It is all too often that the genius of true creative artistry and pioneering goes unnoticed until it's too late for them to realize the fruition of their efforts no matter what the medium of their expression. Most painters and sculptors work is virtually worthless until they pass away. Athletes like Bernard King and Michael Irvin still wait to be enshrined into their respective “Halls of Fame.” Musicians like Donny Hathaway and Phyllis Hyman have passed only to become icons posthumously.

Back in the late 80’s early 90’s, some of the seeds were being sown in the UK for what ended up being classified as “Neo-Soul”. As the drum machine-driven “New Jack Swing” era was dominating the US, a more organic sound was coming from across the water in the form of “Acid Jazz.” Artists like Incognito, The Brand New Heavies, and Jamiroquai were creating music with a direct connection to the funk and soul of the previous decades, but with a slight twist that was perfectly suited for that time period.

Anyone who is familiar with that scene will undoubtedly say that one of the most important artists, and perhaps the “godfather” of “Neo-Soul” is Omar. With his first full-length album, 1990’s “There’s Nothing Like This”, Omar helped to usher in a classic yet refreshing aesthetic back into R&B/Soul music. And in the years since, he has released 4 more albums of some of the most influential music while remaining virtually unknown in the US.

Lucky for me, I have been enjoying his music for a little over a decade and was recently privileged enough to get an opportunity to sit down with him in NYC as he prepares to release his 6th full length album, "Sing (If You Want It)." What follows is the conversation between myself and a true modern day living legend – my “favorite artist’s favorite artist.”

HGO: It’s a pleasure to meet you.

Omar: Thanks man.

HGO: I don’t know if you remember seeing a little sales blip in your Soundscan numbers when “For Pleasure” was out, concentrated in the state of North Carolina…

Omar: Maybe…yeah…YEAH! (laughs)

HGO: That was me! I was working in a record store back then and we really pushed that album to our customers.

Omar: That was you?! Let me shake your hand man. Respect…respect!

(We shake hands and laugh)

HGO: Okay, starting with your father’s label Kongo Records and your musical beginnings, can you talk about your father as a musician, being in the music business, and the impact he had on you?

Omar: I was very fortunate that my dad had his own independent label. He had basically set that up to release music for his band; a reggae band called Jah Lion. And he knew how the business worked because he’d been a session drummer in the ‘60’s and 70’s with Bob Andy, Marcia Griffiths, The Rolling Stones, Bob Marley. He knocked about with some people back then. So he had set that up, and I was lucky enough to have come into that arena when I started doing my own music, which was around 15 or 16. That was around the time of my first single called “Mr. Postman” on his label, which I f—kin’ hated after 2 weeks.

HGO: (Laughs) Yeah, I was listening to a snippet of it. Now did you do the whole record?

Omar: Of “Mr. Postman?” Yeah man…

HGO: Like did you do the rap and the sing….

Omar: Man please don’t ask me…(laughing)

HGO: (Laughing) No, no. I just wanted to know.

Omar: I did it all, man. I take full responsibility!

(both laughing)

Omar: But it was from there, because I hated it after 2 weeks, I made sure that whatever I was going write after that, I had to make sure that I loved it…love it enough to keep doing it. Because there’s no point in making music that you’re going to be fed up with after a certain amount of time. So I think that has helped me make music which is supposed to last.

HGO: The next step as far as I know was the Talking Loud Records situation. So how did the relationship with you and Gilles Peterson start?

Omar: That was just him being a fan. He and Norman Jay as well, being DJs that set up their own label, and they just appreciated music. It wasn’t some accountant’s point of view or some people who were just coming in for business. This was people who know their music. That’s why I was on the same label as Incognito, Galiano, Young Disciples; you know we all came from the same camp. And still to this day, I still see Norman and Gilles and we’re still mates. It wasn’t them that were the problem in the situation that I was in. It was the ‘higher-ups.’ You know, people that were “Rock Music” driven. They didn’t have a clue about the music we were trying to make. But I’m just glad that none of that hindered me from making music in the first place.

HGO: It’s funny that you started mentioning other artists that were around at that time. You all came out of that “Acid Jazz” genre, so to speak. What were those early days like and what was that scene like in the UK?

Omar: It was an emerging thing. I was coming out of college when I started, and I was listening to music like Stevie Wonder that I was being influenced by; but making it into your own style. I think it was also a rebellion against House Music and also the Rap at that time, which was totally opposite of what we loved about music. People(we) were listening to music like 60’s and 70’s Soul.. I didn’t want to hear any Acid House…you know that ?duuuuuuhhhhhh? (makes techo synth type noise)…

(Both Laughing)

Omar: Oh man! We were musicians as well. Because I grew up playing in youth orchestras, brass bands, Jazz bands. I was Principal Percussion in King’s County Youth Orchestra. That’s the environment we came from. So it was kind of a backlash from all that. But I’m glad that was all a part of it then. Now they call it “Nu Classic Soul”, but it’s just a different name.

HGO: So you’re still doing the same type of music with the same mindset, just evolving with it.

Omar: Yeah. I mean I’m not a band, so I can’t break up. But having said that, I just saw Brand New Heavies and Incognito. We were all in Indonesia together, so those guys are still going. Sadly, The Young Disciples are no more. But it’s like these things are creeping back up, slowly but surely.

HGO: Yeah, I was reading about the Indonesia show, where like 10,000 people were all singing the words to your songs. That had to be something.

Omar: Especially since I had never been there before. I came out of the airport and I see posters of me on the sides of taxis; on the sides of buildings and sh^t. I was like “What the f—k?!” I mean, It was a beautiful thing and it makes me keep on doing the music that I do. Because you don’t see me on the charts. You don’t hear me on the radio. You don’t see me on TV. But I go out there and I do shows, and I get ‘nuff love. I can sell out shows in places. So that’s the kind of thing that makes me say “You know what? What you’re doing is the right thing.” And I’m cool with that.

(The “rap version” of “Gimme Sum” comes on over the loudspeakers)

HGO: Hey, since this just came on, do you know what your US single is going to be?

Omar: Not yet. I’m trying to gauge it from what the reaction is. Matter of fact, this music is distracting me. (gets someone to turn down the volume)

HGO: (Laughs)

Omar: F—ckin music playing in the background! I’m sitting here thinking “Did I put that bassline in there loud enough?” Oh Man! (Laughs)

HGO: (Still Laughing) So you’re sitting here still critiquing your own music trying to give an interview?

Omar: Never f—k to your own music, man!

HGO: (Bursts into laughter)

Omar: Really man! You get distracted. Always do it to someone else’s sh!t.

HGO: Wow. That is an interesting point. I would have never thought of that. I wish I was a musician so that I could fully understand, but that makes since. Because you are constantly critiquing yourself.

Omar: Right! And you don’t want to be critiquing yourself…while you’re “critiquing yourself!” You don’t want a double exam!

(Both Laughing)

HGO: Alright, well back to how all this started. I think the “vocal version” of “Gimme Sum” sounds like a single to me.

Omar: Oh yeah? You’re on that one? Well you know, I wasn’t so in love with the “vocal version”, but in history, that’s kind of the way tracks are picked. They’re the ones people hated the most; those are the ones that get picked up. So far, we’ve been getting a vibe from all the other territories that they like this one (the “rap version”). But I’ll definitely put that in the think tank. I’ll definitely consider it.

HGO: I’m just speaking from the way radio is, especially over here which you know better than anyone else. Radio airplay over here is so tough, man.

Omar: You know what you need to do? You need to get people to write and petition to Common’s label to make sure that they give me permission to use him on the track. Because if we can do that, it’s a gold-seller right there. Aiight?

HGO: Cool. So my next question is how do you think the business of music has changed since your early days; specifically with regards to getting exposure, label treatment and politics, image, etc.?

Omar: I think the whole industry has had to change in the last ten years because of the internet and satellite TV. Because now people are much closer to the source than they’ve ever been. Earlier on, it was just one man dictating to the artist what type of music you’re supposed to do. Then the artist had to take it to the radio station, and one man was dictating what gets on the playlist. There was always this “one man dictating” type of thing going on.

But now, people make their music, put it on Myspace or put it out direct so you can get it direct (from them) and they don’t have to f—k about with these middlemen anymore. And I think that is going to help music to no end because nobody is thinking about all these other things inhibiting them. They can just make the music that they want to and that’s beautiful to me.

HGO: Are there any specific things you can recall that a label tried to get you to do where you responded “Oh hell no!”?

Omar: I think I was in LA, so it had to be around 94’ or ’95. Remember when SWV had the Michael Jackson tune behind their tune? (“Right Here/Human Nature Duet (Remix)”) And there was a whole state of putting another tune with yours…

HGO: Yeah!

Omar: I remember the head of the label saying: (in label exec’s voice)

“You know what? You know what everyone is doing now? Get yourself an old school tune and put it underneath your track…”

And I’m like “What the f—k does this have to do with my music??” All kinds of sh^t like that.

I remember a man telling me that I had to take the REAL string section; the REAL orchestra off my music, and put a synthesizer in there because they didn’t want to pay the musicians.

HGO: Wow.

Omar: And not only that, in the same f—king week he says that, I see another man on my label; this Australian white guy named Jason Donavon. He had a string section on his f—king tune, and it was the same string section that I had on mine! Now we’re on the same label together, but the man is telling me that I have to take off my strings! So there has been stupidness like this that I’ve heard, but never listened to.

HGO: You’re credited in some circles with being “The Godfather of Neo-Soul.” Do you like that title? Do you relish it? Do you hate it?

Omar: I don’t mind it. It’s flattering to hear. I’d rather that than some of the bad stuff! But don’t believe the hype, man. It’s very nice to hear, but I just make music that I enjoy and I hope other people enjoy as well. And if they want to give me titles like that, then it makes it easier to find it in the record store.

HGO: In your interview with B&S (Blues & Soul) magazine, they talk about someone’s only memory of you being from the song “There’s Nothing Like This” from 1990, and in your response, you said “If people can start with one track with me and the learn about the rest of it, that’s fine.” So, if you could pick what that “one track” would be for people to first learn about you, what track would it be?

Omar: Well, that’s the track I would pick because that’s the most popular one. That’s the one that still comes up at the end of every year when they report how many tracks have been played.

HGO: Still?

Omar: Still man. That’s the one. A lot of people don’t even know that I’m on my 6th album. Some people think I’m on my 2nd or 3rd, so there is a hell of a lot of music for people to catch up on. So yeah, if there is one way for them to get introduced to me, that’s the one.

HGO: So now, for that new listener just getting into your music, what order would you have them listen to your releases? Would you want them to go chronologically or would you put them in a different order?

Omar: Now that’s interesting. Wow, I don’t know. I think I would rather leave a question like that up to a fan of my music to tell you because they hear it in a different sense. I’ve heard quite a few mixes of my music that I never considered before and it’s always good to hear it from somebody else’s point of view. So yeah, I’ll dodge that one and say that I’ll leave it up to a fan.

(both laughing)

HGO: Speaking of fans, a fan asked where would you rank your album “This Is Not A Love Song” among all your albums?

Omar: (Laughs) That’s not nice, man. Imagine if I’ve got 6 kids, and I gotta decide which ones are going to college and which ones are going to stay home and work on the farm! I can’t really rate it like that. It’s part of the journey, so I just see it like that.

HGO: I feel you. You’ve talked about the seemingly endless types of music and sounds that can be incorporated into your music and how you don’t want to continue to do the same thing over and over. That is probably the thing I respect the most out of artists; those who actually feel that way. Probably why Miles Davis is one of my favorites. Is there a sound or type of music in the past that you have always wanted to dabble with that you have not had the chance to or that just hasn’t worked to your satisfaction yet?

Omar: Ahh…Hahaha! You know there were a couple of tunes that I tried back in the day. Umm…what album was it?...I was working with David Frank from The System. And I was listening to a lot of Crucial Conflict. That was the first time I’d heard that kind of stuff, and I tried to recreate that on one of the tunes. I think it was on “For Pleasure” but I’m not sure. It didn’t quite work out the way I wanted it to. And listening back to it now, its pretty f—king obvious how that works, but I didn’t get it at the time. But I think everything else, I’ve pretty much captured.

HGO: If you were a new artist coming out with “Sing (If You Want It)” right now, with no track record, other than a session musician which allowed you to get your collaborations, what route do you think you would take?

Omar: I would have to set up my website straight away. The Myspace thing and all that…you know I’m still not even clear how that works now because I haven’t had to use it that route, but still I would have all of those avenues set up so that there is a network of people that know about you. And then from you showing them that I have all these other artists working with you, I think that’s going to be one of the attracting factors towards you. And once the word is out there and people start hearing your music, get your band together so you can get out there and tour. Those are the basics that you should be able to do.

HGO: You recorded the song, “Be Thankful”, with Erykah Badu and then with Angie Stone. What was the reason behind the change?

Omar: That was record company politics trying to f—k with my sh^t, man. Basically in the 11th hour, somebody from Erykah’s camp (label) said “Nah. We don’t want you to use her. You can’t use her.” And I’m like “Now why the f—k not?” And they’re just arguing for arguments sake. So then I start panicking like “What am I going to do now? I’ve got Erykah on it and Erykah sounds wicked.” So I was thinking if I could get someone else.

Well, I had met Angie not long before, so I got the details and got a hold of her and she said “Oh yeah, no problem.” So she came down and voiced the track. And THEN, I got the green light from Erykah’s camp after a bit of arm-twisting and they finally said “Ok, you can use her.” So I ended up with two versions for the price of one, so I was real happy about that.

HGO: Now it is stated that you had a considerable Latin Jazz influence on your previous album, “Best By Far”. And in listening to this album “Be A Man”, “Get It Together”, “It’So…” also have that Latin feeling to them. What is it about Latin Music that causes you to incorporate it so much?

Omar: I wondered about that for quite a few years and then I found out that my grandmother was born in Havana (Cuba). One night I was sitting down with her and we were watching TV or something, and she just starts speaking Spanish out of the blue. I’d never heard her speak Spanish before. And then she starts telling stories about how her dad took her to Havana or how she came from Havana over to Jamaica and I was like “What??” And I always wondered it myself because my dad is into Reggae heavy; Reggae and African music. I love those music forms, but Latin always speaks to me in a bigger way. Brazil and Samba. I just have to have it in the music. And the last album was influenced by film soundtrack music, which a lot of it like Jon Barry, Burt Bacharach, Lalo Shiffrin; they’re all very influenced by that kind of style. So it fits perfectly with what I try and do with the live elements, with the strings, with the band and the rhythm sections, it just speaks to me.

HGO: Speaking of your father, “Ghana Emotion” the last track on the album was created from a jam session with between you and your father?

Omar: Yeah. My parents moved to Ghana about 3 years ago. And me and my girl went to see them a couple of years ago. So while I was there, he had a music room that I was helping him set up. He’s got a Rhodes there and me and him just started messing about. I kind of got the chords together while I was there, but I hadn’t really thought it through or anything. So I taped my dad playing that beat so I could use it when I got home. And everything just sprouted from there. It was just the vibe of being there.

3 weeks we were there and it was such a wicked time and it was great to see my mom and dad in that environment because they were in a rat race in London; in terms of working long hours, cold weather and for not a lot of pay. But they took that same money to Ghana and invested it and bought themselves a 14 bedroom guest house by the sea with a restaurant. They’ve got their own 3 bedroom apartment up top. I mean this place is kitted out, man…and for nothin’! My mom’s got her own cook and maid. And they both deserve that for working so hard. So I kind of wanted to celebrate that and celebrate them where they are.

HGO: How much does “world music” affect your sound?

Omar: You mean like Youssou N'Dour? I mean he’s African really. I don’t know, it’s kind of hard when you call it “world music”, innit?

HGO: Well, you can be considered world music over here. But what I mean is music from all parts of the world, whether it be East Asia or Africa, etc.

Omar: Man, I can find anything in anything, really. Because I like to mix all the African styles in, Soul, Reggae, Funk Latin, Jazz, Classical. I can find a lot in any sound of music. You play me something, I can hear it and I’m going to use it. I’m just going to go with it. Music is music, y’know. You can mix it up with anything.

HGO: The song “Kiss It Right” on “Sing (If You Want It)” immediately put me in the mindframe of a classic James Brown tune all the way down to the horns. Now was that purposeful? Was that the aesthetic you were going for?

Omar: Yeah man. It all came from the bassline, the “B-Line.” And from me getting the “B-Line”, I just got the beat in my head and I had to put it down. And luckily I was able to put it down in one go. Because a lot of times, you can cut and paste and sh^t like that, but I wanted to keep the live element thing going on there. And I was proud because my dad said that my drumming was coming on a ways. He said it sounded like I practiced, which I don’t do.

But yeah, you’re totally right. It’s James all the way. Even down to the backing vocals; you know that style that he does where they’re just kind of jamming along with the rest of the band. That’s totally from that element. And like you said with the brass arrangement; I really love the baritone sax. I already have a new track in my head that I want to do with the baritone sax in it, because I’m a big fan of Fela Kuti. And when I did “It’s So...”, I was kind of heading in that direction but I didn’t quite hit the mark. I’m real happy with the mark I hit, but I’m trying a different formula. My brain is working all the time, man.

HGO: That horn section isn’t the Incognito horns, is it?

Omar: No. Well, I’m sure they must have played with them already. These boys, I know them from college. Duncan Mackay and I started college together, and Jim Hunt and Nichol (Thompson) maybe started just after that. I always use these guys. They’ve been on the last 2 or 3 albums with me. I’ve finally got a formula and a crew of people down to the engineer. The engineer I use, I’ve been using him since ’95 in Jamaica. When you’ve got a formula, you should stick with it and be able to move within that, but still use the same people.

HGO: A fan asked if you were trying to capture “Talking Book” era Jeff Beck with the guitarist on “Feelin You?”

Omar: Well this is a track that Stevie (Wonder) created. Now maybe it was, and maybe that is where you can hear the connection. The guitarist on there is Glen Nightingale from The Gap Band.

HGO: Yeah, I saw that he’s also played with Jamiroquai and Boy George as well.

Omar: Boy, you’ve really done your research! Good Job!

HGO: Thanks.

(Both laughing)

Omar: But to answer the question, I don’t know. Maybe he was trying to create that. It was just great to have Stevie involved in something that was purely organic, because I was kind of badgering him for that. Because the man has created so much wonderful music in that format, but he hasn’t done it as of late.

Now this wasn’t the first tune he’d written for me. He’d written me something else. But he had done it all on his computer in the hotel room, and we were just supposed to take it to the studio and transfer it. So I said “Well, do you think we could try a live thing or something?” and he said “Well, maybe.” So I found out that my friends were in the studio. Have you heard of Max Beasley?

HGO: Yeah. He’s a drummer, right?

Omar: Yeah. Well, me, him and the bass player all went to music school together in Manchester. So they were in the studio jammin’ at the time, and I thought “Maybe if I take Stevie to the studio, he might catch a vibe.” As soon as he got in there, man, he was on the keyboards, he was on the drums, he was singing! That’s the Stevie you wanna see!

So the next day, I got a phone call and Stevie says “I’ve got another tune for you.” So I’m like “Alright!” Two for the price of one again! It was beautiful.

HGO: Do you ever think you’ll use the first one he wrote?

Omar: I don’t know. I don’t think so. Man, I haven’t heard it in a while; maybe I should go back and listen to it. Perhaps someone can get something out if it, y’know?

HGO: Definitely. Have you talked about collaborating on some of his material?

Omar: I don’t think I’ve gotten past the wide-eyed fan stage. I talked to India.Arie about it…and she’s like a bullet in a china shop, that one! She’s just like *in a sassy Black woman voice* “I don’t care! I tell him about whatever I think!”

HGO: (laughter)

Omar: Man, I have got a lot of admiration for her because she just goes in there and speaks her mind. But me, I’m like *in very meek voice* “Umm…could you please sir…” I haven’t gotten past that stage yet. I’m hoping that he’ll get to hear this album because I haven’t even gotten a chance to speak to Stevie since the last time he came over to London. I just want to get him a copy and take it from there. But you know, I think he’s just had a kid or two kids or something like that. So the man is busy. So I’m just going to wait until he’s ready or until the time is right. I’m just blessed that I had him for this album.

 

Omar's latest album, "Sing (If You Want It)" will be released in the US on September 26th.
For more information on Omar click here