Interview: Mel Smith
April 17, 2020
In 1996, Twinkie Clark released her album Twinkie Clark Presents: The Florida A&M University Choir, a live album recorded in Tallahassee, FL. Known as a prolific songwriter and composer, the album was Twinkie Clark’s second release of the year, and peaked at #10 on the gospel charts. The album showcased the rich tradition of Black colleges and their choirs, Twinkie Clark’s songwriting prowess, and the contemporary gospel music of the mid-90s. Possibly, the most memorable moment from the album is a duet between Karen Clark-Sheard and the gifted, young Florida A&M University choir director, L. Spenser Smith.
For many, that night served as an introduction to L. Spenser Smith. Since then, Smith has gone on to become a Stellar-award nominated artist, releasing music with his group L. Spenser Smith and Testament, as well as solo material, and forming his own music label, Smithworx Music Group .
But that night in 1996 was special for another reason as well — Smith’s 7-month old son, Jamel was in the audience. Fast forward 24 years later, and his son, Jamel is establishing himself as a singer, songwriter, and executive. And as a graduate of Morehouse College, and NYU’s Steinhardt Music Business School, Jamel is adept in a variety of fields, promising to be a force in music for years to come.
On Friday, April 17th, L. Spenser Smith will release his sophomore, solo album, HOOKED, which features guest appearances from The HamilTones, Avery*Sunshine, and others. In preparation for the release of his album I spoke with Jamel Smith, the executive producer, about what it means to release a gospel album in 2020, his relationship with his father, the art that inspires him, and more! Here’s our conversation:
Stanley: Congratulations on the album! I wanted to start by discussing some of your earliest moments with music. What were the formative moments and artists that helped shape your artistic outlook?
Jamel: Thanks again for the opportunity, man! I appreciate it. My earliest moments with music....wow. Well, I was born into a VERY musical family. In fact, 7 months after I was born, I was in Tallahassee, FL sitting on the front row of the live recording of Twinkie Clark Terrell presents Florida A&M University Gospel Choir--not to mention, sitting by the Clark Sisters--watching my dad on stage with Karen Clark Sheard going back and forth on one of their most famous records, "I Won't Complain." Of course, I don't remember that moment in time, but that gives everyone an idea of the life I was brought into at birth. For me, it's generational. It was pre-destined. I also grew up in the church during one of the most innovative times in gospel music and church culture (1997-2008), so I was heavily inspired and influenced by the contemporary gospel music of the time. During that time, my church choir also became a national recording artist, L. Spenser Smith & Testament. My uncle even produced them. So I remember those times of going into the studio as a kid and studying the process. I was even thrown into the studio and on the road for their second album. I'd say my life as a kid was pretty awesome. The artists that shape me are just as dynamic as my experiences: Outkast, Brandy (it all starts with Brandy), The Soulquarians, The Underdogs, James Fauntleroy, Kendrick Lamar. Throughout my life, they became my goal posts for how music should sound, feel, and be consumed and engaged.
My dad trusted me enough to use my artistic ingenuity and curiosity to propel him, as well as, the music into next phase of his career.
Stanley: For you, what does it mean executive produce, and release a Gospel album in 2020? What is your approach?
Jamel: To executive produce and release a Gospel album in 2020 means the same as it would for any other genre. For me, it means that I am funding the creation and execution of the album, creatively and financially. For this album in particular, my role was to steer the vision of the artist into a complete and excellent product. Funnily enough, I kind of evolved into the role over the past 5 years (We began this album in 2015). I started as a main collaborator for the album, writing and producing the records. As each year went by and I got older, I started settling more into the executive producer position. I went to grad school at NYU Music Business, and I would leave class and take calls with labels with my dad. I would take meetings with creatives regarding the creative direction of the album. It gradually started to all be put in my lap and I took pride in overseeing every component. When things were wrapping up, I'd not only written and produced 8 of the 12 songs, but I also did the sequencing, the creative direction, and marketing. Being involved in everything came naturally to me, as I am actually interested and enveloped in every part of the album creation process. Who knew all the things I saw and learned on Making the Band would come into play years later. My dad trusted me enough to use my artistic ingenuity and curiosity to propel him, as well as, the music into next phase of his career. I will forever be grateful for that opportunity.
It was always destined this way — for me to help bring my father's dreams to life. It also helps that I am one of the only ones who can put him in check. Lol.
Stanley: We often see parents shape the musical worlds/careers of their children, but we rarely see children who play a managerial role with their parents. I’m wondering what that relationship is like between you and your father in this context with you as an executive producer?
Jamel: My dad and I are in the weirdest yet coolest relationship ever. Not only are we real father and son but we're also business and creative partners (We are the heads of Smithworx Music Group). My dad is also the executive producer of HOOKED. I think the thing that makes every facet of our relationship work is the mutual respect and trust. We respect each other's musical taste, business acumen, need for excellence. It's all there in our relationship. To be honest, a lot of my traits come from him so it truly makes sense. I'd also say that in a lot of cases, we are the first father/son production duo the world has seen in a while. We've seen sons take over their mom's careers (Alvin Love III and CeCe Winans, J. Drew Sheard and Karen Clark Sheard), but what my dad and I represent is special because of the relationship we share as father and son...two Black men going out and expanding the sound of a genre together. He often says, "this album took me 25 years to make because I needed my son to make it." And I share the same sentiment. It doesn't shock me that this project is the one that will catapult my career. It was always destined this way--for me to help bring my father's dreams to life. It also helps that I am one of the only ones who can put him in check. Lol.
Stanley: For anyone that knows you, or follows you on twitter, it’s evident that you are passionate about the arts. You wrote the video treatment for Saint’s Remorse, contributed as a writer on the album, did some vocals, and so many other things. Could you talk about what you contributed to the artistic vision for the album?
Jamel: Yeah, my passion for the arts is indelible. This is not just a career for me. It's a lifestyle. I don't know if it's because I'm an indecisive Libra or if I'm just curious to touch everything, but my fingerprint is all over this album. I wrote and produced 8 of 12 songs, I creative directed the album packaging and campaign, I wrote the treatment for the videos, I contributed to marketing. You know what it is? I genuinely think this album was my playground. The music we made inspired me so much that I wanted to be involved in translating the songs to the videos, to the art direction, to the live performance, etc. I started to develop my own vision regarding the album, and again, my dad trusted me enough to let me go for it. I also know his vision like the back of my hand. My job was just to see how far the hand could go before he started to say "ouch." So far, he's been happy with the bends I've presented him with. I really see this project as my baby and that's because of the extensive work I contributed to it.
