• You’ve worked with some of the biggest names in music, including Michael Jackson, Stevie Wonder, Aretha Franklin, and Prince. What were some standout moments or lessons from these collaborations?

I never imagined I’d work with such icons, but after moving to Los Angeles, I started getting calls. One of the first was from mega-producer Richard Perry to record with Michael Jackson’s band for My World, Ray Charles’ Grammy-winning album. That session included Greg Phillinganes, Paul Jackson Jr., Steve Lukather, Jeff Porcaro, Billy Preston, and many more legends. I ended up working more with The Jacksons, especially Tito and Randy, as well as MJ band members like Ricky Lawson, Wah Wah Watson, and Louis Johnson.

That experience led me to meet Prince at Warner Bros. in Burbank. He was quiet and otherworldly in person but an absolute fireball on stage. I later worked with his band, including Kat Dyson, John Blackwell, and Morris Hayes, who called me his “first-call keyboard player.” Backstage at Prince’s 21 Nights at the Forum tour, I met a pastor who hired me on the spot to play Hammond B3 organ for his megachurch after hearing about my career.

Meeting Aretha Franklin was beyond incredible. Detroit guitarist Miles Joseph introduced me, and she pulled me in to play keys for a concert. At rehearsal, I was in awe, playing Hammond B3 while she played grand piano and sang flawlessly. After the show, she said, “Great job, young man.” That moment was surreal—I’d just played with my all-time favorite singer.

I first met Stevie Wonder at Guitar Center in Hollywood in the early ’90s. I had no idea he was there until he walked into the keyboard section and sat down. We talked for a while, and I was on a high for days. Later, I played Hammond B3 at How Sweet the Sound, a gospel tour featuring Mary Mary and Marvin Sapp, with Stevie as a special guest. Another time, I played a Hollywood party, and when Stevie walked in, he asked, “Who’s on keys?” My friend replied, “That’s Ray Charles’ keyboardist, Dan Farrow.” Stevie, always funny, said, “I saw that.” He ended up sitting in with us—an unforgettable experience.

I also performed at a festival with half of Stevie’s band, including Munyungo Jackson (percussion) and Rastine Calhoun (sax), who also worked with Marvin Gaye. Tony Moore (drums for George Benson) and Charles Glenn (Little Richard’s musical director) were also in my band. We tore it up.

Later, when Victoria Theodore left Stevie’s band, his musical director Nathan Watts personally called me before the audition—one of the few I ever did since most of my work came through word of mouth. My friend Eddie Brown ultimately got the gig, and I was thrilled for him. Both he and Stevie are from Michigan, making it the perfect fit.

Working with these legends taught me that preparation is everything. They expected excellence, and you had to deliver—no excuses. But beyond the music, they were some of the most generous, funny, and inspiring people I’ve ever met.