re stemming from a musical genre that comes from a black, predominantly gay club scene, no way”.
Let's talk about the beginning. How did you become interested in jazz and jazz singing? Did anyone in your family have a musical background or encourage your like for music?
Joani: IN THE BEGINNING...... hahaha... My brother, ( he's a great singer/drummer/writer) and I were brought up with music in our lives all the time. Our family friends were all artists and musicians. I remember clearly the first time I went to a friends home and couldn't see a piano. I was surprised because I just assumed everyone had one. My father sang and he was the only training I ever had. Not very pleasant though as he would yell at me and say he couldn't Feel what I was singing about. I sang on stage at the age of Three. And everywhere I went I had to sing for people, even in restaurants. For a long time I didn't really think about it. It was just what I did.
What was your main musical interest? Did you start from jazz or from some other music style?
Joani: I grew up around a lot of adults and they were the ones who influenced me the most. So back in the day it was a mix of Jazz standards and Blues primarily. I didn't really have an interest in pop music at all. It wasn't until about 5 years ago that I found out who the band "Queen" was. Ha!
How has your style of singing changed over the years?
Joani: My style has been influenced by everyone I have ever worked for and with, and that's a very long list. I have a deep appreciation for most styles of music as long as it's the highest quality of playing. For me my style has become deeply centered into opening up the heart and coloring the story with space and emotion, along with and including the expression of every musician playing on every song. They are extremely important. I'm sure it comes from my father telling me he couldn't feel me. Also like an actor, the more life experience I have to draw on the deeper we can go . humm, but then we have to want to open up and give that too.
And you are teaching, too. How does your teaching influence your music and your life?
Joani: I am much more of a mentor than a teacher or coach. I share my passion, my stories, my equipment, my contacts, my mistakes and my total support to any student who has the passion and is willing to listen. I didn't think I could show anyone very much because of my untraditional upbringing in the school of hard knocks. But I found over the last 15 years that I have a growing number of protégé's out there and I could not be more moved by the passion for music that they carry forward. I also donate my time to teach and spend creative time with some people who have Downs Syndrome, M.S. and Autism. The total commitment that these students make in our sessions inspires me to work with my other students and to continue on my own creative path.
In your beautiful album “In My Own Voice” you co-wrote almost all the tracks. Has it been a kind of artistic challenge or a creative growth?
Joani: Writing and co-writing is both a challenge artistically and a time for creative growth. It's a challenge because it's difficult to get much airplay with original vocal material on mainstream jazz radio and I don't want to sing the old standards all the time and be compared to the artists of the past or be put in a labeled box. I have my own voice. I'm very often disappointed when stations or blogs ask their followers to list their all time favorites and very few people mention anyone living. Very disheartening. I mean we all know they were great but there are wonderful innovative and very exciting players and composers in every city I've worked in. All extremely dedicated and living at the bottom of the food chain and I'm sure all of them hoped for more recognition and a little more comfortable living. These are all Masters. This is sad.
The players in “In My Own Voice” are amazing. What was it like working with them?
Joani: These players are amazing and are playing at the highest possible level, LIVE and people don't know who they are. Bob Murphy for example is one of the best piano players, organ players and accompanists in all of Canada and shockingly, was not even given a slot in the Vancouver International Jazz Festival. Miles Foxx Hill, Bass, and engineer and Buff Allen, drummer and Juno winner, Ross Taggart, Tenor Sax and Juno winner, Doug Stephenson, guitar and Brad Turner, multi junos. These are my major players in Vancouver and Major they are. I am very spoiled because weather here or Toronto or for that matter anywhere I go I work with the most innovative, monster players I can imagine. It humbles me, but it has to be that way because there's rarely much of a rehearsal.
You collaborated with a lot of great people. Have you been inspired by any particular jazz artist/musician? And if so, who and in what way?
Joani: I have had some great friends and business relationships. All have had something to teach me. One of the guys I work with on occasion still is Henry Young. He played with Nina Simone. He has my back! On and off the stage. I personally am inspired by that. Cannonball Adderley told me that the deeper I develop my art and open up with my heart the harder it would be to find a commercial audience... So true. Bob Murphy taught me about space in music and to never marry a musician again. Ha! I watched Sarah Vaughan perform every night for a week and sat with her every night. Very inspiring. And you know just recently one of the most inspiring .... not jazz but Cirque du Soleil ! Made me feel I'm just not doing enough. I mean that in a positive way. I have been with Polydor, A&M and Capitol records and never received one dime from any of them. ( not inspiring but a lesson.) And David Foster taught me that I should have sued.... ha. Him.
What is the driving force behind your creativity as a singer and songwriter?
Joani: I have never not been either singing, writing or teaching so I don't know..... no, you know I think if I'm being honest here, maybe I do know. It's a combination of the love of the trust and communication with the other musicians while we are working on a piece as a group. A true in the moment experience almost every time. Has to be the right artists though, but it's also trying to share what I deeply know. Something that isn't communicated any other way.
What changes have you seen in the world of jazz since you started?
Joani: When I started singing I didn't need an agent. The musicians recommended me to the clubs and there was lots of work, lots of live radio, TV, jingles, studio session work, concerts. They called us! Then came the recession, DJs, and computers, fewer and fewer clubs with live music etc. etc. Now there are very few places that even have real pianos. They say the piano takes up too much space. Bars have TVs with hockey games all over the room and someone's suppose' to pay money in a place like that to see anyone perform? Musicians are even being cut out of wedding gigs for DJs and they aren't cheap either. Clubs offer from $50.00 to $ 100. or $125.00 for 3 or 4 hours. I made that kind of money when I was 16 years old. We're supposed to care about other striking workers but no one regards a musicians job as work even for all the many years of hard work, education and money put into it. No one cares about our below the poverty line wages. And we are the first people called to come out and fund raise for a good cause. We used to get a drink and a meal from the dinner menu but now .... one beer or bar wine and either 1/2 price menu or a complimentary choice of chicken or fish from the bar menu BUT you have to eat in the kitchen . OH and bring your own sound system. Man, right now here in Vancouver there is really only one jazz club and no easy circuit so, what's happening and I think it's similar in other areas is House Concerts. Some fans with beautiful pianos in their homes will offer to host a concert, and it's usually just a duo but it is beautiful. Very fulfilling but it doesn't employ very many and then there are the Jazz Vespers performances that can be very cool. You have to keep moving it seems, but you can't afford to do that with a band of musicians who have kids and don't want to starve being on the road. It's really hard to see where this is headed.
What are you planning for the future of your artistic life? Is there a tour in the works?
Joani: One of my songs has had placement in a film so I'm starting those connections. I have just received a collection of the work a very famous Canadian musician, Fraser MacPherson who passed on in 1993. His son has asked me to write lyrics for his Dad's tunes. I am very honored and the songs are great. So that will happen. I'm studying TAO and SGI Buddhism. That has a great deal to do with my writing because it's all a part of everything. A tour? I'm trying my best to hook up a tour for the U.S. Europe and Australia to do master classes and performances. I would love that so much.
