Today we’d like to introduce you to Richard Niles.
Richard, we appreciate you taking the time to share your story with us today. Where does your story begin?
My father was singer, guitarist, vocal arranger Tony Romano who worked with Bob Hope, Bing Crosby, Frank Sinatra and Cole Porter. My mother Pat Silver-Lasky was an actress and screenwriter who wrote with my stepfather Jesse Lasky, Jr. Growing up with that artistic background led me to the Berklee College of Music in 1975 studying with jazz greats Gary Burton, Michael Gibbs and Pat Metheny.
Back in London, I got signed to a publishing deal as a songwriter but immediately started getting work as an arranger. I became house arranger for EMI Music in 1976 and from that was asked to work with Cat Stevens. That led to working as Musical Director for TV series for David Essex and Leo Sayer.
My 45 years career includes working as Producer, arranger or songwriter with variety of artists in pop, jazz and classical music – Paul McCartney, James Brown, Ray Charles, Michael McDonald, Tears For Fears Pet Shop Boys, Randy Brecker, Tina Turner, Cher, Swing Out Sister, Pat Metheny, Bob James, Dusty Springfield, Deniece Williams, John Patitucci, Placido Domingo, Kiri Te Kanawa,… and many more. My credits include 20 Gold and 28 Platinum certifications.
I have solo albums and have performed extensively. I have been Musical Director and written themes for many TV and radio shows. I wrote and hosted many acclaimed radio series for the BBC over a period of 20 years. I’ve written eight acclaimed books on music. More info at my website, www.richardniles.com
I’m sure you wouldn’t say it’s been obstacle free, but so far would you say the journey have been a fairly smooth road?
The public doesn’t see that music and money are linked. It’s an art form and a business. It costs a great deal of money to make serious art. Yet, the public has now been given a world where music costs nothing through free streaming and YouTube. This means that new generations of musicians cannot develop because they cannot eat. There are no live venues where new artists can make a living. Therefore, the music offered to the public becomes increasingly formulaic, using technology to create instant – and cheap – music. The obstacles in my own career have never been creative. But financial challenges have become worse. The situation will not improve until the public values music enough to pay for it.
Appreciate you sharing that. What else should we know about what you do?
My career has been equally active in jazz and pop. My ‘widescreen’ approach to music and my professionalism has led to work with many of my favorite artists. It has also been wonderful to help new artists have hits such as “Breakout” for Swing Out Sister.
Arranging, conducting and playing guitar for Michael McDonald was total musical pleasure. Of course, working with Mister James Brown was fantastic. He was a passionate jazz lover, and we got on really well. Arranging one of my favorite songs, “It’s a Man’s Man’s World” was a privilege.
High points in my career would have to include having Ray Charles record four songs I wrote with my friend Phil Spalding. I also conducted four European concerts for Ray with my big band, Bandzilla. I learned so much from talking about music with him.
Grace Jones’ “Slave to the Rhythm” with producer Trevor Horn was an apex of creativity in popular music that has not been surpassed. Being part of that team was the art of achieving the impossible. I contributed an arrangement for an 85-piece orchestra.
Paul McCartney asked me to arrange and produce 16 tracks after he heard “Slave”. One of the songs was “Blue Sway” released on “McCartney II”. Paul was everything you would imagine a phenomenally talented person to be. And yet, he was open to any ideas that would make a better record. Paul asked me to produce two tracks for his wife Linda’s birthday with Bandzilla. She was a wonderful lady.
Pat Metheny asked me to produce his “American Garage” album, and it was a musical delight to work with Danny Gottlieb, Mark Egan and the great Lyle Mays.
I have loved the music of jazz icon Randy Brecker since his first record so it was an immense pleasure to have him sing and play on “You Can’t Get There From Here” on my “Bandzilla Rises!!!” album.
I guess my ‘unique selling point’ has been that I am able to get inside every artist, regardless of style, and be able to help their records be exceptional.
Any big plans?
I believe it is the obligation of musicians to be revolutionary, to break new ground, to have an attitude about our world and to find new ways to express it. So I continue to produce, compose, perform and write. I feel I am writing and playing better than ever. I’m working on a new album. I have published eight acclaimed books including “The Invisible Artist”. I also run my successful podcast, Radio Richard, interviews with iconic names in pop and jazz including Barry Manilow, Richard Carpenter, Chick Corea and Lyle Mays. SUBSCRIBE HERE https://www.youtube.com/playlist?list=PLPr-34pRXY0MpzyUwuGq4deGFrH4dN7yZ
Contact Info:
- Email: [email protected]
- Website: www.richardniles.com
- Facebook: https://www.facebook.com/radiorichard2021
- Youtube: https://www.youtube.com/user/DRRICHARDNILES
- SoundCloud: https://soundcloud.com/niles-smiles
- Other: https://radiorichard.podbean.com/
Image Credits:
Richard Niles with Michael McDonald Pat Metheny Ray Charles Randy Brecker Gary Sinise
