"Jazz Monthly Feature Interview" [Bobbi Tammaro] Funkee Boy

funkee boySmitty:  Joining me for the first time at JazzMonthly.com is an incredible songwriter and keyboard player.  He is a master of the groove, he’s got a great new record out, you have got to check out this cat.  He’s somewhat new on the scene but in so many respects he’s not new at all, and you will see that this cat comes with a groove.  He goes by Funkee Boy and let me tell ya, it is an appropriate name.  Please welcome Bobbi Tammaro.  Bobbi, how you doing, my friend?

Bobbi Tammaro (BT):  Ah, thanks for having me, Smitty.  I really appreciate it.  I’m doing great, thanks, and you?

Smitty:  Oh, man, right now I feel like a rock star in a crowded green room! I’m wonderful. I am totally digging this fantastic project.  Man, it has got some serious funk.

BT:  (Laughs.)  Thank you.

Smitty:  And you’ve got some fantastic players, man. 

BT:  Yeah, my roots showed through on that project, huh?

Smitty:  Yes indeed, man. Influences really showed through.

BT:  Awesome.

Smitty:  And you have a long list of great influences, man.  Such as Najee and India Arie and Santana and Grover Washington, Jr., and the list goes on, Jeff Lorber…when you’ve got those kind of influences and with your fantastic talents, man, it was just a win-win from the beginning with this great project.

BT:  Yeah, thank you, thank you.  Well, you know, and again, I mean, I really gotta just give the props to those who I grew up with and who I listened to, and that was also Earth, Wind & Fire and Tower of Power and the people you just mentioned, and Stevie Wonder and Average White Band.  I mean, you can’t help but create good music when you lived it your whole life.

Smitty:  True that.

BT:  Because that was—that’s livin’ it.

Smitty:  Yeah, because each one of those bands that you mentioned has such a strong reputation of creating music with substance, and it’s no different with this great project of yours that is called Rise, by the way.  I want to make sure I mention that.

BT:  Thank you.

Smitty:  And when I first saw the project, I noticed that you had four words there:  jazz, funk, R&B, and soul.

Smitty:  And I said wow, this has gotta be a nice journey of music, so when I heard the first track,  “Body Music,” I knew right then that this is going to be a great project for everyone to hear.

BT:  Yeah, thank you.  I really appreciate it and I kinda take that to heart because people ask me—even my friends ask me—“What does it mean when you wrote on the cover of your CD ‘Jazz, Funk, R&B’?”  And then they see a little equals sign.  “And then you said an equals sign and then you’ve put Soul,” and if you take all of that and roll it up, it’s soul, and the music has soul and there’s substance behind it, and that’s what I grew up with and it’s kinda my tribute to the artists that I grew up with, and that’s the kind of music I want to create.

Smitty:  Yeah, well, talk to me, man, because I am so curious as to what inspired you to pick up the keyboard, of all instruments, because when I listened to this project, you could’ve most likely chosen any instrument you wanted to play, but talk to me about the keyboard.  What did the keyboard do for ya that no other instrument did for ya?

BT:  Well, I began studying that actually later in life, age 11 or 12, I can remember just playing around on the family organ that was a toy down in the basement, and just kinda playing by letters at that time when those books used to come out with the big old letters written on the keys.  (Both laugh.)  I still remember to this day my dad walking downstairs and listening to it because it sounded like something.  I can’t remember what song I was playing at the time, “Feelings” or something like some old standard.

Smitty:  Yeah.

BT:  Played by numbers and he was like “You wanna take lessons on that thing?”  And I said “Yeah, yeah, I’ll take lessons.”  And you know what?  I stuck to it.

Smitty:  There you go.

BT:  I just stuck to it, I committed to it, and the rest is history.

Smitty:  Wow, so it was just in your soul to play music.  And when you say “I stuck to it,” that’s not something you hear all the time and agreeing to take the lessons is not something you hear all the time, so that’s a very cool thing.  And I haven’t heard about the book in so long, man.  You brought back some memories.  (Both laugh.)

BT:  Oh yeah, that’s back in the day.  I’m dating myself.  But yeah, that’s the way it was, that’s the way it was, and you know what?  There was an old little toy down in the basement and there was a book laying around and, sure enough, it had letters and it was literally teach yourself, so that was the start of it and then once he got me into lessons and I’d studied—and I actually started out on the organ—and I just studied that until—I studied what made sense to me, which—and thank God I had the right teachers at the right time—and it was just a neighborhood music shop or whatever, nothing fancy, but I gotta tell ya, I owe them so much because even though they taught me the scales and the fundamentals, they always said “Well, what do you wanna play?”  And sure enough, I’d run to the music store and buy a piece of sheet music from Earth, Wind & Fire or buy a George Benson piece of sheet music or the Brothers Johnson and I’d say “I wanna play this song.”

Smitty:  Yeah, man!

BT:  Yup, and they were like “You wanna learn this song?  Well, how about ‘Spanish Eyes’ and ‘Feelings’?”  And I’m like “Yeah, I can learn the standards too, but I wanna learn this song,” you know?  And meanwhile, they’re like “Well, okay,” and they opened it up and it’s “Celebration” by Kool & the Gang.  And they’re like “Okay, well, let’s start with this,” you know?  And sure enough, and because of those kinds of teachers, I just think that the learning happens that much faster and it stays with you because you’re playing music that you could relate to.  I’d go home, play the record, look at the sheet music, and I’d play along to it. You couldn’t ask for anything better than that.

Smitty:  Absolutely.  I think it’s great, too, that you had teachers that showed you the fundamentals and the basics that are the foundation of creating music because I think that’s very important, but for them to give you some creative room I think is equally as important as well.  You certainly, like you said, you owe them so much.  I think that’s just so important early on when you’re learning to play music.  You were very fortunate, my friend.

BT:  Definitely, and I didn’t stop there.  I did study classical piano for a little bit, but I gotta tell you, after a few months, maybe a year or so of that, it wasn’t me, it wasn’t me, and I can appreciate it and definitely respect it and admire people that do it, but I couldn’t wait to play contemporary pieces. I just said “You know what?  This isn’t me,” you know?  I mean, I could appreciate Bach and Beethoven, but it’s not me. I went back to playing my popular music and playing in cover bands and doing the work of those great artists that we talked about and just kind of evolved then.

Smitty:  So talk to me about your first band.  (Both laugh.)

BT:  Hmm-hmm, first real band?

Smitty:  Yeah.  When did you get to that point where you said “All right, I wanna take this out of the house and onto some stage somewhere.  I don’t care if it’s at the parking lot at the car wash,” you know?

BT:  My first real band that we were actually playing out and making money, I was only 15 years old and they had to pick me up and drive me to the gigs.

Smitty:  (Laughs.)

BT:  Because I was 15 years old and at that time I had a Hammond organ, or a B3.

Smitty:  Yeah, man!

BT:  A Porta-B, actually, so thank God that the band members were all older gentlemen and I’m 15, they’re 30 years old, 25 and 30, and they have a van and the strength to pick up this thing with the Leslie speaker (both laugh) and that was the start, you know?  That was absolutely the start, and when I tell you we played every high school prom in our area of Connecticut and every night club.  Back then, night clubs used to run live entertainment five, six nights a week and I did that at 15 years old and still went to school the next day.  And that’s what it was like and it was cover tunes and even though it was cover tunes, I still remember to this day I always had a notebook with me and started writing my own words no matter where I was and just kinda playing my own chords because I knew that sooner or later I had something to say or a sound that I wanted to get across.

Smitty:  Oh, that’s so cool, man.  I love that whole approach that you just mentioned.  You knew in your heart you knew you had something to say musically, and when you have that kind of conviction, it’s coming out.

Smitty:  Yeah, well, I must say, man, that your band members must have really appreciated your talents because to pick up that B3, and that’s heavy…  (Both laugh.)

BT:  Yeah, they’re probably swearing at me now.  They’ve probably all got bad backs and blown discs and stuff like that, but you know what?  It worked back then.

Smitty:  Yeah, man. I have a close friend (Joe Kurasz) who’s a great B3 player. So I know how heavy it is.

BT:  And then thank God for technology because then when the synthesizers came and basically got that sound out of such a smaller, more lightweight thing, then I had no excuse.  I had to start lifting and moving my own gear.  (Both laugh.)  It was no more “Well, little Bobbi can’t pick that up.  You guys gotta help him.”  So yeah, that all changed.

Smitty:  Yeah, man.  Well, speaking of change, man, your career—and we’ll probably fast forward a little here—but you’ve done some incredible things as far as creating music for TV, for movies.  When I think of things like Beverly Hills 90210, General Hospital, you were into the soap thing…Young & the Restless.

funkee boyBT:  Well, you know what’s really cool is, like they say, you can sit home and practice all day, but until you get out and network, the world is your oyster, and it’s true because until I started going to the songwriting events and letting people hear what I do, that’s really when things started happening, and I really wish those days would come back because there’s less and less music conferences and people to hook up with these days, but back in the day, there was a group called LASS, the Los Angeles Songwriters Association, and I was living in Connecticut and I was a member of the Connecticut Songwriters Association and there would come an article on the Los Angeles Songwriters Association about this big music event coming, and sure enough, you know what? 

I’d save my money and I’d say “That’s gonna be my vacation this year.”  “We’re not going to Disney World, I’m not going away for this, I’m going to this songwriting workshop,” and that’s what it was, and they’d put you in a workshop and there were some publishers there telling you what they needed, and there was open pitch sessions, which was a wonderful thing.  It would say “Smitty Smith from ABC is looking for songs to use in General Hospital” or “Joe Smith is looking for music for his new R&B artist” and that was very common back then.

Smitty:  Yeah, absolutely.

BT:  And honestly, that’s where a lot of my contacts happened because I came ready.  I mean, I’d been working on music before I even went out to those things, so I came with a repertoire full of different songs and styles and originals, so when I saw what the pitch sheets had lined up and who was gonna be there, I just came with a little checklist and said “Okay, I wanna be in this meeting and I wanna play them this song” and good things just start happening when you do that.

Smitty:  Yeah, and you know, Bobbi, I think that those type conferences yielded the best music.

BT:  They did. You could go back and just listen.  If you take in that music that happened then and you listen to it on the radio today, you’ll notice one very important characteristic:  it’s timeless.

Smitty:  Yeah.

BT:  It still sounds that good today that it did back then and I’m talking about the Boyz II Men, you know what I mean?

Smitty:  Yes. You are so right.

BT:  That kind of music, it’s just timeless.  They weren’t fad sounds, there was substance in the music, there was a romanticism in the music, the songs said something.

Smitty:  Yeah, and the right people were always at those conferences, you know?   On both ends of the spectrum.

BT:  Yeah, and it’s funny because I remember sitting in the opening, the keynote speaker, who would say “Give yourself a round of applause because you’re among the people that are actually doing something with your career by attending.” Sure enough, that’s a decision you make, and I’d really like to see stuff like that come back and it’s actually one of the reasons why I kinda put out a DVD on songwriting to help upcoming songwriters because I’m like, wow, this is missing today.

Smitty:  Yeah, talk a little bit about some of the key points of that DVD because I’ve read about it and I think songwriters and aspiring songwriters—I mean, this is something I think is cool for anyone that’s looking to do songs and that kind of thing and really wanna get some great music out there because it really talked about how to write a hit song.

BT:  Yeah.

Smitty:  It’s one thing to say that, but to really get down and dirty with it, that’s a cool thing.

BT:  Well, I mean, I entitled the DVD Songwriting That Gets Results and my goal was—the one thing I can honestly say for my company since I started producing and having my own production company, people hired me a lot to write and produce songs for them, and I can honestly say that over 80% of the demos that I’ve done have gotten signed in some way for these people.  And what happens after it gets signed, I’m not in control of, but my goal was “Listen, you give me a song to produce, you tell me what direction you want.” 

You could say “Hey, Bobbi, I’m just a songwriter, I don’t sing, so I want this to sound like Celine Dion” or “I want this to sound like Boyz II Men or Usher,” and “You give me that vibe and I’m gonna go ahead and do what’s right for the song.  I’m gonna do all the music for it, I’m gonna hire the right singers to do it in that genre of music, and then you definitely need to market it when I give it back to you.”  But I can honestly say that after they’ve gotten it back, over 80% of the people at least got signed contracts or under agreements on the songs that we’ve produced, which is excellent, and that’s one of the reasons why I said it’s missing today because there’s more to just throwing a hot beat on something and throwing some words on it and saying it’s a hit song.

Smitty:  Yeah, talk about some of the number one songs you’ve written.

funkee boyBT:  Well, number one across Internet charts has been for an artist called Leila, who is an international artist.  She really took the Internet by storm.  She had seven number one songs from her debut CD, which was Of Life, hit the Internet all at once on different genres, so that one CD spawned a number one song in the pop chart, a number one song on the Spanish chart, a number one song on the R&B, on the soul chart, all different songs, seven of ‘em on that album, so I co-wrote and produced that record.  Tadros in Canada, another international artist--they didn’t hit number one, but I got top 15 with them, top 20 with another three of theirs, “Pure Pleasure,” “Missing It” and “Please, Please” all charted in Canada.  I got a group signed to Babyface that broke in Hawaii.  They were called Tenderoni.  They came out on the Soul Food soundtrack.  That was a great movie, by the way, with Whitney Houston and Vanessa Williams.  Great movie.  They came out on that soundtrack.  Before they even got signed to Babyface, we actually moved, gosh, I think it was 40,000-50,000 records in Hawaii off their album and I had the hits on those records that got ‘em that deal to Babyface. 

I did a lot with Hawaiian artists because that’s when it started breaking for me.  Once Tenderoni broke, then there was Lori Salvatera and there was Timmy Gatling from the R&B group, Guy co-produced some of the other up and coming Hawaiian artists with me, so it was just a number of things happened all in succession that have been going on and on, and some international, some local, some regional, all good stuff, and then the TV and film stuff happened where I did a lotta songs on HBO specials from movies like They Call Me Sir with Michael Clarke Duncan, which was a great movie, we had the ending theme song on that one—again to the movie Soul Food to made-for-TV movies, so across a bunch of networks from Showtime to HBO to ABC, we’ve been fortunate enough to have songs on.

Smitty:  So if someone wanted you to write a song for them, how would they go about contacting you to do that?

BT:  They’d go to www.funkeeboy.com and I don’t hide from anyone.  My e-mail is right there, my phone number is there where they can contact me, they’ll get in touch with me directly, and I get called from all over the world to do songs.  I basically try to get to know the artist first and get to know what inspires them, and if it’s a fit, it’s a fit, and if it’s not or if I’m not feeling their vibe, I just come out and say “You know what?  This project isn’t for me and maybe I could help you or refer you to someone,” and it comes a lotta different ways, Smitty.  It comes where they might write the words and they might just need music to words and it might not even have a melody.

Smitty:  Right.

BT:  And they might have a poem or they might have a concept for a song.  I worked with an artist recently that loved her kids so much but she couldn’t even come up with what they meant to her, so she said “You gotta write a song about my kids and what they mean to me” and that’s all I needed to know.  It’s like “Okay, what’s your genre?”  And she gave me her genre and I listened to some things that she’d demo’ed or recorded before and it kinda had a Sheryl Crow meets Faith Hill crossover-type sound and now I know where to go. And now I know the direction to lay out for that kind of music. The one thing that I like that I’ve been fortunate enough to do, and I ultimately respect Babyface to the limit—he’s like one of my alltime favorite producers—but the one thing that I understood and knew about Babyface is that when he did or produced a song, you kinda knew that it was him whether TLC did it or Toni Braxton did it, or what you said, “Hmm, I think Babyface produced that or wrote that” because it has a certain sound and they all sound like him, you know what I mean?

Smitty:  Yeah, oh yeah.

BT:  I’m different.  I take the different approach where for me as a producer, I don’t want them to know Bobbi produced this and Bobbi produced that song because I didn’t want this country artist that I produced to sound like the Latin artist that I produced to sound like the R&B hip hop guy I produced.

Smitty:  Yeah.

BT:  So I kinda like that.

Smitty:  I get that.

BT:  That I didn’t kinda incorporate a signature sound or bite off some kind of fad or whatever, and I just kinda did what’s right for the artist because they have to sell it.

Smitty:  Exactly.  Well, that tells me you’re writing from your heart and you get into the artists that you’re writing for.

BT:  Absolutely.

Smitty:  Yeah, and that’s a cool thing.  Yeah, man.

BT:  Yup, absolutely.

Smitty:  All right, man, let’s talk some more about this fantastic record. You’ve had an incredible career, man.

BT:  Thank you, and hopefully it’s gonna get better.

Smitty:  Yeah, and I’m just happy to introduce you to so many new people and new fans around the world today.  But I gotta tell ya, when I first put this record on—and I love the style, by the way.  I love the whole design of this whole project. What’s really cool is the actual CD looks like the old black vinyl albums, it doesn’t look like your traditional shiny CD. I thought, yeah, this is Old School.  I like this.

BT:  (Laughs.) Yeah, it’s totally Old School.

Smitty:  I said what a great concept.  We’re starting to see a little bit of that, but I love this, as I mentioned earlier, when I heard the first track on this CD, I sat down because normally I stand when I’m listening or I’m walking.

BT:  Mm-hmm.

Smitty:  Or I’m either in my car and I’m doing my night drive.  I do a lotta night drive listening and I can really get into music when I’m doing a night drive on the back roads, but I was standing and about 30 seconds into “Body Music”— I had to sit down.  I said “Okay, I’ve got something to listen to here.”

BT:  That’s a cool thing.

Smitty:  Yeah, very cool, man, and then I did not move until I finished the entire project and was ready to hear it again, so I’ve gotta ask you about “Body Music” and the history of it because I know there’s some strong stuff there.

BT:  Wow, okay.  Well (both laugh), it’s all about a groove and inspiration comes in different ways. As any good writer will tell you, sometimes you might get a concept in your head, you might be humming a beat driving just like you said.  A lotta times I’m driving and I’ll hear something in my head or even on the radio and that might spur up just me to start humming to myself or say “Wow, I like that sound.  I betcha if I did [sound effects] or something like that to it, I wonder what would happen?”  And honestly, that’s the inspiration which creates a lot of my originals, is they start from different places, and “Body Music” just kinda started with that saxophone lick that I heard.

That killer melody on that saxophone lick, and I just built it from there, I really did.  I just said “Okay, I’m keeping this part of it and let me color it up and find what else,” and the cool thing is that I’m one of the guys that as much as I love production, I have a really good balance between technology and how far I will go with technology, and even though I have some great music equipment in my studios and samplers or whatever, the one thing you’ll never find in my studio is a pitch corrector.

Smitty:  (Laughs.)

BT:  Because an artist—if I have to play, they have to sing. Okay?  But yet I will embrace a loop CD or a sample CD that has a killer sound or a killer loop or whatever.  I will definitely embrace that or something like that, so I kinda try to find a balance on the technology because I do think you could reach a whole new audience with technology and some current sounds, and I just heard that saxophone lick over in my head and I just built it from there.

Smitty:  Yeah, man, and that’s a sweet lick too, bro.

BT:  Thank you.

Smitty:  Ah, it is unbelievable.  Well, when I listen to music, there’s a lot going through my mind in a lotta different directions, thinking about different things, different aspects of the song, breaking it down, what I like about it, what if they had done this different, and I thought about a lot with this one track, which, by the way, it would be my first single to radio in a heartbeat.

BT:  Cool.

funkee boySmitty:  But the other thing I thought of is this is the kind of song that you could put on in any room, in any office, in any home, and when people walk in their first question would be “Who’s that?”  You know?

BT:  That’s a very cool point, nice.

Smitty:  Because it’s that kind of song that will just grab you like a warm blanket on a winter night and say “Hey, have I got something for ya here,” and it’s got that kind of groove, and if you have any ounce of rhythm in your body, you will start to move with this.  (Both laugh.)

BT:  You gotta get funky.

Smitty:  You gotta get funky with the funk.  Hey, you gotta get funky with the Funkee Boy! (Laughs)

BT:  Gotta.  Yeah, you gotta.

Smitty:  And that’s what comes from that song.  I mean, we just had a little mini conversation about that one song and that’s what it evokes, you know?

BT:  Mm-hmm.

Smitty:  It’s a really cool track.  And I gotta tell ya, I love “Close the Door.”

BT:  Thank you.

Smitty:  I mean, once again, I think that would be my second single.  Now, not that I’m directing traffic here.  (Laughs.)

BT:  Yeah, no, it’s cool.  Again, one of the great artists, Teddy Pendergrass, and you do a song like that and you say to yourself, “Well, I could never do it better than Teddy did it because it can’t get better,” you know what I mean?

Smitty:  Right.

BT:  Or I could never do a song better than Stevie Wonder or Earth, Wind & Fire, but maybe I could do it in a way that might even bring some new listeners to that song and even go back and appreciate Teddy Pendergrass even more.

Smitty:  I like that.

BT:  And it’s almost the way that—I kinda got that philosophy when I saw Whitney Houston do that Dolly Parton song “I Will Always Love You.”

Smitty:  Oh yeah, yeah.

BT:  She brought a whole new audience to that song.

Smitty:  Yeah, yes she did.

BT:  Same song, same melody, just her stylings.

Smitty:  Yeah, absolutely.

BT:  And that’s all I tried to do with “Close the Door” where I kept a lot of the original groove and elements there but yet gave it a little bit of hipness to sound like today and change it up by making it a duet and used some incredible vocalists on that record.

Smitty:  Yes.

BT:  Between Leila, who we’ve talked about before whose voice is just passionate and as sexy as can be, and Lamone Andrews, who actually tours with Najee, they just fit it like a glove.

Smitty:  Yeah, man, and really brought a strong flavor to that song, yeah.  And that’s a great example with what you mentioned with what Whitney Houston did with the Dolly Parton song.  That’s very appropriate, yeah.

BT:  Yup, and exactly.  I’m not trying to recreate or do anything better.  I just felt like these songs need to have more of a tribute and have more attention to them. You know?  They just deserve another listen and they’re timeless from “Close the Door” to Boz Skaggs’ “Harbor Lights,” which is just one of my alltime favorites which I remade, and to the Kool & the Gang songs.  It’s just that, you know what?  If I could bring some new listeners to those kind of songs, you’re only gonna gain from it.

Smitty:  Absolutely, man.  And the title track, man.

BT:  “Rise.”

Smitty:  Whoo, “Rise,” yeah.  Man, what a track.  There again, another song that you can just hit the repeat button and just pour a glass of wine and just sit back and groove, you know?

BT:  “Rise” was a whole bunch of words that I had to say.  (Both laugh.)  You know?

Smitty:  But it was different, Bobbi.  It was like, hey!  At first I said “Okay, what is this?”  But then when I started to really listen, it was like “You know, I like this.”

BT:  Yeah, it kinda blends and we talked about reinventing things and bringing roots into it, but I’ll be the first one to admit I am not a jazz player.  I never even grew up listening to traditional jazz.  We talked about I grew up listening to Earth, Wind & Fire and Tower of Power, so again, what I tried to do was merge the things that I love today with what I loved then.

Smitty:  Yeah.

BT:  And I love some of the rhythms of today’s artists.  I mean, the Ne-Yos and the Brian McKnights and the India Aries, and those artists that really inspire me today.  Love ‘em, you know?  Love ‘em to death.  But yet how do I blend that with this whole vibe that I’m really engulfed in?  Which is mix in, like you called I think a while ago, this new pop jazz from years ago and now it’s just called smooth jazz.  How do I blend that?  And it was kinda cool when I started writing these words which I had to say.  I just felt like I had to get this off my chest.  There were things I wanted to say in the song from growing up to where I think music is heading and how I think we can all just come together and rise as humanity, and no one was gonna listen to that over a nice sappy ballad.

Smitty:  No. (Laughs)

BT:  Why not put it into a hot sounding track and have a rap bring that message across?

Smitty:  Yeah.  But I’ve never seen it done this well.  I mean, it is so cool.  It’s a perfect blend.  It’s like if you just told someone about it, they would say “I don’t know,” but if they heard it, they would say “Oh yeah,” I dig it!

BT:  (Laughs.)  Deep.  We want the word to be deep.  They would say “It’s deep.”

Smitty:  Yeah, and it is, it really is. And it’s not too intrusive at all.

BT:  No, it’s not preachy.  We don’t want it to be preachy.

Smitty:  Yeah, but it’s totally appropriate and on time today.  I mean, I hope everyone gets to hear this, man.  And speaking of that, Excellent segue.  How can people get the record?

BT:  You can go right onto www.cdbaby.com/funkeeboy and I’m proud to say that we sold out of inventory now four times in a row in the past month.

Smitty:  I believe it.

BT:  So even if they’re out of stock, rest assured it’ll only be a day or two lag time and they’ll have it.  We have a whole team that’s constantly shipping ‘em out, CDs.  You can go straight onto my Web site, which is www.funkeeboy.com and there’ll be a button on there that you can also get it directly from myself.  You can get the tracks individually off of My Space; I have a Sno Cap store.  iTunes has it.  So just go and Google Funkee Boy and you’ll find iTunes and CD Baby and all the top places where you can get it on the Net.

Smitty:  Yeah, well, I would imagine you’re gonna have another rush on this, so somebody better start pressing some more.  (Both laugh.)

BT:  That’s what we’re going for.

Smitty:  Because, man, this is a five-star record.  I give it five stars and I highly recommend this record.  I mean, this is one that I would stake my reputation on.  I mean, because this is some totally cool stuff.

BT:  Thank you.  Well, I’m gonna quote you on that, so you better get this article going.  (Both laugh.)  Because I’m gonna say “Well, Smitty said it’s five stars” and that’s good enough for anybody.

Smitty:  Absolutely, man.  Five stars plus.

BT:  Cool.

Smitty:  Well, hey, Bobbi, man, I tell you what:  This is a fantastic project, like I mentioned, and I mean from start to finish.  I mean, from the design when you first see this to the last song on the record, it is just fantastic and I’m just so excited to introduce you to a wider audience and I know they’re gonna love this record when they pick it up.  It is one worth going out and getting, so remember those outlets and pick this one up and then send Funkee Boy your thoughts on it.  E-mail him and tell him what you think.

BT:  That’s right, absolutely.  We have a really cool poll going.  If you go to my Web site, you can hear 60 seconds of each song and you could actually vote, the way you just told me what song you think is the best one to release to radio first.  I’m actually listening to my fans and to the public where they can give me their opinion on what song I should release to smooth jazz radio, so definitely send me your vote.

Smitty:  How cool is that?  Yeah, man.  All right, well, Bobbi, thanks so much for a fantastic conversation about your career, this great record, and all the wonderful things that you’re doing out there and best of everything with this fantastic record, my friend.

BT:  Thank you very much.  Thanks for having me.

Baldwin “Smitty” Smith
www.jazzmonthly.com

For more information on Bobbi "Funkee Boy" Tammaro visit:

www.funkeeboy.com - The official website for recording artist Funkee Boy and Music Production for your project
www.positivegroovesradio.com - weekly smooth jazz radio show hosted by Funkee Boy
www.lyricsneeded.com - Write to Bobbi's hot instrumental tracks
www.songwritingthatgetsresults.com - Educational DVD from Funkee Boy teaches the secrets to writing Hit Songs
www.myspace.com/funkeeboy - Funkee Boy's official myspace page
www.cdbaby.com/funkeeboy - Purchase Funkee Boy's smooth jazz debut CD "Rise"