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To be quite frank, why I ended up leaving (Verve Group) wasand I didnt really leave I just said, You are going to have to get somebody in here. I said You are going to have to find somebody to run this company because Ive had at it. (An acronym for earnings before interest, taxes and amortization). These were the guys who listened with their gut, and who loved what they were doing. There are all kinds of different producers who perform their gig in different ways. In listening to your productions, I feel like Im in the room with the musicians. There was that sense of being intimidated or whatever. They would all stop and look at me through the glass. I feel a lot more comfortable out here than I do in there. I dont beat (musicians) to death in the studio either. We usually go from noon or one to about seven or eight. Then, there was that moment when she did this outrageous performance. We were working in this small room at Sonys studio on the corner of 55th and 10th (in New York). /GRP debut in 1995 with "Only Trust Your Heart," which peaked at No. He was an A&R guy at RCA, doing Sam Cooke and Eddie Fisher. The next thing you know, he was (producing) the Jefferson Airplane. Of course, I was a big fan of Johns going back before that. To tell you the truth, I am spoiled because really, my two favorite guys once I get past Claus Ogerman, and Johnny Mandel the air gets very rarified. I started listening to Big Maybelle and Charles Brown and all of these (R&B) people I had never heard of. From Red Prysock and (his brother) Arthur Prysock to Earl Bostick, Tiny Bradshaw and Bill Doggett. I discovered all of the influences like Nat Cole and all that. I was in this barthere were these jam sessions and I would go to play with this organ trio.Without knowing how bad (the record industry) was going to get, I started sensing that things were changing radically. You werent dealing with the Mo Ostins, the Bob Krasnows, and the Ahmet Erteguns. I dont arrange; I basically come up with the material, get a sense of how I want to do it, make sure that it is rehearsed well because thats a must; and Im a stickler with tempos. You can lose a record by not having the right tempo. You would hit that button and everything would go silent, and you were on. So one day, we were working on something, and I wanted to be in the room. So, from that point on, I just stayed in the room, man. You think of a project in terms of being an album rather than singles. Ive had some (hit) singles but I never recorded thinking, Im going in there to cut a hit. I try to figure out how an album flows, and try to have an instinct when the magic happens. I want to work with guys who are at the top of their game. Just so everybody gets familiar enough with the tune, so they know whats going on. I dont have dates per se, meaning a two hour date or a double date or whatever. We got to the end and I said, Baby, youve got to listen to that. I remember we were listening back to the take, and I could just see in her face. Suddenly, she realized from, Hey, Ive never heard myself sound like this, to (thinking) This is how we did it. The next album we did was All For You, the Nat Cole thing. 8 on Billboards Top Jazz Albums chart; 1996's "All For You," an inspired homage to the Nat King Cole Trio, peaked at No. [Numerous stories exist about other musicians' respect for pianist Art Tatum. In fact, I did a Bill Evans album in 1977 (You Must Believe in Spring, released after Evans' death in 1980) and I did (his composition with Mike Altman) "Theme from M*A*S*H (Suicide Is Painless)." Then I thought, Wouldnt it be nice to have John do a few charts? Basically, Natalie and I executive produced (the album). Andre Fischer, who was married to Natalie at the time, was the third producer. It wasnt much of a jump from Red Prysock to, say, Stan Getz. A little bit later, I found out about Cannonball (Adderley). It was (future fight promoter) Don Kings bar, The Corner Tavern on 79th and Carnegie in Cleveland.Records and broadened the catalog to make it the pre-eminent adult music company. If you cant keep up with it; if you are not ready, then forget it. You have also worked closely with arranger Claus Ogerman. There were these two guys that were running a publishing company, Helios Music Corporation. In 2001, when Krall was planning her The Look of Love album on Verve, that included torch songs. In any case, when I did the George Benson album (Breezin in 1976) and I was trying to figure out who could do the (string) charts, I thought that Id call Claus. He did the Basie album (Atomic Basie in 1957) that had the atomic bomb on the cover. When I was six years old, Id be singing (the ' Mills Brothers) Paper Doll to my father as we were driving around.In 1999, Li Puma became chairman of the Verve Music Group which now included the Verve, GRP, Impulse! Once everybody is comfortable with their headphones, thats it with Al. It was Scott English, who later wrote Mandy (a #1 Billboard pop hit for Barry Manilow in 1974), and Larry Weiss, who later wrote Rhinestone Cowboy (a #1 for Glen Campbell in 1975). Suddenly, this very eloquent guy comes walking in, just beautifully dressed, and they said, This is the gentlemen we work for, Claus Ogerman. By this time, I was a huge fan of (Antonio Carlos) Jobim who did that album, "The Composer of Desafinado, Plays on Verve (in 1962) with him. There were a lot of things that he did that I didnt know that he did then, including Lesley Gore. Li Puma suggested Ogerman, by then renowned for his arrangements for George Benson, Barbra Streisand, Antonio Carlos Jobim, Astrud Gilberto, and Joo Gilberto. He used to gig with Stan Getz when Stan went through (toured) Germany. I called him and said, I just did this George Benson album and it came out great, and I hope you can do the tracks. [Li Puma was also impressed by the Bill Evans & Claus Ogerman Orchestra album Symbiosis on Pausa in 1974. Then, I called him to do something else and he was not in great shape. Did you ever hear Lonely Girl from the (1964) soundtrack that Ralph wrote and scored of "Harlow," the movie about the life of Jean Harlow? I had this early influence of pop music of that era with Jo Stafford, and the Andrew Sisters, of course. I was bed-ridden with osteomyelitis (an acute or chronic bone infection).He needs little urging to discuss the ins and outs of capturing great musical performances. When I took GRP over, I had been a VP at Warners, and I was a senior VP at Elektra. I would go to meetings, and I would give my two cents, and all of that, but the onus wasnt on me. I think Al did Joe a favor on something, and Joe told me Al had just sold his company Pentagram (Records). In the studio, you don't want to be thinking about the technicalities. I think its a combination of his mike technique, and that he uses very little limiting. There was a engineer who used to work at Sunset Soundnot Bruce Botnick. But, I set up a meeting between them in Munich, and they really hit it off. I was saved only because (commercial quantities of) penicillin had just been introduced.How have you balanced being a music producer as well as a label executive? It was on Bob Krasnow when I was at Elektra; and Mo (Ostin) and Lenny (Warnoker) at Warners. The first album I did with her was Only Trust Your Heart, (1995) which was direct-to-two-track. When I work with guys of this caliberwith Al, Bill or Elliot I dont have to think about (technical issues). And the other thing is when we are doing this stuff, Al gets a (studio) balance within 15 or 20 minutes. Of course, once he started to work with Diana, and realized how talented she was, Claus became a big fan. One of the saving graces was that the radio became my best friendjust from going around the dial. We had all of these consoles; the radio was always on in our house.He has produced Diana Krall, George Benson, Randy Crawford, Natalie Cole, Barbra Streisand, Joe Sample, David Sanborn, Michael Franks, Al Jarreau, Dave Mason, Dan Hicks, Shirley Horn, Michael Bubl, Bob James, Willie Nelson, Miles Davis, Bill Evans, Anita Baker, Queen Latifah and a zillion others.Li Puma's first job in the music business came in 1960 with M. Distributors in Cleveland stocking records, and later as the companys promotion man.

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Li Puma worked with the De Caros regularly for the next seven years.] How did you become a barber? I used to dread going to sleep at night thinking thats what I had to get up in the morning to do. I had a bunch of professionals, lawyers and doctors and so forth, in the building, and I worked by appointment. But the good fortune was that three of the most important (radio) stations were in that general area. I love the Morris Levy story you told Bob Lefsetz last year about Bob Krasnow.Records, and recorded George Benson, Al Jarreau, Bill Evans, Randy Crawford, the Yellowjackets, Earl Klugh, and Joo Gilberto, among others.Li Puma headed the new Horizon label for A&M in 1978 but, within a year, rejoined Warner Bros. In 1990, Krasnow, now Elektra Records chairman, hired Li Puma as the label's senior VP of A&R.During his stint there, Li Puma produced Anita Baker, and oversaw Natalie Cole's Grammy Award winning album, Unforgettable With Love. I was just starting as a record producer for A&M, and I went looking for songs.In 1995, Li Puma became president of GRP and Impulse! Theres no fucking around, trying to get somebody who is not quite with it. Of course, he is so musical, and we are all on the same page. Tin Pan Alley and the Brill Building were still happening. S.) was Don Costa used to farm a lot of stuff out because he had so much to do. [Ogerman is part of the creative triumvirate, along Li Puma and Al Schmitt, that has served Diana Krall so well for nearly a decade. Then when Bob Krasnow started Blue Thumb (Records), and asked me to come over as a partner, I sort of lost track with Claus for awhile, but we spoke every so often. Another guy that was fantastic was Neil Hefti, who did all of the great Basie things.




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