Saturday February 8th 2020
I had never been to the New Morning before. However, it wasn’t for lack of having heard about this mythical Parisian venue. I particularly have in mind a live album by French singer Jean-Jacques Goldman, even though the numerous aftershows that Prince gave there also helped build the reputation of this famous jazz club. Its intimate setting, with no more than 400 people, exudes a special atmosphere and the feeling of being within reach of the artist. So when I heard that Dexter Wansel was going to perform there, I didn’t hesitate one second to attend.
Reading through album booklets has contributed to discover his numerous works and appreciate them. Indeed, I have always found the context of his meeting with Michael Jackson and his brothers interesting. It is known that the Jackson 5 left Motown to finally write and produce their own songs. After signing a contract with Epic Records, the renowned band The Jacksons began their artistic emancipation under the watchful eyes of Gamble and Huff. Following Epic’s request, the tandem at the head of Philadelphia International Records then produced a first album soberly entitled “The Jacksons” in 1976 (so that year was not just about Rocky Balboa in the state of Pennsylvania!). In their bosom, keyboardist Dexter Wansel was one of the main creators of that record. Among his contributions are the tracks “Living Together” and most importantly “Keep On Dancing” which he composed, arranged and produced independently. However, his teamwork with Gamble and Huff in producing “Blues Away” and “Style Of Life” is also to be commended. I understand the importance of these two songs because they were the first Michael Jackson songs to be released in an official format. They fulfilled the artist’s wish to leave Motown, as stated above, which was an important step for the one who would become the King of Pop. Dexter played a major role at that particular time when, as an arranger, he put his talent and experience into both songs and guided the young Michael in his new function. The latter had always been able to immerse himself in experiences and encounters in the studio to forge his own identity as an artist, and working in Philadelphia with Wansel was an integral part of his career.
So I knew the importance of this figure and I took the opportunity to see him on stage in France. Beyond his contribution to the Jackson musical world, it was also an opportunity to hear one of the representatives of the Philadelphia Sound. In the intimate setting of the New Morning, it was good to remember that great concerts are not necessarily experienced in stadiums and large venues, and I took advantage of one of the seats on the left side, very close to Dexter’s keyboard. Accompanied by nine musicians (including his comrade from Philadelphia, singer Damon Williams), the artist took the audience on a journey through time. The tone was set at the opening with “TSOP (The Sound Of Philadelphia)” and back to the 70s like a hymn from Philadelphia International Records. This instrumental is known to have been the theme tune of Don Cornelius’ Soul Train tv show but it is also the most emblematic track of MFSB, a band gathering the whole team of Gamble and Huff’s musicians. One can thus analyze this listening as a history lesson and feel the musical richness of the musical figure who crossed the path of artists such as Billy Paul, Teddy Pendergrass or the O’Jays. On this subject, Dexter Wansel addressed the audience between tracks, telling everybody to call upon their memory. I was then conquered by his synthesizer programming which instinctively reminded me of the bridge of “Don’t Stop ‘Til You Get Enough” (sorry, you are who you are…) Here was the representative and craftsman of a time when he influenced musical styles such as Soul, Funk and Disco. In his setlist, Dexter obviously plays tracks from his solo albums such as “Life On Mars”, “Theme From Planets” or “Sweetest Pain”. However, he also adds other elements from his rich discography to the program. All the songs he composed and produced for other artists are part of his own world. The most important thing was to make good music and Dexter Wansel is a perfect example of the good soldier in his service. The performance of “Mysteries Of The World”, another song from the MFSB repertoire (Mother Father Sister Brother, sorry, I didn’t precise it above!) is a good example again and the opportunity to say that he was able to bring his personal touch to a well-oiled collective like Gamble and Huff. Throughout the evening, he offered rhythm combining string instruments with his synthesizer layers. Sometimes, a few hints of brass complete the ideal mixture. In the programming of his keyboard, he knows how to distinguish himself to the point that his solos make the audience vibrate. He is indeed the boss, capable of directing his musicians with a single gesture or a simple glance. A few hundred of us got the privilege to relive on stage what was accomplished more than four decades ago. We could listen to other tracks like “Only You” that he arranged for Teddy Pendergrass, “Night Over Egypt” for The Jones Girls, not to forget the sublime “If Only We Knew” for Patti Labelle (with Cynthia Biggs, his partner for many tracks, which I had to mention). Music was everywhere on stage, as well as passion and talent mixed with the pleasure of playing that offered a more than satisfying result and the feeling that it was necessary to be there, because here was a man who influenced the music that I love, quite simply.
A very nice evening that will remain in my memory, including the interlude that allowed me to drink a Diet Coke at the bar. The small details that may seem insignificant like this one can comfort me in the feeling that I really enjoyed the event. However, it is above all my meeting with the key player that brought me immense joy. This happened before the concert, at the end of the afternoon. I would like to thank the New Morning team who were very friendly and welcoming on this occasion. I felt it was a team composed of passionate people with the pleasure of sharing music. It is in a similar state of mind that I wanted to give a copy of my book “Let’s Make HIStory” to Dexter Wansel. I felt that he appreciated my gesture as he was flipping through the pages and congratulating me. I was touched by his words and of course, I asked him for a signature on the records he produced with the Jackson brothers. He did so not without reading the credits and remembering the good old days. It was an opportune moment to tell him that his song “Jump For Joy” was my favorite from the “Goin’ Places” album (the Jacksons’ second album produced in Philadelphia in 1977). He shared with me that he had only wanted to send positive vibes through music and I replied that I had been receptive to it. I will continue to listen to him and draw into his joie de vivre. But it now has a special flavor after having crossed the path of its author. We hugged each other and I knew this February 8, 2020 would remain in my memory. I thanked him for taking a few minutes of his time for me. That was so precious to me. I saw a great artist on stage but also a man of rare kindness behind the scenes. The world of Michael Jackson guided me to good people and I will continue to focus on the positive: at the New Morning, I was encouraged to persevere on this path.
