I thoroughly enjoyed talking with Ted Winn. In addition to being a gifted vocalist and songwriter, he’s intelligent, which always makes for fun conversation. At a certain point, I wanted to just keep chattin’, but he’s a busy guy and had to step back into the studio where he was working.
You’ve seen Ted Winn in every form of artistry possible in our industry– from choir (Kevin Davidson & The Voices of Binghamton) to ensemble (Richard Smallwood & Vision) to duo (Ted & Sheri). With the recent release of his anticipated solo project, Ted seems well-positioned for a long and successful career in the industry.
In our chat, Ted talks about his new project, his musical experiences and influences, his passion for empowering aspiring artists and educating current ones, and his thriving publishing venture, Veracity Entertainment. He even weighs in on why he chose to cut off his signature locs.
I think you’ll enjoy it… here’s my talk with the impressive Ted Winn.
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EJ: Hey man, how are you?
TW: I’m doing well, thank you.
EJ: Great. Well, thanks for taking a quick moment to chat with me.
TW: No problem.
EJ: Let’s get right to it. Your debut solo project, Balance, was released in September, but it seems like rumblings about it were going on for years.
TW: *laughing*
EJ: Did it take some time to finish it and get it out there?
TW: Now, that is funny. *laughing* You know, the first single, “God Believes In You,” I recorded it at the end of ’07 and I went on a tour in ’08, so I was performing it around that time. But, it was a while… probably took a year and a half to finish the project.
EJ: Well, regardless of when it came out, I’m glad it did. I think it’s a really great piece of work.
TW: Thank you.
EJ: No problem. Now, it’s been released on Shanachie, which is not necessarily a “gospel” label, but they’ve done three major gospel releases this year alone– yours, Vicki Yohe’s and Kim Burrell’s. How did that relationship come about?
TW: It came about through my publicist, Bill Carpenter, and through my radio promotions guys at that time, Kendall Duffie. Each of them had relationships with Randall Grass, over at Shanachie, and they talked to him. He heard the music and he said that he thought it was good, that there was a novelty about what I did… we started conversations and that’s where I ended up doing the deal.
EJ: Cool. Now, lemme ask you about the direction of Balance, because there’s something about the style that surprised me a bit. I was expecting a studio joint, with some background vocals and that would just be it. But you really kinda have a live praise & worship vibe on this project, with the band and singers being just as vital as your lead on many of the songs. Why did you choose that route for this album?
TW: Honestly, that is… well, most people who know me in a professional sense know me from Ted & Sheri. That’s how they heard me, which is a duet and, obviously, the focal point was the duet.
But my background, my history, my PASSION, has always been choir music. I started directing choirs when I was 13 and I grew up listening to Hawkins, Whitfield… the Thompson Community Singers is my favorite choir. My influences are Ed[win] & Walter Hawkins, Andraé Crouch, Richard [Smallwood] and Donald Lawrence. Those 5 people helped to shape my musical tastes.
EJ: Yeah.
TW: So, I think that the BGV part being so intricate– and it’s great that you paid attention to that, because that was intentional– I kinda wanted a group, but was told “don’t do that.” *laughing*
EJ: *laughs*
TW: But I always wanted a choir or group– I love that whole thing… sharing the stage or the choir stand with another group of singers. I think it makes for a great opportunity to share in ministry with somebody else. So, that’s why I went in that direction and this project, sonically and stylistically, is really who “Ted Winn” is.
EJ: And do you think you’ll ever go that route? You know, with a group of singers that are set as the people who sing with Ted Winn and kinda have that vibe?
TW: You know, I definitely won’t rule it out. It’s something I’ve thought about and would love to be able to create that sort of platform, not just for me, but for other people.
I think there are so many singers out there who are great, but need mentoring. They need someone to help them develop in terms of their talent and in terms of the focus of ministry, what’s important, how you nuance what you do and say as you move through this industry. I would love to be a conduit for that for people, so it’s definitely a possibility.
EJ: Sure. I wanna ask you– and I hope you understand it and that the readers understand it– I’ll ask the question, then expound. The question is “how did you make it out of Memphis?”
TW: *laughs*
EJ: *laughing* And when I say that, I mean that there are some AMAZING singers in Memphis. I’ve been over there a few times in the past couple of months and my wife, who’s originally from there, will point out people that she used to sing with years ago. And these people can SING. Almost everyone.
But it’s becoming clear to me that, unfortunately, not everyone gets to “get out.” So, I’m curious to know how people like you, like Sheri, people like Kevin Davidson or Darrel Petties, how you managed to not get caught up in what seems like a cycle there… how did you manage to stand out among all of the great talent there?
TW: I’ll answer that in two ways. One– probably the main thing was the push that Sheri and I, in particular, had from O’landa Draper. Because he was the first breakout artist in gospel to really do what he did, it inspired us (and we aspired) to do something bigger than what we saw. It was stuff like going to GMWA at that time, maybe mid to late-90′s, and singing. He introduced us to Donald Lawrence, we started meeting people. And as we started to travel outside of the city, we started to realize “wow… there’s a whole world of people out here and things to do.”
Unfortunately, and I want to say this in a way that’s not offensive, but there seems to be a mentality in Memphis that is pervasive, and it’s one that causes people, in some instances, to not maximize their potential.
EJ: Yeah. And I’ve heard that from people there.
TW: And I think it has all to do with exposure. It’s the headquarters of the Church Of God In Christ, it’s a very churched city. Church is everything. EVERYBODY goes to church. And I think that it becomes some people’s microcosm– that’s it. They don’t go outside of that.
And so I think that, for those of us who were able to make it to a larger stage, or have a larger platform, it had all to do with people outside of Memphis who saw something in us and pushed us to the next place.
Like I said, with Richard Smallwood. I was in Memphis and O’landa Draper introduced me to Richard. I moved to DC after I left Morehouse College, he started asking me to sing with Vision, and it went on from there. Donald met Sheri, heard Sheri sing, asked her to start singing with Tri-City.
So, it really was people and players outside of the city that gave us the platform.
EJ: Right.
TW: Now, Memphis has some amazing talent. And I endeavor to do some things there. I was talking to some people recently about doing some type of symposium because I want to go back and do some things that give people an opportunity.
EJ: That would be awesome.
TW: You know, O’landa Draper used to have a music lover’s conference. And he would bring in people– that’s where we FIRST heard Melonie Daniels, that’s where I met Richard Smallwood. He would bring all these people in– Kim Burrell– and they would pour into those of us in the city. And it would be great if we could get that to happen again. There’s a talent there, but it needs to be nurtured and corraled.
EJ: Absolutely. It’s funny– you and Sheri aren’t recording together right now, but both of you created albums that speak life to, and encourage, your listeners. Is that a personal passion of yours, or do you just feel that the gospel industry is in that season right now?
TW: It’s definitely a personal passion of mine. I have always aspired to push people into a better place. My friends tell me that I always try to fix everybody. *laughing*
And I think that there’s an anointing that I have that lends itself to healing and to restoration, to give people hope and, hopefully, change their perspective about themselves. That has a lot to do with why the content of my record is what it is, and moves people to what I feel is a more balanced position.
EJ: Right.
TW: And it’s not always easy to do that. Sometimes you have your own days, you know, where you’re not feeling it. You get bogged down dealing with the dynamics of the industry– radio, retail and awards shows and all that’s going on. And you have to stop, take a reprieve, and say “okay, Lord, I need you to refuel me because it’s getting a little crazy.”
But, it’s definitely a passion of mine to see people have peace. So I want to do whatever I can to help facilitate that.
EJ: Amen. That’s a good segue to my next question… what would you say has been the hardest part of launching your solo artistry? And I don’t mean logistically, I mean at a deeper level. Was there fear in striking out on your own, or has there been judgment and criticism that you’ve had to rise above… things like that? What’s been tough for Ted to do?
TW: It definitely was, first and foremost, the phobia of going it alone. And it took me a year to even decide to do a solo project. And it was after I felt like God gave me the title, Balance, and I started writing songs that I halfway liked, after trashing many many songs. *laughing*
EJ: *laughs*
TW: That was when I said “ok, this is what I’m supposed to do.” So, it was dealing with that. And, of course, dealing with the obvious… some of the Ted & Sheri fans’ immediate response was “umm… we want a Ted & Sheri record.” So, you’re also thinking about how people are going to receive solo projects when they liked what they had with the group.
EJ: Absolutely.
TW: So, that was definitely the biggest challenge to overcome– to even get to the place to decide if I wanted to do one.
EJ: While I have you, I wanna know about Ted, the businessman. We’ve got several mutual friends and they all sing your praises as an astute businessman. What do you do, business-wise, in the industry and how do you juggle between that work and your artistry?
TW: Wow. Well, I have a company called Veracity Entertainment. And it’s a publishing administration company that I started almost 3 1/2 years ago. I started out with one client– Patrick Love, a songwriter. We represent songwriters, we collect their money, we do their licenses, we argue their splits, the whole nine.
And it was through me having some bad situations in the past that I, basically, became a student of the business. I started to pick the brains of my attorneys and going to lunch with them. I had a lot of conversations with Donald Lawrence and with another record executive, Jimmy Maynes, who was at Jive [Records] at the time. They all were saying “this is something that you can do.”
So, it started with Patrick Love, then, by word of mouth, went to two writers, then three to four to five, and now I’m at about 30.
EJ: WOW.
TW: And I represent writers on T-Pain’s latest album– one of my writers did 11 songs on the last T-Pain record… Akon, Ciara, two of my writers just collaborated on the new Toni Braxton single, “Yesterday.” I was representing Elvin Ross, who scored Madea’s Family Reunion and did the cues for House of Payne… the list goes on and on. It’s been an amazing run as it relates to that piece.
It’s a very interesting situation and God blessed me to do some amazing things… I was even able to do my deal with David Balfour, who did the T-Pain tracks, in such a way that I now own publishing on those T-Pain records.
EJ: Wow, Ted!
TW: And that’s part of the reason that I was able to do my own record and pay for it. I do believe that the wealth of the world– I don’t say “wicked,” but people can say it how they want to…
EJ: *laughing*
TW: The wealth of the world, or of the world system, is laid up for the just. And I think that means, at least to me, that there’s a system out there in place– we don’t live on it, we live on a Kingdom system– but we definitely can, if we learn it and are able to walk through it, we can definitely benefit from it. I believe that God wants us to have influence in EVERY area of the world, so that we can influence things in a better direction.
So, it’s great for me to be able to have conversations with the top executives in the music business. Sometimes I’m sitting talking to these people and I’m like “man, here I am, the dude from Memphis with nobody musical in my family– nobody sings, nobody plays, nothing.” And to go from that, to Voices of Binghamton, to Ted & Sheri, to Vision, then to be sitting in the office across from people who orchestrate the careers of people who sell MILLIONS of records… it’s phenomenal.
EJ: It absolutely is. Absolutely.
TW: I didn’t mean to give you such a long answer. *laughing* But that’s Veracity, man. That’s my baby, that’s my passion right there. And I love what I do.
EJ: I’m glad that you have something else because one thing that bugs me– and it’s probably because I love this industry and the artists in it– I hate to see when artists get older and have to struggle. Here we are, singing your songs at the midnight musicals, and they’re on the compilation albums, and we call it one of the greatest songs of the decade, but the writers and artists can’t pay their medical bills when they have an issue, or what have you.
TW: Right.
EJ: So, it’s great to see artists who are not so wrapped up in the music of it that they don’t take time to understand the business of it.
TW: Yeah. And I feel it incumbent upon people like myself to not only get this money to help Ted Winn, but also to equip other people. There have been instances where I’ve found money for Richard Smallwood, for Kim Burrell, Edwin Hawkins… I just found some money for the Clark Sisters and talked to Karen last week about it.
It is my mission to help empower our people and to spread the knowledge and information. We have so much value in the gospel music industry, we just have to get the information to learn how to make it lucrative for us.
EJ: Absolutely.
TW: It’s part of my frustration when I go to different conferences… we have seminars on how to lead worship and 10 ways to grow your praise team… I think that’s fine. But I really wish I could go to some of these conferences and teach people about handling their songs and their publishing.
EJ: Sure.
TW: And, I mean, I never even get invited to them.
EJ: *laughing*
TW: But here I am representing people who sell millions of albums. *laughing* Maybe people don’t know that I do it, or whatever. But I’m not asking people to pay me or anything– I just want to be able to go in and empower the Kingdom with this information because I think that they really need it.
EJ: I’m with you. Absolutely. Okay, last question. I know tons of folks who have, or had, locs. And they tend to get annoyed when people ask “when are you gonna cut them,” or, after they’ve done so, “why did you cut them,” but please indulge me cuz I think it’s the type of thing I’m supposed to ask in an interview.
TW: *laughing*
EJ: What made you cut off your locs and what has the response been from folks?
TW: Well, I grew my locs because I wanted to make a statement– that we can appreciate the natural texture of our hair, as people of color, the way that it grows. When it came time to do the music, there were no other mainstream gospel artists that had locs. There was no Stephen Hurd, Tye Tribbett, whoever else has them right now. No one was doing it.
And I remember I was at [the] AIM [conference] with Sheri. And we did “Come Ye Disconsolate” and the audience response was lukewarm. And I’ll never forget it… I talked to Donnie McClurkin about it afterwards and he told me “you know, it’s gonna take people about a year to get used to your HAIR.”
EJ: Really?
TW: He said “after they get used to that, and realize that you can still be effective, they’ll be cool.” And he was about right. And I think that it kinda broke the stereotype of what people thought it was going to be.
One time, Sheri and I sang at a church and the pastor said “I’m gonna be honest, when you guys got up, I saw you with your hair and I thought ‘are they going to rap’?” He thought I was going to rap and she was going to sing. But he said “instead, you got up and you sang. And not only did you sing, you sang a hymn.” You cannot base that type of thing on aesthetics.
EJ: Right.
TW: So, I grew my locs and I cut them in June of this year. It was 10 years– a decade, or an era– and I felt like, transitioning into a solo artist, and in this next phase of my life, even as a business person, I just felt like it was time for the next phase for me.
So, I ended it. And it was a lot. It took me a year to get prepped to cut my locs. And the day I cut ‘em, I cried. *chuckles*
EJ: Aww…
TW: I did. I had a moment… definitely had a moment because there were so many experiences I had with that hair, so many places I went around the world. It had become a part of my I.D. People knew me as the guy with the locs.
But, that’s why I cut them. I’m appreciative of that time I had with them and I feel like, as I’ve heard from emails, I encouraged other people to loc their hair, you know? People said that they can appreciate it because it made them not feel like an outcast or a misfit for having a similar type of expression. But yeah, that phase is over for me now.
EJ: That’s a lot deeper than I thought it was gonna be… I thought you might just say “it was hot” or something. *laughing*
TW: *laughs* Nah… it is for some people, but not for me. I usually don’t do anything on a superficial level. I’m too psychoanalytical of a person.
EJ: I hear you, man. Well, that’s about it from me. I really appreciate you for chatting with me.
TW: Thank you, man. I really enjoyed the interview.
EJ: No doubt. And I’ll talk with you soon.
TW: Okay.
EJ: Bye.
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And that was my chat with Ted. He’s a really cool dude and he seems to mean what he says. He’s passionate about the people of God.
AND, it helps that his album is REALLY REALLY good. If you didn’t see my review of it, click here to check it out.
In the meantime, lemme know what you thought of the interview!
A dynamic vocalist, LeJuene is well-known for her work with John P Kee and Donald Lawrence’s Tri-City Singers. She’s also got a couple of solo projects under her belt– Soul Inspiration (2001) and Metamorphosis (2008).
After opening with the project’s banging lead single, “God Is Great,” Chrystal Rucker lends her guest vocals to the title track, “Keep Living.” This track is a choir tune at its best– it’s the type of tune that “midnight musicals” and “special programs” are made of– and Rucker’s soprano vocal soars to unparalleled heights.
Lord, thank you for the life of Sheri Jones-Moffett. Thank you for the grace You’ve given her. Thank You for the gift You placed in her. Thank You for using her to touch so many lives, to encourage so many hearts and to inspire so many people.
Released in 1994 on GospoCentric, Personal Inspirations is the debut gospel album from Stephanie Mills. No novice to performance (she was the original “Dorothy” in The Wiz on Broadway and had a wildly successful R&B career), she recorded this project LIVE. On production? None other than Donald Lawrence, her long-time musical director. On background vocals? The Tri-City Singers.
The album opens with the hit single and title track, “Renewed,” a great song with an old skool, 70′s vibe to it (think disco meets gospel). Sheri wastes no time reminding us why we fell in love with her powerful soprano tone as she masterfully soars over the track.
We welcome back Monica Coates, our A&R expert, who has worked at the top Gospel labels (EMI Gospel, Verity) and with a variety of artists, including Fred Hammond, Donnie McClurkin, Hezekiah Walker and Joann Rosario.
