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Last September, Alpert released his 49th studio album "Wish Upon a Star."
Hall - the former vocalist for Sergio Mendes & Brasil '66, who sang on the group's Sixties hits "The Look of Love" and "The Fool on the Hill," as well as the solo title track to the 1983 film "Never Say Never Again" - guests on a pair of "Star" tunes. She put out a solo album, "Seasons of Love," in 2022. Alpert appears on it too.
Below, Alpert discusses the album, tour and his celebrated music career, which dates back to the late 1950s. It was particularly fascinating to discover the background on the legend's No. 1 single "Rise," which I purchased on 7" vinyl when it came out in 1979.
Q: Will the upcoming concerts be utilizing the same format as in the past, where you do a Q&A session with the audience?
A: Oh yeah. I’ve been doing that from the
start. I think that’s fun; people are interested in what’s happening
in my life or Lani’s life or just thoughts in general. I try to open it up to
make it informal. I don’t like an uptight situation
when I’m performing.
Q: You also project old images on a screen too, right?
A: Yeah. It’s a full-bodied show. It’s quite entertaining. The beauty part of it is I have fun doing it. The feedback has been fantastic. People love the show. It’s a win-win for me. I feel like I’ve been very fortunate in my life to be able to do what I love to do. I’m happy I’m able to pass it on and make a certain amount of people happy doing it.
Q: Do you still get as much enjoyment out of being onstage these days as you did decades ago?
A: I’m [still] waiting for [the] time when I don’t feel that excitement and I’ve been excited every time. It’s a good feeling. It’s the unknown. I’m basically a jazz musician and the music that I make night after night is spontaneous, even though I’m doing some of the oldies but goodies at times. I try to be in the moment of my life and create as I’m going along.
Q: Turning to the new album "Wish Upon a Star" - One of my favorite tunes on it is “Marie’s the Name) His Latest Flame.” Did you ever have any encounter with Elvis Presley while you toured and recorded with The Tijuana Brass?
A: No, but I knew the drummer that played with Elvis [likely either D.J. Fontana or Ron Tutt]. I know that Elvis had “The Lonely Bull” on his jukebox at Graceland.
Q: Another album standout for me is “And I Love Here,” the latest in an extensive line of Beatles covers throughout your career. How do go about making tunes from such a vaunted catalog your own and putting your own stamp on them?
Q: Another album standout for me is “And I Love Here,” the latest in an extensive line of Beatles covers throughout your career. How do go about making tunes from such a vaunted catalog your own and putting your own stamp on them?
A: Well, that’s the whole trick. I think if you’re going to recreate or do a song that people are familiar with, you try to do them in a way that hasn’t been done quite that way before. When I came up with this arrangement, it just felt like, ‘I don’t think people have heard that.’ It’s a beautiful melody. I wanted to present it in a way that’s a little bit different and makes me feel good doing it. Basically, I make music for myself. I love to record. I’ve been doing it since...I worked with Sam Cooke many moons ago…I try to make music that makes me feel good. If it rings honest for me, then I put it out as part of an album.
Q: You also tackle “On the Street Where You Live” on the album. Were you a fan of “My Fair Lady” on Broadway?
Q: You also tackle “On the Street Where You Live” on the album. Were you a fan of “My Fair Lady” on Broadway?
A: It has nothing to do with that. [My song choices were about] songs that touch me. Oddly enough, years ago, I played at Madison Square Garden with the Tijuana Brass and [did] “I’ve Grown Accustomed to Her Face.” Alan Jay Lerner [the song’s lyricist] happened to be in the audience. He called me at the hotel and invited me over for lunch. I had lunch with him the next day, and it was a unique experience for me.
Back to choosing songs: I choose songs that haunt me; songs that come up in my memory. I’ve played so many songs over the years. You listen to the radio and all the sudden you’ve got a melody that keeps coming back into [your] memory for whatever reason.
With “A Taste of Honey,” one of the breakthrough songs I did many years back, I sat down and said, ‘How many different ways can I play this particular melody?’ I remember distinctly doing that. I came up with a way of doing it that wasn’t done. Nobody else had recorded it or played it that way. It was a lucky stroke. That’s how I approach most melodies that are familiar to others. I try to see how many different ways I can play it that makes it fun to listen to. I try to make music that’s fun to listen to, not corny, not just trying to make something so I can attract attention, but something that touches me, and I feel if it touches me, it’s liable to touch other people as well.
Q: Like when you appeared on “The Tonight Show with Jimmy Fallon” and he exclaimed, “Your music makes me feel good!”
Q: Thinking across your catalog, do you have an all-time favorite album?
Q: What did you think of the recent “Herb Alpert Is…” documentary and what kind of feedback have you received since it came out?
Q: Like when you appeared on “The Tonight Show with Jimmy Fallon” and he exclaimed, “Your music makes me feel good!”
A: He was right. He heard that melody and jumped up and started dancing. He’s a good guy.
Q: Elsewhere on the new album you revisit “It’s All in the Game,” which you’d previously done on “Stepping Out.” Why?
Q: Elsewhere on the new album you revisit “It’s All in the Game,” which you’d previously done on “Stepping Out.” Why?
A: I heard what I did and felt it could be expanded on. My wife [Lani Hall] always liked that song. I remember the hit record by Tommy Edwards. There’s something about that melody that’s quite beautiful.
Q: Finally, you recorded new covers of songs by former acts like Cat Stevens and The Carpenters who were signed to your record label A&M. Were those song choices a way to give a nod to your favorite selections by them?
A: It actually was, yeah. Cat Stevens was a very unique artist on A&M. He had his own little magic and just him and the guitar could knock you out. He was so passionate about what he did and how he did it. He was a very special artist.
Of course, I signed the Carpenters in 1969 and gave them “Close to You” to record. I have great memories of them. She was a doll; a great singer and she had no idea how great she was, unfortunately. She loved to play drums. She was a great drummer and had a voice that touched millions of people around the world and still [does so]. They’re still selling records after all these years. They’re not even selling CDs anymore, they’re selling streams.
Q: Thinking across your catalog, do you have an all-time favorite album?
A: “Whipped Cream and Other Delights” album has to be a classic. Somebody on TikTok picked up one of the songs on the album called “Ladyfingers” and I’ve had over 200 million streams of that song out of the blue. I didn’t solicit it…it’s turned into something I never imagined would happen.
Q: The considerable success of the pop and AC chart-topper “Rise” in 1979 continued a wave of hit instrumentals that found favor on top 40 radio well into the ‘80s. Were you pleased to see that happen at the time?
A: It’s still tough for instrumentalists [now] because with what little radio [play] there is, they’re very stingy in what they’re willing to play. You have to have a certain sound or instrumentation to attract attention.
“Rise” happened in a strange way. My nephew Randy “Badazz” Alpert wrote it with a partner who wanted to do it as a disco record. I went into the studio with that melody thinking that it didn’t sound right doing it at 120 beats per minute. It sounded a little forced. So, I said, ‘Let’s slow this baby down.’ So, we did it at 100 beats per minute and it had a funky good feel to it with a wonderful melody on top. It was recorded live at Studio D at A&M. It lives on. It’s one of the most popular songs I’ve ever recorded.
Q: And it’s been sampled often by rappers.
A: Oh boy, is it ever!
Q: When A&M signed The Police, what did you think of the burgeoning post-punk scene in England?
A: When I saw The Police for the first time, I said ‘Wow, those three guys sounded like eight guys were on the stage. Sting was jumping around the stage like he was on a pogo stick. He was fabulous. Obviously, he writes a great song which certainly doesn’t hurt.
(In the ‘90s, Alpert dropped out of the label side of things. When it came to Almo Sounds, he let Jerry Moss run things: ‘I was on my own flight, painting and sculpting and leaving that all behind.’)
Q: What did you think of the recent “Herb Alpert Is…” documentary and what kind of feedback have you received since it came out?
A: I made that documentary because I wanted my grandkids, and great grandkids, and great great grandkids [who we’ve helped get an education through the foundation] to know who this person was. That’s why I made it. I was very reluctant to do it at first. But when I met [the director] John, I felt like he was the right guy. I think it’s really good…I’ve had wonderful feedback from it and I’m proud of what I’ve done with my life musically.
Q: When it comes to your visual art, you had a retrospective showing in the Palm Springs area last spring. Are there any more planned for 2024?
A: Oh, bigtime! I’m building a warehouse in Palm Springs. I have over 1000 paintings and about 500 sculptures. People will be able to see them.
Q: Since you and wife Lani have done James Bond-related film songs, did you ever tease each other about which one was the best?
Q: Since you and wife Lani have done James Bond-related film songs, did you ever tease each other about which one was the best?
A: No, but it was an interesting time when Lani sang that title song. For the [film] opening, we flew to Monaco, and she met Sean Connery, and he was excited because she sang the song at the opening. He gave her a big hug and she was all aglow. A nice moment for her.
Upcoming Herb Alpert & Lani Hall tour dates:
January 27 - The Soraya, Northridge, CA
January 28 - Musco Center for the Arts Chapman Univ., Orange, CA
January 30 - The Sound, Del Mar, CA
January 31 - Cal Poly Arts, San Louis Obispo, CA
February 24 - PS JazzFest, Annenberg Theatre, Palm Springs, CA
March 24 - Tobin Center, San Antonio, TX
March 25 - Paramount Theatre, Austin, TX
March 26 - Majestic Theatre, Dallas, TX
March 28 - Globe News Center for the Performing Arts, Amarillo, TX
March 29 - KiMo Theater, Albuquerque, NM
May 16 - The National, Richmond, VA
May 17 - Strathmore Music Center, North Bethesda, MD
May 18 - Kimmel Cultural Campus, Philadelphia, PA
May 20 - Nashua Center for the Arts, Nasua, NH
May 21 - Palmer Auditorium, New London, CT
March 24 - Tobin Center, San Antonio, TX
March 25 - Paramount Theatre, Austin, TX
March 26 - Majestic Theatre, Dallas, TX
March 28 - Globe News Center for the Performing Arts, Amarillo, TX
March 29 - KiMo Theater, Albuquerque, NM
May 16 - The National, Richmond, VA
May 17 - Strathmore Music Center, North Bethesda, MD
May 18 - Kimmel Cultural Campus, Philadelphia, PA
May 20 - Nashua Center for the Arts, Nasua, NH
May 21 - Palmer Auditorium, New London, CT
Alpert photo by Dewey Nicks
Read my other interview with Herb Alpert at https://orangereview.com/article/627/herb-alpert
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