from http://www.willcalhoun.com
July, 2002 update from Will:

Thanks for all the inquires concerning Living Colour, Head-Fake, Mos
Def-featuring-Black Jack Johnson, and my Jazz project. I will try to
answer as many questions as I can concerning these projects...

Living Colour: Living Colour is presently in the studio working on a
new album. The group decided to go out and perform a few local and
International gigs to examine new material, check out the audiences,
and check our own vibe in concert. The past shows were fantastic. We
just returned from Poland. Living Colour performed outdoors in middle
of "Old Town" Warsaw. We had no idea 8000 people would attend. It was
our first time performing in Poland and the show was a huge success.
Presently, we are performing select shows while working on new
material. We are planning to complete all the writing by late
November and possibly release a new CD in February, 2003. For all of
the West Coast fans, look for Living Colour to perform in Anaheim and
San Diego California with George Clinton as a special guest. Please
keep checking the site for details.

Head-Fake: Head-Fake is a constant work in progress. Doug and I have
recorded hours of material for this duo project; however we have put
our work aside for projects like Jungle Funk and lately Mos Def
Featuring Black Jack Johnson. Some of the grooves for these projects
were based on Head-Fake material. Now that we have completed both
projects we are talking to a few labels at the moment. We recently
performed in Estonia with Mark Ledford as a special guest. The show
was fantastic. Head-Fake will perform at BAM on Sunday, July 14th at
8pm. We will perform new material. Please keep checking the site for
details.

Mos Def-Black Jack Johnson: I spoke to Mos Def last week. The CD will
finally be released in early 2003. This CD is one of the best
recordings I've ever worked on... I'm thrilled. Keep checking the
site for proper release dates and label information concerning this
CD. The CD features me, Doug Wimbish, Dr.Know (from Bad Brains),
Bernie Worrell (of P-Funk fame)... and a few special guests.

I will record another Jazz CD at some point in the coming months. I'm
still organizing the personnel. Thanks for all messages, comments,
questions, and mostly, your patience. We're working to add to the
site and keep the information current.

- Will Calhoun
[This message was edited Thu Jul 11 23:38:57 PDT 2002 by PFunkjazz]
[This message was edited Wed Sep 18 8:53:46 PDT 2002 by PFunkjazz]

Good to see Living colour trying to lengthen their fifteen minutes of fame. Cough,Cough.

glad to hear they are coming back.I'd Love a Tour with them,The Bus Boys,Fishbone,Mother's Finest&Mandrell that would truly Rock.

Thanks PFUNKJAZZ for the info on Living Colour brother...I look for these brothers to come out hard. One of my favorite rock/funk bands.


I still get chills listening to Vernon Reid's awesome reading of Hendrix's "Burning Of The Midnight Lamp"from the LC's BISCUITS EP back in 91'. Thanks again bruh.

Great news!

Btw,Mos Def had a small role in the film "Monster's Ball".I think he has potential as an actor.

DavidEye said:

Yes, he has more than potential though. He actually started out as an actor first before he got on the mic... He's had other roles, including one in "Bamboozled."

Currently he is starring in the Broadway play, "Top Dog Under Dog" which is receiving rave reviews. Saw it and he was amazing! The discipline alone it requires to perform every night live on stage just amazes me.

NuPwrSoul said:

thanks P-FunkJAZZ on the News.Mos Def is also having Issues with His Record Company.hoping that Him&Talib can drop another Album He is overdue with that as well.He has been in the Business for quite a while.He did some Bit Parts in different Films.I Swear I saw Him in a Bill Cosby film back in 94? He is a Very Talented Cat.

thanks for posting this, I saw Mos def with BJJ in January and it kicked some serious ass. Will and Doug stayed back after Mos and the rest left and just jammed for about 10mins. Man I wished I had brought my MD and recorded it.

Spats said:

FOOL. Living Colour is gonna SAVE ROCK & ROLL with this new album. Anyone who's "knowledge" of Living Colour goes no further than "Cult of Personality", while they continue to mispronounce the name NEEDS to check out their last album "Stain"...Really.

smokeverbs said:

I agree...not only are living colour incredible musicians, but great songwriters and live performers. And 15 minutes of fame? Like you said, he obviously thinks they only released one album and hasn't heard anything else from the band.

smokeverbs said:

Or even the solo projects by the bandmembers. Corey, Doug Vernon and Will have all put out excellent albums since the breakup and they've been working in other people's bands all along.

Some LC fans were tossing the idea of a deal with Prince's "label", for lack of a better word, for the new release.

That would be very interesting, donchathink?

I appreciate Stain moreso everytime I listen to it...!...and, that there's a new Living Colour CD in the making is great news!

Thanks PFunkjazz.

Here are updates from some very reliable sources connected with Living Colour:

• The Sept 6 date at House of Blues Anaheim has been postponed. It will be rescheuled after work on
  the new release is completed and a major tour is announced.
  
  
• The new release will be with a major label, but it will not be SONY. No political intrigue related to MJ's situation; just the facts. Expect a Feb 2003 release date.
  
  
• The band will still make a SanDiego Street Scene appearance opening on the stage as PFUNK on Sept 7. Check www.street-scene.com for details.
  
  
• In additon to the new recording, there's a lot of activity going on with individual band members.
  
  
  
  • Bassist Doug Wimbish is hooked up with Busta Rhymes' tour and will be with drummer Will Calhoun on Mos Def's BLACK JOHNSON project. His solo outing TRIPPY NOTES FOR BASS is highly recommended. www.dougwimbish.com
    
    
  • Vocalist Corey Glover has a band called VICE that performs locally in the NYC area. I strongly recommend scouring the used bins for his 1998 LAFACE release [bHYMNS[/b]. People missed out and Prince's fans will surely dig the buzz. There is a live EP out too!! http://www.coreyglover.com/
    
    
  • Drummer Will Calhoun has his own jazz-related projects and has performed with Stanley Jordan and David Sancious in the NYC area. He is also working on the Mos Def project. http://www.willcalhoun.com/
    
    
  • Guitarist Vernon Reid is working and touring with Jack Bruce, James "Blood" Ulmer, DJ Logic. The Ulmer's release Memphis Blood: The Sun Sessionsfeatures Reid as producer and guest guitarist, and was selected by Living Blues critics as "BEST NEW RECORDING". The Yohimbe project is a collaboration due in Sept '02. http://www.ropeadope.com/yohimbe.html
    Also dig up his solo MISTAKEN IDENTITY in the used bins.
    
  
  

WHEW! Is this cool or what?


edited some typos and it shoul've been "Prince's fans" no t just "Prince"
[This message was edited Fri Jul 26 9:24:38 PDT 2002 by PFunkjazz]

Living Color has a Greatest Hits collection - why not The Time?
Where is The Time's Greatest Hits?
How about a petition for that?

Been lookin' forward to this BJJ CD for about a year now. Hope it doesn't get pushed back. I'm ready 4 some new flava.
PEACE

Living Colour website with mssg board is up.

http://pub84.ezboard.com/blivingcolour


BTW: anybody check out Robert Randolph & The Family Band?. They kick funky blues & gospel in jambandish stylee http://www.robertrandolph.net.


Check their live set LIVE AT THE WETLANDS. plus they're on HIGHER GROUND the latest from BLIND BOYS OF ALABAMA, which features covers of Prince, Funkadelic and Stevie Wonder songs, plus bonafide gospel classics.

Tracklist

1. People Get Ready performed by Blind Boys Of Arizona / Blind Boys Of Alabama - 3:22

2. Spirit in the Dark performed by Blind Boys Of Arizona / Blind Boys Of Alabama - 3:15

3. Wade in the Water performed by Blind Boys Of Arizona / Blind Boys Of Alabama - 3:34

4. Stand By Me performed by Blind Boys Of Arizona / Blind Boys Of Alabama - 3:01

5. The Cross performed by Blind Boys Of Arizona / Blind Boys Of Alabama - 2:47

6. Many Rivers to Cross performed by Blind Boys Of Arizona / Blind Boys Of Alabama - 3:56

7. Higher Ground performed by Blind Boys Of Arizona / Blind Boys Of Alabama - 6:14

8. Freedom Road performed by Blind Boys Of Arizona / Blind Boys Of Alabama - 3:37

9. I May Not Can See performed by Blind Boys Of Arizona / Blind Boys Of Alabama - 3:37

10. You and Your Folks/23rd Psalm performed by Blind Boys Of Arizona / Blind Boys Of Alabama - 5:42

11. I Shall Not Walk Alone performed by Blind Boys Of Arizona / Blind Boys Of Alabama - 5:26

12. Precious Lord performed by Blind Boys Of Arizona / Blind Boys Of Alabama - 3:52
[This message was edited Wed Sep 18 8:52:48 PDT 2002 by PFunkjazz]

Latin Grammy winner Lenie,whose Falange Canibal won in the Brazilian pop category featured the ENTIRE Living Colour band:



Field 9 – Brazilian

Category 30

Best Brazilian Contemporary Pop Album
Mejor Álbum Pop Contemporáneo Brasileño
Melhor Álbum Pop Contemporâneo Brasileiro

For solo artists, duos or groups performances; vocal or instrumental. Albums only.
Para artistas solistas, duetos o grupos, vocales o instrumentales. Solo Álbum.
Para solistas, duplas ou grupos, vocais ou instrumentais. Somente Álbum.

Falange Canibal
Lenine
[Ariola]


CREDITS
Brian Lynch - Trumpet (Bass)
Ani DiFranco - Vocals
Will Calhoun - Drums
Eumir Deodato - Organ (Hammond)
Corey Glover - Vocals
Horacio "El Negro" Hernández - Percussion, Bateria
Andres Levin - Producer, Program
Vernon Reid - Guitar
Steve Turre - Trombone
Doug Wimbish - Baixo
Régis Gizavo - Sanfona
Paulinho Carvalho - Studio Assistant
Jorge Davidson - Art Direction
Jim Brandenburg - Photography
Tom Capone - Guitar, Producer, Mixing, Program, Choir Arrangement, Dub Mixing, Baixo
Jairo Diniz - Viola
Haroldo Ferretti - Producer, Bateria, Program
Henrique Portugal - Keyboards, Producer
Lelo Zaneti - Baixo
Alvaro Alencar - Mixing
Braulio Tavares - English Translations, Versao
Leo Ortiz - Violin
Ricardo Garcia - Mastering
Lenine - Viola, Vocals, Producer, Pesinden
Xiomara Laugart - Vocals
Marcelo Lobato - Keyboards, Theremin, Producer, Vibraphone, Bateria
Emil Ferreira - Graphic Coordinator
Zamith - Violoncello
Glauco Fernandes - Violin, Choir Arrangement
[This message was edited Thu Sep 19 16:42:09 PDT 2002 by PFunkjazz]

Brother915 said:

And don't forget Corey singing Love and Hapiness...

DAMN, that boy can SANG

touch without seeing
love with no feeling stealing a moment...
"under cover of darkness"
love that intro...so sexy!
peace/manki

Vernon Reid and DJ Logic are the

YOHIMBE BROTHERS

YOHIMBE> an african root used to enhance male sexual performance. It has been termed "the natural viagra" and can be found at health and natural food stores.

BROTHERS> both brothers were founding members of the black rock coalition as their respective "black rock" marched through the early 1990s: VERNON REID as the leader of LIVING COLOUR and DJ LOGIC with "EYE AND I". The guitar-playing brother from Brooklyn would often play hooky with the DJ from the Bronx as the two began to experiment with sound when nobody was looking. It soon became a secret that everybody knew about as the relationship was brought public in various formations, including the seminal nyc band MASQUE and MY SCIENCE PROJECT.

FRONT END LIFTER> has been in the works for over a decade as psychedelic space-age mixed tape bachelor music with a twist, spanning all musical genres to create "some truly new shit." Featured guests on Front End Lifter include Slick Rick, Prince Paul and all of the former members of Living Colour. The record and tour drop September 14th. Get ready.


WARNING: This music may cause extreme sexual excitability. An eclectic mix of everything that IS one part Vernon, one part Logic, two parts Yohimbe, and three parts the future. Do not try and dance under the influence unless you are influenced. Do not complain that the record is hard to explain - unless you can explain it yourself.

Yohimbe Bros Tour Dates

10/18/02 Santa Cruz, CA Santa Cruz Vets Hall

10/19/02 West Hollywood, CA The Troubador

10/20/02 San Diego, CA The Casbah

10/22/02 Dallas, TX Tree's

10/23/02 Austin, TX Mercury

10/25/02 St. Louis, MO Mississippi Nights

10/26/02 San Francisco, CA San Francisco Jazz Fest - Regency Building

10/27/02 Chicago, IL Double Door

10/28/02 Bloomington, IN Bluebird

10/29/02 Indianapolis, IN The Patio

10/31/02 philly, pa - tla w/robert randolph

11/01/02 Boston, MA Paradise Rock Club

11/03/02 Towson, MD Recher Theatre

11/05/02 Asheville, NC The Orange Peel

11/06/02 Charlotte, NC Visulite Theatre

11/07/02 Boone, NC Appalachian State University

11/08/02 Athens, GA Georgia Theatre

11/09/02 New Orleans, LA Tipitina's



DJ Logic's Official Site | http://www.djlogic.com
Order the CD | http://www3.ropeadope.com...jsp?pid=46

Watch a Movie (no kids!) | http://www.meatlockerstud...yobros.htm

Stream "Tenemental" | http://sunstream.cniweb.n...rs_trk2.rm

Stream "The Big Pill" | http://sunstream.cniweb.n...rs_trk7.rm
[This message was edited Thu Oct 17 11:39:25 PDT 2002 by PFunkjazz]

Inside the busy mind of Vernon Reid
October 23, 2002 :: Comments (0)

Yohimbe Brothers, Living Colour frontman rants on everything
Steve Hammer

Besides being one of the best rock guitarists of his generation, Vernon Reid also has a passion for experimentation. The work he did with Living Colour, which sold 40 million albums worldwide, as well as a solo artist, stands as a testament to that.

Now Reid is back with The Yohimbe Brothers, a collaboration between himself and longtime friend DJ Logic, who’s worked with Medeski, Martin and Wood and Bob Weir, among others. Their sound is a unique blend of rock, jazz and hip-hop done with wit, verve and fire.



Vernon Reid: “The Yohimbe Brothers is not a side project. It is really an outgrowth of a very real aesthetic merging.” While a Living Colour reunion tour and album are planned for 2003, Reid and DJ Logic are on the road now. The Yohimbe Brothers will be at the Patio on Tuesday, Oct. 29. Call 239-5151 for ticket information.

While his tour bus rolled through rural Idaho last week, Reid took time out to talk with NUVO about the tour, the album and the importance of music in today’s society.

NUVO: How did you and Jason [DJ Logic] decide to do this record?

REID: We’d always wanted to do an album focused on the way we heard music. In a way, the turntable is the guitar of today. Just as how the ’60s and ’70s popularized the guitar, the turntable is an important instrument. In fact, I was at a music store the other day and the guys were talking about how some people don’t want to play guitar anymore; they want a turntable. And I think it’s great. The turntable is a legitimate instrument. I’ve thought that from the very beginning.

DJ Logic and I have always had an admiration and love for each other. And I totally believe in what he’s doing and I believe in the instrument he plays. Our band is really fresh and adventurous and funky.

NUVO: Some of the reviews of the album fault it for being too diverse, for being too much all over the place.

REID: I don’t see it that way. I think the record says a complete thing, it says it with different colors and different aspects. The aesthetics, the kind of mix-tape aesthetic that the DJ brings to the party, that’s the whole idea. DJs are so democratic in their choices because they’re just looking for the beats, the funk. That fits into what we talk about. So we go from punk to “Transmission XXX” and to me, it’s one piece. It’s the same thing. That’s the reason we made the records. It’s the things we just dig.

NUVO: Talk about some of the cameos on the album, working with Prince Paul and Slick Rick and the others.

REID: Paul came in first, and he’s just someone I admire so much. He’s my favorite producer in hip-hop, Prince Paul. We struck up a friendship. I told him about The Yohimbe Brothers and he laughed, he was into it. Rick came about through our saxophonist who’d been working with him. And he was absolutely great. A lot of times when people try to work with icons, it can be incredibly difficult due to scheduling and it can be difficult because sometimes people who are gifted and talented are difficult.

NUVO: You’ve worked with Chuck D. in the past, and you both came on the scene about the same time. Do you feel close to him?

REID: The last time Chuck and I were together was when Nightline interviewed us about Elvis. We both realized Elvis was a great artist, and he was also a victim of his own success. He was a victim of capitalism. He was a victim of music-industry exploitation. He was also a beneficiary of a divided nation. He was also dangerous and sexy, and he was also maudlin and treacly. It was interesting how Chuck and I both had this take on Elvis, because on a certain level, he was overindulged, and he overindulged, and we all celebrated his overindulgence. There’s a lot of sympatico between Chuck and I.

NUVO: What is the status of the Living Colour album right now? Where are you at with that?

REID: It’s a process. And part of what’s going on right now is that we’ve started working on songs and thinking about what it is the band can say and what it is the band has to say. That’s a lot of what I’m processing for myself. As long as the thing is alive and viable, you know, then I think we should do it. I’m grappling with a lot of stuff in my thoughts about it. One thing that’s good is that Corey and I, our creative relationship has taken a really positive turn and we’re asking ourselves some really difficult questions about the nature of the band having been famous, the nature of the band having disappeared and not having disappeared at the same time. Even when we were together I felt like the band was invisible. It’s a very strange thing. We’re trying to come to grips with that. So we’re going to see, I’m going to see, what the band has to say right now.

NUVO: So everyone in the band is getting along all right?

REID: I think so. People always throw around the phrase “family” when talking about a band. Yeah, it’s a kind of family, it’s not a kind of family. And it is friendship, and business, and it’s laughter and it’s not laughter. That’s what makes it powerful. I’m looking at the possibility of it being viable. Not just in a commercial sense. I don’t know if I’m even thinking about that. I know what I want to see from it. And everybody has different expectations, and I’m trying to clarify what my vision is for it. Living Colour was my life, 24-7, and there was no separation between me and it. It’s different now, and I think it’s a good thing, because I can really look at it and really check what am I attached to.
The thing that was great about making The Yohimbe Brothers album is that both Jason and I allowed the process of making the record change our expectations for it. We had a track that we were certain was going to be on the record. And it’s not on the record, and it’s actually a good thing. When we realized it wasn’t going to be on the album, it was a weird moment. It wound up not happening for no other fact than we allowed the process to change.

As far as Living Colour goes, we have to walk away from the past. I love the fact that Vivid has been remastered and rereleased, because it was an important moment. But what will make Living Colour viable today? That’s what I’m grappling with. My life is like a U2 song right about now.

NUVO: In what sense?

REID: “I Still Haven’t Found What I’m Looking For.” At least in that sense.

NUVO: Spirituality has always been a big part of your music. How do you feel philosophically right now?

REID: I tell you what. I feel really good, where I’m at right now. Our bus broke down and I’m talking to you from our second bus. We’re in the middle of Idaho. We blew the transmission of our first bus and we were stuck for 16 hours in Idaho. And we had the best time. I’ll never forget, they were putting our first bus on a flatbed truck. And we came out and the night was full of stars. I felt incredibly alive. I experienced an epiphany in Idaho last night. And everybody in The Yohimbe Brothers band was great. Nobody was complaining. We just had a good time with each other. That tells you something right there. I’m looking for that feeling wherever I go.

I just finished doing a week with James Blood Ulmer. I produced his album, Memphis Blood. And we just did a thing that was two guitars, bass and drums, playing these old blues songs. And I just felt so connected to him and to that music and to the fact that he is an unsung blues master. It’s weird, right, because he’s associated with the music of Ornette Coleman. But when he opens his mouth I hear Howling Wolf. I hear Muddy Waters. He’s not trying to sound like them and in fact he avoided the blues for much of his life.

But I was part of a great moment in a great artist’s life. And I feel very blessed. Working with DJ Logic, I’ve really watched him become a man. When I met him, he was like 16 years old. It’s those kind of things. And I guess that’s what I’m talking about with everything I’m doing. I’m looking for that kind of feeling. So, spiritually, right now, I feel very whole.

The Yohimbe Brothers is not a side project. It is really an outgrowth of a very real aesthetic merging. And I see DJ Logic very much as my partner in this endeavor. It’s a new band coming out and it’s phenomenal. It’s not old hat, it’s not trapped in a past conversation. It really is the possibility of something in the moment. And that’s kind of where I’m at in my life right now.


http://www.nuvo.net/news/...tml#001261

Slaying the Dragon
Corey Glover on the Past, Present and Future of Living Colour
by Gregory A. DeTogne

Beyond the storied Body Glove wet suits and hair statements touted onstage by Living Colour in the late '80s, the band received both critical and popular accolades for its ability to blend hip-hop, metal, and R&B into a funked-up musical stew unique to its own sonic kitchen. The hard-slammin' quartet was perhaps both ahead of and after its time, a concept made all the more nebulous by the group's sudden and unexplained disappearance in 1995. "We didn't go out with a bang or even a whimper," says front man Corey Glover today. "We just went away."

Regrouping last year with guitarist Vernon Reid, drummer Will Calhoun, and bassist Doug Wimbish, Living Colour began what Glover describes as a "living experiment" on the road. Once the tour wrapped, the group was so satisfied with the results that they decided to return to the studio. What will come of these renewed efforts? Glover contemplates just that and more in this exclusive OTWS interview.

On Tour with Shure: Did the process of getting Living Colour back together require any kicking, screaming, or gnashing of teeth?

Corey Glover: No, no, no. We all came to an agreement that this had to happen sooner rather than later. Living Colour was turning into a mere blip on the public's radar screen, and we all had higher aspirations for the group than that. At the same time, our own individual careers as solo artists were still being eclipsed by our collective work as Living Colour. So here was this thing, Living Colour, which wasn't getting the due we felt it deserved. Yet, we still couldn't do anything on our own until we slayed the dragon which is Living Colour. We just vanished seven years ago without giving our audience a chance to say goodbye. People kept asking when we were coming back, saying it was necessary. It finally came to the point where it was inevitable.

OTWS: So, in a sense, you're now trying to bring proper closure to your work together?

CG: In a way this is proper closure, because it healed a lot of wounds between us personally. We sort of walked away from each other to avoid having to deal with certain issues, all of which were essentially brought about by burnout. If we would have taken some time off, those years would have passed with all of us working together. We kept going nonstop from gig-to-gig and record-to-record without giving it a break, and were constantly in each other's lives.

OTWS: Over the years, many have spent a considerable amount of time describing your vocal style. Now here's your chance: How would you categorize your singing?


CG: People generally view me as a gospel-tinged screamer. That's certainly part of what I am, but if you listen closely, you'll discover all kinds of other subtleties. I don't like to describe what I do; it's just all there-everything I've ever heard and made use of, from African music to opera. My inspirations are wide-ranging, and I try to incorporate every one of them into my voice. It's a lifelong, ongoing process.

OTWS: For the better part of your career, you've relied upon Shure to capture your voice. Do you recall the first time you picked up a Shure mic?

CG: My relationship with Shure started the moment we went on the road and had to carry some of our own gear. I'm really tough on microphones; I mean just physically brutal. If I use a lesser mic than a Shure, I can actually feel the capsule breaking in my hands. A Shure mic is a true workhorse.

OTWS: When I've seen Living Colour perform live, the stage seems to be entirely Shure.

CG: I think we have almost everything they make. I even use some of the broadcast mics in my studio at home. At Long View [Long View Farm Recording Studios in Brookfield, MA, where the band began recording at the beginning of March -ed.] I'm using an SM7 for scratch vocals, and it sounds great.

OTWS: The SM7 has traditionally been an under utilized mic in recording studio applications. Why does it work so well for you?

CG: Like most Shure mics, it captures a true picture of your voice. It's a great ambient mic, too. While recording at home, I use it to establish the acoustical signature of the room.

OTWS: Your choice for live vocals has been Shure's U24D/ Beta 58® wireless, and you're on PSM® 700 personal monitors. What does the latter offer in terms of your singing?

CG: The monitors allow me to hear subtleties that I can't get with standard floor monitors. Plus now I don't have to push myself as hard to hear my own voice over loud-ass guitars or whatever. My real problem with floor monitors is that if the band is louder than the monitors, or the PA is louder than the monitors, I can't really hear myself; I'm hearing variations of processed signals that don't sound like me at all. With my ears in, I actually hear how I'm truly singing, and I can do little things with my voice I wasn't able to do before because I simply couldn't hear. In-ear monitors are consistently right there, and so is my pitch as a result. Another benefit is that I'm preserving my hearing. I want to be able to do this [sing] a very long time, and of course hearing is vital to that goal.


OTWS: As a group, Living Colour did its part for hearing conservation recently by performing at the Shure Musical Roots benefit concert during Winter NAMM at the House of Blues Anaheim. You helped raise $60,000 for the cause, which was donated to charitable organizations including H.E.A.R., HEI and HAMF. The show's crowning moment came when you assembled one of the largest and most diverse all-star casts I've ever seen for an extemporaneous jam. Keb' Mo' was trading licks with Los Lobos' David Hidalgo. Stewart Copeland was sitting in on drums; Sheila E. was there, and of course the inimitable George Clinton. How did you feel on stage and performing with all of these people?

CG: It was like a dream gig. Growing up, I had always wanted to be in the Police, and there I was playing with Stewart Copeland. All of us in Living Colour have also wanted to be in P-Funk, and there we were sharing the spotlight with George Clinton. The moment was right that night, and I'm glad we seized it. We won't get too many more chances like that in life I'm sure.

OTWS: Rock music seems to be looking for direction these days. Where is it headed?

CG: The great thing about the music is it has the ability to morph according to whatever is happening in the world around it. As a genre, it began as the bastard child of the blues, country, and gospel. Now it's converging with hip-hop and electronica. The music won't die-it's just in the process of taking another evolutionary step.

OTWS: Will we hear any of these new influences on what's coming out of Living Colour's Long View sessions?

CG: Definitely. I'd like to think the best is yet to come. Stay tuned and have a listen.




http://www.ontourwithshur..._corey.htm