Artist Interview by: Susan Frances
Funk-jazz saxophonist Paul “Shilts” Weimar reveals, “The nickname ‘Shilts’ came about over a game of soccer in England, so has little to do with my music, however, the circumstances under which I acquired it suit my personality though.”
He has been relying on his swiftness to change with the climate since he was born in England. Weimar has been carving out a solo career for himself separate from the funk-jazz ensemble Down To The Bone that he played in for 10 years with the release of his debut effort See What Happened in 2000 and his critically acclaimed album Headboppin’ in 2006. Presently, Weimar is gearing up for the All Star Smooth Cruise which leaves from San Diego Port in California on January 21, 2008.
“I first became involved with the All Star Smooth Cruise at the beginning of the year on the 2007 cruise,” he recalls. “On that occasion I was performing with Down To The Bone. This will be my first cruise as a solo artist, playing my own tunes, so that's very exciting for me.”
He concedes, “As this is a solo gig for me I will be concentrating more on my own music. I am trying to keep the two separate and distinguish an identity for myself as a solo artist.” He asserts, “There really isn't a difference as I have been the frontman for DTTB for 10 years now. Same job, different music. I do really enjoy connecting with the audience though.”
He submits. “I have yet to be given a rehearsal schedule and confirmation of the band I'm working with. I do know they will be hand picked for their talents and I'm sure we will have a great time on stage. The most important thing for me is the band has fun and enjoys playing my music.”
But this does not seem to hamper Weimar who has performed with a number of the musicians that are set to play on the cruise including fellow saxophonist Marion Meadows and R&B/pop sensation The Four Tops. “I think it was way back in 1981/82 when I played with The Four Tops. I doubt any of those guys are still with them but if the opportunity was to arise, then I would love to do it again. I haven't made any plans as to playing with other artists on the ship as yet, but that's part of the fun, you never know what's going to happen at one of the many jam sessions.”
He outlines that some of the benefits to the jazz cruise is that “You don't have far to travel after your performance, and of course, getting to spend more time face to face with the fans and getting to know them too.” He imparts, “It's always good to be out there and to be seen by the public and a great chance to reach new fans who might not be familiar with your music.”
Weimar’s saxophone playing is a bit funkier than the traditional jazz set as he expresses, “I think the funk/soul genre tends to suits my style of playing more than straight ahead jazz. I have always been a fan of the groovier style of music.”
In England, acid/club jazz and chillout music were derivatives of funk-jazz and have prospered greatly there, even moving into electronica-pop modes as in the case of England’s Rupert Leighton and Mike “Cruiserman” Harwood. Weimar notes, “It was home grown and started life in London. I'm not sure if there is still as big a following but that style has always been popular in Europe.”
Weimar was raised on jazz music as his parents listened to everything from Big Bands to contemporary jazz and his baby sister was a huge fan of Earth, Wind & Fire. In his early teens, he was chosen to play in the National Youth Jazz Orchestra of Great Britain, a 24-piece band that backed up such prominent artists as Buddy Greco, Rosemary Clooney, Nancy Wilson, Mel Torme, and George Shearing at special events. Weimar transitioned into pop music in his early twenties when he played saxophone in the romantic new wave group Breathe whose hit singles can still be heard on adult contemporary radio stations.
“Not sure I can remember that far back it was over 20 years ago,” he chuckles, “Breathe was a bloody good band and we had some great fun. We were very young men and got up to what young men do. I did learn a lot as it was my first major touring band and I got my first taste of ‘being on the road‘. I've gone from being a session musician to a solo artist and obviously that makes you grow as a performer. Now that I'm a seasoned musician and spent more time waiting at airports and living in hotels than actually performing on the stage, I tend to look forward to an early night....Sometimes.”
After Breathe’s short stint in the pop market, Weimar approached his songwriting as a session musician playing for a number of music genres which included recordings for Bill Wyman, the original bass player of The Rolling Stones. He recounts, “I recorded an album with him under the title Willie & The Poor Boys. I think it started as a charity project but did quite well. We recorded it at Jimmy Page's house over a week or so. It was at a time when I seemed to be doing a lot of ‘rock’ sessions. I had my eyes opened very wide to the world of Rock & Roll. I very much doubt if Bill even knows who I am, but if he reads this then I'm up for it if he is!”
Recently, Weimar has co-written material with Rick Braun and Richard Elliot for their new CD RNR, recorded in his home studio. “I have just co-written a track for RNR, the new Rick Braun and Richard Elliot CD. The track is called “Q It Up” and turned out smashing. I write all the time and have a good catalogue of tunes. I'm open to share with anyone but I don't have regular clients.”
As the owner, purchasing agent, and operator of his own home studio, Weimar reflects about the changes he has witnessed in music technology. “The biggest change for me has been how computer technology has revolutionized the music industry. It's now possible to have a very good home studio which you can produce a quality performance with a reasonably small budget. I don't know many artists now that don't have a studio in their home. Also, it's great to be able to do a session for someone from the comfort of your own home via the internet. Technology is advancing at such a rate that I think we are starting to take it all for granted and nothing surprises us much anymore.”
He proposes, “I think the music business is headed for another revolution in the same way as when the CD first came out. I imagine in the very near future all our music and media will be collected via the internet. I don't think it is a bad thing but having said that, I still miss vinyl. I have albums that I bought in the 70's for the art work alone. I think that side of it will be missed.”
Weimar explains that musicians need to be good in many different roles besides the creative portion of the business. “Whether we like it or not, being a professional musician you don't have a choice in the matter of the business side. As we are self-employed, we tend to be thrown into it. We have to be our own marketing, accounting and promotions teams when we start off. Only when you reach a certain point in your career do you get to hand those responsibilities over to other people such as managers and agents.”
The responsibilities are enough to push anyone over the brink, but Weimar tells how his family keeps him well grounded. “My family are truly amazing and are behind what I do 100%. The biggest sacrifice we made as a family was to leave the UK and move to America, where we have made a new home for ourselves. I do travel a lot but I also get to spend more time at home when I'm not working, so it evens itself out over the year.”
Although even when he is on tour, he does not let the instability of being on the road take over him and tells that “You will mostly find me limbering up at the bar before a performance. I think it's more important to look after yourself to deal with all the traveling than the actual playing.”
Weimar has three decades worth of experience in the music profession and does not sound like he is about to slow down. With that experience has come wisdom which he passes onto young, aspiring musicians. “Firstly, he advises, “practice. Learn your craft well. Learn to read music is a must to be a true professional. If you can't go to a music college then join as many bands as you can and play in as many varied styles as you can. If you put enough work and effort into training yourself, there shouldn't be many cases of rejection. The main thing is to have fun doing it, it's a fantastic career,” he beams.
For more information: www.shiltsmusic.com
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