19-Year-Old Carli Marino Wins Nationally Televised Gospel Dream (2006) Competition!
2006 Gospel Dream winner Carli Marino performs "I Surrender All"
 |
|
 |
The top 10 contestants of Gospel Dream 2005 will be recording live August 24th at About My Father’s Business Conference in Indianapolis, IN. August 24, 2007. Sony BMG's Zomba Gospel Records has tapped producer/songwriter Aaron Lindsey to produce this CD/DVD compilation release. Gospel Dream Compilation will be released March 2007. During the recording, Gospel Dream 2005 winner, Brian Smith, will be recording his new original single.
ATLANTA, Aug. 7, 2006—This week, 12 gospel superstar wannabes - semi-finalists in Gospel Dream 2006’s nationwide Idol-style search for America’s next great gospel headliner—will experience the biggest surprise of their musical careers. Contestants, who believe they are participating in a typical semi-final competition, will be surprised to learn that they have arrived at gospel music Boot Camp—two days of rigorous music career calisthenics! At the end of their workout, they will have a sing-off to see who moves on to the final competition this fall and who goes home to sing in the shower. Boot Camp will be tough—staffed by industry experts. Ron Grant and Elvin Ross—as Boot Camp coaches—will advise and critique each contestant’s singing style and stage presence while stylists will assist with clothes and makeup. On Tuesday, after the contestants have been whipped into shape, they will be handed off to judges James “Big Jim” Wright, Max Siegel, and Joy Williams. Of the 12 contestants, only nine will survive the drills to continue their quest for the grand prize - a national recording contract with SONY/BMG! • WHAT: Gospel Dream 2006 Semi-Finals—Gospel Music Boot Camp Challenge • WHO: 12 Gospel Dream Semi-Finalists VYING TO BE THE NEXT GOSPEL MUSIC SUPERSTAR • WHEN: Aug. 8-9 • WHERE: Nashville’s famed studio, the W 274 Building (at 274 Mallory Station Rd., Franklin, Tenn.). The twelve recording-star hopefuls have been chosen from the six regional auditions - New York City, Kansas City, Mo., Orlando, Fla., San Diego, Houston, and Washington, D.C. Finals will be in Nashville, Dec. 1. The series will be broadcast nationally on Gospel Music Channel beginning Nov. 1.
ABOUT THE GOSPEL MUSIC CHANNEL: Launched in October 2004, Gospel Music Channel is the first 24-hour all-music television network devoted to the best of gospel/Christian music. Led by cable network veterans Charley Humbard, Discovery Channel’s former general manager of digital networks, and Brad Siegel, former president of Turner Entertainment Networks, Gospel Music Channel is currently available on cable systems in 80 markets and more than 2,900 cities nationwide. From the soulful sounds of Yolanda Adams to the country roots of Randy Travis, to the contemporary stylings of Kirk Franklin, Mercy Me, and Amy Grant, the Gospel Music Channel celebrates a musical genre that crosses cultures and generations and delivers a fan base so large it deserves its own network. Gospel Dream was conceived by music industry veteran, Elvin Ross.
The woman in the black top and pants closed her eyes and opened her mouth wide as she stood before Alvin Williams to audition. "When Jesus is my portion. A constant FRIE-IEND is He. His eye is on the spar row , and I know- oh-oh he watches me." When she finished, Williams thanked her and excused her from the room. Then, the judge for a television talent contest modeled after "American Idol" remarked, "She's a good church singer, but she's too churchy." A big-bucks recording contract in a $700 million-a-year industry is at stake, and the judges of "Gospel Dream" were not looking for inspirational ministers so much as bankable stars. More than 150 people auditioned at the Capital Hilton in downtown Washington yesterday for the show, which is about to start its second season on the fledgling Gospel Music Channel. Many of the singers were from the Washington area, even though the show isn't aired locally by Comcast or Cox Communications. Subscribers to Verizon's FiOS television can see it, but otherwise, the closest market is Philadelphia. Contestants began lining up at 7:30 a.m. outside a second-floor room for auditions that would begin three hours later. Although many would-be stars flew in from across the country, the biggest contingent -- 36 people -- was from Prince George's County. Nine were from the District.
Some wore their Sunday best -- demure, proper dresses and conservative jackets. Others came in their Saturday night best -- tight pants and low-cut tops.
They performed a cappella in front of a microphone before a judge sitting at a table draped in a red cloth. If they were any good, the judge sent them to another room, where they sang for a second judge.
Their choices were limited to traditional songs from a playlist. "Amazing Grace" and "His Eye Is on the Sparrow" were sung as frequently as "Feelings" would be at a piano bar. Again and again and again.
But this was clearly not a very Vegas crowd. A few may have been aiming for fame and fortune, but most said they were singing for the glory of God.
"I was thinking about Jesus," Leslie Hall, 25, of Germantown said after a rendition of "Redeemer." "I was singing for Him."
In coming to Washington, the show's producers picked an area rich in gospel music fans and talent.
The area is one of the top markets for gospel, said Brad Siegel, vice chairman and co-founder of the Gospel Music Channel.
Singers Reach for a Higher-Powered 'Idol'
Prince George's, in particular, is a regional hub for gospel performing and recording. It is home to three gospel music stations, about a dozen recording studios, nearly as many independent gospel record labels and several megachurches whose choirs routinely make contemporary gospel CDs and allow their sanctuaries to be used as recording studios.
The county is a natural source of gospel music. It boasts more than 800 churches, many of them African American. Those churches are also the home of some gifted gospel singers. One of them is Byron Cage, minister of music for Ebenezer African Methodist Episcopal Church in Fort Washington, who was tapped to lead the mass choir that performed at Coretta Scott King's funeral in February.
At the auditions, the judges were seeking people who would not only sound good in a choir, but who possess a universal appeal beyond their voices.
"In the church community, we call it anointing. In the mainstream, we call it 'it,' " said Williams, head of artist development for the Gospel Music Channel. "There's no science to it. You just know when a person has it."
Kevin Gillilan, a police detective from Leeds, Ala., calmly stood in front of the microphone and belted out a jazzy "Amazing Grace."
Judge Ron Grant, a talent scout and consultant for Sony Music, liked Gillilan's performance so much that he asked for an encore and waved his arm like a choir director to guide Gillilan's singing. "I like to spice it up," Gillilan said. "I hope I'm what they're looking for."
As on "American Idol," there were mishaps. Some singers forgot the words. Voices choked from nerves.
"I can't believe I sang the wrong line," Tanaj Perry of New York told a friend after her performance of "His Eye Is on the Sparrow."
She said she switched genres four years ago, going from secular R&B to gospel because "we as artists have a big influence on young people, and I wanted to put out a positive message."
At the end of the auditions, the contestants chatted and sang while they awaited the results.
About two hours later, "Gospel Dream" host Jonathan Slocumb -- "I'm taller, darker, sexier and funnier than Ryan Seacrest" -- strolled in to announce the two singers who would advance to compete against 10 others on the show, which will begin airing in November.
The finalists are Jermaine Pressley of Fort Washington and Mystique Smith of Cincinnati. Gillilan, 31, is an alternate, along with Jamie McMillan of Baltimore.
"His volume was so powerful," Grant said of Pressley, 34, who is an administrative assistant in the Department of the Navy. "It was like a truck flying past a car at 150 mph and the car just shakes."
Pressley, who sang "Blessed Assurance," lifted his hands in praise when his name was announced. "I'm excited to see what God's going to do," he said.
This weekend in Washington D.C., the regional competition for Gospel Dream 2006 is being held. Gospel Dream is the Gospel Music Channel's search for talent, and it's modeled after American Idol. Scott Simon speaks with two contestants, Joseph Johnson and Yvette Thomas, about their love for gospel music. And, he asks them each to sing.
June 2006
Elvin Ross’s life has been like winning the game of Connect Four. Bishop Paul S. Morton is his father-in-law. Madea is his boss. He has had relationships with just the right cluster of people to secure his destiny. Yet, it was not merely the hook-up, but his propensity to make the piano sing that landed him the position as Tyler Perry’s Musical Director, which he has held for the past nine years. Also, as the creator of Gospel Dream, the Christian equivalent to American Idol, Mr. Ross has become a major national influence for gospel talent.
Born in Hahnville, LA (a dot on the map outside of New Orleans), Elvin had designs on a future in architecture when he went to school in the Crescent City for mechanical drafting. But after a about a year and a half of boredom with that field, he got into music at Greater St. Stephens Full Gospel Baptist Church, shepherded by Bishop Paul S. Morton. “Greater” and the first family became instrumental in his life.
While he served in the music ministry he met the “flesh of his flesh,” the Mortons’ oldest daughter, Jasmine. He joined Jasmine in Atlanta as she attended Spelman University, while they were engaged. Elvin played at Bishop Morton’s brother’s church (Bishop James Morton) and wedded in 1998. Through his wife he met Perry. Unable to deny the entertainment blood that runs through his veins, he enthusiastically became Madea’s music man for one of the highest grossing gospel stage play franchises.
A man of commitment, he remains married to his wife and Madea. Ironically Ross and Perry never met before their introduction in Atlanta, although the fellow Louisianians were pews apart at Greater St. Stephens in New Orleans.
Over the course of the last near decade he has discovered avenues to feed his need to bless others who want to be professional artists as he explains in this interview.
Mona Austin: How did the transition from architectural drafting to music occur?
Elvin Ross: Actually I’ve always had an interest in music. My mother was a classically trained pianist and vocal teacher. So I’ve always played music by ear, but after working in architecture for about a year I got bored and took a job playing at Greater St. Stephen and let the architecture thing go and went music full time.
MA: Do you and your wife have any children yet?
ER: Yes we had a daughter in 2001. She passed in 2003 of a septic virus into her body. Now we have a son, Alvin Jr. He’s two years old.
MA: I’m sorry to hear about your daughter.
ER: It was tragic, but we’re strong.
MA: Is your son showing an interest in music?
ER: Oh, God yes. He’s trying to sing as well as play drums.
MA: How did life change for you when you became the MD—were you still able to work at the church?
ER: Life changed drastically. I’ve always wanted to do theatre before working with Tyler. And when he asked me that was that for church. As soon as we went on the road, I hadn’t played in church since. I may do it in the off peak season at Greater St. Stephen here in Atlanta now.
MA: Do you feel you’re walking in your purpose?
ER: Absolutely. Basically, neither Tyler nor myself have had training in scoring or musical theatre, so where God has elevated us with our gifts compared to the learning curve, it’s just been His favor. So, it’s definitely a walk in favor for sure.
MA: This brand of theatre has come under a lot of scrutiny because a lot of people feel the Madea not only represents the humorous side of our community, but also buffoonery. I know you’re on the musical side, but how do you feel about the criticism?
ER: Well, it’s almost like having a positive and negative battery. They all serve their purpose. We seldom see the negative comments compared to the positive, overwhelming positive impact that Madea and her character have had on our community. No one ever hear s about Tyler getting email, mail or phone calls about ‘you stopped me form committing suicide’ or ‘you lifted my spirits when I lost a loved one’. It is what it is but there is so much positive until the negative doesn’t weigh very much. So it doesn’t really make me feel bad at all.
MA: How does the creative process work? When you’re creating music for the plays are you motivated by the storylines, do you already have a certain style, or does Mr. Perry say I want it a certain way?
ER: The creative process works like this. You definitely get the script and read through it and then I will come up with the musical interpretation of what I read. I will give him the music that I come up with and he will give me his feedback and we will do that until we come to a happy medium. That’s basically the course of developing music for his properties.
MA: Was any of your work on the “Diary of A Mad Black Woman” movie?
ER: Yes, I did the film score for both films. On this last film, “Madea’s Family Reunion”, I produced the song Johnny Gill was singing, the wedding song “You For Me”. The last soundtrack I did, Tyler and I co-wrote four songs for that.
MA: Theater and film are different, but how was it different for you in terms of your craft?
ER: It was different. Not necessarily from a creative perspective, but from a technical perspective. Going into film and never have scored a movie or never have gone to school for scoring, per se, the learning curve and trying to learn to give producers and editors what they needed in the matter of formatting was the most difficult piece of the whole process. It was never the creative stuff.
MA: When you look over your experience over almost ten years, are you still content with what you are doing or would you like to branch out into other entertainment mediums.
ER: I absolutely would like to break out a little bit more. With the schedule that I carry with Gospel Dream and Tyler, my time is limited but I do endeavor to do some other things.
MA: For example?
ER: A career development symposium that I am creating now. It’s for film, music, and television hopefuls that are aspiring to get into the entertainment industry and were doing it February 23-24th here in Atlanta at Earthlink Live.
MA: Is it a conference?
ER: Yes. We will invite artists, actors and actresses to give insight on their story, their journey in an Oprah Winfrey style setting instead of the traditional business where you are sitting behind the long white table with your card in front of your name. Definitely a different style to it, much more relaxed.
MA: What experts will be there?
ER: We’re definitely going to have Tyler and Ruben Cannon (the biggest African-American cast director in Hollywood and producer of Tyler’s last two films his new sitcom, “House of Pain”).
MA: Tell me how Gospel Dream was conceived?
ER: That was conceived on the road. We were closing out our tour in December of 2002 and the whole season I was always getting persons coming up saying “How can I get up on stage?” and “How can I become a star?”…Tyler would always have me audition hopefuls after our matinees on the weekend.
MA: Did you actually discover some people that way?
ER: A couple of them actually made it into the show. So what I decided to do with the success of American Idol was a gospel version of it. We did that in 2003 and then when we launched it the response was just overwhelming.
MA: It seems like it was just yesterday Stephanie Dotson won and now you are in your fourth incarnation of the show. Congratulations. Now there are other American Idol style gospel shows that have come out. Do you think we can overdo it by having these types of competitions?
ER: I think the only way we can overdo it if we don’t do it with a certain level of production value. A lot of people are having talent competitions for fundraising purposes where ours is much different, like Stephanie Dotson who got a record deal and appeared in Tyler’s “Madea’s Family Reunion” singing. Those are incentives for an artist to really come to our program. Not only are we having a talent search, but we are placing our contestants into the industry in a major way. Like appearing in a number one movie in America and your record is not out yet just from winning Gospel Dream is a major accomplishment. Not just for the artist but for us as well as a competition. It’s all good if these competitions are placing people accordingly or properly, but just to have it for fundraising purposes, it doesn’t suit the artist at all.
MA: So do you think that is going to be your distinction as these other competitions emerge? It sounds like a matter of quality and relationships where you can ensure that the people who win are actually benefiting?
ER: Absolutely. We’re saying to the general public “come and audition at our talent search and you win a record deal and a numerous amount of marketing and promotions” and that is exactly what we are doing. We are staying true to what we are marketing and promoting and before these hopefuls come out and audition. Stephanie is a perfect example as well as our 2003 winner, Anita Washington, who was nominated for the Lady of Soul award and who actually was a presenter there and then she opened up for CeCe Winans girls conference for months. Our artists are getting placed in major situations in the Christian community, even in film. Were trying to have as much integrity as possible as well as once the show is over, that is where we really go to work for artists. The whole season is about the competition.
MA: How long does the competition run? From June 17 to…?
ER: It’s six weeks thereafter and we do six different cities. Then the show airs on the Gospel Music Channel leading up to the finals which I think is around December 1st.
MA: What label will sign the winner?
ER: It’s Sony BMG/Zomba.
MA: Based on the fact that you have been very successful at what you do and you seem to have a standardl of excellence, I’m wondering what you believe are the characteristics of a good singer or vocalist?
ER: The characteristics of a good vocalist. It is one thing to be able to sing very well but then once you step off the stage, if you are a different person that you are when you ministering we are not looking for that person. We are looking for someone that is the ministry that they sing about. They are their own stage basically. Stephanie Dotson will kill you on stage with vocals but if someone is sitting in the corner crying then she will go over and minister to them. Those are the people that we are looking for. They make a good artist and those are the ones that literally last a long time in this industry. Those who just do it for the entertainment sake of it really do not last long at all.
MA: Is that the same thing for people in general who work in the music ministry?
ER: Yes. If you’re characteristics aren’t what you are preaching, teaching, and singing about then you will not last in the gospel industry for sure. Normally, when a person is looking to be ministered to, if you are shallow you will never reach someone. If your ministry is not sound, you will never pierce the heart of those who are in need.
MA: Do you have any other projects that you want to share?
ER: I’m actually working on Tyler Perry’s new film called “Daddy’s Little Girl”. Scoring that as well as developing some songs for the soundtrack.
MA: Have you worked with any secular artists?
ER: Johnny Gill. But no one else comes to mind.
MA: Have you truly identified your purpose and are you living in your purpose? Has God revealed your purpose to you?
ER: God has revealed purpose to me but He continues to reveal more and more purpose as I live. The biggest purpose that He has given to me is to help aspiring artists. Help those that are gifted but just don’t know how to get in or need help getting in. I know that’s a part of my purpose because I am very successful at it. Going back to Stephanie Dotson, when Tyler and I where sitting down talking about a musical section in a movie it was so easy for me to walk Stephanie Dotson right into that film. Every time I attempt to help somebody else in their purpose of music or entertainment it feels right and it is never an issue. It’s always very easy. That’s my purpose for sure.
MA: Also, once you leave this earthly realm, what words would you like inscribed on your tombstone?
ER: I was always there to lend an extended hand.
MA: What’s your favorite Tyler Perry project that you worked on?
ER: My favorite Tyler Perry project was “I Know I’ve Been Changed”, the very first play that we did.
MA: Why is that?
ER: Because it is the very first play that I attempted to do and it was the best musical production that we’ve done musically overall.
Ross and family have taken residence permanently in Atlanta since Hurricane Katrina evicted them from New Orleans, where he continues his creativity. most recently initiated an independent record label.
For more information about the Gospel Dream competition go to "http://www.gospelmusicchannel.com/"www.gospelmusicchannel.com.
ATLANTA, June 15, 2006—The nation’s hottest pop-culture phenomenon—reality TV competitions like American Idol—and the booming gospel music industry will collide on June 17 when Gospel Music Channel® launches its second season of Gospel Dream, a national search for the next gospel music superstar.
In an ironic twist worthy of a Hollywood feel-good movie, George Huff - one of the most beloved contestants in American Idol’s history - has joined the nationally-televised competition in NYC where he will work with amateur artists as they compete in Gospel Dream.
“When people think of gospel music, they think of choirs, robes, and ancient hymns,” said Huff, who is passionate about gospel music. “But it is actually quite diverse. Gospel Dream is the perfect showcase for amateur vocalists to perform all genres of gospel music including hip-hop, country, soul, contemporary, rock, and traditional.”
WHAT: Gospel Dream 2006 auditions in New York City WHO: Amateur vocalists, aged 18-40, SEEKING TO BE THE NEXT GOSPEL SUPERSTAR
WHEN: June 17 - Doors open at 9:00 a.m.
WHERE: New York City’s Roosevelt Hotel, Madison Avenue and 45th Street
Twelve recording-star hopefuls will be chosen from the following six regional auditions to compete in the national finals this fall: New York City—June 17 ? Kansas City, Mo.—June 24 ? Orlando, Fla.—July 8 ? San Diego—July 15 ? Houston—July 22 ? Washington, D.C.—July 29. Contest details and registration: "http://www.GospelMusicChannel.com/"www.GospelMusicChannel.com.
This weekend in Washington D.C., the regional competition for Gospel Dream 2006 is being held. Gospel Dream is the Gospel Music Channel's search for talent, and it's modeled after American Idol. Scott Simon speaks with two contestants, Joseph Johnson and Yvette Thomas, about their love for gospel music. And, he asks them each to sing.
NEWS & PRESS RELEASES
Hollywood gives 'a poke in the eye to Katrina' by recording the music score for an upcoming feature film at a Bywater studio (Times-Picayune) – 01.09.2006
Hollywood gives 'a poke in the eye to Katrina' by recording the music score for an upcoming feature film at a Bywater studio Sunday, January 08, 2006 By Keith Spera Music writer Four days after Hurricane Katrina, Joel C. High challenged his fellow Hollywood powerbrokers on Louisiana's behalf.
High, the senior vice president of music and soundtracks at Lionsgate Entertainment, fired off an editorial reminding his well-connected peers that Louisiana had been very good to them.
"We must not abandon (the state) in its darkest hour," High wrote in the music industry magazine Billboard. "And we most certainly need to be ready to get back to work when the folks there are ready for us."
Four months later, that effort is under way. On Thursday, High collaborated with a 33-piece orchestra in a Bywater studio on a milestone: The first recording of a major motion picture orchestral film score in New Orleans.
Los Angeles and London host the bulk of such symphony recordings. But under Louisiana's new tax incentive program for sound recording -- a program modeled after film incentive legislation that transformed Louisiana into "Hollywood South" -- New Orleans has emerged as a cost-effective alternative.
"When you start talking dollars and cents, that's when (film executives') ears perk up," High said.
Thursday's recording session at Piety Street Studio created the score for New Orleans native Tyler Perry's upcoming feature film comedy "Madea's Family Reunion." Scheduled for a Feb. 24 release through Lionsgate, "Reunion" is an adaptation of Perry's hit stage production. The cast includes Blair Underwood, Maya Angelou and Cicely Tyson. Perry, in his directorial debut, stars as three different characters, including the colorful grandmother of the title.
Perry is not the project's only local connection. His primary music collaborator, composer Elvin Ross, grew up in Hahnville and lived in eastern New Orleans prior to Katrina.
Hometown sympathies aside, Perry needed assurance that the city's classical musicians were up to the task. Music is vitally important to his projects.
Rapper LL Cool J, crooner Brian McKnight, Al Green and Chaka Khan contribute songs to the "Madea" soundtrack. The score is more subtle, but potentially more powerful. Instrumental symphonic passages underscore the onscreen action, tweaking audience emotions.
High supervised the music for Perry's 2005 hit "Diary of a Mad Black Woman." Still, there was no guarantee that Perry would allow his next film score to be the guinea pig for untested New Orleans.
"No one wants to be the first one in, especially with the money we're spending," High said. "You don't get a second chance to do it. It's scary. But Tyler and Elvin were supportive of recording here."
Ross experienced Katrina's devastation firsthand. His home studio in eastern New Orleans flooded. The young composer salvaged a computer hard drive, but much was lost.
On Thursday, his wife, 22-month-old son and mother watched him work from a sofa in the studio control room. He clearly relished being back in his hometown.
"It's a huge deal, especially having been affected by Katrina and losing everything, to help rebuild the city with the arts," Ross said. "To be the catalyst for this is cool." . . . . . . .
Film scoring represents a fresh creative industry for New Orleans. Local jazz trumpeter Terence Blanchard has scored many films, but generally records his orchestras in London and Los Angeles.
The budgets for major motion picture scores can soar into the hundreds of thousands of dollars. With a budget in the tens of thousands of dollars, the "Madea's Family Reunion" score is considered a midsize project. Orchestras in Seattle and Salt Lake City often land such projects.
High's interest in shifting some of that work to New Orleans is both personal and professional. Louisiana is home to his in-laws, so he is a frequent visitor.
And his decade-long resume as a Hollywood music supervisor includes several movies shot in Louisiana, including the Academy Award-winning "Monster's Ball," "Eve's Bayou" and "Infidelity," the TV movie that featured music from the local Basin Street Records.
High believes local classical musicians and studios should get a chance to record scores for such films.
"The pool of talent down here, especially the more jazz-oriented, has been ignored by Hollywood," High said. "I want to highlight it. It's a shame that Hollywood has not taken advantage of it."
The creative culture at Lionsgate encouraged him to try.
"Lionsgate is a trailblazer," High said. "It's the last of the independent studios. We have to be more nimble than the big studios. And so we end up with something that is a little unique."
In October 2004, High met Contemporary Arts Center director Jay Weigel. Before joining the CAC in 1996, Weigel, a composer, wrote music for television, documentaries and films. He and High discussed the possibility of recording scores in New Orleans.
To convince Hollywood that New Orleans musicians were up to the task, Weigel oversaw a recording at the CAC that served as an audition tape. High passed it around to other executives.
In 2005, with the support of Lt. Gov. Mitch Landrieu and the intensive lobbying of Scott Aiges, the city's director of music business development before Katrina, and Mark Smith, the state's chief officer for entertainment industry development, the Legislature passed a tax incentive program for sound recording. The program took effect Jan. 1.
And so High and Weigel forged ahead with pre-Katrina plans to record the score for "Madea's Family Reunion" in New Orleans.
Weigel served as High's on-the-ground facilitator. His tasks ranged from rounding up 33 pairs of studio-quality headphones to finding a baby stroller for High's 19-month-old daughter, who joined him in New Orleans this week.
Recording post-Katrina presented its own set of problems. Piety Street did not flood, but its phones still don't work. Finding a caterer to feed the 40-plus musicians and staffers was another challenge.
"All that stuff used to be so easy," Weigel said. "Now even food is an issue."
As High recalled, "I called Jay up and said, 'Can we really do this?' He said, 'Uh, let me make sure.'
"It's a poke in the eye to Katrina, that so soon after the storm, we can come down here and record a full orchestra," High said. "The studio doesn't have phones, but they have power. That's what we care about." . . . . . . .
On Thursday, the sunlit main room of Piety Street Studio was filled with dozens of violins, cellos, brass instruments and a harp. In the control room, Ross and Camara Kambon, High's co-music supervisor, listened closely to the orchestra. At one point, they halted the recording to correct the intonation of a cello. In another, microphones picked up the creak of a musician's chair.
Film scoring is demanding work. The music must be synchronized precisely with scenes in the film. Musicians must be able to read and play parts immediately, with little or no rehearsal.
The "Madea" budget allowed only one day to record the full orchestra, around 30 minutes of music broken into 16 different cues. For classical pieces, the titles were atypical. One passage was called "Fight at Picnic."
But film scoring is lucrative work. Standard pay starts at $60 per hour, with more for section leaders and conductors. The "Madea" session would last at least six hours.
"If you get a film a month, that can be an extra $4,000 a year," Weigel said.
Most of the 33 musicians used for this session are current or former members of the Louisiana Philharmonic Orchestra; recording the movie score, Weigel said, represents "a substantial boost to what they get paid in the symphony."
Samantha Woolf plays a French horn with the LPO. The "Madea" session "is exciting," Woolf said. "It's giving us work. Especially during this hard time, it's just what this town needs."
The musicians were not the only ones to profit. The Magazine Street eatery Savvy Gourmet catered lunch for 40 people. The session was also a nice piece of business for Piety Street.
"We'd love to have more of this," said studio co-owner Shawn Hall. "It's good for New Orleans, good for Louisiana, great for musicians and definitely good for us."
Whether the tax credit will entice more Hollywood studios to score films in New Orleans is unknown. But High, recently appointed to Landrieu's "Louisiana Rebirth" national advisory board, is optimistic.
"There's a lot we have to prove to Hollywood," he said. "One is the quality of the music, which is fantastic. The other is if the new tax incentive works.
"The more work that comes here, the more New Orleans can compete with Seattle and Salt Lake City. People will realize New Orleans has the capacity to put out a film score."
To Weigel, such projects are what the city needs.
"Culture should be at the forefront of rebuilding," Weigel said. "What a wonderful time to have a new aspect of the music business looking at New Orleans." . . . . . . .
Music writer Keith Spera can be reached at (504) 826-3470 or at HYPERLINK "mailto:kspera@timespicayune.com"kspera@timespicayune.com.