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Brice Najar met Dexter Wansel when he came to the New Morning in Paris before the Covid crisis.
Wanting to talk about his collaboration with the Jacksons under Philadelphia International Records, the time of two albums, Brice offers you to discover his interview with the one who was both producer, composer and arranger in the firm of Gamble and Huff.
Dexter Wansel
The arrival of Dexter Wansel at the New Morning in Paris remains my last concert before the Covid crisis. Besides the stage performance, I had enjoyed my meeting with the musician and I wanted, of course, to keep in touch with him. We could talk about his collaboration with the Jacksons under Philadelphia International Records, the time of two albums. In his role as producer, composer and arranger in the firm of Gamble and Huff, Dexter was an important element in the artistic emancipation of the band that had just left Motown. Back in Philadelphia in 1976-77 with Dexter Wansel and his memories that are part of the HIStoire.
How did this passion for music come to make it your profession, and this interest in the synthesizer and its innovative programming for the time?
I started as a courier/boy doing everything behind the scenes at the Uptown Theater in Philadelphia (the equivalent of the Apollo in New York) where I met many musicians and singers who inspired me. After the army, I started auditioning for piano sessions at Sigma Sound Studios in 1972, and soon after, I was programming their Putney synthesizer. I met Al Perlman, the creator of the Arp synthesizer, and he gave me an Arp 2600 that I started playing in recording sessions.
How did you get the chance to join Kenneth Gamble and Leon Huff at Philadelphia Records?
At Sigma, I met Karl and Roland Chambers who were members of the MFSB (Mother Father Sister and Brother) group at the time and asked me to join their band Yellow Sunshine. We recorded an album for Gamble and Huff on Philadelphia International Records. That's how I met them.
In general, how did Gamble and Huff present you with album projects, choosing who would be involved in a particular song, between the different arrangers, composers and producers?
I first started submitting songs to them and in 1975 I wrote the arrangements, the songs, and directed the production for their artists such as MFSB ("When Your Love Is Gone"), Billy Paul ("Billy's Back Home"), Dee Dee Sharp etc...
When the Jacksons joined the label, we immediately created a bond. We spent a lot of time together and got to know each other. We often went to the horse or to the movies together. I became close to Tito and Michael, in particular. They always asked me to write the arrangements for their songs and help them produce them. Michael asked me to give him ideas and I helped him innovate in terms of vocal approaches.
Do you remember the genesis of the title "Keep On Dancing" and the studio sessions with the Jackson brothers?
It required an effort to create a song that was to be a centerpiece, a song with changes in rhythms and approaches. But it worked. I know they kept "Keep On Dancing" on their concerts, even after the release of "Off The Wall". I think that means everything.
Was the choice to share the vocal lead between Michael and Jackie on the track "Living Together" one of your choices? As if this title had been written with the Jackson brothers in mind, as a way of telling their story.
Yes, this title was a message song that they wanted to deliver to the world. You know, in life, there are challenges that have to be faced. This song is an attempt to bring people together. Michael also used one of his verses as an introductory phrase for his book Moonwalker. And yes, it was my choice to have both Michael and Jackie on "Living Together".. I asked Jackie to add her voice to Michael's voice on the lead.
For the first time, after Motown's departure, the Jackson brothers were allowed to play their instruments in the studio and compose their songs. Did you help them in this new process?
That's right! Every time he was in the studio with me, Tito was very excited to play on his records, which Motown had never allowed him to do. I think these two albums at Philadelphia International Records helped them in this transition from Motown to their own projects, especially given the fact that Michael's voice was evolving during that period. I felt they liked what I was doing, and I also liked what they were doing.
I was always telling Michael that it was a good time for him to get involved in the creative process, since his voice had changed, and they were all thinking about how they would evolve during this transition period of their lives. I was really happy that they constantly asked me to work with them.
Can you tell us about the genesis of the song "Jump For Joy" and this desire to share positive waves?
"Jump for Joy" is a song about celebrating life in general, and I wrote with Cynthia Biggs for the Jacksons who loved her very much. We were looking for a message to bring people together with a simple philosophy. The Jacksons liked it as soon as I played it for them and they immediately wanted to record it. As can be seen in a video you sent me, Gamble and Huff came with a reporter who interviewed the Jacksons and filmed us together in the studio. Hahaha!
On this title, as on the previous quotes, I appreciate your synthesizer programming. For me, this totally reflects your production which differs from the songs of Gamble and Huff. Do you share my feelings about your own identity at Philadelphia Records?
Billy Paul once told me that my work on synthesizers helped me differentiate myself from others. At that time, I was the only one doing programming in Philadelphia. As early as 1972, I was helping to program the Putney synthesizer at Sigma, while using Bob Moog's when he came to the studio, to create synthetic sounds. Al Perlman, the creator of the Arp synthesizer, had me deliver an Arp 2600V in 1974, and apart from that time, I started programming and playing synthetic sounds on the majority of the productions I was making.
In the end, what do you learn from this collaboration between you and the Jackson brothers? Is this a milestone in your career?
Obviously, this is a major part of my career, although a little difficult, because it was necessary to invent new vocal approaches for Michael whose voice was changing at that time. I will always remember those moments with my friends. I miss Michael...
http://bricenajar.com/dexter-wansel/
Wanting to talk about his collaboration with the Jacksons under Philadelphia International Records, the time of two albums, Brice offers you to discover his interview with the one who was both producer, composer and arranger in the firm of Gamble and Huff.
Dexter Wansel
The arrival of Dexter Wansel at the New Morning in Paris remains my last concert before the Covid crisis. Besides the stage performance, I had enjoyed my meeting with the musician and I wanted, of course, to keep in touch with him. We could talk about his collaboration with the Jacksons under Philadelphia International Records, the time of two albums. In his role as producer, composer and arranger in the firm of Gamble and Huff, Dexter was an important element in the artistic emancipation of the band that had just left Motown. Back in Philadelphia in 1976-77 with Dexter Wansel and his memories that are part of the HIStoire.
How did this passion for music come to make it your profession, and this interest in the synthesizer and its innovative programming for the time?
I started as a courier/boy doing everything behind the scenes at the Uptown Theater in Philadelphia (the equivalent of the Apollo in New York) where I met many musicians and singers who inspired me. After the army, I started auditioning for piano sessions at Sigma Sound Studios in 1972, and soon after, I was programming their Putney synthesizer. I met Al Perlman, the creator of the Arp synthesizer, and he gave me an Arp 2600 that I started playing in recording sessions.
How did you get the chance to join Kenneth Gamble and Leon Huff at Philadelphia Records?
At Sigma, I met Karl and Roland Chambers who were members of the MFSB (Mother Father Sister and Brother) group at the time and asked me to join their band Yellow Sunshine. We recorded an album for Gamble and Huff on Philadelphia International Records. That's how I met them.
In general, how did Gamble and Huff present you with album projects, choosing who would be involved in a particular song, between the different arrangers, composers and producers?
I first started submitting songs to them and in 1975 I wrote the arrangements, the songs, and directed the production for their artists such as MFSB ("When Your Love Is Gone"), Billy Paul ("Billy's Back Home"), Dee Dee Sharp etc...
When the Jacksons joined the label, we immediately created a bond. We spent a lot of time together and got to know each other. We often went to the horse or to the movies together. I became close to Tito and Michael, in particular. They always asked me to write the arrangements for their songs and help them produce them. Michael asked me to give him ideas and I helped him innovate in terms of vocal approaches.
Do you remember the genesis of the title "Keep On Dancing" and the studio sessions with the Jackson brothers?
It required an effort to create a song that was to be a centerpiece, a song with changes in rhythms and approaches. But it worked. I know they kept "Keep On Dancing" on their concerts, even after the release of "Off The Wall". I think that means everything.
Was the choice to share the vocal lead between Michael and Jackie on the track "Living Together" one of your choices? As if this title had been written with the Jackson brothers in mind, as a way of telling their story.
Yes, this title was a message song that they wanted to deliver to the world. You know, in life, there are challenges that have to be faced. This song is an attempt to bring people together. Michael also used one of his verses as an introductory phrase for his book Moonwalker. And yes, it was my choice to have both Michael and Jackie on "Living Together".. I asked Jackie to add her voice to Michael's voice on the lead.
For the first time, after Motown's departure, the Jackson brothers were allowed to play their instruments in the studio and compose their songs. Did you help them in this new process?
That's right! Every time he was in the studio with me, Tito was very excited to play on his records, which Motown had never allowed him to do. I think these two albums at Philadelphia International Records helped them in this transition from Motown to their own projects, especially given the fact that Michael's voice was evolving during that period. I felt they liked what I was doing, and I also liked what they were doing.
I was always telling Michael that it was a good time for him to get involved in the creative process, since his voice had changed, and they were all thinking about how they would evolve during this transition period of their lives. I was really happy that they constantly asked me to work with them.
Can you tell us about the genesis of the song "Jump For Joy" and this desire to share positive waves?
"Jump for Joy" is a song about celebrating life in general, and I wrote with Cynthia Biggs for the Jacksons who loved her very much. We were looking for a message to bring people together with a simple philosophy. The Jacksons liked it as soon as I played it for them and they immediately wanted to record it. As can be seen in a video you sent me, Gamble and Huff came with a reporter who interviewed the Jacksons and filmed us together in the studio. Hahaha!
On this title, as on the previous quotes, I appreciate your synthesizer programming. For me, this totally reflects your production which differs from the songs of Gamble and Huff. Do you share my feelings about your own identity at Philadelphia Records?
Billy Paul once told me that my work on synthesizers helped me differentiate myself from others. At that time, I was the only one doing programming in Philadelphia. As early as 1972, I was helping to program the Putney synthesizer at Sigma, while using Bob Moog's when he came to the studio, to create synthetic sounds. Al Perlman, the creator of the Arp synthesizer, had me deliver an Arp 2600V in 1974, and apart from that time, I started programming and playing synthetic sounds on the majority of the productions I was making.
In the end, what do you learn from this collaboration between you and the Jackson brothers? Is this a milestone in your career?
Obviously, this is a major part of my career, although a little difficult, because it was necessary to invent new vocal approaches for Michael whose voice was changing at that time. I will always remember those moments with my friends. I miss Michael...
http://bricenajar.com/dexter-wansel/