It's been cold around here.  The east coast has been waking up to temperatures of six degrees in the morning, and happy to hit 20 during the day.  While we can't predict the weather Saturday evening, February 1, we guarantee it'll be red hot along a small strip of Ocean Avenue when T.M. Stevens brings his ferocious, yet melodic, funk and soul sounds to the Pony stage.  Supporting the American release of his fourth album, Shocka Zooloo (JVC Victor), Stevens' career spans genres, styles and continents.  In addition to his own original material, Stevens' credits include 67 recordings since 1978, bringing his experience and heavy metal funk to the recordings of talented artists such as Steve Vai, James Brown, Bernie Worrell and, at the risk of sounding cliché, a who's-who of the music world.  Covering all of the aspects of this diverse and fascinating artist in a handful of questions wasn't an easy task, but our interview with Stevens managed to touch not only on the new album and his work as a session player and producer, but his first experience in a full-length film, the design of his Cort Funkmachine basses, his work on a Deep Purple tribute album, how the master does his soundcheck, the importance of the blues, and this Friday's gig.  It's one of the most interesting pieces we've done, and the perfect excuse to stay inside tonight and do a little reading.  Once you've warmed up, get your tickets and head down for the rage this Friday night, 'cause it'll be enough to keep you warm for the rest of the winter.

The Stone Pony: Your latest album, "Shocka Zooloo", will be released in the United States on February 4, after being originally released in Japan in 2001. How has the album done in Japan and Europe, and what are your expectations for the disc in the United States? Why did it take so long from the original release of the album for it to be available in the U.S.?

T.M. Stevens: I like to call it the "Hendrix Factor" in which he had to go outside of the country to come back in with his music. Sometimes an artist has to go out and be accepted and proven elsewhere before he or she is finally accepted in their own backyard. I would hope that the people here will just put the record on and jam. My music is pretty much in your face along with having some thoughtful points of view in the lyrical content. I think that the folks here will really dig the groove and go with it the way they're doing in Europe and Asia.

The Stone Pony: The list of artists with whom you've worked and collaborated over the past 25 years transcends genres and musical styles, from Billy Joel, to Joe Cocker, from James Brown to 2Pac. Of most interest to fans at the Pony would probably be your work on David Sancious' 1980 album "Just As I Thought", and the 1987 Little Steven album "Freedom ... no compromise". Can you talk briefly about how you became involved with those two albums, and any memories about working with those musicians?

TMS: David Sancious and Little Steven are, of course, both from this area, and I became aware of David from going to one of his earlier concerts in Greenwich Village, and he totally blew me away with his musicality and soul in the writing. I was playing with John McLaughlin just after the Shakti band, and I guess the word got around. We were out on tour opening for Stanley Clarke, and then I got the call to come out and work on David's album in Woodstock. I took no time to think about it, I immediately said yes and took off to record. The added bonus was that Eddie Offord was the engineer and producer of the band "Yes" who were also one of my favorites, and I can only remember this experience as being one of the best in my career.

Little Steven, I believe, saw me playing and thought that I was wild and crazy enough to join the Disciples of Soul. Actually, we played a special concert at the Stone Pony with Bruce Springsteen, and after the sound check my wife and I started looking around the south shore area and fell in love with it, so we packed up and moved here. Thanks to the Stone Pony and that concert!

Touring and recording with Little Steven is a musician's dream. He treated us like he'd want to be treated and when we played, it wasn't just a gig - it was an event. Steven knows how to be in a band, and certainly how to run a band. Hence working on "Freedom ... no compromise" was as intense and fun as it sounds. Lastly, I got my knack for writing thought-provoking lyrics without sounding "preachy" from working with Steven, so the south shore had, presently has and will always have talented artists. We just need to get out there and support them!

The Stone Pony: In 2001, you starred in your first full-length motion picture in the Japanese production "Limousine Drive".  How did you become involved with the film and start working with director Masashi Yamamoto? Do you find the creative process in filmmaking comparable to making and producing music? Do you plan to continue working in film?

TMS: Wow, you truly are the "groove police", as I didn't know that you knew about the film!  Yes, I did star in my first full-length motion picture, and what an experience it was. People from this area who commute will certainly attest to having to take the train into Manhattan every morning, and coming back all crowded and pushed together. I was so happy to get this chance that I almost didn't notice the little inconveniences except when the director, after listening to my CDs, decided that he wanted me to write the film's soundtrack. This meant getting up at 4:30 AM, taking the train into Manhattan, working all day and into the night, and then having to come home to work on the music for the various scenes that were shot and do it all again the next day.

Was it worth it? You bet the "E" string from your bass it was! What an experience and I'd gladly do it all again anytime, anywhere.

The Stone Pony: You've cited the early Delta Blues and the work of artists such as Blind Lemon and Lead Belly as important influences on your sound. What are the qualities of that style that have made such an impact on you, and do you think the blues still have an important role to play in modern music?

TMS: Does the foundation of a house have anything to do with its construction and/or existence? Emphatically yes, of course it does. If the house had no foundation or support, it would surely fall. The very music we listen to today wouldn't be here if it weren't for the early spirituals that lead into gospel and blues, which was the basis that started rock & roll. Blues singing hasn't really changed since the beginning. The instrument timbres, recording techniques and beats have drastically changed; however, listen to Howlin' Wolf, Little Richard, B.B. King and Chuck Berry, to name only a few, and see how similar the singing scales are on today's hit songs. How this all applies to me and my music is that without these incredible predecessors, I wouldn't have been able to write the music that's on my albums, as I wouldn't have had anything to draw from.

The Stone Pony: The Cort Funkmachine basses you use have become an important part of your sound and image. What about these Corts make them your preferred instrument, and what are the qualities that you look for in a superior bass? How closely have you worked with Cort in the design of the instruments, and are there features you've added to your designs which you feel are unique?

TMS: Cosmetically speaking, I love color and excitement and the artwork and graphics on these basses are truly an expression [of] my persona.  Without all of the hype and killer paint job, this bass really sounds great on stage and in the studio for finger picking or slapping and is very comfortable to play.

As for the design, I went to the factory in South Korea to personally work with their technicians on the playability and sound. And since I'm a funk head, I added an auto wah, or funk wah as some call it, right into the bass' electronics, which is unique in my opinion. So, if you don't have any effects or stomp boxes on the floor, you can still dial up a killer funky sound effect right from the bass.

The Stone Pony: One of your recent projects was as producer and arranger for a Deep Purple tribute album, featuring Yngwie Malmsteen and P-Funk's Bernie Worrell. What are your reflections on that album, and did you enjoy working with the artists who participated? What about Deep Purple and their music attracted you to become involved with the tribute?

TMS: First of all, I was totally surprised when I got the call to produce a Deep Purple Tribute as I would expect the label to call someone who's somewhat an expert on the band and their music. I [asked] if they meant to call me and they said yes, we want a different take and a fresh approach for this tribute. As I do dig DP's music, I jumped on the project not really knowing what I was going to do. Nobody can play Deep Purple music the way Deep Purple does. Then it hit me, don't try to play the music the way they did. How would I do it in today's scene?

Of course, I got on the phone and called the "peeps" whom I love to work with, like Bernie Worrell from P-Funk, Will Calhoun and Corey Glover from Living Color, Joe Lynn Turner, who also sang with the band, Toni Harrnell, Al Pitrelli from Megadeth and Richie Kotzen from Poison, to name a few. Then, I completely reworked the songs to have more of a Gap Band, Bob Marley, Band Of Gypsies, James Brown mixed with essences of metal and hard rock, and that's what came out. The album was then aptly named "A Tribute To Deep Purple According To New York". I loved doing this project and was offered to take on a tribute to Led Zeppelin. However, I was out in LA working on Steve Vai's new album with Terry Bozzio and my schedule wouldn't permit me to do the project.

The Stone Pony: What do you consider to be the role of a good producer, and how does your experience as a musician add to your ability to contribute to the projects you produce? How much should a producer work to simply record the musician's sound, and when should a producer direct and influence the artist to try new things they wouldn't otherwise?

TMS: Producing good [music is] far beyond just getting the music on tape. Sometimes you have to be a psychiatrist, trying to convince the artist that he or she / they can do this album if their confidence gets lost in the process. Also, if the guitarist gets into a fight with the lead vocalist, you sometimes have to step in, make the peace and try to pull it all together so the project gets done. A good producer knows when to get in there and push the music in the right direction, as well as when to shut up and let the magic happen. In most instances, I engineer many of the sessions I produce, so you have to know what you want to hear and how to get it. A producer is like the director of a movie, he or she is responsible for the entire project beginning to end, and there's a lot that goes into making a great record.  Oh, and let's not forget that we are the folks that order the pizza into the studio when everyone gets hungry.  (Laughs.)

The Stone Pony: You've been quoted as saying that "new music is created by combining the elements of many styles."  Is your own unique revolutionary sound a result of being exposed to a wide variety of influences and producing something different, or the ability to draw upon a larger number of those influences than other musicians?

TMS: This is indeed a correct quote. If you have a favorite spaghetti sauce you've made for years, and suddenly decide you want to throw in another ingredient that you've never used, you now have a new, fresher taste. Similarly, if you're writing a metal song and keep to the formula, it'll sound pretty much in the same tradition. Of course, since we are all unique, even if we all wrote the same song with the same chords, it would still [be] a little different, but nevertheless in the same genre. Now, imagine for a minute adding a dose of funk with a helping of gospel-influenced vocals - viola, something new created from something tried and true!

I've been lucky in my career in that I have had the honor to work with so many different artists, from Tina Turner to James Brown to the Pretenders. All of these different influences culminate in me and come out my way. We all have the same ability and materials to work from, it's only limited by one's imagination and willingness to try something new and experiment.

The Stone Pony: How do you typically prepare for a performance? How important is a sound check, and what do you do to make sure that your bass sounds right? How long does it take to set your gear up and work with the sound man to ensure every note is perfect at show time?

TMS: This is part of the magic of playing live. Sometimes you spend hours creating the "perfect" sound, the best possible vocal levels and, bang ... you come back to the venue to play, and now that the audience is all there, the sound has changed and you've got to play your best despite the problem. For this reason, I always go for an approximate / in the ball park sound knowing that it'll probably change, and I try not to over-rehearse, since many times you'll have a great and magical sound check and the show isn't as good. I try to save as much of the magic as I can for the show itself.

The Stone Pony: Talk a little about your upcoming gig at the Pony. Who are the musicians who will be sharing the stage with you, and will fans be able to get a copy of "Shocka Zooloo" at the show? How long do your sets typically run, and what would you like fans to be saying about the performance on the car ride home?

TMS: The musicians in the band are Chuck Treece from the Bad Brains on drums and Paul "PM" Malloy Eaton on guitar. Many times, I'll play with a larger band, but when I break it down to the core roots, a lot more can happen with less instruments.

There will be some Shocka Zooloo CDs available, however, I only have a limited amount so it'll be on a first-come first-served basis.

I've been known to go a while on stage if the audience is feeling the funk and vibe, and it is in my deepest of hopes that they take the feelings of the concert along with humming a song or two back home with them. I love to rage on stage and if my neighborhood is with me, it'll surely be a rave-a-thon south shore style Bay-Bay!  See you all there!