• Working with the “First Families of Funk”—James Brown, George Clinton, and Sly Stone—is an incredible achievement. How did each of these collaborations differ, and what did you bring to their iconic sounds?

Working with my musical heroes—James Brown, George Clinton, and Sly Stone—was beyond incredible. Each had their own unique approach to funk, and I learned so much from them. The first time I saw James Brown live in the ’80s, it felt like I was levitating. Fast forward to the ’90s, I recorded with the J.B.’s in L.A., laying down funky clavinet and even stepping in on bass for a slap solo. Later, James Brown’s bassist Fred Thomas called me to play on a session at Studio 56, and that track made it onto a CD and 12” release. In Vegas, I spent four days with James Brown’s band and was invited backstage, to rehearsals, and even gambling with him at 3 AM. Meeting Isaac Hayes that same trip was another highlight. In 1998, I was tapped as musical director and keyboardist for James Brown’s Original Funky Divas European tour with Martha High and Lyn Collins, playing sold-out shows in London, Paris, Hamburg, and beyond. The Paris crowd was so wild they jumped on stage, and after the show, fans were asking for my autograph too. At one point, James Brown personally asked if I’d join his world tour. I considered it, but after seeing a musician backstage in tears over unpaid wages and learning that Lyn Collins never received royalties for Think, I decided to stay in L.A., where I had plenty of work lined up.

I first met George Clinton backstage in the early ’90s after a show at the Pantages Theatre. Rapper Yo-Yo introduced us, and after hearing about my background, George hired me for a European tour, which also included Bootsy Collins. Budget cuts later removed us from the tour, but my connection with the P-Funk family continued. Mallia Franklin, the Queen of Funk and a key P-Funk and Parlet singer, pulled me in as keyboardist and musical director for her band, reworking Parlet’s albums live. I played with funk legends like Cori Jacobs, Starr Cullars, Michael Kennedy, and Barry Chenault. We recorded deep into the night, and I played gigs like the Bass Player’s Ball alongside Ray Parker Jr., George Johnson (Brothers Johnson), and Michael Henderson. Our performances were so intense that we practically burned down the venue. I also played in an all-star band with James Brown’s keyboardist Jerry Poindexter, bassist Ray Brundidge, and drummer Frankie “Kash” Waddy from P-Funk and Bootsy’s Rubber Band.

I first met Sly Stone in the early ’90s at a music store, but it was clear he’d been through some tough times. I had already worked with his sister Rose Stone and was later introduced to his brother Freddy Stone through Augie Johnson (Side Effect, The Temptations, Michael Jackson). We worked together on a project, and in 2017, I was cast in the TV series Beauty and the Baller alongside Ray Parker Jr., Deniece Williams, and Sly himself.

Each of these funk pioneers had their own style—James Brown was disciplined and razor-sharp, George Clinton was all about cosmic creativity, and Sly Stone blended funk, rock, and gospel into something revolutionary. Playing with their bands deepened my funk vocabulary and cemented my place in the groove.

• Your mastery of instruments like the Hammond B3, Clavinet, and Moog synthesizer has set you apart. How do you approach blending technology and tradition in your music?

I always assess what the situation requires. If I have the choice, I prefer analog—an original Hammond B3, Fender Rhodes, Hohner Clavinet D6, or Mini Moog—because no two instruments sound exactly alike. Their electro-mechanical components give them unique character, warmth, and life. However, digital keyboards offer practical advantages. They’re lighter, more consistent, and store countless sounds without needing to warm up. Today’s technology even allows entire productions to be created digitally via software instruments on laptops or smartphones. I’m fortunate to work with and endorse many top keyboard brands in both analog and digital realms. Each has its own character, shaped by different technologies like sampling, modeling, and proprietary sound engines. Whether vintage or modern, I use the best tools to serve the music.

• Your solo albums Spacefunk, Evolution, and Devotion are beloved by fans. Can you talk about the inspiration behind each and how they reflect different phases of your artistry?

Early in my career, I was focused on mastering every aspect of music—composition, production, performance, arranging, sound design, and beyond. In the early ’90s, a former Columbia/Solar Records exec became my manager and took me to New York for label meetings with Sony, Universal, and industry veterans like Brass Construction’s Randy Muller. While they loved my music, they didn’t know how to market someone who looked like me but played funk. That led me to launch my own label, Soulstar Records.

Spacefunk

In the late ’90s, after years of playing with other artists, I wanted to develop my own sound. Spacefunk became my signature style—deeply rooted in funk but infused with analog textures, full-band arrangements, Moog synths, and electronic elements. It was wall-to-wall sound, unlike anything else. The album gained global airplay, landing on playlists alongside George Benson, Tower of Power, and Quincy Jones. It led to performances and media appearances in L.A., New York, Tokyo, and Manila.

Evolution

Inspired by Spacefunk’s success, I pushed further with Evolution—my first all-instrumental album. The title reflected my artistic growth, blending funk with cosmic and spiritual themes, as heard in tracks like Funkatazz and Return to Atlantis.

Devotion

The final album in the trilogy, Devotion, expanded on the spiritual themes with tracks like Love, Journey to Nirvana, and Cosmic Movement. The album covers, featuring planets and spaceships, came to me in dreams. These albums featured musicians from James Brown’s band, Herbie Hancock’s circle, The Undisputed Truth, and icons like Patrice Rushen—friends who brought their magic to my vision.

Each album represents a different stage in my artistic journey, evolving my sound while staying true to my funk roots.