Todd Mosby is a musical storyteller and landscape artist. He uses the guitar to whisk listeners away to a borderless realm where jazz, jazz fusion, North Indian classical, classical, bluegrass, bossa-nova, and folk-rock create transporting and transformative experiences.
He just released his new bossa nova-based instrumental jazz song “Georgia’s World.” The song is an homage to Georgia O’Keefe’s life and the time she spent living in Abiqui, New Mexico. The song expresses the magic of the area, relaying it’s beauty and depth through his groovy bossa nova. The only lyrics is the light chanting of “Abiqui,” provided by airy female vocals.
In this interview spotlight, we chat about favorite songs, dream collabs, musical memories and more.
Full Q&A along with links and music below.
What can you share with readers about your new project?
My latest album, Land Of Enchantment, is a gorgeous scrapbook of the visual, emotive, spiritual and cultural interactions personally experienced within the New Mexico and Southwest regions of the United States.
It was recorded at East West Studios in LA. which has an incredible history as far as recorded albums in the United States. There have been more Grammy winning and classic recordings tracked there than at any other studio in the world.
My latest release, Land of Enchantment, explores my fascination, experiences and impressions with the Southwest region including a passion for iconic American Southwest artists Georgia O’Keefe and Ansel Adams. Select album highlights include “Place In The Sun,” “Moonrise Samba,” and “Georgia’s World.” The playfully-titled “Place In The Sun”, exudes the transcendent feeling of being in such beautiful natural environs—exudes a sense of spirituality and joyous mystery. The song features many musical keepsakes from Todd’s musical journey, including dreamy Sérgio Mendes-style female vocals, a funk and Motown-like grooving rhythm section, and 1970s jazz-fusion musicality with Todd’s lyrical but dexterous guitar playing. On “Moonrise Samba,” Todd showcases his strong lead melody writing, his penchant for intriguing Steely Dan-esque chord sequences, and his imaginative arrangement skills by including a samba-flavored bridge. The picturesque “Georgia’s World” is a tribute to Georgia O’ Keefe’s home in Abuqui, New Mexico and Ghost Ranch, and boasts satiny Wes Montgomery octave licks, a slinky bossa-nova groove, and sultry female melody vocals. Todd also turns in a stunning reading of the Beatles’ “Norwegian Wood” replete with virtuosic micro-tonal soloing done on his Imrat guitar, and a dreamy version of Glen Campbell’s “By The Time I Get To Phoenix.”
Coming along for the ride are A-list musicians such as longtime Prince bassist Rhonda Smith; Todd’s childhood musical hero, jazz-fusion icon saxophonist-composer, Tom Scott (Joni Mitchell, Quincy Jones, Frank Sinatra); drummer Vinnie Colaiuta (Herbie Hancock, Jeff Beck, Frank Zappa); Grammy-winning violinist Charlie Bisharat (Elton John, the Rolling Stones, Shadowfax); pianist Dapo Torimiro (Frank Ocean, Lauryn Hill); vocalist Laura Vall (Stevie Wonder); bassist Timothy Bailey (Ariana Grande, Julia Michaels, Jill Scott); award winning Los Angeles cellist Adrienne Woods (Ariana Grande, Josh Groban, Christina Aguilera); two-time Grammy winning producer Jeff Weber (Diane Reeves, Luther Vandross, David Crosby); and Emmy and Grammy-winning engineer Clark Germain (Michael Jackson, Wayne Shorter, Tina Turner).
How does this project compare with your other projects you had in the past?
For starters this is a breakout album showcasing the compositional, improvisational and arranging aspects of my music along with a whole new cast of musicians and production team. I spent 8 months composing and arranging the music from top to bottom. I knew the level of musicians on the session was of the highest caliber which allowed my personal music vision freedom to expand into many stylistic terrains; James Brown Funk to Sca to Trad Jazz, Samba , Bossa, psychedelic folk to Indian.
The previous albums were more of a group effort. For instance, I would lay the finished guitar tracks down along with melody and the rest of the musicians would write their parts at the time of tracking with guidance from the producer. It was a much more interactive and existential compositional experience as opposed to this project where the arrangements were set prior to entering the studio. I did stipulate the musicians use their parts as reference only and to bring their own interpretation. Interestingly, they preferred the parts I had written in most cases with little alteration.
What about this project makes you most proud?
The fact that we actually pulled it off and everyone put in 110% . I think the music allowed everyone to bring their best to the tables. The fact I got to meet and perform with some of my musical heroes and they played so well on the tunes I presented to them adds a level of credibility to the work I am currently putting out. Also, I had done a mock recording session in Saint Louis, MO to get a handle on any possible pitfalls before tracking in LA. So, listening to the final mastered files, sharing it with others makes me feel really good as well.
Was there a specific goal you were trying to accomplish with this release?
Making the best music possible. As I worked and re worked the compositions and arrangements, the music revealed itself in deeper layers which motivated me more. I spent as much time on these arrangements as I would do writing a full symphonic work.
What inspires you to create music?
To me every aspect of creating music is inspirational (in spirit). There is a reason we say let’s “play “ music. The possibility of new discovery is unlimited.
What motivates you to keep going?
I will be working out a musical problem either in improvisation, composing or arranging or routing signals thru my pedal boards and the cool sounds which I find just make me feel so good I just can’t stop.
If you could collaborate with anyone – dead or alive, famous or unknown – who would it be and why? If it’s an indie/DIY artist, please include a link so readers can check them out.
I am actually working out details for a collaboration with Grammy nominees Cheryl B. Englehart and Sherry Finzer at a recording facility called the Tank in co.
What was the last song you listened to?
Last song I listened to was many versions of the standard “My Romance.” I have a concert coming up and was researching how different artists arranged and improvised on this tune.
Favorite all-time bands/artists?
There was a psychedelic acoustic rock album created in the early 70’s by Jimmie Spheeris titled Isle of View. The production, instrumentation, Melodie’s, songwriting and overall feel still inspires me today. Wes Montgomery is my guy for guitar. Whenever I sit down with one of his recordings, it is so inspirational and I learn so much. For Indian music the whole imdhad Khani gharana of musicians, Imrat Khan, Vilyat Khan, Nishat Khan. Imrat made me an honorary member of this family of musicians and the only guitarist to ever be included in this most famous gharana. They the beginning of sitar stems from them and dates back almost 500 years to Tansen.
Where is the best place to find you and stay connected?
Hop on my email list at www.toddmosby.band. My Facebook page is generally pretty active as well.
I really appreciate your time. Is there anything you’d like to share before we sign off?
All good, thank you for your time and the opportunity to share!
