Orlando is a ‘wealth of knowledge’
“If you don’t work, you can’t eat” — James Brown The people who have been keeping the Funk alive have been doing just that — working tirelessly in bars, dance halls and venues all around the country to make a living.
Victor Orlando is one of those musicians. I’ve had the tremendous honor of sharing the stage with him years ago at Antelope Valley College for a tribute to ’80s music. He is an incredible wealth of knowledge and I was fortunate enough to hear his story.
Jesse Davidson: Can you give us a bit of background on how you got into the music industry?
Victor Orlando: Hey! My name is Victor Orlando. I’m a percussion player. I started about 42 years ago from high school. Went from there to playing in local bands. Got good at what I was doing at home in Dallas, Texas. Then I came out to California and moved to Canada. I started playing with a band and stayed there for a year. Came back to L.A. and got with Buddy Miles, Billy Preston and some real heavyweights. My name started getting around, so I kept doing it and doing it. Ended up playing in Yar
borough and Peoples and the Gap Band for about 15 years or so. Basically, I’ve got the title now of “percussionist to the stars.” I’ve played with Chaka Khan, Bobby Womack, LL Cool J ... Quite a few people.
JD: As far as recording, I’ve read in interviews, that you didn’t get credit on different albums or songs you’ve recorded. What are some ways you’ve learned to avoid those pitfalls in the industry?
VO: It’s hard to follow up on people that can’t follow up on themselves. So, I’ve lost a credit with Billy Preston because they didn’t follow up and get it right and I didn’t either. I lost a credit with Gap Band and they didn’t follow up. But then I look up on IMDB and other sites and go, “I did that album?” because I’ve done so many over the years. Unless it’s big, I don’t really care. I just put my music and playing out there. But the one weird thing is, I know my playing anywhere. If I hear it somewhere, I’ll say, “Whoa, that sounds like me. That sounds my lick.” And it was. I know my stuff.
JD: I’ve had the good fortune of playing with you on a gig and I’ve seen you let loose when you get into your zone. Can you describe what you’re feeling or thinking during that process?
VO: If the drummer is laying what he needs to lay, I can get on my spaceship and go. Be it Funk or Latin or whatever. I am in that zone. But if he’s back there, I call it, building a condominium on his drumset, I can’t do anything. Over the years, I learned how to go on and shut everybody down and do it myself and I’ll get more fun out of it that way. I’m gonna give everybody their due. But if I’m doing it, I don’t want you all in my lane. I’m painting a picture. Be it a small one (an eight bar solo), a big one (a 32 bar solo), or be it a portrait where nobody is playing where I’m just doing the whole frame, outline, the picture, the colors and then I present it to you.
JD: Just to wrap up with one last question, do you have any advice for younger musicians or artists getting into the music industry?
VO: Best way to have longevity is to listen to everything, because you never know who is going to call you up to play. You never know what gig you’re going to get. I’ve got Chinese gigs, Asian gigs, Indian gigs, Bollywood gigs and Persian gigs because I listen to all sorts of music. Once you listen to everything, you can play anything. It doesn’t have to just be percussion, it can be on any instrument. It’s great to be a Funk musician but since Funk is not riding the wave it rode in the ’80s, you need to get a paddleboat that can ride some other waves. So younger cats, listen to everybody, create your own style, play with everybody and form a passion for everything you are doing. That’s going to get you more than money, gigs, recording, touring etc. The passion for what you do is what gets you a lot farther than being stuck up and selfish. Just keep playing and don’t have any barriers.