Video Feature & Web-Exclusive Interview<\/p>\n
Musician:\u00a0 STEVE WEINGART<\/strong><\/p>\nVideo:\u00a0 \u201cSmile<\/strong>\u201d<\/p>\nSTEVE WEINGART & RENEE JONES DEBUT NEW ALBUM OASIS <\/em>AT 2018 WINTER NAMM<\/strong><\/p>\n<span data-mce-type=\"bookmark\" style=\"display: inline-block; width: 0px; overflow: hidden; line-height: 0;\" class=\"mce_SELRES_start\">\ufeff<\/span><\/iframe><\/p>\n<p>Steve Weingart\u2019s musical journey began when his parents recognized his gift at the age of three, and sought out the best piano teacher in their home town of Dayton, Ohio. A critical foundation of classical studies followed. It allowed him to appreciate the complex compositions of contemporary artists who would ultimately influence his professional career as a composer and keyboard player. Through his future brother-in-law, Steve was introduced to the compelling music of Chicago, Weather Report, Herbie Hancock and Chick Corea. He knew then\u2014that music would be his life.<\/p>\n<p>After high school, Weingart was awarded a full scholarship to The College Conservatory of Music in Cincinnati, Ohio\u2014where he was introduced to the world of improvisation. It was the beginning of a professional career, spanning virtually every musical possibility, as he began getting noticed around the local jazz scene. He spent a few years touring the world with Dave Weckl\u2019s band in addition to writing and co-writing songs for numerous albums including <em>Transition<\/em>, <em>Perpetual Motion<\/em>, <em>Live (and Very Plugged In)<\/em>, and <em>Multiplicity<\/em>.<\/p>\n<p><img loading=\"lazy\" class=\"alignnone size-full wp-image-18168\" src=\"https:\/\/mmusicmag.com\/m\/wp-content\/uploads\/2018\/01\/Steve-Weingart-5-1.jpg\" alt=\"\" width=\"660\" height=\"440\" srcset=\"https:\/\/mmusicmag.com\/m\/wp-content\/uploads\/2018\/01\/Steve-Weingart-5-1.jpg 660w, https:\/\/mmusicmag.com\/m\/wp-content\/uploads\/2018\/01\/Steve-Weingart-5-1-300x200.jpg 300w\" sizes=\"(max-width: 660px) 100vw, 660px\" \/><\/p>\n<p>Weingart became widely known for his work with Steve \u201cLuke\u201d Lukather (Toto) on <em>El Grupo<\/em>, then touring Japan and Europe to wide acclaim and releasing <em>El Grupo\u2014Live<\/em>. Luke invited Weingart to play a few tracks of <em>Ever Changing Times<\/em>\u2014which led to becoming Luke\u2019s live performance Music Director. After successful touring they returned to the studio to record Luke\u2019s <em>All\u2019s Well That Ends Well<\/em> (2010) and <em>Transition<\/em> (2013). The follow-up tours to both albums included Weingart\u2019s wife, Renee Jones, on bass and vocals, and Eric Valentine on drums.<\/p>\n<p>Other notable projects of Weingart with Luke included a tour of Asia in the spring of 2010 with Soul Bop (Randy Brecker, Bill Evans, Robben Ford, Darryl Jones and Rodney Holmes), the 40th Anniversary of The Baked Potato jazz club (Vinnie Colaiuta and Tal Wilkenfeld), an autumn European tour with Goodfellas (Kenny Aronoff, and Fabrizio Grossi), and a January 2011 New York City appearance with Toxic Monkey (Bill Evans, Will Lee and Keith Carlock).<\/p>\n<p>Weingart\u2019s 2011 <em>Dialogue <\/em>showcased some of his best instrumental composing, co-written with Jones, who played bass on the entire project. Other notable associations include co-producer and drummer, Simon Phillips (Toto, Jeff Beck, The Who, Stanley Clarke).<\/p>\n<p>Weingart and Jones\u2019 2012 <em>Observatory<\/em> was a potent mixture of compositional risk, a refined sonic palette and superb musical craftsmanship. Their new album <em>Oasis<\/em> evolved after working with Casio\u2014a leader in keyboard technology. We talked with Steve Weingart about his passion for composing, playing live, the musicians who influenced him, and the importance of music education.<\/p>\n<p><strong>STEVE WEINGART\u00a0<\/strong>Web-Exclusive Interview with\u00a0<strong><br \/>\n<em>M Music & Musicians<\/em>\u00a0<\/strong>magazine publisher,<strong>\u00a0Merlin David \u00a0\u00a0<\/strong><\/p>\n<p><strong>How did the new album, <em>Oasis<\/em>, evolve?<\/strong><br \/>\nIt came about through a combination of events. Casio had developed the new GP-500 Grand Hybrid Piano, and I had an opportunity to play it. It was such an engaging and authentic piano-playing experience, it compelled me to practice as I did when I was younger.<\/p>\n<p><strong>What was so compelling?<\/strong><br \/>\nI felt the desire to explore the acoustic piano again\u2014after so many years of playing electric instruments in rock, fusion and progressive bands. But the most decisive part was being invited by Casio to give a master class and perform at the Museum of Making Music in Carlsbad, CA (near San Diego) to premiere the GP-500 at the opening of the Casio exhibit. On planning the repertoire for the performance, I thought it would be fun to have my wife, Renee, sing a few tunes with me. When we performed, the response was so overwhelming that I decided this is something we needed to share with everyone. That pretty much decided the direction of <em>Oasis<\/em>.<\/p>\n<p><strong>Did you compose all the music?<\/strong><br \/>\nWhen it came to composing and choosing the material for the album, we decided to record a few covers that had personal meaning to us. The rest of the music is original. Our goal was to model the feeling and pacing after one of our favorite albums, <em>Nancy Wilson\/Cannonball Adderley<\/em> [Capitol, 1962]. Both Renee and I love the sweetness and innocence of that period of music, so we tried to spin in that direction.<\/p>\n<p><strong>Is there a song you are especially glad made it onto this album?<\/strong><br \/>\nRenee may have another answer, but for me the song \u201cCruising Down the River,\u201d even though it is a cover, has special meaning. My parents always liked that song, and on a recent visit home I heard them singing it. It was sweet to hear them singing it as I imagined there must be a lot of memories for them in that song. I felt it would be a fitting tribute to perform it on the album. When Renee sang it, it really felt special and unique to me.<\/p>\n<p><strong>Tell us about one of the other songs?<\/strong><br \/>\n\u201cRay & Ruth\u201d is dedicated to the memory of a sweet older couple, our neighbors in California. They had an amazing history and were always so happy and upbeat, positive people. Renee and I would see them out strolling in the neighborhood quite often, and their pace and demeanor were something that originally inspired this piece.<\/p>\n<p><strong><img loading=\"lazy\" class=\"alignnone size-full wp-image-18166\" src=\"https:\/\/mmusicmag.com\/m\/wp-content\/uploads\/2018\/01\/Steve-Weingart-cover.jpg\" alt=\"\" width=\"660\" height=\"599\" srcset=\"https:\/\/mmusicmag.com\/m\/wp-content\/uploads\/2018\/01\/Steve-Weingart-cover.jpg 660w, https:\/\/mmusicmag.com\/m\/wp-content\/uploads\/2018\/01\/Steve-Weingart-cover-300x272.jpg 300w\" sizes=\"(max-width: 660px) 100vw, 660px\" \/>Tell us about your creative process.<\/strong><br \/>\nI\u2019d say I\u2019m a little more a composer than a songwriter. I am always humbled when discussing my abilities in composing and songwriting. There are so many masters throughout our history, and there is so much yet for me to learn and experience. I have always been interested in making up songs\u2014starting when I was five years old. I have never formally studied composition, but have always studied (and still do) composers. I still read and research as much as I can.<\/p>\n<p><strong>How did you compose for this album?<\/strong><br \/>\nI knew what I wanted the final presentation to represent\u2014based upon our performance at the museum. Having that idea, I simply sat down at the Casio GP-500 and began improvising. I was able to record myself, go back and listen. I would then take the good bits and develop them. It was quite challenging because I have never written for solo piano. A lot of my composing up to this point has involved a band of some kind. The presentation of solo piano required almost all new thinking to me with my left hand in the accompaniment function. This in turn, created new ideas and melodies and chord development. In almost all the songs, I had to at some point stop myself and let the music live and breathe\u2014otherwise I\u2019d still be composing. (<em>Laughs<\/em>) It was a very interesting journey, and as things evolved, I found myself really enjoying this new direction. It really has been, and continues to be, surprising to me. I feel a full circle effect\u2014since I started out as a classical pianist.<\/p>\n<p><strong>Who inspired you to compose music?<\/strong><br \/>\nThis may seem like an eclectic response, but the short list includes Chopin, Beethoven, Maurice Ravel, Claude Debussy, Alexander Scriabin, Dmitri Shostakovich, George & Ira Gershwin, Bill Evans, Wayne Shorter, and probably the most influential would be Joe Zawinul.<\/p>\n<p><strong>Give us some examples of specific songs.<\/strong><br \/>\nA good example of Zawinul\u2019s influence can be found on \u201cThe Stafford Stomp.\u201d Joe could play blues and swing like a demon with his left hand. George and Ira Gershwin were a big songwriting inspiration to both Renee and me on songs like \u201cSecond Thoughts\u2026\u201d and \u201cWhatcha Wanna Do?\u201d Ravel, Shostakovich and Debussy\u2019s influence were a big presence in the development of \u201cReflections\u201d and \u201cDaydream.\u201d Another specific example would be in the arranging process of Debussy\u2019s influence in our version of Charlie Chaplin\u2019s \u201cSmile.\u201d<\/p>\n<p><strong>What composing tip would you like to offer?<\/strong><br \/>\nI\u2019ll preface this with the caveat that I never formally studied composition. With that in mind,\u00a0the best advice would be: <em>don\u2019t be afraid to experiment and explore<\/em>. Sometimes even mistakes are a great thing to have happen. I learned about experimenting and exploring in theory many years ago\u2014by reading interviews in magazines and then seeing videos. The depth of the concept didn\u2019t really strike me in reality until I thoroughly experienced it and realized it in hindsight.<\/p>\n<p><img loading=\"lazy\" class=\"alignnone size-full wp-image-18165\" src=\"https:\/\/mmusicmag.com\/m\/wp-content\/uploads\/2018\/01\/Steve-Weingart-9.jpg\" alt=\"\" width=\"660\" height=\"440\" srcset=\"https:\/\/mmusicmag.com\/m\/wp-content\/uploads\/2018\/01\/Steve-Weingart-9.jpg 660w, https:\/\/mmusicmag.com\/m\/wp-content\/uploads\/2018\/01\/Steve-Weingart-9-300x200.jpg 300w\" sizes=\"(max-width: 660px) 100vw, 660px\" \/><\/p>\n<p><strong>Give us an example.<\/strong><br \/>\nIn my experience as a teacher and counselor over the years, I\u2019ve seen many people evolve from being freed of the fear or free from rules in experimenting and exploring. There is no one way of accomplishing the mission. We all are different from one another in our thinking and perceptions. Although educational institutions have developed studies in analysis, methods and processes over the years, the best we can do for ourselves is to learn as much (or as little) as necessary to spark inspiration. When it comes to music\u2014there is no right way or incorrect way.<\/p>\n<p><strong>Tell us one experience where something unique inspired a composition.<\/strong><br \/>\n\u201cThe Stafford Stomp\u201d is a favorite and a challenge to perform. The fun stories I\u2019ve heard about Grandpa Stafford from Renee\u2019s family, and what I imagined it must have been like being there, made this song what it became. Music was and is a strong presence in Renee\u2019s family. Her grandparents always made sure they had popular records of the day when the family would visit them. Renee showed me how he used to dance, and told me about things he did that made them laugh. That little slice of fun in their memories sent my imagination to family gatherings, friends hanging out and a piano player in the corner grooving hard. (<em>Laughs<\/em>)<\/p>\n<p><strong>How does co-writing inform your music?<\/strong><br \/>\nCo-writing is always a different experience for me\u2014with each song and person. Writing with Dave Weckl, who has a strong feeling for what the groove should be, we\u2019d spend time together just improvising with ideas. A lot of songs I wrote with him came about in that manner. Sometimes, even I would suggest some rhythms or turns in phrasing. He would often sing me phrases or ideas. After we jammed with some ideas, we\u2019d experiment and develop them. He also has a great sense of organization. He\u2019s able to listen to sections of a piece and arrange the flow from start to finish. I learned a lot from him.<\/p>\n<p><strong>Tell us about writing with Steve Lukather?<\/strong><br \/>\nWhen it came to collaboration with Luke, it was an entirely different approach. We\u2019re both playing melodic, chordal instruments, so it took giving space and sometimes letting one guy run with an idea. When something would come together, he\u2019d occasionally ask me to add some <em>adult chords<\/em>\u2014one of my favorite Luke phrases (<em>laughs<\/em>) to add a different spice. In some cases, that would lead to another section of a song.<\/p>\n<p><img loading=\"lazy\" class=\"alignnone size-full wp-image-18164\" src=\"https:\/\/mmusicmag.com\/m\/wp-content\/uploads\/2018\/01\/Steve-Weingart-8.jpg\" alt=\"\" width=\"660\" height=\"440\" srcset=\"https:\/\/mmusicmag.com\/m\/wp-content\/uploads\/2018\/01\/Steve-Weingart-8.jpg 660w, https:\/\/mmusicmag.com\/m\/wp-content\/uploads\/2018\/01\/Steve-Weingart-8-300x200.jpg 300w\" sizes=\"(max-width: 660px) 100vw, 660px\" \/><\/p>\n<p><strong>Sounds like a nice collaboration.<\/strong><br \/>\nMy main plan, with whomever I worked with, was to quickly find the balance of coming forward with ideas and listening to what was coming my way. In the ideal situation, it\u2019s a very conversational experience.<\/p>\n<p><strong>Which instruments\/equipment can you\u00a0<em>not<\/em>\u00a0live without?<\/strong><br \/>\nAs I\u2019ve progressed in composing, I\u2019ve started relying more on my computer. I\u2019ve written songs in the past with pencil and paper, but in an improvisational approach to composing, that can be very time-consuming and stifling. My first computer, I think it was 1995, was an Apple. At that time, one of the only programs available was MOTU\u2019s Performer (before Digital Performer came out). It\u2019s a great tool and worked so well for me back then. I\u2019ve grown with the program as it\u2019s progressed. To this day, I always use it to write because I know it so well and it\u2019s really convenient. When it comes to getting the ideas into Digital Performer, I use my Casio GP-500 or the Privia PX-5S. I recorded our album, <em>Oasis<\/em>, in Digital Performer with the GP-500, and it was a great experience.<\/p>\n<p><strong>What is so special about the PX-5S?<\/strong><br \/>\nThe Casio Privia PX-5S is a keyboardist\u2019s live performance and studio instrument\u00a0dream in reality. It is simply one of the best sounding and best feeling instruments I\u2019ve played. I can rave for a long time about the internal sounds and its programming flexibility. In addition, the MIDI\/USB programming potential in this keyboard far exceeds typical use. I like that they planned it that way because its future with DAWs, plug-ins, iPad apps, etc. is not finite. It is seriously a pro musician\u2019s instrument that can also be enjoyed and easily used by beginners.<\/p>\n<p><img loading=\"lazy\" class=\"alignnone size-full wp-image-18163\" src=\"https:\/\/mmusicmag.com\/m\/wp-content\/uploads\/2018\/01\/Steve-Weingart-7.jpg\" alt=\"\" width=\"660\" height=\"1103\" srcset=\"https:\/\/mmusicmag.com\/m\/wp-content\/uploads\/2018\/01\/Steve-Weingart-7.jpg 660w, https:\/\/mmusicmag.com\/m\/wp-content\/uploads\/2018\/01\/Steve-Weingart-7-180x300.jpg 180w, https:\/\/mmusicmag.com\/m\/wp-content\/uploads\/2018\/01\/Steve-Weingart-7-613x1024.jpg 613w, https:\/\/mmusicmag.com\/m\/wp-content\/uploads\/2018\/01\/Steve-Weingart-7-300x501.jpg 300w\" sizes=\"(max-width: 660px) 100vw, 660px\" \/><\/p>\n<p><strong>Are some musicians surprised about the expertise level of Casio keyboards?<\/strong><br \/>\nI\u2019m always hearing people tell me they didn\u2019t know Casio is such a contender on a professional level. Admittedly, when I was invited to audition the PX-5S at a NAMM show a few years ago, I didn\u2019t expect what happened. A big \u201cthank you\u201d to Hiroki Sato and Mike Martin at Casio for the invite. I always enjoy witnessing the surprised reactions from people in clinics and workshops. I\u2019m hopeful that they\u2019ll be inspired to continue on their music journey.<\/p>\n<p><strong>Is music education important?<\/strong><br \/>\nMusic education is super important. I was fortunate to have had really good, patient and nurturing teachers in my earlier years. There is a special element in the great educators that\u2019s really inspiring. When I went to CCM [University of Cincinnati College-Conservatory of Music], I was lucky to meet one of my teachers, Pat Harbison. He\u2019s definitely got a big measure of that special element. I credit him for opening my eyes to jazz theory and the true beginning of my improvisational journey. Everything about that time period and the environment he created was exciting, progressive and forward thinking. It was Pat that made music fun and interactive for me\u2014more so than my previous experience of rote repetition and technical practice\u2014not that there\u2019s anything wrong with that. (<em>Laughs<\/em>)<\/p>\n<p><strong>Were there others who helped you learn?<\/strong><br \/>\nMy friend, Victor Wooten. He\u2019s another cat that\u2019s got that special element\u2014in a big way. When he asked me to do some tours with him a few years ago, I had no idea it would be such a learning experience\u2014as well as a fun and burning playing experience. I knew him as an amazing bassist, but he\u2019s much more than that. I\u2019d consider Victor a modern day renaissance man. He can do a lot of things, including teaching, and do it all proficiently, at a very high level. He\u2019s developed Wooten Woods outside of Nashville, TN where he offers among many other things: nature, music and music theory camps. Victor asked me to be a teacher\/counselor on a couple of occasions. In each case, I ended up as much a student as a teacher. I love a personal and musically spiritual approach. I appreciate the developed scholastic institutional approach. In the art of music, I believe there are so many ways to approach it and touch a person\u2014we shouldn\u2019t limit ourselves. Victor has definitely taken it to another level in his camps.<\/p>\n<p> <\/p>\n<p><strong>Top 5 Musicians\u00a0who inspired you to become a musician?<\/strong><br \/>\nEdvard Grieg, Joe Zawinul & Wayne Shorter of Weather Report, Chicago, Herbie Hancock, Steely Dan.<\/p>\n<p><strong>Top 5 favorite albums of all time?<\/strong><br \/>\n<em>Nancy Wilson\/Cannonball Adderley<\/em> (1962) \u2013 Nancy Wilson & Cannonball Adderley<br \/>\n<em>Black Market<\/em> (1976) \u2013 Weather Report<br \/>\n<em>Mysterious Traveller<\/em> (1974) \u2013 Weather Report<br \/>\n<em>Cookin\u2019 with the Miles Davis Quintet<\/em> (1957) \u2013 Miles Davis<br \/>\n<em>Relaxin\u2019 with the Miles Davis Quintet<\/em> (1958) \u2013 Miles Davis<br \/>\n<em>The Chicago Transit Authority<\/em> (1969) \u2013 Chicago<\/p>\n<p><strong>What PRO (Performing Rights Organization) are you with?<\/strong><br \/>\nI\u2019m with ASCAP. They definitely help keep track of my compositions and they are an invaluable resource in music biz questions and concerns.<\/p>\n<p><strong>Tell us a \u201cpinch me\u201d moment where you said, \u201c<em>Wow, this is really happening to me!<\/em>\u201d<\/strong><br \/>\nThis has happened a lot over the years, with many amazing musicians. I count myself very fortunate. And man, have I had some experiences. (<em>Laughs<\/em>) I recently played in Dave Sanborn\u2019s band, and we did a short residency at the Blue Note in Hawaii. I couldn\u2019t help but remember playing his music, a lot, in my younger days in Cincinnati. During our shows in Hawaii I\u2019d look up and see him smiling, and that gave me a big charge.<\/p>\n<p><img loading=\"lazy\" class=\"alignnone size-full wp-image-18161\" src=\"https:\/\/mmusicmag.com\/m\/wp-content\/uploads\/2018\/01\/Steve-Weingart-2.jpg\" alt=\"\" width=\"660\" height=\"440\" srcset=\"https:\/\/mmusicmag.com\/m\/wp-content\/uploads\/2018\/01\/Steve-Weingart-2.jpg 660w, https:\/\/mmusicmag.com\/m\/wp-content\/uploads\/2018\/01\/Steve-Weingart-2-300x200.jpg 300w\" sizes=\"(max-width: 660px) 100vw, 660px\" \/><\/p>\n<p><strong>Why is performing in Asia so special\u2014especially for jazz musicians?<\/strong><br \/>\nThere is simply a deep appreciation and respect for musicians and music. I\u2019m always so grateful to experience being in that region of the world for this very reason.<\/p>\n<p><strong>Do you remember the first time you heard one of your songs on the radio?<\/strong><br \/>\nI remember recently Renee and I heard our song \u201cTime Will Tell\u201d from our <em>Observatory <\/em>album on an indie internet station. It was really cool, and a fun thing to hear it pop up unexpectedly.<\/p>\n<p>I\u2019d had a few previous experiences hearing some of my tunes or collaborations on the car radio. A couple of times I remember thinking as I was driving \u201cHey, this sounds <em>really<\/em> familiar!\u201d (<em>Laughs<\/em>)<\/p>\n<p><strong>Best advice someone has given you.<\/strong><br \/>\nWhenever the subject of advice comes up, I always think of my college teacher, Pat Harbison. It was through him that I heard the legendary quote from Charlie Parker: \u201cYou’ve got to learn your instrument. Then, you practice, practice, practice. And then, when you finally get up there on the bandstand, forget all that and just wail.\u201d It took me a long time to make sense of what Bird meant in that statement. Even now I\u2019m not sure I\u2019ve actually come to the full meaning. I think there\u2019s more to it than what\u2019s at the surface. To me, \u2018learning your instrument\u2019 never seems to reach completion. I tried to expand on his thoughts, replaced the word <em>practice <\/em>with <em>study<\/em>, <em>compose<\/em>, <em>listen<\/em>, <em>read<\/em>, etc<em>. <\/em>It\u2019s easily a lifetime in curiosity and development, but I think we do the best we can with what we\u2019ve got at any point in time.<\/p>\n<p><img loading=\"lazy\" class=\"alignnone size-full wp-image-18160\" src=\"https:\/\/mmusicmag.com\/m\/wp-content\/uploads\/2018\/01\/Steve-Weingart-3.jpg\" alt=\"\" width=\"660\" height=\"440\" srcset=\"https:\/\/mmusicmag.com\/m\/wp-content\/uploads\/2018\/01\/Steve-Weingart-3.jpg 660w, https:\/\/mmusicmag.com\/m\/wp-content\/uploads\/2018\/01\/Steve-Weingart-3-300x200.jpg 300w\" sizes=\"(max-width: 660px) 100vw, 660px\" \/><\/p>\n<p><strong>Best advice you\u2019d like to give upcoming musicians.<\/strong><br \/>\nCharlie Parker\u2019s advice is a great starting point. If I were to add to it, I\u2019d say: learn and get really good at running music software on computers. Also, look at the modern day music field in its entirety. It\u2019s grown considerably over the years, and there is a lot available in terms of direction and career. These days, there are seemingly no limits and everything is easily acquired online. YouTube is a huge resource.<\/p>\n<p><strong>Any advice you\u2019d give your 17-year old self?<\/strong><br \/>\nOne that\u2019s served me well is remain curious and open-minded. There are no boundaries, no end to the journey in music. Just last summer I took an \u201cInstrumentation & Orchestration\u201d course at UCLA. I learned so much in taking that class that in the experience\u2014it piqued my curiosity in this field even more than before. I never could have imagined that interest when I was younger.<\/p>\n<p><strong>What\u2019s next?<\/strong><br \/>\nRenee and I are planning to give performances with the music from <em>Oasis<\/em> and other songs\u2014as much as we can. Playing for and interacting with audiences is the best. I don\u2019t think that will ever get old for either of us. We also plan to follow up this album with another similar kind of musical presentation. I\u2019m thinking that we may expand the instrumentation in the next recording.<\/p>\n<p><strong>Where can new fans get more info and stay updated?<\/strong><br \/>\n<a href=\"http:\/\/weingartjones.com\/wj\/\">http:\/\/weingartjones.com\/wj\/<\/a><br \/>\n<a href=\"https:\/\/www.facebook.com\/steve.weingart.music\">https:\/\/www.facebook.com\/steve.weingart.music<\/a><br \/>\n<a href=\"https:\/\/www.facebook.com\/Steve-Weingart-135151434074\/\">https:\/\/www.facebook.com\/Steve-Weingart-135151434074\/<\/a><\/p>\n<p><img loading=\"lazy\" class=\"alignnone size-full wp-image-18159\" src=\"https:\/\/mmusicmag.com\/m\/wp-content\/uploads\/2018\/01\/Steve-Weingart-1.jpg\" alt=\"\" width=\"660\" height=\"990\" srcset=\"https:\/\/mmusicmag.com\/m\/wp-content\/uploads\/2018\/01\/Steve-Weingart-1.jpg 660w, https:\/\/mmusicmag.com\/m\/wp-content\/uploads\/2018\/01\/Steve-Weingart-1-200x300.jpg 200w, https:\/\/mmusicmag.com\/m\/wp-content\/uploads\/2018\/01\/Steve-Weingart-1-300x450.jpg 300w\" sizes=\"(max-width: 660px) 100vw, 660px\" \/><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Video Feature & Web-Exclusive Interview Musician:\u00a0 STEVE WEINGART Video:\u00a0 \u201cSmile\u201d STEVE WEINGART & RENEE JONES DEBUT NEW ALBUM OASIS AT 2018 WINTER NAMM \ufeff Steve Weingart\u2019s musical journey began when his parents recognized his gift at the age of three, and sought out the best piano teacher in their home town of Dayton, Ohio. A […]<\/p>\n","protected":false},"author":1,"featured_media":18157,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":[],"categories":[7725],"tags":[10639,10640,10641,9562,6271,10642,10643,8416,1485,10644,8419,8757,2601,10645,10467,10646,9625,7423,10647,2741,8326,10648,10649,10650,10651,10652,10653,8578,10654,10656,10655,4153,10657,10658,10659,10660,10661,10662,3990,10663,7800,10090,10664,10665,10666,988,10667,3359,7805,272,9278,10668,7692,10669,10670,10161,7566,10672,3010,5031,2121,5958,7978,8711,4142,10673,10671,10674,6811,2317,10675,10676,10677,10678,10679,7460,5845,9297,10680,10681,10682,10683,6458,10684,10686,10685,10687,10688,10689,999,1707,7459,10690,10691,10692,10693,4767,8736,10694,10695,7930,10696,5212,10697,5960,8741,10698,10699,7260,10700,7982,10701],"_links":{"self":[{"href":"https:\/\/mmusicmag.com\/m\/wp-json\/wp\/v2\/posts\/18155"}],"collection":[{"href":"https:\/\/mmusicmag.com\/m\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/mmusicmag.com\/m\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/mmusicmag.com\/m\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/mmusicmag.com\/m\/wp-json\/wp\/v2\/comments?post=18155"}],"version-history":[{"count":4,"href":"https:\/\/mmusicmag.com\/m\/wp-json\/wp\/v2\/posts\/18155\/revisions"}],"predecessor-version":[{"id":18169,"href":"https:\/\/mmusicmag.com\/m\/wp-json\/wp\/v2\/posts\/18155\/revisions\/18169"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/mmusicmag.com\/m\/wp-json\/wp\/v2\/media\/18157"}],"wp:attachment":[{"href":"https:\/\/mmusicmag.com\/m\/wp-json\/wp\/v2\/media?parent=18155"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/mmusicmag.com\/m\/wp-json\/wp\/v2\/categories?post=18155"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/mmusicmag.com\/m\/wp-json\/wp\/v2\/tags?post=18155"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
Video:\u00a0 \u201cSmile<\/strong>\u201d<\/p>\nSTEVE WEINGART & RENEE JONES DEBUT NEW ALBUM OASIS <\/em>AT 2018 WINTER NAMM<\/strong><\/p>\n<span data-mce-type=\"bookmark\" style=\"display: inline-block; width: 0px; overflow: hidden; line-height: 0;\" class=\"mce_SELRES_start\">\ufeff<\/span><\/iframe><\/p>\n<p>Steve Weingart\u2019s musical journey began when his parents recognized his gift at the age of three, and sought out the best piano teacher in their home town of Dayton, Ohio. A critical foundation of classical studies followed. It allowed him to appreciate the complex compositions of contemporary artists who would ultimately influence his professional career as a composer and keyboard player. Through his future brother-in-law, Steve was introduced to the compelling music of Chicago, Weather Report, Herbie Hancock and Chick Corea. He knew then\u2014that music would be his life.<\/p>\n<p>After high school, Weingart was awarded a full scholarship to The College Conservatory of Music in Cincinnati, Ohio\u2014where he was introduced to the world of improvisation. It was the beginning of a professional career, spanning virtually every musical possibility, as he began getting noticed around the local jazz scene. He spent a few years touring the world with Dave Weckl\u2019s band in addition to writing and co-writing songs for numerous albums including <em>Transition<\/em>, <em>Perpetual Motion<\/em>, <em>Live (and Very Plugged In)<\/em>, and <em>Multiplicity<\/em>.<\/p>\n<p><img loading=\"lazy\" class=\"alignnone size-full wp-image-18168\" src=\"https:\/\/mmusicmag.com\/m\/wp-content\/uploads\/2018\/01\/Steve-Weingart-5-1.jpg\" alt=\"\" width=\"660\" height=\"440\" srcset=\"https:\/\/mmusicmag.com\/m\/wp-content\/uploads\/2018\/01\/Steve-Weingart-5-1.jpg 660w, https:\/\/mmusicmag.com\/m\/wp-content\/uploads\/2018\/01\/Steve-Weingart-5-1-300x200.jpg 300w\" sizes=\"(max-width: 660px) 100vw, 660px\" \/><\/p>\n<p>Weingart became widely known for his work with Steve \u201cLuke\u201d Lukather (Toto) on <em>El Grupo<\/em>, then touring Japan and Europe to wide acclaim and releasing <em>El Grupo\u2014Live<\/em>. Luke invited Weingart to play a few tracks of <em>Ever Changing Times<\/em>\u2014which led to becoming Luke\u2019s live performance Music Director. After successful touring they returned to the studio to record Luke\u2019s <em>All\u2019s Well That Ends Well<\/em> (2010) and <em>Transition<\/em> (2013). The follow-up tours to both albums included Weingart\u2019s wife, Renee Jones, on bass and vocals, and Eric Valentine on drums.<\/p>\n<p>Other notable projects of Weingart with Luke included a tour of Asia in the spring of 2010 with Soul Bop (Randy Brecker, Bill Evans, Robben Ford, Darryl Jones and Rodney Holmes), the 40th Anniversary of The Baked Potato jazz club (Vinnie Colaiuta and Tal Wilkenfeld), an autumn European tour with Goodfellas (Kenny Aronoff, and Fabrizio Grossi), and a January 2011 New York City appearance with Toxic Monkey (Bill Evans, Will Lee and Keith Carlock).<\/p>\n<p>Weingart\u2019s 2011 <em>Dialogue <\/em>showcased some of his best instrumental composing, co-written with Jones, who played bass on the entire project. Other notable associations include co-producer and drummer, Simon Phillips (Toto, Jeff Beck, The Who, Stanley Clarke).<\/p>\n<p>Weingart and Jones\u2019 2012 <em>Observatory<\/em> was a potent mixture of compositional risk, a refined sonic palette and superb musical craftsmanship. Their new album <em>Oasis<\/em> evolved after working with Casio\u2014a leader in keyboard technology. We talked with Steve Weingart about his passion for composing, playing live, the musicians who influenced him, and the importance of music education.<\/p>\n<p><strong>STEVE WEINGART\u00a0<\/strong>Web-Exclusive Interview with\u00a0<strong><br \/>\n<em>M Music & Musicians<\/em>\u00a0<\/strong>magazine publisher,<strong>\u00a0Merlin David \u00a0\u00a0<\/strong><\/p>\n<p><strong>How did the new album, <em>Oasis<\/em>, evolve?<\/strong><br \/>\nIt came about through a combination of events. Casio had developed the new GP-500 Grand Hybrid Piano, and I had an opportunity to play it. It was such an engaging and authentic piano-playing experience, it compelled me to practice as I did when I was younger.<\/p>\n<p><strong>What was so compelling?<\/strong><br \/>\nI felt the desire to explore the acoustic piano again\u2014after so many years of playing electric instruments in rock, fusion and progressive bands. But the most decisive part was being invited by Casio to give a master class and perform at the Museum of Making Music in Carlsbad, CA (near San Diego) to premiere the GP-500 at the opening of the Casio exhibit. On planning the repertoire for the performance, I thought it would be fun to have my wife, Renee, sing a few tunes with me. When we performed, the response was so overwhelming that I decided this is something we needed to share with everyone. That pretty much decided the direction of <em>Oasis<\/em>.<\/p>\n<p><strong>Did you compose all the music?<\/strong><br \/>\nWhen it came to composing and choosing the material for the album, we decided to record a few covers that had personal meaning to us. The rest of the music is original. Our goal was to model the feeling and pacing after one of our favorite albums, <em>Nancy Wilson\/Cannonball Adderley<\/em> [Capitol, 1962]. Both Renee and I love the sweetness and innocence of that period of music, so we tried to spin in that direction.<\/p>\n<p><strong>Is there a song you are especially glad made it onto this album?<\/strong><br \/>\nRenee may have another answer, but for me the song \u201cCruising Down the River,\u201d even though it is a cover, has special meaning. My parents always liked that song, and on a recent visit home I heard them singing it. It was sweet to hear them singing it as I imagined there must be a lot of memories for them in that song. I felt it would be a fitting tribute to perform it on the album. When Renee sang it, it really felt special and unique to me.<\/p>\n<p><strong>Tell us about one of the other songs?<\/strong><br \/>\n\u201cRay & Ruth\u201d is dedicated to the memory of a sweet older couple, our neighbors in California. They had an amazing history and were always so happy and upbeat, positive people. Renee and I would see them out strolling in the neighborhood quite often, and their pace and demeanor were something that originally inspired this piece.<\/p>\n<p><strong><img loading=\"lazy\" class=\"alignnone size-full wp-image-18166\" src=\"https:\/\/mmusicmag.com\/m\/wp-content\/uploads\/2018\/01\/Steve-Weingart-cover.jpg\" alt=\"\" width=\"660\" height=\"599\" srcset=\"https:\/\/mmusicmag.com\/m\/wp-content\/uploads\/2018\/01\/Steve-Weingart-cover.jpg 660w, https:\/\/mmusicmag.com\/m\/wp-content\/uploads\/2018\/01\/Steve-Weingart-cover-300x272.jpg 300w\" sizes=\"(max-width: 660px) 100vw, 660px\" \/>Tell us about your creative process.<\/strong><br \/>\nI\u2019d say I\u2019m a little more a composer than a songwriter. I am always humbled when discussing my abilities in composing and songwriting. There are so many masters throughout our history, and there is so much yet for me to learn and experience. I have always been interested in making up songs\u2014starting when I was five years old. I have never formally studied composition, but have always studied (and still do) composers. I still read and research as much as I can.<\/p>\n<p><strong>How did you compose for this album?<\/strong><br \/>\nI knew what I wanted the final presentation to represent\u2014based upon our performance at the museum. Having that idea, I simply sat down at the Casio GP-500 and began improvising. I was able to record myself, go back and listen. I would then take the good bits and develop them. It was quite challenging because I have never written for solo piano. A lot of my composing up to this point has involved a band of some kind. The presentation of solo piano required almost all new thinking to me with my left hand in the accompaniment function. This in turn, created new ideas and melodies and chord development. In almost all the songs, I had to at some point stop myself and let the music live and breathe\u2014otherwise I\u2019d still be composing. (<em>Laughs<\/em>) It was a very interesting journey, and as things evolved, I found myself really enjoying this new direction. It really has been, and continues to be, surprising to me. I feel a full circle effect\u2014since I started out as a classical pianist.<\/p>\n<p><strong>Who inspired you to compose music?<\/strong><br \/>\nThis may seem like an eclectic response, but the short list includes Chopin, Beethoven, Maurice Ravel, Claude Debussy, Alexander Scriabin, Dmitri Shostakovich, George & Ira Gershwin, Bill Evans, Wayne Shorter, and probably the most influential would be Joe Zawinul.<\/p>\n<p><strong>Give us some examples of specific songs.<\/strong><br \/>\nA good example of Zawinul\u2019s influence can be found on \u201cThe Stafford Stomp.\u201d Joe could play blues and swing like a demon with his left hand. George and Ira Gershwin were a big songwriting inspiration to both Renee and me on songs like \u201cSecond Thoughts\u2026\u201d and \u201cWhatcha Wanna Do?\u201d Ravel, Shostakovich and Debussy\u2019s influence were a big presence in the development of \u201cReflections\u201d and \u201cDaydream.\u201d Another specific example would be in the arranging process of Debussy\u2019s influence in our version of Charlie Chaplin\u2019s \u201cSmile.\u201d<\/p>\n<p><strong>What composing tip would you like to offer?<\/strong><br \/>\nI\u2019ll preface this with the caveat that I never formally studied composition. With that in mind,\u00a0the best advice would be: <em>don\u2019t be afraid to experiment and explore<\/em>. Sometimes even mistakes are a great thing to have happen. I learned about experimenting and exploring in theory many years ago\u2014by reading interviews in magazines and then seeing videos. The depth of the concept didn\u2019t really strike me in reality until I thoroughly experienced it and realized it in hindsight.<\/p>\n<p><img loading=\"lazy\" class=\"alignnone size-full wp-image-18165\" src=\"https:\/\/mmusicmag.com\/m\/wp-content\/uploads\/2018\/01\/Steve-Weingart-9.jpg\" alt=\"\" width=\"660\" height=\"440\" srcset=\"https:\/\/mmusicmag.com\/m\/wp-content\/uploads\/2018\/01\/Steve-Weingart-9.jpg 660w, https:\/\/mmusicmag.com\/m\/wp-content\/uploads\/2018\/01\/Steve-Weingart-9-300x200.jpg 300w\" sizes=\"(max-width: 660px) 100vw, 660px\" \/><\/p>\n<p><strong>Give us an example.<\/strong><br \/>\nIn my experience as a teacher and counselor over the years, I\u2019ve seen many people evolve from being freed of the fear or free from rules in experimenting and exploring. There is no one way of accomplishing the mission. We all are different from one another in our thinking and perceptions. Although educational institutions have developed studies in analysis, methods and processes over the years, the best we can do for ourselves is to learn as much (or as little) as necessary to spark inspiration. When it comes to music\u2014there is no right way or incorrect way.<\/p>\n<p><strong>Tell us one experience where something unique inspired a composition.<\/strong><br \/>\n\u201cThe Stafford Stomp\u201d is a favorite and a challenge to perform. The fun stories I\u2019ve heard about Grandpa Stafford from Renee\u2019s family, and what I imagined it must have been like being there, made this song what it became. Music was and is a strong presence in Renee\u2019s family. Her grandparents always made sure they had popular records of the day when the family would visit them. Renee showed me how he used to dance, and told me about things he did that made them laugh. That little slice of fun in their memories sent my imagination to family gatherings, friends hanging out and a piano player in the corner grooving hard. (<em>Laughs<\/em>)<\/p>\n<p><strong>How does co-writing inform your music?<\/strong><br \/>\nCo-writing is always a different experience for me\u2014with each song and person. Writing with Dave Weckl, who has a strong feeling for what the groove should be, we\u2019d spend time together just improvising with ideas. A lot of songs I wrote with him came about in that manner. Sometimes, even I would suggest some rhythms or turns in phrasing. He would often sing me phrases or ideas. After we jammed with some ideas, we\u2019d experiment and develop them. He also has a great sense of organization. He\u2019s able to listen to sections of a piece and arrange the flow from start to finish. I learned a lot from him.<\/p>\n<p><strong>Tell us about writing with Steve Lukather?<\/strong><br \/>\nWhen it came to collaboration with Luke, it was an entirely different approach. We\u2019re both playing melodic, chordal instruments, so it took giving space and sometimes letting one guy run with an idea. When something would come together, he\u2019d occasionally ask me to add some <em>adult chords<\/em>\u2014one of my favorite Luke phrases (<em>laughs<\/em>) to add a different spice. In some cases, that would lead to another section of a song.<\/p>\n<p><img loading=\"lazy\" class=\"alignnone size-full wp-image-18164\" src=\"https:\/\/mmusicmag.com\/m\/wp-content\/uploads\/2018\/01\/Steve-Weingart-8.jpg\" alt=\"\" width=\"660\" height=\"440\" srcset=\"https:\/\/mmusicmag.com\/m\/wp-content\/uploads\/2018\/01\/Steve-Weingart-8.jpg 660w, https:\/\/mmusicmag.com\/m\/wp-content\/uploads\/2018\/01\/Steve-Weingart-8-300x200.jpg 300w\" sizes=\"(max-width: 660px) 100vw, 660px\" \/><\/p>\n<p><strong>Sounds like a nice collaboration.<\/strong><br \/>\nMy main plan, with whomever I worked with, was to quickly find the balance of coming forward with ideas and listening to what was coming my way. In the ideal situation, it\u2019s a very conversational experience.<\/p>\n<p><strong>Which instruments\/equipment can you\u00a0<em>not<\/em>\u00a0live without?<\/strong><br \/>\nAs I\u2019ve progressed in composing, I\u2019ve started relying more on my computer. I\u2019ve written songs in the past with pencil and paper, but in an improvisational approach to composing, that can be very time-consuming and stifling. My first computer, I think it was 1995, was an Apple. At that time, one of the only programs available was MOTU\u2019s Performer (before Digital Performer came out). It\u2019s a great tool and worked so well for me back then. I\u2019ve grown with the program as it\u2019s progressed. To this day, I always use it to write because I know it so well and it\u2019s really convenient. When it comes to getting the ideas into Digital Performer, I use my Casio GP-500 or the Privia PX-5S. I recorded our album, <em>Oasis<\/em>, in Digital Performer with the GP-500, and it was a great experience.<\/p>\n<p><strong>What is so special about the PX-5S?<\/strong><br \/>\nThe Casio Privia PX-5S is a keyboardist\u2019s live performance and studio instrument\u00a0dream in reality. It is simply one of the best sounding and best feeling instruments I\u2019ve played. I can rave for a long time about the internal sounds and its programming flexibility. In addition, the MIDI\/USB programming potential in this keyboard far exceeds typical use. I like that they planned it that way because its future with DAWs, plug-ins, iPad apps, etc. is not finite. It is seriously a pro musician\u2019s instrument that can also be enjoyed and easily used by beginners.<\/p>\n<p><img loading=\"lazy\" class=\"alignnone size-full wp-image-18163\" src=\"https:\/\/mmusicmag.com\/m\/wp-content\/uploads\/2018\/01\/Steve-Weingart-7.jpg\" alt=\"\" width=\"660\" height=\"1103\" srcset=\"https:\/\/mmusicmag.com\/m\/wp-content\/uploads\/2018\/01\/Steve-Weingart-7.jpg 660w, https:\/\/mmusicmag.com\/m\/wp-content\/uploads\/2018\/01\/Steve-Weingart-7-180x300.jpg 180w, https:\/\/mmusicmag.com\/m\/wp-content\/uploads\/2018\/01\/Steve-Weingart-7-613x1024.jpg 613w, https:\/\/mmusicmag.com\/m\/wp-content\/uploads\/2018\/01\/Steve-Weingart-7-300x501.jpg 300w\" sizes=\"(max-width: 660px) 100vw, 660px\" \/><\/p>\n<p><strong>Are some musicians surprised about the expertise level of Casio keyboards?<\/strong><br \/>\nI\u2019m always hearing people tell me they didn\u2019t know Casio is such a contender on a professional level. Admittedly, when I was invited to audition the PX-5S at a NAMM show a few years ago, I didn\u2019t expect what happened. A big \u201cthank you\u201d to Hiroki Sato and Mike Martin at Casio for the invite. I always enjoy witnessing the surprised reactions from people in clinics and workshops. I\u2019m hopeful that they\u2019ll be inspired to continue on their music journey.<\/p>\n<p><strong>Is music education important?<\/strong><br \/>\nMusic education is super important. I was fortunate to have had really good, patient and nurturing teachers in my earlier years. There is a special element in the great educators that\u2019s really inspiring. When I went to CCM [University of Cincinnati College-Conservatory of Music], I was lucky to meet one of my teachers, Pat Harbison. He\u2019s definitely got a big measure of that special element. I credit him for opening my eyes to jazz theory and the true beginning of my improvisational journey. Everything about that time period and the environment he created was exciting, progressive and forward thinking. It was Pat that made music fun and interactive for me\u2014more so than my previous experience of rote repetition and technical practice\u2014not that there\u2019s anything wrong with that. (<em>Laughs<\/em>)<\/p>\n<p><strong>Were there others who helped you learn?<\/strong><br \/>\nMy friend, Victor Wooten. He\u2019s another cat that\u2019s got that special element\u2014in a big way. When he asked me to do some tours with him a few years ago, I had no idea it would be such a learning experience\u2014as well as a fun and burning playing experience. I knew him as an amazing bassist, but he\u2019s much more than that. I\u2019d consider Victor a modern day renaissance man. He can do a lot of things, including teaching, and do it all proficiently, at a very high level. He\u2019s developed Wooten Woods outside of Nashville, TN where he offers among many other things: nature, music and music theory camps. Victor asked me to be a teacher\/counselor on a couple of occasions. In each case, I ended up as much a student as a teacher. I love a personal and musically spiritual approach. I appreciate the developed scholastic institutional approach. In the art of music, I believe there are so many ways to approach it and touch a person\u2014we shouldn\u2019t limit ourselves. Victor has definitely taken it to another level in his camps.<\/p>\n<p> <\/p>\n<p><strong>Top 5 Musicians\u00a0who inspired you to become a musician?<\/strong><br \/>\nEdvard Grieg, Joe Zawinul & Wayne Shorter of Weather Report, Chicago, Herbie Hancock, Steely Dan.<\/p>\n<p><strong>Top 5 favorite albums of all time?<\/strong><br \/>\n<em>Nancy Wilson\/Cannonball Adderley<\/em> (1962) \u2013 Nancy Wilson & Cannonball Adderley<br \/>\n<em>Black Market<\/em> (1976) \u2013 Weather Report<br \/>\n<em>Mysterious Traveller<\/em> (1974) \u2013 Weather Report<br \/>\n<em>Cookin\u2019 with the Miles Davis Quintet<\/em> (1957) \u2013 Miles Davis<br \/>\n<em>Relaxin\u2019 with the Miles Davis Quintet<\/em> (1958) \u2013 Miles Davis<br \/>\n<em>The Chicago Transit Authority<\/em> (1969) \u2013 Chicago<\/p>\n<p><strong>What PRO (Performing Rights Organization) are you with?<\/strong><br \/>\nI\u2019m with ASCAP. They definitely help keep track of my compositions and they are an invaluable resource in music biz questions and concerns.<\/p>\n<p><strong>Tell us a \u201cpinch me\u201d moment where you said, \u201c<em>Wow, this is really happening to me!<\/em>\u201d<\/strong><br \/>\nThis has happened a lot over the years, with many amazing musicians. I count myself very fortunate. And man, have I had some experiences. (<em>Laughs<\/em>) I recently played in Dave Sanborn\u2019s band, and we did a short residency at the Blue Note in Hawaii. I couldn\u2019t help but remember playing his music, a lot, in my younger days in Cincinnati. During our shows in Hawaii I\u2019d look up and see him smiling, and that gave me a big charge.<\/p>\n<p><img loading=\"lazy\" class=\"alignnone size-full wp-image-18161\" src=\"https:\/\/mmusicmag.com\/m\/wp-content\/uploads\/2018\/01\/Steve-Weingart-2.jpg\" alt=\"\" width=\"660\" height=\"440\" srcset=\"https:\/\/mmusicmag.com\/m\/wp-content\/uploads\/2018\/01\/Steve-Weingart-2.jpg 660w, https:\/\/mmusicmag.com\/m\/wp-content\/uploads\/2018\/01\/Steve-Weingart-2-300x200.jpg 300w\" sizes=\"(max-width: 660px) 100vw, 660px\" \/><\/p>\n<p><strong>Why is performing in Asia so special\u2014especially for jazz musicians?<\/strong><br \/>\nThere is simply a deep appreciation and respect for musicians and music. I\u2019m always so grateful to experience being in that region of the world for this very reason.<\/p>\n<p><strong>Do you remember the first time you heard one of your songs on the radio?<\/strong><br \/>\nI remember recently Renee and I heard our song \u201cTime Will Tell\u201d from our <em>Observatory <\/em>album on an indie internet station. It was really cool, and a fun thing to hear it pop up unexpectedly.<\/p>\n<p>I\u2019d had a few previous experiences hearing some of my tunes or collaborations on the car radio. A couple of times I remember thinking as I was driving \u201cHey, this sounds <em>really<\/em> familiar!\u201d (<em>Laughs<\/em>)<\/p>\n<p><strong>Best advice someone has given you.<\/strong><br \/>\nWhenever the subject of advice comes up, I always think of my college teacher, Pat Harbison. It was through him that I heard the legendary quote from Charlie Parker: \u201cYou’ve got to learn your instrument. Then, you practice, practice, practice. And then, when you finally get up there on the bandstand, forget all that and just wail.\u201d It took me a long time to make sense of what Bird meant in that statement. Even now I\u2019m not sure I\u2019ve actually come to the full meaning. I think there\u2019s more to it than what\u2019s at the surface. To me, \u2018learning your instrument\u2019 never seems to reach completion. I tried to expand on his thoughts, replaced the word <em>practice <\/em>with <em>study<\/em>, <em>compose<\/em>, <em>listen<\/em>, <em>read<\/em>, etc<em>. <\/em>It\u2019s easily a lifetime in curiosity and development, but I think we do the best we can with what we\u2019ve got at any point in time.<\/p>\n<p><img loading=\"lazy\" class=\"alignnone size-full wp-image-18160\" src=\"https:\/\/mmusicmag.com\/m\/wp-content\/uploads\/2018\/01\/Steve-Weingart-3.jpg\" alt=\"\" width=\"660\" height=\"440\" srcset=\"https:\/\/mmusicmag.com\/m\/wp-content\/uploads\/2018\/01\/Steve-Weingart-3.jpg 660w, https:\/\/mmusicmag.com\/m\/wp-content\/uploads\/2018\/01\/Steve-Weingart-3-300x200.jpg 300w\" sizes=\"(max-width: 660px) 100vw, 660px\" \/><\/p>\n<p><strong>Best advice you\u2019d like to give upcoming musicians.<\/strong><br \/>\nCharlie Parker\u2019s advice is a great starting point. If I were to add to it, I\u2019d say: learn and get really good at running music software on computers. Also, look at the modern day music field in its entirety. It\u2019s grown considerably over the years, and there is a lot available in terms of direction and career. These days, there are seemingly no limits and everything is easily acquired online. YouTube is a huge resource.<\/p>\n<p><strong>Any advice you\u2019d give your 17-year old self?<\/strong><br \/>\nOne that\u2019s served me well is remain curious and open-minded. There are no boundaries, no end to the journey in music. Just last summer I took an \u201cInstrumentation & Orchestration\u201d course at UCLA. I learned so much in taking that class that in the experience\u2014it piqued my curiosity in this field even more than before. I never could have imagined that interest when I was younger.<\/p>\n<p><strong>What\u2019s next?<\/strong><br \/>\nRenee and I are planning to give performances with the music from <em>Oasis<\/em> and other songs\u2014as much as we can. Playing for and interacting with audiences is the best. I don\u2019t think that will ever get old for either of us. We also plan to follow up this album with another similar kind of musical presentation. I\u2019m thinking that we may expand the instrumentation in the next recording.<\/p>\n<p><strong>Where can new fans get more info and stay updated?<\/strong><br \/>\n<a href=\"http:\/\/weingartjones.com\/wj\/\">http:\/\/weingartjones.com\/wj\/<\/a><br \/>\n<a href=\"https:\/\/www.facebook.com\/steve.weingart.music\">https:\/\/www.facebook.com\/steve.weingart.music<\/a><br \/>\n<a href=\"https:\/\/www.facebook.com\/Steve-Weingart-135151434074\/\">https:\/\/www.facebook.com\/Steve-Weingart-135151434074\/<\/a><\/p>\n<p><img loading=\"lazy\" class=\"alignnone size-full wp-image-18159\" src=\"https:\/\/mmusicmag.com\/m\/wp-content\/uploads\/2018\/01\/Steve-Weingart-1.jpg\" alt=\"\" width=\"660\" height=\"990\" srcset=\"https:\/\/mmusicmag.com\/m\/wp-content\/uploads\/2018\/01\/Steve-Weingart-1.jpg 660w, https:\/\/mmusicmag.com\/m\/wp-content\/uploads\/2018\/01\/Steve-Weingart-1-200x300.jpg 200w, https:\/\/mmusicmag.com\/m\/wp-content\/uploads\/2018\/01\/Steve-Weingart-1-300x450.jpg 300w\" sizes=\"(max-width: 660px) 100vw, 660px\" \/><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Video Feature & Web-Exclusive Interview Musician:\u00a0 STEVE WEINGART Video:\u00a0 \u201cSmile\u201d STEVE WEINGART & RENEE JONES DEBUT NEW ALBUM OASIS AT 2018 WINTER NAMM \ufeff Steve Weingart\u2019s musical journey began when his parents recognized his gift at the age of three, and sought out the best piano teacher in their home town of Dayton, Ohio. A […]<\/p>\n","protected":false},"author":1,"featured_media":18157,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":[],"categories":[7725],"tags":[10639,10640,10641,9562,6271,10642,10643,8416,1485,10644,8419,8757,2601,10645,10467,10646,9625,7423,10647,2741,8326,10648,10649,10650,10651,10652,10653,8578,10654,10656,10655,4153,10657,10658,10659,10660,10661,10662,3990,10663,7800,10090,10664,10665,10666,988,10667,3359,7805,272,9278,10668,7692,10669,10670,10161,7566,10672,3010,5031,2121,5958,7978,8711,4142,10673,10671,10674,6811,2317,10675,10676,10677,10678,10679,7460,5845,9297,10680,10681,10682,10683,6458,10684,10686,10685,10687,10688,10689,999,1707,7459,10690,10691,10692,10693,4767,8736,10694,10695,7930,10696,5212,10697,5960,8741,10698,10699,7260,10700,7982,10701],"_links":{"self":[{"href":"https:\/\/mmusicmag.com\/m\/wp-json\/wp\/v2\/posts\/18155"}],"collection":[{"href":"https:\/\/mmusicmag.com\/m\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/mmusicmag.com\/m\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/mmusicmag.com\/m\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/mmusicmag.com\/m\/wp-json\/wp\/v2\/comments?post=18155"}],"version-history":[{"count":4,"href":"https:\/\/mmusicmag.com\/m\/wp-json\/wp\/v2\/posts\/18155\/revisions"}],"predecessor-version":[{"id":18169,"href":"https:\/\/mmusicmag.com\/m\/wp-json\/wp\/v2\/posts\/18155\/revisions\/18169"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/mmusicmag.com\/m\/wp-json\/wp\/v2\/media\/18157"}],"wp:attachment":[{"href":"https:\/\/mmusicmag.com\/m\/wp-json\/wp\/v2\/media?parent=18155"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/mmusicmag.com\/m\/wp-json\/wp\/v2\/categories?post=18155"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/mmusicmag.com\/m\/wp-json\/wp\/v2\/tags?post=18155"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
STEVE WEINGART & RENEE JONES DEBUT NEW ALBUM OASIS <\/em>AT 2018 WINTER NAMM<\/strong><\/p>\n<span data-mce-type=\"bookmark\" style=\"display: inline-block; width: 0px; overflow: hidden; line-height: 0;\" class=\"mce_SELRES_start\">\ufeff<\/span><\/iframe><\/p>\n<p>Steve Weingart\u2019s musical journey began when his parents recognized his gift at the age of three, and sought out the best piano teacher in their home town of Dayton, Ohio. A critical foundation of classical studies followed. It allowed him to appreciate the complex compositions of contemporary artists who would ultimately influence his professional career as a composer and keyboard player. Through his future brother-in-law, Steve was introduced to the compelling music of Chicago, Weather Report, Herbie Hancock and Chick Corea. He knew then\u2014that music would be his life.<\/p>\n<p>After high school, Weingart was awarded a full scholarship to The College Conservatory of Music in Cincinnati, Ohio\u2014where he was introduced to the world of improvisation. It was the beginning of a professional career, spanning virtually every musical possibility, as he began getting noticed around the local jazz scene. He spent a few years touring the world with Dave Weckl\u2019s band in addition to writing and co-writing songs for numerous albums including <em>Transition<\/em>, <em>Perpetual Motion<\/em>, <em>Live (and Very Plugged In)<\/em>, and <em>Multiplicity<\/em>.<\/p>\n<p><img loading=\"lazy\" class=\"alignnone size-full wp-image-18168\" src=\"https:\/\/mmusicmag.com\/m\/wp-content\/uploads\/2018\/01\/Steve-Weingart-5-1.jpg\" alt=\"\" width=\"660\" height=\"440\" srcset=\"https:\/\/mmusicmag.com\/m\/wp-content\/uploads\/2018\/01\/Steve-Weingart-5-1.jpg 660w, https:\/\/mmusicmag.com\/m\/wp-content\/uploads\/2018\/01\/Steve-Weingart-5-1-300x200.jpg 300w\" sizes=\"(max-width: 660px) 100vw, 660px\" \/><\/p>\n<p>Weingart became widely known for his work with Steve \u201cLuke\u201d Lukather (Toto) on <em>El Grupo<\/em>, then touring Japan and Europe to wide acclaim and releasing <em>El Grupo\u2014Live<\/em>. Luke invited Weingart to play a few tracks of <em>Ever Changing Times<\/em>\u2014which led to becoming Luke\u2019s live performance Music Director. After successful touring they returned to the studio to record Luke\u2019s <em>All\u2019s Well That Ends Well<\/em> (2010) and <em>Transition<\/em> (2013). The follow-up tours to both albums included Weingart\u2019s wife, Renee Jones, on bass and vocals, and Eric Valentine on drums.<\/p>\n<p>Other notable projects of Weingart with Luke included a tour of Asia in the spring of 2010 with Soul Bop (Randy Brecker, Bill Evans, Robben Ford, Darryl Jones and Rodney Holmes), the 40th Anniversary of The Baked Potato jazz club (Vinnie Colaiuta and Tal Wilkenfeld), an autumn European tour with Goodfellas (Kenny Aronoff, and Fabrizio Grossi), and a January 2011 New York City appearance with Toxic Monkey (Bill Evans, Will Lee and Keith Carlock).<\/p>\n<p>Weingart\u2019s 2011 <em>Dialogue <\/em>showcased some of his best instrumental composing, co-written with Jones, who played bass on the entire project. Other notable associations include co-producer and drummer, Simon Phillips (Toto, Jeff Beck, The Who, Stanley Clarke).<\/p>\n<p>Weingart and Jones\u2019 2012 <em>Observatory<\/em> was a potent mixture of compositional risk, a refined sonic palette and superb musical craftsmanship. Their new album <em>Oasis<\/em> evolved after working with Casio\u2014a leader in keyboard technology. We talked with Steve Weingart about his passion for composing, playing live, the musicians who influenced him, and the importance of music education.<\/p>\n<p><strong>STEVE WEINGART\u00a0<\/strong>Web-Exclusive Interview with\u00a0<strong><br \/>\n<em>M Music & Musicians<\/em>\u00a0<\/strong>magazine publisher,<strong>\u00a0Merlin David \u00a0\u00a0<\/strong><\/p>\n<p><strong>How did the new album, <em>Oasis<\/em>, evolve?<\/strong><br \/>\nIt came about through a combination of events. Casio had developed the new GP-500 Grand Hybrid Piano, and I had an opportunity to play it. It was such an engaging and authentic piano-playing experience, it compelled me to practice as I did when I was younger.<\/p>\n<p><strong>What was so compelling?<\/strong><br \/>\nI felt the desire to explore the acoustic piano again\u2014after so many years of playing electric instruments in rock, fusion and progressive bands. But the most decisive part was being invited by Casio to give a master class and perform at the Museum of Making Music in Carlsbad, CA (near San Diego) to premiere the GP-500 at the opening of the Casio exhibit. On planning the repertoire for the performance, I thought it would be fun to have my wife, Renee, sing a few tunes with me. When we performed, the response was so overwhelming that I decided this is something we needed to share with everyone. That pretty much decided the direction of <em>Oasis<\/em>.<\/p>\n<p><strong>Did you compose all the music?<\/strong><br \/>\nWhen it came to composing and choosing the material for the album, we decided to record a few covers that had personal meaning to us. The rest of the music is original. Our goal was to model the feeling and pacing after one of our favorite albums, <em>Nancy Wilson\/Cannonball Adderley<\/em> [Capitol, 1962]. Both Renee and I love the sweetness and innocence of that period of music, so we tried to spin in that direction.<\/p>\n<p><strong>Is there a song you are especially glad made it onto this album?<\/strong><br \/>\nRenee may have another answer, but for me the song \u201cCruising Down the River,\u201d even though it is a cover, has special meaning. My parents always liked that song, and on a recent visit home I heard them singing it. It was sweet to hear them singing it as I imagined there must be a lot of memories for them in that song. I felt it would be a fitting tribute to perform it on the album. When Renee sang it, it really felt special and unique to me.<\/p>\n<p><strong>Tell us about one of the other songs?<\/strong><br \/>\n\u201cRay & Ruth\u201d is dedicated to the memory of a sweet older couple, our neighbors in California. They had an amazing history and were always so happy and upbeat, positive people. Renee and I would see them out strolling in the neighborhood quite often, and their pace and demeanor were something that originally inspired this piece.<\/p>\n<p><strong><img loading=\"lazy\" class=\"alignnone size-full wp-image-18166\" src=\"https:\/\/mmusicmag.com\/m\/wp-content\/uploads\/2018\/01\/Steve-Weingart-cover.jpg\" alt=\"\" width=\"660\" height=\"599\" srcset=\"https:\/\/mmusicmag.com\/m\/wp-content\/uploads\/2018\/01\/Steve-Weingart-cover.jpg 660w, https:\/\/mmusicmag.com\/m\/wp-content\/uploads\/2018\/01\/Steve-Weingart-cover-300x272.jpg 300w\" sizes=\"(max-width: 660px) 100vw, 660px\" \/>Tell us about your creative process.<\/strong><br \/>\nI\u2019d say I\u2019m a little more a composer than a songwriter. I am always humbled when discussing my abilities in composing and songwriting. There are so many masters throughout our history, and there is so much yet for me to learn and experience. I have always been interested in making up songs\u2014starting when I was five years old. I have never formally studied composition, but have always studied (and still do) composers. I still read and research as much as I can.<\/p>\n<p><strong>How did you compose for this album?<\/strong><br \/>\nI knew what I wanted the final presentation to represent\u2014based upon our performance at the museum. Having that idea, I simply sat down at the Casio GP-500 and began improvising. I was able to record myself, go back and listen. I would then take the good bits and develop them. It was quite challenging because I have never written for solo piano. A lot of my composing up to this point has involved a band of some kind. The presentation of solo piano required almost all new thinking to me with my left hand in the accompaniment function. This in turn, created new ideas and melodies and chord development. In almost all the songs, I had to at some point stop myself and let the music live and breathe\u2014otherwise I\u2019d still be composing. (<em>Laughs<\/em>) It was a very interesting journey, and as things evolved, I found myself really enjoying this new direction. It really has been, and continues to be, surprising to me. I feel a full circle effect\u2014since I started out as a classical pianist.<\/p>\n<p><strong>Who inspired you to compose music?<\/strong><br \/>\nThis may seem like an eclectic response, but the short list includes Chopin, Beethoven, Maurice Ravel, Claude Debussy, Alexander Scriabin, Dmitri Shostakovich, George & Ira Gershwin, Bill Evans, Wayne Shorter, and probably the most influential would be Joe Zawinul.<\/p>\n<p><strong>Give us some examples of specific songs.<\/strong><br \/>\nA good example of Zawinul\u2019s influence can be found on \u201cThe Stafford Stomp.\u201d Joe could play blues and swing like a demon with his left hand. George and Ira Gershwin were a big songwriting inspiration to both Renee and me on songs like \u201cSecond Thoughts\u2026\u201d and \u201cWhatcha Wanna Do?\u201d Ravel, Shostakovich and Debussy\u2019s influence were a big presence in the development of \u201cReflections\u201d and \u201cDaydream.\u201d Another specific example would be in the arranging process of Debussy\u2019s influence in our version of Charlie Chaplin\u2019s \u201cSmile.\u201d<\/p>\n<p><strong>What composing tip would you like to offer?<\/strong><br \/>\nI\u2019ll preface this with the caveat that I never formally studied composition. With that in mind,\u00a0the best advice would be: <em>don\u2019t be afraid to experiment and explore<\/em>. Sometimes even mistakes are a great thing to have happen. I learned about experimenting and exploring in theory many years ago\u2014by reading interviews in magazines and then seeing videos. The depth of the concept didn\u2019t really strike me in reality until I thoroughly experienced it and realized it in hindsight.<\/p>\n<p><img loading=\"lazy\" class=\"alignnone size-full wp-image-18165\" src=\"https:\/\/mmusicmag.com\/m\/wp-content\/uploads\/2018\/01\/Steve-Weingart-9.jpg\" alt=\"\" width=\"660\" height=\"440\" srcset=\"https:\/\/mmusicmag.com\/m\/wp-content\/uploads\/2018\/01\/Steve-Weingart-9.jpg 660w, https:\/\/mmusicmag.com\/m\/wp-content\/uploads\/2018\/01\/Steve-Weingart-9-300x200.jpg 300w\" sizes=\"(max-width: 660px) 100vw, 660px\" \/><\/p>\n<p><strong>Give us an example.<\/strong><br \/>\nIn my experience as a teacher and counselor over the years, I\u2019ve seen many people evolve from being freed of the fear or free from rules in experimenting and exploring. There is no one way of accomplishing the mission. We all are different from one another in our thinking and perceptions. Although educational institutions have developed studies in analysis, methods and processes over the years, the best we can do for ourselves is to learn as much (or as little) as necessary to spark inspiration. When it comes to music\u2014there is no right way or incorrect way.<\/p>\n<p><strong>Tell us one experience where something unique inspired a composition.<\/strong><br \/>\n\u201cThe Stafford Stomp\u201d is a favorite and a challenge to perform. The fun stories I\u2019ve heard about Grandpa Stafford from Renee\u2019s family, and what I imagined it must have been like being there, made this song what it became. Music was and is a strong presence in Renee\u2019s family. Her grandparents always made sure they had popular records of the day when the family would visit them. Renee showed me how he used to dance, and told me about things he did that made them laugh. That little slice of fun in their memories sent my imagination to family gatherings, friends hanging out and a piano player in the corner grooving hard. (<em>Laughs<\/em>)<\/p>\n<p><strong>How does co-writing inform your music?<\/strong><br \/>\nCo-writing is always a different experience for me\u2014with each song and person. Writing with Dave Weckl, who has a strong feeling for what the groove should be, we\u2019d spend time together just improvising with ideas. A lot of songs I wrote with him came about in that manner. Sometimes, even I would suggest some rhythms or turns in phrasing. He would often sing me phrases or ideas. After we jammed with some ideas, we\u2019d experiment and develop them. He also has a great sense of organization. He\u2019s able to listen to sections of a piece and arrange the flow from start to finish. I learned a lot from him.<\/p>\n<p><strong>Tell us about writing with Steve Lukather?<\/strong><br \/>\nWhen it came to collaboration with Luke, it was an entirely different approach. We\u2019re both playing melodic, chordal instruments, so it took giving space and sometimes letting one guy run with an idea. When something would come together, he\u2019d occasionally ask me to add some <em>adult chords<\/em>\u2014one of my favorite Luke phrases (<em>laughs<\/em>) to add a different spice. In some cases, that would lead to another section of a song.<\/p>\n<p><img loading=\"lazy\" class=\"alignnone size-full wp-image-18164\" src=\"https:\/\/mmusicmag.com\/m\/wp-content\/uploads\/2018\/01\/Steve-Weingart-8.jpg\" alt=\"\" width=\"660\" height=\"440\" srcset=\"https:\/\/mmusicmag.com\/m\/wp-content\/uploads\/2018\/01\/Steve-Weingart-8.jpg 660w, https:\/\/mmusicmag.com\/m\/wp-content\/uploads\/2018\/01\/Steve-Weingart-8-300x200.jpg 300w\" sizes=\"(max-width: 660px) 100vw, 660px\" \/><\/p>\n<p><strong>Sounds like a nice collaboration.<\/strong><br \/>\nMy main plan, with whomever I worked with, was to quickly find the balance of coming forward with ideas and listening to what was coming my way. In the ideal situation, it\u2019s a very conversational experience.<\/p>\n<p><strong>Which instruments\/equipment can you\u00a0<em>not<\/em>\u00a0live without?<\/strong><br \/>\nAs I\u2019ve progressed in composing, I\u2019ve started relying more on my computer. I\u2019ve written songs in the past with pencil and paper, but in an improvisational approach to composing, that can be very time-consuming and stifling. My first computer, I think it was 1995, was an Apple. At that time, one of the only programs available was MOTU\u2019s Performer (before Digital Performer came out). It\u2019s a great tool and worked so well for me back then. I\u2019ve grown with the program as it\u2019s progressed. To this day, I always use it to write because I know it so well and it\u2019s really convenient. When it comes to getting the ideas into Digital Performer, I use my Casio GP-500 or the Privia PX-5S. I recorded our album, <em>Oasis<\/em>, in Digital Performer with the GP-500, and it was a great experience.<\/p>\n<p><strong>What is so special about the PX-5S?<\/strong><br \/>\nThe Casio Privia PX-5S is a keyboardist\u2019s live performance and studio instrument\u00a0dream in reality. It is simply one of the best sounding and best feeling instruments I\u2019ve played. I can rave for a long time about the internal sounds and its programming flexibility. In addition, the MIDI\/USB programming potential in this keyboard far exceeds typical use. I like that they planned it that way because its future with DAWs, plug-ins, iPad apps, etc. is not finite. It is seriously a pro musician\u2019s instrument that can also be enjoyed and easily used by beginners.<\/p>\n<p><img loading=\"lazy\" class=\"alignnone size-full wp-image-18163\" src=\"https:\/\/mmusicmag.com\/m\/wp-content\/uploads\/2018\/01\/Steve-Weingart-7.jpg\" alt=\"\" width=\"660\" height=\"1103\" srcset=\"https:\/\/mmusicmag.com\/m\/wp-content\/uploads\/2018\/01\/Steve-Weingart-7.jpg 660w, https:\/\/mmusicmag.com\/m\/wp-content\/uploads\/2018\/01\/Steve-Weingart-7-180x300.jpg 180w, https:\/\/mmusicmag.com\/m\/wp-content\/uploads\/2018\/01\/Steve-Weingart-7-613x1024.jpg 613w, https:\/\/mmusicmag.com\/m\/wp-content\/uploads\/2018\/01\/Steve-Weingart-7-300x501.jpg 300w\" sizes=\"(max-width: 660px) 100vw, 660px\" \/><\/p>\n<p><strong>Are some musicians surprised about the expertise level of Casio keyboards?<\/strong><br \/>\nI\u2019m always hearing people tell me they didn\u2019t know Casio is such a contender on a professional level. Admittedly, when I was invited to audition the PX-5S at a NAMM show a few years ago, I didn\u2019t expect what happened. A big \u201cthank you\u201d to Hiroki Sato and Mike Martin at Casio for the invite. I always enjoy witnessing the surprised reactions from people in clinics and workshops. I\u2019m hopeful that they\u2019ll be inspired to continue on their music journey.<\/p>\n<p><strong>Is music education important?<\/strong><br \/>\nMusic education is super important. I was fortunate to have had really good, patient and nurturing teachers in my earlier years. There is a special element in the great educators that\u2019s really inspiring. When I went to CCM [University of Cincinnati College-Conservatory of Music], I was lucky to meet one of my teachers, Pat Harbison. He\u2019s definitely got a big measure of that special element. I credit him for opening my eyes to jazz theory and the true beginning of my improvisational journey. Everything about that time period and the environment he created was exciting, progressive and forward thinking. It was Pat that made music fun and interactive for me\u2014more so than my previous experience of rote repetition and technical practice\u2014not that there\u2019s anything wrong with that. (<em>Laughs<\/em>)<\/p>\n<p><strong>Were there others who helped you learn?<\/strong><br \/>\nMy friend, Victor Wooten. He\u2019s another cat that\u2019s got that special element\u2014in a big way. When he asked me to do some tours with him a few years ago, I had no idea it would be such a learning experience\u2014as well as a fun and burning playing experience. I knew him as an amazing bassist, but he\u2019s much more than that. I\u2019d consider Victor a modern day renaissance man. He can do a lot of things, including teaching, and do it all proficiently, at a very high level. He\u2019s developed Wooten Woods outside of Nashville, TN where he offers among many other things: nature, music and music theory camps. Victor asked me to be a teacher\/counselor on a couple of occasions. In each case, I ended up as much a student as a teacher. I love a personal and musically spiritual approach. I appreciate the developed scholastic institutional approach. In the art of music, I believe there are so many ways to approach it and touch a person\u2014we shouldn\u2019t limit ourselves. Victor has definitely taken it to another level in his camps.<\/p>\n<p> <\/p>\n<p><strong>Top 5 Musicians\u00a0who inspired you to become a musician?<\/strong><br \/>\nEdvard Grieg, Joe Zawinul & Wayne Shorter of Weather Report, Chicago, Herbie Hancock, Steely Dan.<\/p>\n<p><strong>Top 5 favorite albums of all time?<\/strong><br \/>\n<em>Nancy Wilson\/Cannonball Adderley<\/em> (1962) \u2013 Nancy Wilson & Cannonball Adderley<br \/>\n<em>Black Market<\/em> (1976) \u2013 Weather Report<br \/>\n<em>Mysterious Traveller<\/em> (1974) \u2013 Weather Report<br \/>\n<em>Cookin\u2019 with the Miles Davis Quintet<\/em> (1957) \u2013 Miles Davis<br \/>\n<em>Relaxin\u2019 with the Miles Davis Quintet<\/em> (1958) \u2013 Miles Davis<br \/>\n<em>The Chicago Transit Authority<\/em> (1969) \u2013 Chicago<\/p>\n<p><strong>What PRO (Performing Rights Organization) are you with?<\/strong><br \/>\nI\u2019m with ASCAP. They definitely help keep track of my compositions and they are an invaluable resource in music biz questions and concerns.<\/p>\n<p><strong>Tell us a \u201cpinch me\u201d moment where you said, \u201c<em>Wow, this is really happening to me!<\/em>\u201d<\/strong><br \/>\nThis has happened a lot over the years, with many amazing musicians. I count myself very fortunate. And man, have I had some experiences. (<em>Laughs<\/em>) I recently played in Dave Sanborn\u2019s band, and we did a short residency at the Blue Note in Hawaii. I couldn\u2019t help but remember playing his music, a lot, in my younger days in Cincinnati. During our shows in Hawaii I\u2019d look up and see him smiling, and that gave me a big charge.<\/p>\n<p><img loading=\"lazy\" class=\"alignnone size-full wp-image-18161\" src=\"https:\/\/mmusicmag.com\/m\/wp-content\/uploads\/2018\/01\/Steve-Weingart-2.jpg\" alt=\"\" width=\"660\" height=\"440\" srcset=\"https:\/\/mmusicmag.com\/m\/wp-content\/uploads\/2018\/01\/Steve-Weingart-2.jpg 660w, https:\/\/mmusicmag.com\/m\/wp-content\/uploads\/2018\/01\/Steve-Weingart-2-300x200.jpg 300w\" sizes=\"(max-width: 660px) 100vw, 660px\" \/><\/p>\n<p><strong>Why is performing in Asia so special\u2014especially for jazz musicians?<\/strong><br \/>\nThere is simply a deep appreciation and respect for musicians and music. I\u2019m always so grateful to experience being in that region of the world for this very reason.<\/p>\n<p><strong>Do you remember the first time you heard one of your songs on the radio?<\/strong><br \/>\nI remember recently Renee and I heard our song \u201cTime Will Tell\u201d from our <em>Observatory <\/em>album on an indie internet station. It was really cool, and a fun thing to hear it pop up unexpectedly.<\/p>\n<p>I\u2019d had a few previous experiences hearing some of my tunes or collaborations on the car radio. A couple of times I remember thinking as I was driving \u201cHey, this sounds <em>really<\/em> familiar!\u201d (<em>Laughs<\/em>)<\/p>\n<p><strong>Best advice someone has given you.<\/strong><br \/>\nWhenever the subject of advice comes up, I always think of my college teacher, Pat Harbison. It was through him that I heard the legendary quote from Charlie Parker: \u201cYou’ve got to learn your instrument. Then, you practice, practice, practice. And then, when you finally get up there on the bandstand, forget all that and just wail.\u201d It took me a long time to make sense of what Bird meant in that statement. Even now I\u2019m not sure I\u2019ve actually come to the full meaning. I think there\u2019s more to it than what\u2019s at the surface. To me, \u2018learning your instrument\u2019 never seems to reach completion. I tried to expand on his thoughts, replaced the word <em>practice <\/em>with <em>study<\/em>, <em>compose<\/em>, <em>listen<\/em>, <em>read<\/em>, etc<em>. <\/em>It\u2019s easily a lifetime in curiosity and development, but I think we do the best we can with what we\u2019ve got at any point in time.<\/p>\n<p><img loading=\"lazy\" class=\"alignnone size-full wp-image-18160\" src=\"https:\/\/mmusicmag.com\/m\/wp-content\/uploads\/2018\/01\/Steve-Weingart-3.jpg\" alt=\"\" width=\"660\" height=\"440\" srcset=\"https:\/\/mmusicmag.com\/m\/wp-content\/uploads\/2018\/01\/Steve-Weingart-3.jpg 660w, https:\/\/mmusicmag.com\/m\/wp-content\/uploads\/2018\/01\/Steve-Weingart-3-300x200.jpg 300w\" sizes=\"(max-width: 660px) 100vw, 660px\" \/><\/p>\n<p><strong>Best advice you\u2019d like to give upcoming musicians.<\/strong><br \/>\nCharlie Parker\u2019s advice is a great starting point. If I were to add to it, I\u2019d say: learn and get really good at running music software on computers. Also, look at the modern day music field in its entirety. It\u2019s grown considerably over the years, and there is a lot available in terms of direction and career. These days, there are seemingly no limits and everything is easily acquired online. YouTube is a huge resource.<\/p>\n<p><strong>Any advice you\u2019d give your 17-year old self?<\/strong><br \/>\nOne that\u2019s served me well is remain curious and open-minded. There are no boundaries, no end to the journey in music. Just last summer I took an \u201cInstrumentation & Orchestration\u201d course at UCLA. I learned so much in taking that class that in the experience\u2014it piqued my curiosity in this field even more than before. I never could have imagined that interest when I was younger.<\/p>\n<p><strong>What\u2019s next?<\/strong><br \/>\nRenee and I are planning to give performances with the music from <em>Oasis<\/em> and other songs\u2014as much as we can. Playing for and interacting with audiences is the best. I don\u2019t think that will ever get old for either of us. We also plan to follow up this album with another similar kind of musical presentation. I\u2019m thinking that we may expand the instrumentation in the next recording.<\/p>\n<p><strong>Where can new fans get more info and stay updated?<\/strong><br \/>\n<a href=\"http:\/\/weingartjones.com\/wj\/\">http:\/\/weingartjones.com\/wj\/<\/a><br \/>\n<a href=\"https:\/\/www.facebook.com\/steve.weingart.music\">https:\/\/www.facebook.com\/steve.weingart.music<\/a><br \/>\n<a href=\"https:\/\/www.facebook.com\/Steve-Weingart-135151434074\/\">https:\/\/www.facebook.com\/Steve-Weingart-135151434074\/<\/a><\/p>\n<p><img loading=\"lazy\" class=\"alignnone size-full wp-image-18159\" src=\"https:\/\/mmusicmag.com\/m\/wp-content\/uploads\/2018\/01\/Steve-Weingart-1.jpg\" alt=\"\" width=\"660\" height=\"990\" srcset=\"https:\/\/mmusicmag.com\/m\/wp-content\/uploads\/2018\/01\/Steve-Weingart-1.jpg 660w, https:\/\/mmusicmag.com\/m\/wp-content\/uploads\/2018\/01\/Steve-Weingart-1-200x300.jpg 200w, https:\/\/mmusicmag.com\/m\/wp-content\/uploads\/2018\/01\/Steve-Weingart-1-300x450.jpg 300w\" sizes=\"(max-width: 660px) 100vw, 660px\" \/><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Video Feature & Web-Exclusive Interview Musician:\u00a0 STEVE WEINGART Video:\u00a0 \u201cSmile\u201d STEVE WEINGART & RENEE JONES DEBUT NEW ALBUM OASIS AT 2018 WINTER NAMM \ufeff Steve Weingart\u2019s musical journey began when his parents recognized his gift at the age of three, and sought out the best piano teacher in their home town of Dayton, Ohio. A […]<\/p>\n","protected":false},"author":1,"featured_media":18157,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":[],"categories":[7725],"tags":[10639,10640,10641,9562,6271,10642,10643,8416,1485,10644,8419,8757,2601,10645,10467,10646,9625,7423,10647,2741,8326,10648,10649,10650,10651,10652,10653,8578,10654,10656,10655,4153,10657,10658,10659,10660,10661,10662,3990,10663,7800,10090,10664,10665,10666,988,10667,3359,7805,272,9278,10668,7692,10669,10670,10161,7566,10672,3010,5031,2121,5958,7978,8711,4142,10673,10671,10674,6811,2317,10675,10676,10677,10678,10679,7460,5845,9297,10680,10681,10682,10683,6458,10684,10686,10685,10687,10688,10689,999,1707,7459,10690,10691,10692,10693,4767,8736,10694,10695,7930,10696,5212,10697,5960,8741,10698,10699,7260,10700,7982,10701],"_links":{"self":[{"href":"https:\/\/mmusicmag.com\/m\/wp-json\/wp\/v2\/posts\/18155"}],"collection":[{"href":"https:\/\/mmusicmag.com\/m\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/mmusicmag.com\/m\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/mmusicmag.com\/m\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/mmusicmag.com\/m\/wp-json\/wp\/v2\/comments?post=18155"}],"version-history":[{"count":4,"href":"https:\/\/mmusicmag.com\/m\/wp-json\/wp\/v2\/posts\/18155\/revisions"}],"predecessor-version":[{"id":18169,"href":"https:\/\/mmusicmag.com\/m\/wp-json\/wp\/v2\/posts\/18155\/revisions\/18169"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/mmusicmag.com\/m\/wp-json\/wp\/v2\/media\/18157"}],"wp:attachment":[{"href":"https:\/\/mmusicmag.com\/m\/wp-json\/wp\/v2\/media?parent=18155"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/mmusicmag.com\/m\/wp-json\/wp\/v2\/categories?post=18155"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/mmusicmag.com\/m\/wp-json\/wp\/v2\/tags?post=18155"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
<span data-mce-type=\"bookmark\" style=\"display: inline-block; width: 0px; overflow: hidden; line-height: 0;\" class=\"mce_SELRES_start\">\ufeff<\/span><\/iframe><\/p>\n<p>Steve Weingart\u2019s musical journey began when his parents recognized his gift at the age of three, and sought out the best piano teacher in their home town of Dayton, Ohio. A critical foundation of classical studies followed. It allowed him to appreciate the complex compositions of contemporary artists who would ultimately influence his professional career as a composer and keyboard player. Through his future brother-in-law, Steve was introduced to the compelling music of Chicago, Weather Report, Herbie Hancock and Chick Corea. He knew then\u2014that music would be his life.<\/p>\n<p>After high school, Weingart was awarded a full scholarship to The College Conservatory of Music in Cincinnati, Ohio\u2014where he was introduced to the world of improvisation. It was the beginning of a professional career, spanning virtually every musical possibility, as he began getting noticed around the local jazz scene. He spent a few years touring the world with Dave Weckl\u2019s band in addition to writing and co-writing songs for numerous albums including <em>Transition<\/em>, <em>Perpetual Motion<\/em>, <em>Live (and Very Plugged In)<\/em>, and <em>Multiplicity<\/em>.<\/p>\n<p><img loading=\"lazy\" class=\"alignnone size-full wp-image-18168\" src=\"https:\/\/mmusicmag.com\/m\/wp-content\/uploads\/2018\/01\/Steve-Weingart-5-1.jpg\" alt=\"\" width=\"660\" height=\"440\" srcset=\"https:\/\/mmusicmag.com\/m\/wp-content\/uploads\/2018\/01\/Steve-Weingart-5-1.jpg 660w, https:\/\/mmusicmag.com\/m\/wp-content\/uploads\/2018\/01\/Steve-Weingart-5-1-300x200.jpg 300w\" sizes=\"(max-width: 660px) 100vw, 660px\" \/><\/p>\n<p>Weingart became widely known for his work with Steve \u201cLuke\u201d Lukather (Toto) on <em>El Grupo<\/em>, then touring Japan and Europe to wide acclaim and releasing <em>El Grupo\u2014Live<\/em>. Luke invited Weingart to play a few tracks of <em>Ever Changing Times<\/em>\u2014which led to becoming Luke\u2019s live performance Music Director. After successful touring they returned to the studio to record Luke\u2019s <em>All\u2019s Well That Ends Well<\/em> (2010) and <em>Transition<\/em> (2013). The follow-up tours to both albums included Weingart\u2019s wife, Renee Jones, on bass and vocals, and Eric Valentine on drums.<\/p>\n<p>Other notable projects of Weingart with Luke included a tour of Asia in the spring of 2010 with Soul Bop (Randy Brecker, Bill Evans, Robben Ford, Darryl Jones and Rodney Holmes), the 40th Anniversary of The Baked Potato jazz club (Vinnie Colaiuta and Tal Wilkenfeld), an autumn European tour with Goodfellas (Kenny Aronoff, and Fabrizio Grossi), and a January 2011 New York City appearance with Toxic Monkey (Bill Evans, Will Lee and Keith Carlock).<\/p>\n<p>Weingart\u2019s 2011 <em>Dialogue <\/em>showcased some of his best instrumental composing, co-written with Jones, who played bass on the entire project. Other notable associations include co-producer and drummer, Simon Phillips (Toto, Jeff Beck, The Who, Stanley Clarke).<\/p>\n<p>Weingart and Jones\u2019 2012 <em>Observatory<\/em> was a potent mixture of compositional risk, a refined sonic palette and superb musical craftsmanship. Their new album <em>Oasis<\/em> evolved after working with Casio\u2014a leader in keyboard technology. We talked with Steve Weingart about his passion for composing, playing live, the musicians who influenced him, and the importance of music education.<\/p>\n<p><strong>STEVE WEINGART\u00a0<\/strong>Web-Exclusive Interview with\u00a0<strong><br \/>\n<em>M Music & Musicians<\/em>\u00a0<\/strong>magazine publisher,<strong>\u00a0Merlin David \u00a0\u00a0<\/strong><\/p>\n<p><strong>How did the new album, <em>Oasis<\/em>, evolve?<\/strong><br \/>\nIt came about through a combination of events. Casio had developed the new GP-500 Grand Hybrid Piano, and I had an opportunity to play it. It was such an engaging and authentic piano-playing experience, it compelled me to practice as I did when I was younger.<\/p>\n<p><strong>What was so compelling?<\/strong><br \/>\nI felt the desire to explore the acoustic piano again\u2014after so many years of playing electric instruments in rock, fusion and progressive bands. But the most decisive part was being invited by Casio to give a master class and perform at the Museum of Making Music in Carlsbad, CA (near San Diego) to premiere the GP-500 at the opening of the Casio exhibit. On planning the repertoire for the performance, I thought it would be fun to have my wife, Renee, sing a few tunes with me. When we performed, the response was so overwhelming that I decided this is something we needed to share with everyone. That pretty much decided the direction of <em>Oasis<\/em>.<\/p>\n<p><strong>Did you compose all the music?<\/strong><br \/>\nWhen it came to composing and choosing the material for the album, we decided to record a few covers that had personal meaning to us. The rest of the music is original. Our goal was to model the feeling and pacing after one of our favorite albums, <em>Nancy Wilson\/Cannonball Adderley<\/em> [Capitol, 1962]. Both Renee and I love the sweetness and innocence of that period of music, so we tried to spin in that direction.<\/p>\n<p><strong>Is there a song you are especially glad made it onto this album?<\/strong><br \/>\nRenee may have another answer, but for me the song \u201cCruising Down the River,\u201d even though it is a cover, has special meaning. My parents always liked that song, and on a recent visit home I heard them singing it. It was sweet to hear them singing it as I imagined there must be a lot of memories for them in that song. I felt it would be a fitting tribute to perform it on the album. When Renee sang it, it really felt special and unique to me.<\/p>\n<p><strong>Tell us about one of the other songs?<\/strong><br \/>\n\u201cRay & Ruth\u201d is dedicated to the memory of a sweet older couple, our neighbors in California. They had an amazing history and were always so happy and upbeat, positive people. Renee and I would see them out strolling in the neighborhood quite often, and their pace and demeanor were something that originally inspired this piece.<\/p>\n<p><strong><img loading=\"lazy\" class=\"alignnone size-full wp-image-18166\" src=\"https:\/\/mmusicmag.com\/m\/wp-content\/uploads\/2018\/01\/Steve-Weingart-cover.jpg\" alt=\"\" width=\"660\" height=\"599\" srcset=\"https:\/\/mmusicmag.com\/m\/wp-content\/uploads\/2018\/01\/Steve-Weingart-cover.jpg 660w, https:\/\/mmusicmag.com\/m\/wp-content\/uploads\/2018\/01\/Steve-Weingart-cover-300x272.jpg 300w\" sizes=\"(max-width: 660px) 100vw, 660px\" \/>Tell us about your creative process.<\/strong><br \/>\nI\u2019d say I\u2019m a little more a composer than a songwriter. I am always humbled when discussing my abilities in composing and songwriting. There are so many masters throughout our history, and there is so much yet for me to learn and experience. I have always been interested in making up songs\u2014starting when I was five years old. I have never formally studied composition, but have always studied (and still do) composers. I still read and research as much as I can.<\/p>\n<p><strong>How did you compose for this album?<\/strong><br \/>\nI knew what I wanted the final presentation to represent\u2014based upon our performance at the museum. Having that idea, I simply sat down at the Casio GP-500 and began improvising. I was able to record myself, go back and listen. I would then take the good bits and develop them. It was quite challenging because I have never written for solo piano. A lot of my composing up to this point has involved a band of some kind. The presentation of solo piano required almost all new thinking to me with my left hand in the accompaniment function. This in turn, created new ideas and melodies and chord development. In almost all the songs, I had to at some point stop myself and let the music live and breathe\u2014otherwise I\u2019d still be composing. (<em>Laughs<\/em>) It was a very interesting journey, and as things evolved, I found myself really enjoying this new direction. It really has been, and continues to be, surprising to me. I feel a full circle effect\u2014since I started out as a classical pianist.<\/p>\n<p><strong>Who inspired you to compose music?<\/strong><br \/>\nThis may seem like an eclectic response, but the short list includes Chopin, Beethoven, Maurice Ravel, Claude Debussy, Alexander Scriabin, Dmitri Shostakovich, George & Ira Gershwin, Bill Evans, Wayne Shorter, and probably the most influential would be Joe Zawinul.<\/p>\n<p><strong>Give us some examples of specific songs.<\/strong><br \/>\nA good example of Zawinul\u2019s influence can be found on \u201cThe Stafford Stomp.\u201d Joe could play blues and swing like a demon with his left hand. George and Ira Gershwin were a big songwriting inspiration to both Renee and me on songs like \u201cSecond Thoughts\u2026\u201d and \u201cWhatcha Wanna Do?\u201d Ravel, Shostakovich and Debussy\u2019s influence were a big presence in the development of \u201cReflections\u201d and \u201cDaydream.\u201d Another specific example would be in the arranging process of Debussy\u2019s influence in our version of Charlie Chaplin\u2019s \u201cSmile.\u201d<\/p>\n<p><strong>What composing tip would you like to offer?<\/strong><br \/>\nI\u2019ll preface this with the caveat that I never formally studied composition. With that in mind,\u00a0the best advice would be: <em>don\u2019t be afraid to experiment and explore<\/em>. Sometimes even mistakes are a great thing to have happen. I learned about experimenting and exploring in theory many years ago\u2014by reading interviews in magazines and then seeing videos. The depth of the concept didn\u2019t really strike me in reality until I thoroughly experienced it and realized it in hindsight.<\/p>\n<p><img loading=\"lazy\" class=\"alignnone size-full wp-image-18165\" src=\"https:\/\/mmusicmag.com\/m\/wp-content\/uploads\/2018\/01\/Steve-Weingart-9.jpg\" alt=\"\" width=\"660\" height=\"440\" srcset=\"https:\/\/mmusicmag.com\/m\/wp-content\/uploads\/2018\/01\/Steve-Weingart-9.jpg 660w, https:\/\/mmusicmag.com\/m\/wp-content\/uploads\/2018\/01\/Steve-Weingart-9-300x200.jpg 300w\" sizes=\"(max-width: 660px) 100vw, 660px\" \/><\/p>\n<p><strong>Give us an example.<\/strong><br \/>\nIn my experience as a teacher and counselor over the years, I\u2019ve seen many people evolve from being freed of the fear or free from rules in experimenting and exploring. There is no one way of accomplishing the mission. We all are different from one another in our thinking and perceptions. Although educational institutions have developed studies in analysis, methods and processes over the years, the best we can do for ourselves is to learn as much (or as little) as necessary to spark inspiration. When it comes to music\u2014there is no right way or incorrect way.<\/p>\n<p><strong>Tell us one experience where something unique inspired a composition.<\/strong><br \/>\n\u201cThe Stafford Stomp\u201d is a favorite and a challenge to perform. The fun stories I\u2019ve heard about Grandpa Stafford from Renee\u2019s family, and what I imagined it must have been like being there, made this song what it became. Music was and is a strong presence in Renee\u2019s family. Her grandparents always made sure they had popular records of the day when the family would visit them. Renee showed me how he used to dance, and told me about things he did that made them laugh. That little slice of fun in their memories sent my imagination to family gatherings, friends hanging out and a piano player in the corner grooving hard. (<em>Laughs<\/em>)<\/p>\n<p><strong>How does co-writing inform your music?<\/strong><br \/>\nCo-writing is always a different experience for me\u2014with each song and person. Writing with Dave Weckl, who has a strong feeling for what the groove should be, we\u2019d spend time together just improvising with ideas. A lot of songs I wrote with him came about in that manner. Sometimes, even I would suggest some rhythms or turns in phrasing. He would often sing me phrases or ideas. After we jammed with some ideas, we\u2019d experiment and develop them. He also has a great sense of organization. He\u2019s able to listen to sections of a piece and arrange the flow from start to finish. I learned a lot from him.<\/p>\n<p><strong>Tell us about writing with Steve Lukather?<\/strong><br \/>\nWhen it came to collaboration with Luke, it was an entirely different approach. We\u2019re both playing melodic, chordal instruments, so it took giving space and sometimes letting one guy run with an idea. When something would come together, he\u2019d occasionally ask me to add some <em>adult chords<\/em>\u2014one of my favorite Luke phrases (<em>laughs<\/em>) to add a different spice. In some cases, that would lead to another section of a song.<\/p>\n<p><img loading=\"lazy\" class=\"alignnone size-full wp-image-18164\" src=\"https:\/\/mmusicmag.com\/m\/wp-content\/uploads\/2018\/01\/Steve-Weingart-8.jpg\" alt=\"\" width=\"660\" height=\"440\" srcset=\"https:\/\/mmusicmag.com\/m\/wp-content\/uploads\/2018\/01\/Steve-Weingart-8.jpg 660w, https:\/\/mmusicmag.com\/m\/wp-content\/uploads\/2018\/01\/Steve-Weingart-8-300x200.jpg 300w\" sizes=\"(max-width: 660px) 100vw, 660px\" \/><\/p>\n<p><strong>Sounds like a nice collaboration.<\/strong><br \/>\nMy main plan, with whomever I worked with, was to quickly find the balance of coming forward with ideas and listening to what was coming my way. In the ideal situation, it\u2019s a very conversational experience.<\/p>\n<p><strong>Which instruments\/equipment can you\u00a0<em>not<\/em>\u00a0live without?<\/strong><br \/>\nAs I\u2019ve progressed in composing, I\u2019ve started relying more on my computer. I\u2019ve written songs in the past with pencil and paper, but in an improvisational approach to composing, that can be very time-consuming and stifling. My first computer, I think it was 1995, was an Apple. At that time, one of the only programs available was MOTU\u2019s Performer (before Digital Performer came out). It\u2019s a great tool and worked so well for me back then. I\u2019ve grown with the program as it\u2019s progressed. To this day, I always use it to write because I know it so well and it\u2019s really convenient. When it comes to getting the ideas into Digital Performer, I use my Casio GP-500 or the Privia PX-5S. I recorded our album, <em>Oasis<\/em>, in Digital Performer with the GP-500, and it was a great experience.<\/p>\n<p><strong>What is so special about the PX-5S?<\/strong><br \/>\nThe Casio Privia PX-5S is a keyboardist\u2019s live performance and studio instrument\u00a0dream in reality. It is simply one of the best sounding and best feeling instruments I\u2019ve played. I can rave for a long time about the internal sounds and its programming flexibility. In addition, the MIDI\/USB programming potential in this keyboard far exceeds typical use. I like that they planned it that way because its future with DAWs, plug-ins, iPad apps, etc. is not finite. It is seriously a pro musician\u2019s instrument that can also be enjoyed and easily used by beginners.<\/p>\n<p><img loading=\"lazy\" class=\"alignnone size-full wp-image-18163\" src=\"https:\/\/mmusicmag.com\/m\/wp-content\/uploads\/2018\/01\/Steve-Weingart-7.jpg\" alt=\"\" width=\"660\" height=\"1103\" srcset=\"https:\/\/mmusicmag.com\/m\/wp-content\/uploads\/2018\/01\/Steve-Weingart-7.jpg 660w, https:\/\/mmusicmag.com\/m\/wp-content\/uploads\/2018\/01\/Steve-Weingart-7-180x300.jpg 180w, https:\/\/mmusicmag.com\/m\/wp-content\/uploads\/2018\/01\/Steve-Weingart-7-613x1024.jpg 613w, https:\/\/mmusicmag.com\/m\/wp-content\/uploads\/2018\/01\/Steve-Weingart-7-300x501.jpg 300w\" sizes=\"(max-width: 660px) 100vw, 660px\" \/><\/p>\n<p><strong>Are some musicians surprised about the expertise level of Casio keyboards?<\/strong><br \/>\nI\u2019m always hearing people tell me they didn\u2019t know Casio is such a contender on a professional level. Admittedly, when I was invited to audition the PX-5S at a NAMM show a few years ago, I didn\u2019t expect what happened. A big \u201cthank you\u201d to Hiroki Sato and Mike Martin at Casio for the invite. I always enjoy witnessing the surprised reactions from people in clinics and workshops. I\u2019m hopeful that they\u2019ll be inspired to continue on their music journey.<\/p>\n<p><strong>Is music education important?<\/strong><br \/>\nMusic education is super important. I was fortunate to have had really good, patient and nurturing teachers in my earlier years. There is a special element in the great educators that\u2019s really inspiring. When I went to CCM [University of Cincinnati College-Conservatory of Music], I was lucky to meet one of my teachers, Pat Harbison. He\u2019s definitely got a big measure of that special element. I credit him for opening my eyes to jazz theory and the true beginning of my improvisational journey. Everything about that time period and the environment he created was exciting, progressive and forward thinking. It was Pat that made music fun and interactive for me\u2014more so than my previous experience of rote repetition and technical practice\u2014not that there\u2019s anything wrong with that. (<em>Laughs<\/em>)<\/p>\n<p><strong>Were there others who helped you learn?<\/strong><br \/>\nMy friend, Victor Wooten. He\u2019s another cat that\u2019s got that special element\u2014in a big way. When he asked me to do some tours with him a few years ago, I had no idea it would be such a learning experience\u2014as well as a fun and burning playing experience. I knew him as an amazing bassist, but he\u2019s much more than that. I\u2019d consider Victor a modern day renaissance man. He can do a lot of things, including teaching, and do it all proficiently, at a very high level. He\u2019s developed Wooten Woods outside of Nashville, TN where he offers among many other things: nature, music and music theory camps. Victor asked me to be a teacher\/counselor on a couple of occasions. In each case, I ended up as much a student as a teacher. I love a personal and musically spiritual approach. I appreciate the developed scholastic institutional approach. In the art of music, I believe there are so many ways to approach it and touch a person\u2014we shouldn\u2019t limit ourselves. Victor has definitely taken it to another level in his camps.<\/p>\n<p> <\/p>\n<p><strong>Top 5 Musicians\u00a0who inspired you to become a musician?<\/strong><br \/>\nEdvard Grieg, Joe Zawinul & Wayne Shorter of Weather Report, Chicago, Herbie Hancock, Steely Dan.<\/p>\n<p><strong>Top 5 favorite albums of all time?<\/strong><br \/>\n<em>Nancy Wilson\/Cannonball Adderley<\/em> (1962) \u2013 Nancy Wilson & Cannonball Adderley<br \/>\n<em>Black Market<\/em> (1976) \u2013 Weather Report<br \/>\n<em>Mysterious Traveller<\/em> (1974) \u2013 Weather Report<br \/>\n<em>Cookin\u2019 with the Miles Davis Quintet<\/em> (1957) \u2013 Miles Davis<br \/>\n<em>Relaxin\u2019 with the Miles Davis Quintet<\/em> (1958) \u2013 Miles Davis<br \/>\n<em>The Chicago Transit Authority<\/em> (1969) \u2013 Chicago<\/p>\n<p><strong>What PRO (Performing Rights Organization) are you with?<\/strong><br \/>\nI\u2019m with ASCAP. They definitely help keep track of my compositions and they are an invaluable resource in music biz questions and concerns.<\/p>\n<p><strong>Tell us a \u201cpinch me\u201d moment where you said, \u201c<em>Wow, this is really happening to me!<\/em>\u201d<\/strong><br \/>\nThis has happened a lot over the years, with many amazing musicians. I count myself very fortunate. And man, have I had some experiences. (<em>Laughs<\/em>) I recently played in Dave Sanborn\u2019s band, and we did a short residency at the Blue Note in Hawaii. I couldn\u2019t help but remember playing his music, a lot, in my younger days in Cincinnati. During our shows in Hawaii I\u2019d look up and see him smiling, and that gave me a big charge.<\/p>\n<p><img loading=\"lazy\" class=\"alignnone size-full wp-image-18161\" src=\"https:\/\/mmusicmag.com\/m\/wp-content\/uploads\/2018\/01\/Steve-Weingart-2.jpg\" alt=\"\" width=\"660\" height=\"440\" srcset=\"https:\/\/mmusicmag.com\/m\/wp-content\/uploads\/2018\/01\/Steve-Weingart-2.jpg 660w, https:\/\/mmusicmag.com\/m\/wp-content\/uploads\/2018\/01\/Steve-Weingart-2-300x200.jpg 300w\" sizes=\"(max-width: 660px) 100vw, 660px\" \/><\/p>\n<p><strong>Why is performing in Asia so special\u2014especially for jazz musicians?<\/strong><br \/>\nThere is simply a deep appreciation and respect for musicians and music. I\u2019m always so grateful to experience being in that region of the world for this very reason.<\/p>\n<p><strong>Do you remember the first time you heard one of your songs on the radio?<\/strong><br \/>\nI remember recently Renee and I heard our song \u201cTime Will Tell\u201d from our <em>Observatory <\/em>album on an indie internet station. It was really cool, and a fun thing to hear it pop up unexpectedly.<\/p>\n<p>I\u2019d had a few previous experiences hearing some of my tunes or collaborations on the car radio. A couple of times I remember thinking as I was driving \u201cHey, this sounds <em>really<\/em> familiar!\u201d (<em>Laughs<\/em>)<\/p>\n<p><strong>Best advice someone has given you.<\/strong><br \/>\nWhenever the subject of advice comes up, I always think of my college teacher, Pat Harbison. It was through him that I heard the legendary quote from Charlie Parker: \u201cYou’ve got to learn your instrument. Then, you practice, practice, practice. And then, when you finally get up there on the bandstand, forget all that and just wail.\u201d It took me a long time to make sense of what Bird meant in that statement. Even now I\u2019m not sure I\u2019ve actually come to the full meaning. I think there\u2019s more to it than what\u2019s at the surface. To me, \u2018learning your instrument\u2019 never seems to reach completion. I tried to expand on his thoughts, replaced the word <em>practice <\/em>with <em>study<\/em>, <em>compose<\/em>, <em>listen<\/em>, <em>read<\/em>, etc<em>. <\/em>It\u2019s easily a lifetime in curiosity and development, but I think we do the best we can with what we\u2019ve got at any point in time.<\/p>\n<p><img loading=\"lazy\" class=\"alignnone size-full wp-image-18160\" src=\"https:\/\/mmusicmag.com\/m\/wp-content\/uploads\/2018\/01\/Steve-Weingart-3.jpg\" alt=\"\" width=\"660\" height=\"440\" srcset=\"https:\/\/mmusicmag.com\/m\/wp-content\/uploads\/2018\/01\/Steve-Weingart-3.jpg 660w, https:\/\/mmusicmag.com\/m\/wp-content\/uploads\/2018\/01\/Steve-Weingart-3-300x200.jpg 300w\" sizes=\"(max-width: 660px) 100vw, 660px\" \/><\/p>\n<p><strong>Best advice you\u2019d like to give upcoming musicians.<\/strong><br \/>\nCharlie Parker\u2019s advice is a great starting point. If I were to add to it, I\u2019d say: learn and get really good at running music software on computers. Also, look at the modern day music field in its entirety. It\u2019s grown considerably over the years, and there is a lot available in terms of direction and career. These days, there are seemingly no limits and everything is easily acquired online. YouTube is a huge resource.<\/p>\n<p><strong>Any advice you\u2019d give your 17-year old self?<\/strong><br \/>\nOne that\u2019s served me well is remain curious and open-minded. There are no boundaries, no end to the journey in music. Just last summer I took an \u201cInstrumentation & Orchestration\u201d course at UCLA. I learned so much in taking that class that in the experience\u2014it piqued my curiosity in this field even more than before. I never could have imagined that interest when I was younger.<\/p>\n<p><strong>What\u2019s next?<\/strong><br \/>\nRenee and I are planning to give performances with the music from <em>Oasis<\/em> and other songs\u2014as much as we can. Playing for and interacting with audiences is the best. I don\u2019t think that will ever get old for either of us. We also plan to follow up this album with another similar kind of musical presentation. I\u2019m thinking that we may expand the instrumentation in the next recording.<\/p>\n<p><strong>Where can new fans get more info and stay updated?<\/strong><br \/>\n<a href=\"http:\/\/weingartjones.com\/wj\/\">http:\/\/weingartjones.com\/wj\/<\/a><br \/>\n<a href=\"https:\/\/www.facebook.com\/steve.weingart.music\">https:\/\/www.facebook.com\/steve.weingart.music<\/a><br \/>\n<a href=\"https:\/\/www.facebook.com\/Steve-Weingart-135151434074\/\">https:\/\/www.facebook.com\/Steve-Weingart-135151434074\/<\/a><\/p>\n<p><img loading=\"lazy\" class=\"alignnone size-full wp-image-18159\" src=\"https:\/\/mmusicmag.com\/m\/wp-content\/uploads\/2018\/01\/Steve-Weingart-1.jpg\" alt=\"\" width=\"660\" height=\"990\" srcset=\"https:\/\/mmusicmag.com\/m\/wp-content\/uploads\/2018\/01\/Steve-Weingart-1.jpg 660w, https:\/\/mmusicmag.com\/m\/wp-content\/uploads\/2018\/01\/Steve-Weingart-1-200x300.jpg 200w, https:\/\/mmusicmag.com\/m\/wp-content\/uploads\/2018\/01\/Steve-Weingart-1-300x450.jpg 300w\" sizes=\"(max-width: 660px) 100vw, 660px\" \/><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Video Feature & Web-Exclusive Interview Musician:\u00a0 STEVE WEINGART Video:\u00a0 \u201cSmile\u201d STEVE WEINGART & RENEE JONES DEBUT NEW ALBUM OASIS AT 2018 WINTER NAMM \ufeff Steve Weingart\u2019s musical journey began when his parents recognized his gift at the age of three, and sought out the best piano teacher in their home town of Dayton, Ohio. A […]<\/p>\n","protected":false},"author":1,"featured_media":18157,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":[],"categories":[7725],"tags":[10639,10640,10641,9562,6271,10642,10643,8416,1485,10644,8419,8757,2601,10645,10467,10646,9625,7423,10647,2741,8326,10648,10649,10650,10651,10652,10653,8578,10654,10656,10655,4153,10657,10658,10659,10660,10661,10662,3990,10663,7800,10090,10664,10665,10666,988,10667,3359,7805,272,9278,10668,7692,10669,10670,10161,7566,10672,3010,5031,2121,5958,7978,8711,4142,10673,10671,10674,6811,2317,10675,10676,10677,10678,10679,7460,5845,9297,10680,10681,10682,10683,6458,10684,10686,10685,10687,10688,10689,999,1707,7459,10690,10691,10692,10693,4767,8736,10694,10695,7930,10696,5212,10697,5960,8741,10698,10699,7260,10700,7982,10701],"_links":{"self":[{"href":"https:\/\/mmusicmag.com\/m\/wp-json\/wp\/v2\/posts\/18155"}],"collection":[{"href":"https:\/\/mmusicmag.com\/m\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/mmusicmag.com\/m\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/mmusicmag.com\/m\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/mmusicmag.com\/m\/wp-json\/wp\/v2\/comments?post=18155"}],"version-history":[{"count":4,"href":"https:\/\/mmusicmag.com\/m\/wp-json\/wp\/v2\/posts\/18155\/revisions"}],"predecessor-version":[{"id":18169,"href":"https:\/\/mmusicmag.com\/m\/wp-json\/wp\/v2\/posts\/18155\/revisions\/18169"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/mmusicmag.com\/m\/wp-json\/wp\/v2\/media\/18157"}],"wp:attachment":[{"href":"https:\/\/mmusicmag.com\/m\/wp-json\/wp\/v2\/media?parent=18155"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/mmusicmag.com\/m\/wp-json\/wp\/v2\/categories?post=18155"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/mmusicmag.com\/m\/wp-json\/wp\/v2\/tags?post=18155"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}