{"id":2068,"date":"2019-08-16T00:01:14","date_gmt":"2019-08-16T00:01:14","guid":{"rendered":"http:\/\/prnalumni.org\/members\/?page_id=2068"},"modified":"2019-08-16T08:04:09","modified_gmt":"2019-08-16T08:04:09","slug":"spotlight-michael-b-nelson","status":"publish","type":"page","link":"https:\/\/prnalumni.org\/members\/spotlight\/spotlight-michael-b-nelson\/","title":{"rendered":"Spotlight: Michael B. Nelson"},"content":{"rendered":"

STORIES FROM THE PARK<\/h3>\n
\n\t

PRN Alumni Foundation is comprised of the former employees of Prince, Paisley Park, Paisley Park Records, PRN Productions, NPG Records, Love4OneAnother, any and all of Prince\u2019s companies spanning his impressive nearly 40 year career.<\/p>\n

There have been, quite literally hundreds of us in Prince\u2019s employ. The Foundation represents our collective voice.<\/p>\n

We are musicians, engineers, managers, lighting directors, wardrobe designers, stylists, makeup artists, drivers, bodyguards, admin staff, valets, drivers (and more!)<\/p>\n

This \u2018Stories From The Park\u2019 chronicle is a way for our colleagues of all tenures and job types to share a little bit of Prince\u2019s magic with you through our individual voices.<\/p>\n

We hope you enjoy getting to know us\u2026we feel as if we\u2019ve known you, Prince\u2019s fans (fam) forever <3<\/p>\n

With love and gratitude,
\nPRN Alumni Foundation<\/strong><\/p>\n

Read More Spotlights<\/a><\/p>\n<\/div>\n<\/div><\/div><\/div><\/div>

\n\n
\n\t\t\"Michael\n\t<\/div>\n\n<\/div><\/div>

Spotlight: Michael B. Nelson<\/h3>\n
\n\t

Saving Grace<\/h1>\n

Michael B. Nelson, Producer\/Arranger\/Trombonist and Leader of The Hornheads<\/h2>\n

By Laura Tiebert<\/strong><\/p>\n

\u201cBing.\u201d<\/p>\n

At the chime of the incoming email, Minneapolis-based producer\/arranger\/trombonist and leader of The Hornheads Michael B. Nelson sat up in the desk chair in his home studio and checked his inbox. It was June 22, 2015.<\/p>\n

The subject line read: \u201cSend 2 MIKE NELSON\u201d<\/p>\n

Click-click.<\/p>\n

\u201cMike \u2026 after listening 2 this: (link to song \u201cBaltimore\u201d with orchestrated guitar solo) U CAN TELL We\u2019re really on the brink of some landmark recordings this summer. We truly wanna keep going in this direction: REAL MUSIC BY REAL MUSICIANS!\u201d<\/p>\n

\u201c \u2026 we r going to record the basic trax 2 an album that will re-define the MPLS. SOUND and set dancefloors all across the globe aflame. Please carve out some time 4 Us this summer, cuz alot of arrangements will b needed from Ur pen.\u201d<\/p>\n

\u201cLove & respect- THE NPG.\u201d<\/p>\n

For a span of 25 years, emails from Prince were part of the rhythm of Nelson\u2019s life. In June of 2015, when this particular email arrived, Nelson and Prince were in regular communication. Prince had been experimenting with orchestrating his guitar solos with strings and horns, and had asked Nelson to create the arrangements for four different songs. Prince was delighted with the results.<\/p>\n

\u201cI know Prince sent me some of these songs just to hear what it they would sound like with full orchestrations,\u201d Nelson says. \u201cThere are only a handful of people that have the resources and the creative curiosity to say `Let\u2019s drop tens of thousands of dollars just because I want to hear what it sounds like.\u2019\u201d<\/p>\n

Nelson was collaborating with Minneapolis musician Adi Yeshaya and StrinGENIUS after Clare Fischer, the Grammy Award-winning string arranger who worked with Prince for decades, died at age 83 in 2012. Nelson\u2019s arrangements were regularly receiving high praise from Prince, in emails punctuated with exclamations of \u201cSPLENDID\u201d and \u201cMAGNIFICENT.\u201d Everything pointed to a bright future.<\/p>\n

While other musicians came and went during Prince\u2019s historic career, Nelson had unique staying power. With the exception of a gap from 2004-2011, Nelson worked with Prince from the 1991 Diamonds and Pearls tour to the HitNRun Phase Two album released months before Prince\u2019s death in 2016. In the early years, Nelson and the five-horn section he led called The Hornheads were on Prince\u2019s payroll; at most other times, they were paid for individual sessions and tours. But whatever the business arrangement, one thing never changed: Where other musicians came and went, Nelson kept getting invited back, and he attributes that to three saving graces.<\/p>\n

The First Saving Grace: A Work Ethic to Match Prince<\/h3>\n

When preparing to tour, Prince would be rehearsing and moving quickly, and Nelson took it upon himself to take the horn section\u2019s individual notes home and refine them and fix them if needed. He would return the next day with a finished chart of written music. Even after a 14-hour day, Nelson would go home and work through the night.<\/p>\n

\u201cThe next time we did the song it would be exactly what he wanted it to be and he didn\u2019t have to worry because he figured out very quickly I would handle it,\u201d Nelson says. \u201cEvery day we\u2019d go into rehearsal and people would forget things. Because we (the horns) were reading charts, we didn\u2019t forget things.\u201d<\/p>\n

Later on, Nelson says, Prince would tell everybody, `get notepads and if you\u2019re not a genius, write it down.\u2019<\/p>\n

On tour, when something changed during the performance or the long jam sessions otherwise known as soundchecks, Nelson would stay up all night writing the changes down and slip the charts under the hotel room doors of the horn players in the morning.<\/p>\n

During these demanding early years, Nelson rarely witnessed Prince putting together a song from start to finish. Rather, The Hornheads would be called in to record the horn parts on an as-needed basis. But one day, Prince called the horns in, along with the band, and taught them a tune from beginning to end.<\/p>\n

The horn arrangement that Prince taught them had the trumpets heralding, the trombone doing soaring counter lines and the tenor and baritone saxophones doing yet another line. The three different parts come together and then separate.<\/p>\n

\u201cI just don\u2019t know where that horn arrangement came from,\u201d Nelson marvels. \u201cIt\u2019s a fascinating horn arrangement. It\u2019s beautiful, really beautiful.\u201d<\/p>\n

Then, a rare occurrence took them by surprise. Prince began to sing, something he normally did only in isolation in the recording studio.<\/p>\n

\u201cHe realized that she was new to love \u2026,\u201d Prince sang.<\/p>\n

\u201cYou would never have guessed that melody with those chords,\u201d Nelson says of \u201cMorning Papers,\u201d off the 1992 Love Symbol album. \u201c\u2026 that was just Prince, Prince, Prince.\u201d<\/p>\n

Of that iteration of the NPG, Nelson says, \u201cThe talent in that rhythm section was crazy and they could do anything. He was with a band finally who could do anything. There were a lot of experiments.\u201d<\/p>\n

The Second Saving Grace: Remember, It\u2019s Prince\u2019s Song<\/h3>\n

Over time, Nelson and Prince\u2019s working relationship morphed into Prince sending Nelson songs and requesting horn arrangements. On those recordings, Prince would play the horn parts on the synth. Nelson would record the horn line the way Prince played it, and every time the horn line repeated, Nelson would play it differently. That way, Prince could decide which version he preferred. Nelson would fill every space, hit every drum fill, throw in a solo, then, \u201cI\u2019d let him do whatever he wanted to do with it,\u201d he says.<\/p>\n

The horn licks in 2001\u2019s \u201cY Should I Do That When I Can Do This\u201d is a perfect example of this process, he says. <\/p>\n

\u201cI used his main horn hook, added a bunch of other stuff, and he also asked me to write the bridge,\u201d Nelson says. \u201cIn my world, these licks are very big,\u201d he says. \u201cIn Prince\u2019s world, it\u2019s very tiny. In his body of work, it\u2019s such a tiny little blip. How much did I contribute? It\u2019s a huge contribution in my world. In his world, he\u2019s on to writing another 20 tunes in the space it took me to write that,\u201d Nelson laughs.<\/p>\n

Other times, Prince would send Nelson a song and ask him to do a complete arrangement, then they would go into the studio together, and Prince would start messing with it.<\/p>\n

\u201cSometimes we never got to the stuff I wanted him to hear,\u201d Nelson says. \u201cBut that\u2019s okay \u2013 it\u2019s his song. You write stuff and you want it to be your way artistically, this is a great idea, but when you\u2019re hired by him to work on his songs, you have to let go of that immediately. You can\u2019t say, `I like mine better.\u2019 It\u2019s not my song. Anything we did, I had to allow it to turn into whatever he heard it to be. It wasn\u2019t that hard most of the time because he did such interesting stuff, but there were times when I was like, `Oh, man! Oh, well.\u2019 I didn\u2019t take it personally or get upset. Just let it go.\u201d<\/p>\n

The Third Saving Grace: Never Ruin the Prince-ness of the Music<\/h3>\n

When Prince called Nelson again in 2011, the first song Prince asked Nelson to arrange was \u201cXtraloveable.\u201d The original version of the song, from the 80s, included a rap section. Prince asked Nelson to do a \u201ccrazy horn thing\u201d where the rap is, similar to \u201cIntermission,\u201d a funky tag that Nelson had written for The Hornheads.<\/p>\n

Nelson was in a studio at Paisley Park listening to the finished recording when Prince came in with Peter Asher, the British guitarist and producer known for producing James Taylor, Joni Mitchell and Barbra Streisand, Nelson recalls.<\/p>\n

\u201cThis is Peter, he\u2019s looking to buy the place,\u201d Prince said, joking. Asher was in town to play at The Dakota, and Prince was giving him a tour.<\/p>\n

\u201cWe were playing \u201cXtraloveable\u201d back and we got to the end of the horn part solo and Prince pops up, kicks over the garbage can and exclaims, `That\u2019s it!\u2019 And he just spins around on his heels and leaves,\u201d Nelson laughs.<\/p>\n

Being on the road with Prince was so all-encompassing that Nelson and The Hornheads had to turn away any other work for long stretches of time. After a tour, it could take nearly a year to get their regular clients back. When Prince invited The Hornheads to go on the road in 2013, The Hornheads realized they couldn\u2019t manage it. Nelson told Prince, and then held his breath.<\/p>\n

Prince decided to bring in arranger and trumpeter Phil Lassiter to put together a couple of horn sections, and then invited Nelson to Paisley Park for a meeting. Not without some trepidation, Nelson went upstairs and entered the conference room. Prince got up.<\/p>\n

\u201cHe gets up out of his chair and comes over and gives me a hug,\u201d Nelson says. In all the years they had worked together, Nelson says, Prince and he might have shaken hands once, when they first met.<\/p>\n

\u201cPrince says, `I know you guys don\u2019t want to go on tour and I understand,\u2019\u201d Nelson recalls. \u201cThen he says, `I\u2019ve had a lot of arrangers over the years, but only you and Clare ever really `got\u2019 my music.\u2019\u201d<\/p>\n

It was a highlight in Nelson\u2019s career.<\/p>\n

\u201cPrince did quirky stuff in all his music,\u201d Nelson says. \u201cYou could look at it and go, `Yeah, but what he meant to do was this, and if you add this note or that note, it\u2019s this chord and traditionally this is how that harmony would be,\u2019 and you could mess up the Prince-ness of it. You\u2019ve just ruined it.\u201d<\/p>\n

Nelson says that if Prince placed a note in his music, it was there for good reason.<\/p>\n

\u201cHe might have stumbled across something, but once it was there, there was the intent. That\u2019s staying there, that\u2019s it. So don\u2019t force your stuff over the top and lose the essence of his genius,\u201d Nelson says.<\/p>\n

At times, Nelson says, Prince would send him a song \u2013 as was the case with the 2014 re-recording of \u201cIf Eye Could Get Ur Attention\u201d and say, `I want something like Earth Wind and Fire.\u2019<\/p>\n

\u201cI can do that, okay,\u201d Nelson says of the more conventional requests. \u201cBut most of the time I think he wanted to be surprised.\u201d\n<\/p>\n

Some days, a song would appear in Nelson\u2019s email inbox, and listening to it, Nelson would suffer a momentary panic because it was so unconventional that he had no idea what he could do to make the song work harmonically.<\/p>\n

\u201cSome of those songs when I\u2019d first listen, I\u2019d go, `Oh no, I have no idea. I\u2019ve got nothing for this.\u2019 And it would be really stressful because we had to turn them around fast. He wanted them back fast.\u201d<\/p>\n

Somehow Nelson always came up with something. \u201cThat was the gift he gave me,\u201d he says of Prince. \u201cTo allow me and give me his songs and to tweak my brain. I have to fire differently for this. For some of them, I\u2019d say, I know exactly what I\u2019m going to do on this. And other ones, it was terrifying. And then the new pathways have to form, and that\u2019s the gift.\u201d<\/p>\n

Saving The Final \u201cGrace\u201d<\/h3>\n

Of his own work, Nelson says there is a technical element as to how he puts an arrangement together, as opposed to the way Prince wrote music, which was \u201ca flowing composition thing.\u201d<\/p>\n

\u201cI somehow connected to his flow and stuff came to me,\u201d Nelson says. \u201cMy melodies are kind of ordinary most of the time. It\u2019s not songwriting like he writes songs. And it\u2019s not hook writing like he writes hooks. He has so many ideas. Prince inspired me and I wanted to inspire him back.\u201d<\/p>\n

On Prince\u2019s final album, HitNRun Phase 2, The Hornheads played on seven songs, five of which were Nelson\u2019s own arrangements. Nelson and strings arranger Adi Yeshaya of StrinGENIUS were finally hitting a stride with their process.<\/p>\n

Now, sitting in his home studio on Feb. 14, 2019, Nelson turns his attention back to Prince\u2019s email of June 2015 and recalls the excitement of the road ahead. That June 2015 email was followed by more requests for arrangements, and more songs.<\/p>\n

One of them that Prince sent, he says, is called \u201cGrace.\u201d<\/p>\n

In \u201cGrace,\u201d Nelson says Prince sings of being on a mountaintop with the wind rushing by. Looking back on his life, Prince sings, he is astonished. Memories rush by like the wind. As they pass, the memories fall behind him, and all that remains is grace. <\/p>\n

Nelson tears up at the recollection.<\/p>\n

\u201cI can\u2019t listen to it without breaking down,\u201d Nelson says. \u201cI had no idea the depth of his talent when I first worked with him. It was revealed over time. The longer you worked with him the more you said, `Another one, really? Really?\u2019 You got little windows into it. How many tunes he sent me and I\u2019d say, `Now geez, where did that come from?\u2019 I wouldn\u2019t have expected that one at all.\u201d<\/p>\n

\n***<\/p>\n

\u00a9 PRN Alumni Foundation<\/strong><\/p>\n

<\/em><\/p>\n<\/div>\n<\/div><\/div><\/div><\/div><\/div>","protected":false},"excerpt":{"rendered":"

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