Written by Bill B Wednesday, 27 February :59 - Last Updated Wednesday, 27 February :12

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1 Chris Jasper is the soul fans' soul man. In the 70s and 80s he was an integral part of the Isley Brothers and of course went on to become one third of Isley-Jasper-Isley. Now running his own label Gold City Music he's a respected solo artist and has just released a brand new album - 'Inspired' (see our reviews archive). What better time, then, for SOULJAZZANDFUNK to catch up with him and learn more about 'Inspired' and his award-winning career. In this, the first part of a two part interview with Chris, we go over his time with the Isley Brothers... but first a bit of background... CHRIS: I was born in Cincinnati, Ohio on December 30, 1951 and became interested in music when I was around 7 years old. I used to listen to different songs on the radio and play them by ear on the piano. I was fortunate to take piano lessons from a professor at the Cincinnati Conservatory of Music. My mother made that connection for me. She played piano and my uncle was a first violinist for the Cincinnati Symphony Orchestra. In those days I used to listen to songs by Ray Charles, Sam Cooke, Jackie Wilson, Marvin Gaye, and many of the other Motown artists. They were all a big influence on me. 1 / 5

2 You were friendly with members of the Isley family back then weren't you? Yes, the Jasper family and the Isley family lived on the same street in Lincoln Heights, a suburb of Cincinnati. Rudolph, Ronald and O'Kelly were older than I was, so I was more friendly with Marvin and Ernie because we were closer in age. My sister, Elaine, married Rudolph Isley so we became linked by marriage too. Elaine and Rudolph lived in Teaneck, New Jersey and I'd visit in the summers and I even spent my junior year at Teaneck High School. It was during this time that I formed a group with Ernie and Marvin called The Jazzmen Trio. We used to play locally, at high school events and churches, playing a lot of the popular songs that were out at the time. I played piano, Ernie played drums and Marvin played bass. So, from Cincinnati to Teaneck... then on to New York's famous Juilliard Academy... what was it like studying there? I actually auditioned for Julliard after I graduated from high school in Cincinnati and I majored in music composition. Julliard was a very interesting experience because of all of the talented musicians that went there. But because the composition department was rather strict in that they focused on atonal music, I felt that it was a bit limiting for me. I wanted to compose many other types of music as well. So, while I was at Julliard, I heard that jazz pianist Billy Taylor and composer Raoul Pleskow were teaching courses at Long Island University, C.W. Post campus in Long Island, New York. This seemed like a good opportunity to explore jazz and other types of both classical and contemporary music. So, I took advantage of that and completed my bachelor's degree in music composition there. Take us through that time between graduating and hooking up with the Isley Brothers... While we were in college, Marvin, Ernie and I were already playing on the recording sessions with the older Isley Brothers. 'The Brothers Isley', 'Givin' It Back,' and 'Brother, Brother, Brother' were some of the recordings we played on. We were about 15, 16 at that time. I mostly played piano back then. The Isley Brothers of course were a vocal trio at that time. They had their own band leader/arranger and a band at that time. We were new additions to the band at first, but as time went on, we became equal members of the group. The three original brothers were 2 / 5

3 impressed our ability to play our instruments and compose original music. Expanding the line-up, starting their own label (T Neck), changing musical direction (from the smooth Motown sound to a harder hitting funk) and adopting a new look were all major changes whose idea was that... The older brothers formed the T-Neck label in 1969 when they were with Buddah Records. At that time, they were still a vocal trio and didn't play instruments or write much original music. Marvin, Ernie and I brought the musical and composition component to the band. It was the older brothers' idea to join the two bands to make one self-contained band. And the new extravagant look the hippy style clothes and so on...? That was what was happening at the time. It certainly wouldn't be something that would work now, but that was the style then. In fact, one of my outfits is on display in the Rock & Roll Hall of Fame in Cleveland, Ohio. 3 / 5

4 What was it like for you working with such a famous group with a great history...? It was a great experience because a lot of their songs would be played on the radio because they had prior hits, so that was exciting, to hear yourself on the radio. Did Ronnie, Rudolph and O'Kelly allow you to have any major input into their musical direction then? Not at first, I was playing mostly playing piano. But on 'Brother, Brother, Brother', I wrote my first song, which was 'Love Put Me On The Corner.' The more we played, the more input we had. You eventually got to write anthems like 'Fight The Power' and beautiful ballads like 'For The Love Of You' and 'Between The Sheets'... how did you put those things together. Starting with the '3+3' album, Ernie, Marvin and I started to write more original songs. 'Fight The Power', 'For The Love Of You' and 'Between The Sheets' came together in stages, from a basic chord progression and then the melody, and then the lyrics usually came last. 4 / 5

5 And As version Houston Talk To composing business, concerned, Fame... I major Tell In have and Isley-Jasper-Isley, were prevent recording What The including All way training. romantic course, guess And 1984, The far start they wanted other three I what very those voiced do factor what Way', about of Ernie's that with, through I 1992 did period were covers the would for and financial younger disappointed a do songs way same the to album six a the about CBS. title all and you think was that... great mostly file the guitar of by the of use are chords tracks some that problems 'Between for breakup. think and a inequities, guys Debussy from the of group Chris cover concerned, different major had bankruptcy playing sell-outs. I recording those albums recorded wrote when lows? of to coming brought of a of ended Jasper 'Live the tours highlight. many meeting. The and albums 'For degrees added because the from highlights Any numerous And, It didn't out, I Sheets'. new would our a Ravel, and was the of older group Up', always brought new 1973 major another first went but of Love material break a want 'The of there stand Brothers course, musical lush big which had we album, appreciate The to gold older of disappointments? cover Heat disappointment. to 1983 prevailed ballads, are scale rock your You'. out so-called file the gave or split being direction, contract Isley 'Broadway's the sued thousands because bankruptcy. platinum. could texture versions Isley that time On', up. a thing when which inducted different were 'Isley 'Showdown', We Brothers? with to and I three Isley-Jasper-Isley we another called most But a of there stayed The typical Closer CBS. sound' result promoted Because most songs were flavour into I music of enjoy guess, financial the have artist the with of Marvin, having to has to 'Go and highlights the my pieces that to about Sunset Brothers... Rock of been those chooses been For CBS classical inequities songs that wasn't far money Ernie music. continued & Your written and of tours disagreement, Boulevard'. attributed Roll from. for your were music touring there and formed Guns', problems were Hall And, do attempt Whitney songs? I my because the our another before. didn't of to of a'go ideas, own We to In the second part of this interview Chris will talk about his time with Isley-Jasper-Isley and his successful solo career. 5 / 5

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