Bootsy Collins And Jim Vitti In Conversation At The Grammy Museum - Funky!

Oh, Bootsy Baby! My brother, Paul, and I got the chance to go listen to one of the greatest dudes on this (and any) planet the other night at The Grammy Museum when Bootsy Collins was there to talk about the funk with his recording engineer and friend, Jim Vitti, and Grammy Museum director, Scott Goldman. I have to be honest and admit that I really wasn't at all in the mood to go to this on this particular evening, because my dear Mom had just been admitted to the hospital and was awaiting surgery, and I was freaking out about it. But we figured it doesn't do any good to pace around worrying, so off we went to try to not freak out. It was the right choice, and one that has made me feel better about it all ever since.

Goldman introduced the legends by saying, "Our guests tonight have been bringing the funk for decades," and that's a fact. Collins has been on the front lines of funk (inducted into the Rock Hall of Fame in 1997!), leading the way since his time in James Brown's band, on to the Parliament Funkadelic, and on to his own solo career with Bootsy's Rubber Band until right now.

The night opened with a funky video about Collins, narrated by Iggy Pop, that showed just exactly how this inventor of "Space Bass" came into being. Producer Nile Rodgers was there getting the claps started for his friend Collins, who came out in a sparkly top hat and sparkly everything, really, with Jim Vitti, who bears a close resemblance to Mr. Whipple these days, the guy from the Charmin commercials. No one would know that he has engineered and produced some of the funkiest albums of all time. But he did.

Their story starts in Detroit, where Vitti snagged himself a gig at United Sound Systems after coming home from 'Nam. He always loved music and technology, so he began learning and training his ear from the back end, by listening to master tapes. He worked with Bob Seeger, which sent him on his way. Meanwhile, Collins got booted from James Brown's band, saying, "We got sent home for being a little crazy ... he fired us for getting HIM high!" to which everyone gathered there to listen cracked up at.

Collins came to Detroit to be in the band for The Spinners, but knew that wasn't ever going to happen - not a good fit. But THEN he heard about George Clinton and thought, "What is this Funkadelic? I need to meet this mug!" He went to Clinton's house, and knocked on the door of what he said was like The Addams Family house, thinking, "This is the kind of scary I like - 'cause I was tripping too!" There were black lights on and incense burning in the dark, and he saw Clinton in a white sheet in the corner of the room like a ghost, "With chicken feet on like Foghorn, Leghorn!" That meeting let Collins know he was in the right place, saying, "That's who I want to be working with, he's out of his mind!" Soon enough they did begin working together, and that's when he met Vitti.

The Funkadelic would "steal gigs", meaning they'd ask to sit in with some band, and then just totally take over the gig. The energy the band created was unparalleled, and Goldman asked Vitti how they managed to capture that energy on recordings. Vitti answered that he had drawn the shortest straw, as no one else wanted to work with Clinton because he was crazy, but "I just fell in love with the guys!"

He dedicated himself to it, working for hours and hours on just the drum sound. They gave an example of that, playing the P-Funk track, "Funkentelechy" that had the whole room bobbing their heads along, and sharing a soul brother handshake at its end, while Collins' wonderful wife, Patti, danced along in her chair. You couldn't help it.

"This does not sound dated at all," commented Goldman correctly. It's as fresh as the day they recorded it in 1977, and kids today would totally think they just discovered the latest thing upon first listen. Collins' brother, Catfish, was also in the bands, and Vitti's voice caught talking about all the fun they had had, and how much he misses Catfish Collins, who passed away in 2010.

Looking back on their times together, Vitti said, "We were working at the speed of light, it was non-stop. It was like herding cats to get them on the same page, and it was always chaotic." Collins had been giggling while listening, and to this commented, "ALWAYS chaotic." - and you could tell that's just how he liked it.

"Bootzilla" was played next, and the two old friends shook hands, nodded and mouthed along with it. "I love watching you listen to this!", said Goldman, adding, "That bass is SICK!" - and again, he was not wrong. A trust had grown between Vitti and the band, and this song showed that it could be done. "They knew I had their best interests at heart. I love people. I love musicians," explained Vitti to much applause. "We were the craziest," said Collins, and Vitti perhaps felt the need to add, "I was the only straight one in the room!" They shared the story of how on "Knee Deep" Vitti wanted Collins to play the drums, for the 15 minute rock opera that he was sure he'd have to go back and fix, but Collins performed perfectly, shouting, "The Funk will always prevail!"

They spoke about the hand claps on P-Funk albums, and said that they created a monster, because it was on everything after that - to the point that people would call United Sound wanting to rent the "Hand clap machine" because they were always so perfect - but they were real. They told of how Collins was always experimenting with pedals and guitar things, and things like plugging his bass in through a Mu-Tron for "Chocolate City" - giving it that Funkadelic sound. "I was evolving into a monster, and monsters turn on you. Look at that Frankenstein mug!" ... everything that comes out of Collins' mouth makes you smile - almost as much as his music.

"Atomic Dog" was played next and got the whole room rocking. We learned that this classic had the bass and drum tracks backward, as they simply flipped the tape over and played it backwards when they recorded. Whatever they did was awesome, because every single person in there was dancing in their seats. (Note: I played it for my six year old friend the next day and he thought it was THE coolest thing ever! Timeless.) Goldman next opened it up for questions, and one person asked how Collins came to work with Buckethead. Collins answered that Buckethead had sent him a tape of himself sitting on a bed and playing with a bucket on his head, back in the '90's. He freaked Collins out just enough to say, "I want to work with HIM!" - and so they did. There were a couple technical questions from the heads that go deep at these events, and then Goldman asked the two friends what they had learned from their experiences together. Vitti answered, "I always say I've never worked a day in my life. The studio is where I wanted to be. Find something that you really love, get passionate about it, and you'll never work!"

The friendship between these gentlemen is as touching as it is unlikely from the covers of their individual books, especially back in the day, but you can tell it is real and lasting. It was surprising to hear that they had actually NOT seen each other for all of these years since those recording days, until getting back in touch about 4 months ago. They seem so easy and comfortable with each other that you assumed they'd been hanging out all of these years, but nope. They're going to do more music together now, and Collins summarized it all by saying, "It's beautiful when you find that person that helped you long ago, and nobody's tripping. We love each other." It really was beautiful to behold.

There was an after-party held at The Prank a few blocks away, but no one thought Collins and Vitti would make it there, as the line to meet and greet after the event stretched all the way around the current Backstreet Boys exhibit, as everyone wanted to say hi and get a photo with the absolute hero that Collins is. Finally, we looked up to see Bootsy and Patti Collins making their way upstairs, along with Mr. Vitti and his wife. I got to talking with Patti and it came up that we almost didn't come because we were concerned about our Mom in the hospital, and this angel of a woman took me by the shoulders and looked me in the eyes, saying, "Your mother is surrounded by angels. She is going to be fine." It moved me so much that she would even care, and then we were joined by Bootsy and my brother, and I felt a calm come over me, powered by the faith and love exuded by these beautiful people.

I'll never forget Collins telling me the last time I saw him at an event that he always wore star shaped sunglasses, because he wanted the young kids he meets to see themselves reflected as stars. That touched my heart so much, and cemented this "Mug" as one of my most highly revered. Patti Collins even texted the next day to check in about Mom, and once again assure me that God is great, and things will be o.k. That is the kind of people that they are, and while they are certainly the funkiest - they are also the kindest.

Whatever I can ever do to assist in their Worldwide Funk efforts, and their Bootsy Collins Foundation, that seeks to get an instrument in every hand that wants one - I am IN. Thank you to the Grammy Museum for having us, to KC Mancebo for the invite and the party, and to Bootsy and Patti Collins for making us feel so much better about this world, knowing that people like them are in it.

Bootzilla! (also the name of the Collins' wine label! Get some!)

* Photos by Paul Gronner Photography

The Hollywood Bowl Celebrates New Orleans' 300th With Harry Connick, Jr.

New Orleans has its Tricentennial this year, and the Hollywood Bowl had a three day party to celebrate, featuring the sounds of the Crescent City performed by New Orleans locals, Bonerama and my teen crush, Harry Connick, Jr. It was also the Fireworks Finale for the season, and we went on the third night, so people were ready to get DOWN. And get down we did!

Bonerama's guitarist, Bert Cotton, set the tone with a super funky Star Spangled Banner that had to be stood for. It was awesome, and then they got down with the heavily trombone based (hence their name) funky brass sounds that transported us to Louisiana for the night. A tribute to a legendary NOLA produce vendor, "Mr. Okra", gave us the local flavor from the start, and a real highlight was their cover of Zeppelin's "The Ocean" that has never sounded groovier.

Erica Falls came out to join the brass boys to belt out a few numbers that brought people to their feet if they weren't already on them. This lady can SING! Wow. By now we were all warmed up, and feeling the New Orleans vibes that you can only really know if you've been there, but these super talents brought you about as close to being there as L.A. could ever get.

And speaking of super talents ... after a lengthy feeling intermission (maybe because a lot of wine drinking got done in there), here came Harry Connick, Jr.! I had a BIG thing for him when I was a teenager (and he was probably the only one my Mom really approved of, because he sounded like Frank Sinatra vs. a Metal screamer!), and this was surprisingly my first time seeing him live. Well, HCJ, it was worth the wait! What a guy! He plays like every instrument there is, and could not possibly be more charming. The crush is back.

Connick, Jr. spoke about how he was said that his New Orleans Saints had lost their season opener that morning (while I was happy that the Vikings had won theirs!), but he felt better because he was playing three nights at one of the best places in the world, the Hollywood Bowl (Agreed. It's one of the very best places ever to catch a show). He was born and raised in New Orleans, and began performing with that city's musical greats when he was just five years old. One of his favorite songs was "Dr. Jazz", which he didn't realize until he grew up that it was about a drug dealer ... and then he and his band played it, and we all got why it was one of his favorites. Connick, Jr. can play piano, drums, one-handed trumpet (while holding the longest note ever and turning the thing all the way around on his lips) ... and sings like an honorary member of The Rat Pack. And looks kind of like a buffer Young Elvis. He's truly got it all.

We were the best crowd of the three night stand, and we know, because Connick, Jr. told us. First night crowds are the eager ones, second night crowd was all industry and too cool, but the third night folks are the fun ones - and you could feel it. Also, this guy is an American Treasure, so it was easy to let loose and party with his infectious way of letting the good times roll. We got a couple of numbers from Connick Jr.'s excellent When Harry Met Sally soundtrack, "Our Love Is Here To Stay" and "It Had To Be You" that were both so dreamy it was just silly. And then he had to go and remind us that he's been married to model, Jill Goodacre, for 28 years and their three beautiful daughters were there. Charlotte, Kate, and Georgia Connick came up on stage to be introduced by their supercool Dad, and you could feel the pride between them all. Special. And I'm not jealous at all.

Baptist churches were big in Connick Jr's upbringing (though he was raised Catholic) because "You WILL feel better" when you go. And he brought us there, with his "favorite Gospel singer in the world" Jonathan Dubose, Jr., only Dubose, Jr. sang with his shredding guitar. They played "How Great Thou Art" as funky as it's ever been played, prompting a group clap-along that I don't think I've ever heard done to that old spiritual chestnut. So so good. "Can I play a little New Orleans piano for y'all?", asked Connick, Jr. next, and the answer was YES. "It's all about the left hand ... if you keep your rhythm through your life, you'll be fine." Then he sat down at his piano and showed us all why he's been considered a virtuoso since before he reached double digits. He's something else.

Oh, and then the guy can tap dance on top of it all! HCJ brought out an awesome tap dancer, Luke Hawkins, who tapped it up with Harry, and then  had a tap off with the drummer, trading beats and steps in a frenzy of motion that still has us buzzing about it today. THEN we got a "Jazz Funeral" and the dirge processional turned into a second line for  "When The Saints Go Marching In" that wound all through the crowd, giving everyone an up close look at one of the coolest dudes ever as he banged a drum strapped over his shoulders.

Back on stage, now the group was about to get even funkier! Connick, Jr. sat down at the electric keys, and played his wonderful and positive, "Yes We Can Can" as the Bowl lit up with its Fireworks Finale! The music and the visuals were glorious, and then got even more so when Connick, Jr. played two keyboards, one with each hand, AND drums at the same time, while singing "Big Chief" DURING Fireworks. Talk about a slam bang finish! There wasn't much that could top that, and Connick, Jr. shimmy danced off the stage, the lights came on, and we all just looked at each other like "WOW".

What a way to wrap up the Bowl Summer Season, and what a way to finally see Harry Connick, Jr.! I'm humming and shimmying myself today, and am quite sure I'll never forget this fantastic celebration of New Orleans' 300th Birthday! I feel so lucky. Thank you to all!

*Press photos courtesy of the L.A. Philharmonic

The Official Minnesota Prince Tribute Show - Nothing Compares 2 Prince

Special Report From Minneapolis:

When Prince died last April, I felt so far away and so homesick for my Minneapolis people I could hardly stand it. So when I heard there was to be a special hometown tribute show to our dear Prince, I knew I had to be there with all my purple-clad folk. Well, it all went down last night in a 5 hour marathon extravaganza that no one will ever forget ... and highlighted just exactly how big of a loss Prince really is, as no one could even come close to his greatness.

It was a huge day for Minnesota, as it was both officially Prince Day (with an official proclamation from the Mayor) and we heard the news that native son Bob Dylan had won the Nobel Prize for literature. There was a LOT of hometown pride in the air. Once again, the landmarks in downtown St. Paul around the XCel Energy Center were lit up in purple ... the lamp posts were purple, the people were all in purple, and you could feel the love and loss and admiration for Prince everywhere.

We had a lot going on so missed the whole outdoor pre-party, where I understand the people watching was excellent. People had come from Europe, Australia, all over the United States (Venice!), and all of Minnesota to be together in celebration of our favorite son. Elaborate outfits and hair-do's and hats were everywhere, and the lines for commemorative merch were long. The show started late, which was an omen of what was to come .... LATE.

A screen over the stage read "Don't look for credit. We're supposed to look out for each other." - Prince. That's right. That's who he was. The lights went down and a video came on with all sorts of testimonies to Prince's philanthropy that no one ever knew about. Van Jones said that Prince always said, "If you've been blessed, you have to give back." Prince was certainly blessed, and he certainly gave back. As Jones said, 85-90% of the people he helped had no idea it was him, and that's how he wanted it. From being one of the first donors to Black Lives Matter to creating Yes We Code to teach kids computer programming, Prince was always making the world a better place, and not just through his music. The whole arena was applauding his good deeds as much as any song, and when President Obama came on the screen, simply saying "Thank you, Prince." - you really felt the impact of his loss.

The show began with the Minneapolis funk of Mint Condition, who tore it up from the get-go with "America", "DMSR" and "When Doves Cry". I don't think I've ever seen an entire arena where EVERYONE was up and dancing - real dancing - from little kids to grannies. It was awesome, especially for me, finally being back with my people, where it all began. "We're gonna keep the Minneapolis funk going all night long!" was yelled, and they meant it ... it really did go all night long.

Real Prince tunes were played between sets, so he was there, but it also put a spotlight on just how much better he was than anyone else there. Just truth. His loss was all the more devastating after this show, because you couldn't even compare anyone to him - there would be no point. He's just that much better, and it's gut wrenching that he's gone. Other people are fun, but just not Prince. Like Morris Day and The Time, who were up next. There was Jerome and his mirror held up to Morris. There was "The Bird" and "Jungle Love" ... and it was fun.

Bobby Z. from The Revolution gave a nice speech, but said that Lisa and Wendy couldn't be there. Lisa and Wendy couldn't be at THE Prince tribute? No one would even know who they were without him, and I thought it odd that they couldn't get a night off from soundtrack work for the event. But ok. Instead, they showed classic Prince clips and interviews on the video screen, and his loss was felt even more when you saw his genius yet again. Bobby Z. remarked how incredible it was that on the night Prince died, everyone around the world felt the same. How rare is that? Landmarks lit up around the world in purple in his honor, and I've just never seen that for an rock artist. Ever. Then they played the Rock Hall of Fame clip of his "While My Guitar Gently Weeps" solo, and again WE weeped.

The NPG came out as the house band for the night, and Andre Cymone (who had been on my plane to town!) took lead on "Uptown", and he is always great. In fact, I'd say Prince's childhood friend was the best of the night, with the added bonus of having really known him well his whole life. It felt real. Shelby J. took on "Erotic City". Liv Warfield took on "Hot Thing". Marva King took on "Kiss", and all were gamers ... just not Prince. Prince's sister, Tyka Nelson sang a little a cappella song and thanked us all and thanked her brother. It was sad. Ex-Pussycat Doll, Nicole Scherzinger was there for "Nasty Girl" and "Baby, I'm A Star" and it was ok. Luke James (?) sang "Do Me, Baby" and hit all the high notes on that and "The Most Beautiful Girl In The World", but I wasn't moved. I don't think I was alone in that we all really just wanted the real Prince. One more time. We weren't ready!

Instead there was another video, where Prince said, "I pray every night. I don't ask for much, I just say thank you." That was his way. If only we could all be more like that, right? Judith Hill gave a heartfelt version of "The Cross" and then sat down at the keys for "How Come You Don't Call Me Anymore" that was sufficiently funky. I choked up when Cymone came back for "The Ladder" and did not when Elisa Dease (?) sang "Cream". Cymone took on "The Ballad Of Dorothy Parker", and was then joined by Doug E. Fresh for "Pop Life" with rapped lyrics. When Fresh yelled "Prince was the greatest!" there was zero opposition in the house. We got some Fresh beat-boxing on "Housequake", and the place was fired up.

The energy immediately flagged when Ana Maura (Portuguese fado singer) had a too-long set that culminated with a slow "Little Red Corvette". This is when bathroom lines were extra long, but we're told she was one of Prince's favorite singers. She was good, sure, but brought the energy way down. So Chaka Khan brought it back up! She looked and sang great on "Betcha" and "Sweet Thing" then brought out, rather anti-climatically, Stevie Wonder (!) to join her on harmonica for "I Feel For You". They blew up "1999" together, after a sloppy start. Right when things were on full steam party mode, they chose this time for an intermission that no one wanted or needed - it was already almost 11!

I'd never really gotten a chance to get into Prince's 3rdeyegirl phase, and I still really haven't. They threw down an underwhelming set that included "Wow". but just wasn't. Bilal came up and brought some WOW with his cover of "The Beautiful Ones" with pretty good faux-Prince screams while writhing on the ground ala The Kid. "If I Was Your Girlfriend" was pretty good too.The NPG and the Funk were back with "Musicology" that was extra-funky with Michael Bland on those drums, and they were in extended jam mode, but it was not really the time or place for that, as it was getting real late, the energy was flagging, and people were leaving. I had to BEG my friends to stay, as we HAD to have our "Purple Rain" moment together with everyone, and you knew it would be last (it was).

Though kind of strange, the Mayte Garcia belly dance with sword balanced on her head performance was one of the most touching moments to me. It felt like she was dancing just for Prince, and we were watching. It morphed into "Seven" and I'll admit to tears here. I can only imagine how she feels.

This story is going to get as long as the night, so I'm gonna rattle off some tunes or we'll both get bored. Andre Cymone lit up "Computer Blues". "I Would Die 4 U" - Marva King. "Sexy MF" - Tony Mosely (with Mayte shaking that ass). "Gett Off" - with Doug E. Fresh putting on a beat box extravaganza that also felt like stalling for time a bit. Now why they'd give "Sometimes It Snows In April" to Elisa Dease who we'd never heard of, I don't know. Where were all the superstars?! I thought they'd be lining up to HOPE to play at this. Hmm. She did fine, but that's a special one that I think deserved more. "Girls and Boys" - Marva King. "Controversy" - Cymone. Then Fresh did his own "La Di Da Di" that was superfresh, but again felt like stalling. Plus it's not a Prince tune.

Morris Hayes was the bandleader and said that even if they played 50 tunes (and they did), there would still be 50 more people couldn't believe they didn't play. That's the thing with Prince tributes, they really could be endless. And at this point, it felt like it would be. Phew.

Pop star (?) Tori Kelly did a workable version of "Let's Go Crazy" that got us all dancing again, then slowed it down with "Diamonds and Pearls". I think pacing was definitely an issue. Stevie Wonder came back out to join Kelly on "Take Me With U" that was great, and "Raspberry Beret" that we all sang along to, which was a good thing as Wonder forgot the words. As Christina Aguilera, John Mayer, and Anita Baker had all dropped out (Why? Dumb.), they added Jessie J. who I don't know, but I do know that she way, WAY over sang "Nothing Compares 2 U", and only reiterated that really no one DOES compare to Prince Rogers Nelson. And probably never will.

Stevie Wonder came back and said, "It's an emotional night for me {me too, Stevie}, and I'm just trying to keep it together, because I'll miss him forever ... We had so many plans to make the world a better place." He then sung a truly emotional version of Donny Hathaway's "Someday We'll All Be Free" that was lovely - but not a Prince song - and then his own "Superstition", which is definitely not a Prince song. I'm all for Wonder songs, but this was not that night, and when he turned it into an EXTRA-extended jam, I actually wanted to punch him. People were EXHAUSTED, and not at all in the mood for a ten minute keys jam. It felt real self-indulgent by then, and I almost don't blame them, as most on that stage won't be on that big of a stage again.That sounds a little bratty, but C'mon.Then they made us wait for an encore! It had been FIVE hours, and all anyone wanted was "Purple Rain".

By then the XCel was half empty, but those of us hard cores heard those opening chords and stood up. Tears welled as we heard PRINCE say "Did you have a good time? I did." and then a recorded version of "Purple Rain" played us out. We all sang, we all cried, we all rejoiced that we'd lived in the same time as Prince, and had been able to be there for the real thing in our lifetimes. Purple glitter rain fell from the ceiling as the Prince symbol filled the screen. Everyone was totally spent, but we had come together to give our Prince the proper tribute we needed - and he deserved. The music of Prince will live forever, and that's something to celebrate, even as we will also feel his loss forever.

I'm so happy I could be there. The Minneapolis Sound LIVES!

Thanks and so much love to everyone there ... Always.

*Performance photos ripped from Google (Star Tribune, Wall Street Journal, Wtop.com, and ABC TV, respectively) due to strobe light impossibility. Thank you!