Best known as a founding member of Parliament-Funkadelic and for his work with Talking Heads, keyboardist Bernie Worrell is the definition of a virtuoso musician. Now 70, Worrell learned to play piano by age 3 and wrote a full concerto by age 8. The musical prodigy went on to form Parliament-Funkadelic with George Clinton and composed many of their biggest hits—from the synth bass of “Flash Light” to the Minimoog synthesizer of “Give Up the Funk (Tear the Roof Off the Sucker).” Worrell’s trademark sound helped create funk music as it is known today. On Wednesday, May 14, Worrell brings his current band, Bernie Worrell Orchestra, to Frankie’s Inner City for a night of intergalactic jams. Toledo City Paper had the chance to talk with Worrell about his current influences, the making of seminal concert film Stop Making Sense and his thoughts on the modern electronic music scene.
Bernie, you have played so many different genres of music—are there any new influences on your band’s current sound?
The effects and the instruments manipulate sound, so whatever new toys I get are my biggest influence. I think the guys in the band are the same way. I am not steering them anywhere; there is a higher power that influences me. I am influenced by mother nature—stuff like bird sounds. I like to be outdoors a lot. I listen and meditate outdoors and then try to imitate the sounds that I hear. The rest of it is sent to me. A lot of people think that they are the source of the music, but I don’t think so. You are given a gift, but you didn’t do it by yourself. Whether you are a musician, a painter or a sculptor, you were given a gift.
How do you know the difference between an exceptional performance and an off-night?
I really don’t rate myself in that way. I have been playing for so long that I don’t go into that. The only thing that bugs me is technical problems, whether it be from equipment or a problem with the venue. That might create a negative feeling [laughs]. But, if the audience is enjoying it and they are dancing, well then that is it.
One of my favorite concert movies is Stop Making Sense, where you perform with the Talking Heads. Can you tell us a little bit about the process of recording that movie?
Well, they were P-Funk fans from the get-go. I brought in a couple people from P-Funk, which is where they got the dance moves. We were teaching David [Byrne] how to dance a few different moves with The Brides of Funkenstein. You’ve seen the film, David would have to get down [laughs]! David is a genius and he knew how to mix the music with theatrics and costume, so it was a very interesting and had a lot of energy. You had veteran players teaching the young, and everyone influencing each other.
What are some of the differences between touring in the past and touring in 2014.
Well, it’s a lot more expensive [laughs]! A lot of the old venues are closing down, with landmark venues shutting down across the country. The music has changed and I don’t care for too much of it. But that’s why we try to keep the funk alive! But we play more than funk [with the Bernie Worrell Orchestra]; we can’t just stay in one genre. I’m classically trained, so I what I do is mix everything together, like a potpourri.
So what are your thoughts on the electronic music scene and the rise in popularity of DJs?
I admire their talent, and how they can incorporate rhythm and melody together. Some are better than others. I like it if it is interesting and not just the same old thing with loud beats. The ones that infuse different genres—which makes it really interesting with the turntables—that appeals to me. But that’s the generation; that’s what is popular. I’ve been asked to sit in a few times with electronic groups who are fans. I like some of it, as long as it is not too loud. But then again, P-Funk was loud [laughs]! I like it best when they incorporate the new electronic sounds with some of the vintage sounds. I think that is a nice marriage.
Your work with Parliament-Funkadelic is some of the most sampled music around, in everything from pop music to hip-hop. How do you feel about people taking your music and creating something new with it?
I feel like I have done something good! For it to last that long and still be going, it’s a blessing. I never thought that it would happen, but I guess I’m a pretty good teacher [laughs]! I appreciate the new artists keeping it alive and using it to create their compositions. It’s just another marriage between the old and the new. I take it as a compliment.
If you could create a supergroup with any musicians alive or dead, who would be in your dream group?
There would 2 or 3 of everything, but that might be too many! Oscar Peterson, Thelonious Monk on keyboards. Jimi Hendrix, Bob Marley and Keith Richards on guitar. Jack Bruce, Larry Graham and Jaco Pastorius on bass. Drums would be handled by Dennis Chambers, Buddy Miles and John Bonham. John Coltrane and Miles Davis would be the horn section. The great Aretha Franklin and Janis Joplin would be the singers. That’s quite a few off the top of my head [laughs]!
Bernie Worrell Orchestra performs at Frankie’s Inner City
on Wednesday, May 14. $12. 308 Main St. 419-691-7464. bernieworrellorchestra.com
