For Mike Manson the bottom line has always been great music. Since he first picked up a guitar (not a bass), he has moved persistently from strength to strength, one association leading inevitably to another in a career that has brought him front and center with the most esteemed names in jazz, gospel, R&B, rock and pop.

On his solo debut, Manson is joined by some of his friends, who just happen to be among the hottest names in contemporary music, including famed keyboardist and trombonist Brian Culbertson, chart-topping saxophonist Kirk Whalum, guitarists Paul Jackson, Jr. and Ray "The Weeper" Fuller, percussion legend Lenny Castro and Ron Haynes playing fluegelhorn.

Produced by the artist himself, with co-production on selected tracks by Culbertson and keyboardists Tim Gant and Elgin Manson, The Bottom Line's 11 tracks (nine songs and two reprises) offer up a range of jazz, R&B and pop magic.

Four of Bottom Line's nine songs were composed exclusively by Manson: the opening track "Outer Drive," with it’s infectious smooth groove; the gentle urban "Keys To My Heart," featuring Manson and Whalum, both displaying their trademark melodic mastery; "Just One Touch," which is a perfect fit and probable hit for NAC; and the title track "The Bottom Line." The latter percolates with funky rhythms, amazing soloing and features the bottom line in all popular music, the rhythm section, Oscar Seaton on drums, Lenny Castro on percussion and, of course, Mike "The Man" Manson, soloing with extraordinary virtuosity and finesse. Brian Culbertson and Steve Cole also deliver some potent trombone and saxophone; the ensemble ups the voltage on the song’s stirring reprise, the album's final track.

Manson co-wrote the evocative "Goin' Home" with his brother Elgin and Ed Tucker, and the romantic "Close Your Eyes" with his wife Lana, which includes some soulful vocal shadings by TJ. The urban-flavored Babyface-penned song "Seven Whole Days" and the bass-drenched cover of "Everlasting Love" (originally a hit for Rufus with Chaka Khan in 1977) both feature Nanette Franks. Lana Manson also contributed the spirit-infused "Angels Serenade."

Manson intones, "This album has been a long time coming. Up until now, I've documented everyone else's music and I've done it with a style and flair that's my own, but it feels really good to document this music for myself, to have my own voice."

Manson's uniquely lyrical voice has its roots in Chicago, Illinois. He recalls, "My grandmother and mother played piano, but no one else in the family was really involved in music. My dad had an old beat-up folk guitar that he never picked up and so my older brother and I got interested in music about the same time-I was fourteen-and started playing it. After that, we bugged my mom to buy us some instruments. She finally bought my brother a guitar and me a $25.00 bass and a $25.00 amp that we shared".

"The first artist I was interested in was Al Jarreau and I started practicing to his music," Manson reflects. "I was greatly influenced by Abe Laboriel, who was Jarreau's bassist at the time. My mom was into gospel and Abe also played with the Winans and Andrae' Crouch.

Manson joined the school band program and his innovative and resourceful side came to the rescue, which may account for his expansive, bold and melodic approach to the bass: "They didn't have a tuba player, so I ended up playing tuba parts on the bass."

At age fifteen, he formed the group Togetherness with a few of his friends, ultimately recording an album and two singles. "We tried to be the next Isley Brothers or Earth Wind and Fire." The group stayed together for six years and then Manson took a year off, joining the Navy, where he was quickly recruited to play bass for the Navy Gospel Choir.

Returning to Chicago State University, he joined the Chicago State Gospel Choir and, in Manson's words, "things started snowballing." One gig or association would lead to another, with Manson playing with one Gospel great after another: Tramaine Hawkins, Vanessa Bell Armstrong, Jessy Dixon and James Cleveland. He even played on the Winan's album All Out, only the first of many times he would perform with childhood musical heroes.

After his graduation from Chicago State University with a Bachelor of Arts in Music, he went on to complete a Masters in Music Performance at Northwestern University. In 1995 Manson met Steve Finkle (now Steve Cole) who was playing with Brian Culbertson. Soon Manson was playing the Chicago club circuit and touring in support of Culbertson's City Lights. Manson went on to record selections on Brian’s After Hours in '97. That same year, one of his gospel connections put him together with Kirk Whalum, and he ended up playing on the Dove and Stellar-Award nominated "The Gospel According To Jazz." Recorded live at the Roy Acuff theatre, it featured Whalum, George Duke and Paul Jackson Jr. "That's how I met George Duke in '97," quips Manson.

Manson's association with Duke ultimately led to the gig of a lifetime. George, who was the musical director and a featured artist on the Montreux Jazz tour (summer of 2000), invited Manson onboard, where he shared the stage with his greatest childhood hero, Al Jarreau, along with David Sanborn, Roberta Flack and Joe Sample. Pal Kirk Whalum said with typical good humor, "After that tour you could have retired." But Manson is just getting started. Through Kirk, he met Larry Carlton and toured with him before and after his chart-topping Fingerprints album. Kirk also included him on his "Hymns In The Garden" album that garnered a nomination for Best Pop Instrumental Album at this years Grammys.

In the midst of all this, Manson was invited to Montreux to record a celebration of that city’s famed jazz festival, entitled Casino Lights '99. Manson shared the stage with Warner Bros. Records artists Larry Carlton, Kirk Whalum, Boney James, Rick Braun, Kenny Garret, George Duke and Kevin Mahogany. Other Warner artists featured on the album included Fourplay (with bassist Nathan East), Bob James and Gabriel Anders. Released in October of 2000 to critical acclaim, it is being followed by a DVD release in 2001. Manson says of the event, "Casino Lights '99 was an incredible experience, in that it was the best of music. We weren't really trying to be marketable, we were just trying to make great music and that’s what made it exceptional fun. Lots of times you have to gear your music to an audience, but In Europe it’s different. It was, in the literal sense, a jam session. Every time I play I look for that magic, that energy that comes from a group of players."

"There are musical conversations that are intriguing and I hope the audience shares in that. But it is just great for musicians to communicate in that way. That's the joy of music. To make great music like that every night, that's what it's all about."

As if his packed touring schedule, recording schedule and slate of award-winning projects weren’t enough, Manson is also an in-demand producer, composer and arranger. Most recently, he co-produced "I'm Gonna Miss You" on Brian Culbertson's album called Secrets (a tribute to legendary manager Howard Lowell, who recently passed away), did string arrangements on R&B group Blacque's self-titled album, while Ricky Dillard and Stellar Award-winning The New Generations Chorale recently recorded his composition, "In His Name."

With the release of The Bottom Line, Manson plans to tour with his own band in support of his solo debut, as well as continuing to tour with George Duke and Kirk Whalum. "I loved recording the album. I do sessions and I love it, but enjoy playing live most of all. When you play live, you have the joy of seeing the audience react immediately. It's a great feeling!" He adds: "I want to write more songs and, hopefully, do some more tours with multiple artists. That was sooo much fun!"

For Mike Manson, love of musical communication, exploration, collaboration and celebration is clearly what it’s all about. His stellar solo debut reflects Manson's unabating passion with joy and inspired artistry and that is the bottom line!!!

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