My introduction to Ronnie Foster came through the legendary hip-hop group A Tribe Called Quest, but I got a chance to talk with Ronnie to find out he is MUCH more than "Mystic Brew." He talks about finding out how he was even sampled on "Electric Relaxation,” his journey through music, his latest Blue Note album Reboot, and his upcoming performance on April 24 at The Blue Notein NYC.
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Nicole Sweeney: It’s interesting because you know your own story and I know you are aware of how many people, especially from my generation, got connected to you. I can't wait to dive into this part of your story, which is the beginning and your connection to Newark, New Jersey. Many of you know that WBGO is in Newark on Wayne Shorter Way. The street used to be Park Place and we renamed it in honor of a Newark great. From what I understand, your recording story has a connection to Newark, New Jersey. There's an album by Grant Green called Alive. It was recorded at the Cliche Lounge in New Jersey, and Ronnie is one of the guys that were on that bill. Do you remember that?
Ronnie Foster: Yes. That was a life-changing session because it was my first professional recording session with Grant Green. I was on the road with Grant at the time and we did this thing live. It was just an amazing experience. A little side note. You know of my history with George Benson since I was 14. He has a connection to that session. George is a huge, huge Grant Green fan, and he says, “You're doing the session, you're using my organ.” He came and picked me up, we went to his place and picked that organ. I'm using an A100, which is a copy of a B3 that we used on that Grant Green Alive record.
I never knew that. From that particular session, there's a man whose name, when you talk about jazz, you cannot not talk about—Francis Wolf.
That was at the end of the session. He walked up to me and he says, “Ronnie, how would you like to have a deal with Blue Note?” I say, “Yeah, you don't have to ask me twice on that.” Growing up on the label, that was a great honor. Unfortunately, after we got the thing going, he passed away. Blue Note was kind of up in the air, trying to find somebody to take over. They found Dr. George Butler. I called Dr. Butler and said, “Hey, I had a deal with Francis before he passed. Can we still do this?” He said, “Where are you playing?” At that time, I was living in Detroit and had this steady gig there. He said, “I'll fly out and check you out.” After the set, he came up to me, and says, “Yeah, I'm going to sign you.” What a path.
It is an interesting path because from there comes your first album called Two Headed Freap. Where'd you get that title?
Alright, here we go. Think about a 20, 21 year old guy who wants to be a little different but I didn't want us to be a two-headed freak, so I just put a P on it. That's how that came about because I was always trying to think a little differently.
I would've never guessed it. You see why these interviews and conversations are so important. I will try not to make that Freudian slip in the future. Now talk to me about “Electric Relaxation.” I remember growing up in New York and being such a hip-hop fan. That song, even to this day, I can hear it playing in the back of my head. When I got older, I really wanted to dive more into that music and almost dissect it and then I found you and “Mystic Brew.” Talk to me about that song. I'm sure you never really knew where it was going to go. Talk to me about that particular song—where it started from the seed that became “Mystic Brew.”
I was playing with the band after I got out of high school in Indianapolis, Indiana. I was 18 when I wrote that song which is kind of crazy. I can remember walking down the street, hearing that in my head and then ended up playing it. That's where that started, in 1968, right after I graduated high school and started playing with this band. I found out about A Tribe Called Quest doing this song because of a guy, a British DJ, I can't think of his name now, but he was one of the forefathers of acid jazz in the UK. He called me and says, “Hey Ron, I just want to let you know we love your music here which we're playing.” I said, “Thank you.” He said, “We were going to do a remix of “Mystic Brew,” but A Tribe Called Quest did it already.” I said “They did?” I didn't even know. So I went and got it, because back in the day nobody would get licensed. At first I felt violated. Then I reached out to Blue Note, they took care of business and we're all good. I've met Ali Shaheed. Q-Tip and I haven't met, but we talked on the phone for two hours, just talking about music and other stuff. I never got a chance to communicate with Phife, but we're all good.
Do you like the song? Do you like what they did with it? It's really smooth for hip hop.
Yeah. Tribe is different, there's nothing like that. By himself, Q-Tip’s got a different vibe. The first time I met Ali Shaheed was when they did Jazz Is Dead out here. They were very respectful and brought me up on stage. They were saying, “Hey, we wouldn't even be here if it wasn't for Ronnie.” I mean, I'm humble. I don't trip on this stuff. I love music and I'm still here able to do it.
Those guys really brought so many of us right to your doorstep so I'm so glad that you all were able to communicate and get over that hump. Now fifty years later we've got Reboot, which is such a great title. Talk to me about 50 years later. I feel like that's such a significant number. Also about coming back to Blue Note. Is that a big deal?
Yes. I was talking to somebody and they said, “I don't think I've ever heard of this. Coming back after fifty years.” My thanks go out to Don Was for having that vision. He said, “Man, your stuff is killing.” He's the right guy for Blue Note because he is so musical. He's still gigs on the weekend. I was very excited. The company was very excited. Now I'm building some stuff to go out because they asked, “Do you want a tour?” I said, “Are you kidding?” I'm going out on the road which I love. We play from an emotional base because I'm an emotionally based person and that's the only thing I can do. I love that people are on the journey with us when we play.
To think that this journey started with a live performance at the Cliche lounge here in Newark. You're coming to perform at The Blue Note on April 24th. I'm trying to get a babysitter, because to see you live would truly be something that I could put on my bucket list. Talk to us about The Blue Note and what people can expect when they see you live. What is that experience like?
It's high energy. I’m very fortunate that my son is playing drums in the trio. I have Mike O'Neill on guitar. They were the nucleus of the album. Having my kid playing with me is a big deal because he used to say all the time, “Dad, when can I play with the trio?” I used to say, “Well, you know we swing, right?” And he said, “Yeah, yeah.” Anyway, he got all that together and then Michael and I worked together with George for years. He's been with George now for forty-something years. He took Phil Upchurch's place, playing rhythm guitar for George.
The beautiful thing is that Michael knew Chris, my son, when they were babies. He has a twin brother too. And Chris always says, “I'm out here on the road with my two dads.” You know what I mean? That kind of thing. But it's a beautiful experience and we're connected. It's all positive energy and high energy. We go for it. We start at 10 and then go from there.
So bring your high energy to the show. There's going to be two sets April 24th at the Blue Note. It's going to be such a good time. I meant to start the interview here, but I was too excited to dive into Two Headed Freap. Since you mentioned George Benson, he just had a birthday, a few weeks ago. George is still with us. But you are on quite a few of his albums and on other artists’ albums. Let me tell you something. Ronnie Foster is more than “Mystic Brew.” He's played on the Jacksons’ album, Can You Feel it? You're on the Triumph album. Do you know Stevie Wonder’s Songs in the Key of Life? A damn near perfect album and another one that you are on.
“Summer Soft.” I did organ on that with my boy. You know, we're born a day apart. We're really close friends.
You're on George Benson’s Breezin’ and Weekend in LA albums. I mean, I'm just naming a few.
I know one you don't know that surprises people—"The Closer I Get to You” with Roberta Flack and Donny Hathaway. All that synth stuff, string stuff, that's all me.
I really wish this was a radio interview so people can’t see my facial expression. I never knew that. That's why I really want people to understand that you're connected to so much more music than “Mystic Brew.” You're a huge part of this DNA, Ronnie, and I want people to know that. I'm glad we get a chance to talk about this. Do you still catch up with George or is he just too busy?
Oh, no, I talk to George every two weeks. We’re brothers. I met George when I was 14. You know who introduced me to George? Jimmy Smith because I started studying with Jimmy when I was 12 when I was in Buffalo in my hometown. George came in to catch Jimmy's last set at this club, and he introduced me. Then George and I started hanging out at 14, and then I worked on the road with him, when I was in school on the weekends when I was 15. So that path is just crazy.
I think we need a documentary on you just to learn these gems that people don't otherwise know. That record with Roberta Flack, “The Closer I Get to You,” I never would've known that. April 24th, Blue Note, New York City. The energy is going to be high. You know what, Ronnie, sometimes I say this about jazz club people—they get there and I feel like they're afraid to let it all out. So when you go, let that energy out.
Oh yeah. We bring that energy and they follow along because I'm very communicative with them. We have two guests that we're featuring—Isaiah Sharkey on guitar and James Carter on saxophone. We're going to have some fun. They'll bring some other energy. I've talked to them already and they are real excited about this.
This conversation has been edited for brevity and clarity.
