But at the same time, the chorus is almost on some Quincy Jones vibes. So you know, that called for super Afrobeat horns. I was in the original Antibalas so I'm very well versed in Afrobeats. But then, once we heard вЂњJerk Ribs,вЂќ it's like this super Afrobeat, Afro-funk banger. It's definitely in there on certain songs like вЂњRunningвЂќ and вЂњForever Be.вЂќ It's very lush in that way. a really вЂ70s, almost psychedelic soul with a Minnie Ripperton and Delfonics sound. Please could you talk about the horn work that you did on the album, which is such a strong selling point on it. Very observant and knows what's going on around her. She was always super smart, intellectual and very with it. Just a really down to earth, awesome person. But then, when we met up with her again, she had basically gone through the whole machine of the entertainment biz.

When I first met her, she was pretty fresh on the scene. What was she like in the studio versus when you met her on tour? It was really fun to kind of provide an instrumental pallet for her to do her thing. For me, my role is being an arranger and horn player and providing musicians and stuff. Crazy low notes with really a lot of control, which I'm sure you can hear on the record. She was singing ways that I never heard her sing before. So it just all kind of fell into place with what she was trying to do, which was trying to express how musical she was. We were vibing on Minnie Ripperton and that type of stuff as well. At that time, I was kind of into big, but soft soul vibes - the Delfonics and Barry White - and bigger sounding arrangements over soul stuff, and she was really feeling it. Right off the bat, K and I just really connected musically. I was like, 'No way!' We weren't super tight but we knew each other.

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