James Cammack: Where You At?
However, one door closes and others open. Forced to get out there and play to keep body and soul together, Cammack has developed a series of musical collaborations in his adopted home of New York with up-and-coming artists like pianist Joe Alterman and singer Alexis Cole. And having toured with the likes of singers Nancy Wilson and Youssou N'Dour, it's difficult to imagine that Cammack will ever have to struggle for gigs. Cammack has just released his debut recording as leader, Both Sides of the Coin (Self Produced, 2012), an impressive offering of original compositions featuring killer playing. It's a new dawn for Cammack, and one that already shows much promise.
Some of the material on Both Sides of the Coin has origins as far back as the late 1980s, and Cammack is the first to admit that writing does not come easily: "It takes me a long time to write," he says. "I don't have great keyboard skills, otherwise things might have been done in a quarter of the time it took me," he laughs. "It was very difficult to implement a lot of the things I was thinking, though I stayed true harmonically to what I wanted to hear." As difficult as the process may have been, Both Sides of the Coin displays a fine three-way balance between compositional depth, melodic lines and improvisation.
Most of Cammack's playing on the CD is on electric bass, which may come as a surprise to many people, though as Cammack explains he has played both from the beginning of his career: "People don't know I play electric bass. When I played electric bass years ago they had no idea I also played upright bass. Then after playing with upright for a while with Mr. Jamal people assumed I played nothing but upright," he says laughing. Cammack doubles on keyboards, from which he draws an array of sounds, and he is responsible for most of the keyboard parts on Both Sides of the Coin.
Cammack also got more than a little help from the recording program, Logic: "Almost everything I wrote was initiated with Logic, he explains, "It's an Apple product and for me it's a tremendous program. A lot of these songs I started up with electric bass and keyboard with loops that helped me formulate different parts; then I would break the loop away and bring in an actual drummer."
There's some truly great playing on the CD by drummers Steve Haas and Kim Plainfield, guitarists Robert Baglione and Norman Johnson, saxophonists Paula Atherton and Ken Gioufree, and pianists Leandro Lopez-Varady and Alan Eicher. "I've played with every one of them to some degree," says Cammack. For this album I created the environment I wanted, messed with it, mixed it and then I sent the tracks to those guys. I called them and explained what I was looking for. Then I took what they did, mixed it and edited it." Cammack, however, doesn't want to take all the credit, and is quick to acknowledge guidance of engineer and friend Norm Johnson: "Norm helped me through a lot of this," says Cammack.
All the compositions have deep significance for Cammack and if there is a common thread it is characterized by emotional release. "Nomad" represents Cammack's thoughts on his mother and father. "They were here just for a minute and then poof, they're gone," states Cammack. "They were great parents at a time when segregation was heavy duty down in Birmingham, Alabama where I was born. I love my parents for what they did for me. The little they had, the little they offered us was much for me, and it put me in a good place. The solo on "Nomad" is especially heartfelt."