Michael Whittaker and Modern World
a record spawned by intensity, groove, and some of LA's hottest session players

Michael and his band “Modern World,” explodes on the scene with possibly the highlight of 2006 with an electrifying contemporaryjazz / fusion “Self-titled” debut record that will in due time generate a host of accolades from music lovers world-wide...(ContemporaryJazz.com)

What do you get when you combine the elements of modern jazz, north African rhythms, gospel and funk? That is what I asked myself when I started out of this journey to make the Modern World album. After doing a couple of albums that were more radio friendly and smooth, I found myself desperately wanting to create a music that was more challenging intellectually. Growing up I listened to a diverse mix of jazz such as Chick Correa, Miles, Herbie Hanckock, Oscar Peterson, Kenny Barron, The Yellowjackets, George Duke and even Cal Tjader. I would study jazz continually and practice over 8 hours a day for years. All the while feeling I really could never match up to the original...I mean lets face it, I can play a Chick Correa lick, but I would much rather hear Chick play it! You can never beat the original.

Later, I was invited to an African music festival in downtown Los Angeles. I was blown away by the absolute beauty of harmony as well as intricate rhythms I had never experienced. I had to learn more. I sought out to find African and afro-cuban artists that inspired me. It was artists like Karim Ziad, and music from the northern regions of Africa that really struck me harmonically. Hearing rhythm players from Senegal, Cameroon and Madagascar also blew my mind. Here were people that couldnt read a note of music, but were making music so deep, pure and natural, that I again felt I had no right to play that music...I mean, a white boy from the valley in Los Angeles playing world music? Refusing to give up, I sought to find a different voice, combining elements from artists and musicians I know and love. That spawned the Modern World album.

I have been blessed to play with some amazing musicians in Los Angeles and I feel humbled by all the players that contributed to Modern World. After playing some of the compositions at LA's La Ve Lee jazz club, I was encouraged to continue in this direction. Players like Katisse Buckingham, Joey Heredia, and Joey De Leon encouraged me to do something with the music. So I did. I started Recording in late 2005 and decided to work with my friend, Jimmy Branly. Jimmy Is a world renowned drummer from Cuba as well as an amazing technician when it came to recording. I asked Jimmy to co-produce the album with me and we started out in his studio. His experience with percussion instruments and complex multiple meter music made him the perfect choice. When I stated out I was referred to Andre Manga, the virtuoso african bassist through a friend. He brought an element of authenticity to all the african bass grooves. On flute there was only one choice for me which was Katisse Buckingham. His work around LA was starting to get well known and when I first heard him play I was astounded. Turns out he plays sax just as well (I guess that's why he subs for Bob Minzer in the Yellowjackets!).On drums I used of coarse Jimmy Branly, as well as Chris Wabich who is a phenomenal drummer and a world and jazz specialist, as well as special guest Joey Heredia who is a latin drumming legend. My friend Dan Lutz is an amazing bassist and contributed both on upright and electric. Dan has a modern approach and is quickly becoming one of the most sought after bassists in LA. We also play together at my Church, The Oasis Christian Center. Adding fretless bass was another great player Chris Golden, what a sound! The final bass guest was my long time friend Alex Al. Alex is astounding and one of the funkiest players anywhere. On percussion, I used both the Puerto Rican percussionist Joey De Leon who most true latin players in LA feel is the best conga player anywhere. Also the World music specialist Brad Dutz came in with a huge array of African instruments to add authentic flavor. On guitar was Allen Hinds, who I had played with in Warren Hills band. His amazing hammer-on pull off technique for soloing as well as his incredible tone makes him a great addition. On sax Bob Shepherd and Ben Wendel both contributed. What can I say, these are two of the most sought after players in LA. It was the strength of the musicians that really made what was in my head come to life.

Now I am looking forward to moving this music and band in front of an audience. The result of these sessions is amazing and I hope you enjoy listening to it as much as I enjoyed making it.