WHAT!!!! A Star-Studded Collaboration: Ellis Hall and George Whitty Unite for a Thrilling New Album!  

Ellis Hall, A Lifetime Achievement Award Winner with A 

Stunning 5-Octave Vocal Range, Joins 4 Time Grammy and 1 Time Emmy Award Winner George Whitty in An Exciting New Partnership and Album That  

Promises to Thrill Fans Worldwide! 

INTERVIEW BY: GINA SEDMAN, WRITER/JOURNALIST & HEAD EDITOR 

Ellis Hall, hailing from Savannah, Georgia, Ellis Hall Jr., known simply as Ellis Hall, is a distinguished American singer-songwriter, multi-instrumentalist, actor, and composer. Revered as "The Ambassador of Soul" by renowned conductor Jeff Tyzik, Hall's journey in music, marked by his resilience and determination, has been profoundly inspiring. Despite losing his sight at 18, he has emerged as a powerhouse in the industry, channeling the spirit of his idol Ray Charles. 

With an impressive catalog of over 4,000 original compositions spanning soul, gospel, blues, and pop, Hall has made his mark alongside some of the most celebrated artists of our time. His collaborations, which span a diverse range of musical genres, include musical legends like Stevie Wonder, Natalie Cole, and Patti LaBelle, as well as icons such as James Taylor, Herbie Hancock, and George Benson. He has also shared the stage with Bobby Womack, Sheila E, and Maurice White of Earth, Wind & Fire. 

In addition to his musical prowess, Hall lent his voice to the beloved California Raisins commercials and has contributed to various films as a composer, actor, and accompanist. His multifaceted talents and unwavering passion for music continue to resonate with audiences everywhere. 

George Whitty, renowned for his multifaceted talent, is an American musician, composer, and producer whose contributions to the music industry are nothing short of extraordinary. In 2014, he received an Emmy Award for his compelling compositions for the iconic soap opera All My Children. His expertise has also led him to produce three Grammy-winning albums, including the celebrated 34th N Lex by Randy Brecker. 

Whitty's remarkable career includes multiple Emmy nominations for his work on beloved series such as One Life to Live and As the World Turns. As a versatile performer, he has collaborated with a dazzling array of musical legends, including Dave Matthews, Santana, Celine Dion, and the Brecker Brothers, with whom he toured for four years and contributed to seven albums. His expansive musical journey has also seen him share the stage with luminaries like Chaka Khan, Richard Bona, Chris Minh Doky, Grover Washington Jr., and many more. Notably, he has performed alongside jazz icons such as Herbie Hancock, Wayne Shorter, and Marcus Miller, further solidifying his reputation as a prominent figure in the music scene. 

George Whitty and Ellis Hall have come together to unleash an electrifying wave of high-energy funk, uniting a stellar lineup of world-class artists for their first-ever collaboration. The result? The irresistible track "In the World" is a vibrant anthem that will have listeners dancing and feeling alive. I had the incredible opportunity to sit down with both George and Ellis to dive into their remarkable careers, and the insights they shared about their musical journeys and creative inspirations were genuinely inspiring. Here's what they revealed! 

Gina Sedman: Hi gentlemen, it's so good to finally meet you both! You are both such incredibly talented individuals, and I feel so honored! 

George Whitty: We thank you very much, Gina, for helping us get this great project out to the world too. 

Gina Sedman: Well, it's my pleasure. I have such a passion for the arts, but even more so, I have a passion for people. I love helping others and seeing them blessed. If I can be a part of your journey to success in any way, then my life here on Earth will count for something. 

George Whitty: Gina, thank you again for this opportunity. 

Gina Sedman: My pleasure. So, I want to ask you both a few things. But first, to keep this interview simple, let's dig into your life first, George, and then we'll circle back to Mr. Ellis Hall. Is that OK? 

George Whitty: Yes. 

Ellis Hall: Yes. 

Gina Sedman: Alright! Great! So, George, let's get started. Where are you initially from, and where do you currently reside? 

George Whitty: Well, I'm originally from a little town on the coast of Oregon called Coos Bay. 

Gina Sedman: OK, I've never heard of that place before. You learn something new every day. 

George Whitty: Yeah, it's a nice, sweet place to grow up. When I grew up, there were only about 25,000 people in the area, and then nothing for 100 miles in any direction. 

Gina Sedman: Wow! That is a small town. 

George Whitty: It's kind of isolated, but "the good music" found me there. Around that time, I bought records by George Duke, Herbie Hancock, Weather Report, Chick Corea, Keith Jarrett, and Chaka Khan. I think I was one of maybe three or four people in Coos Bay who was into that kind of music. 

By the time I graduated high school, my ambition was to get as far away from Coos Bay as possible. It's a great place, but it just wasn't the jazz fusion or R&B center of the universe. Now, I've settled in the mountains outside of L.A., about an hour and 15 minutes from Burbank. 

Gina Sedman: I live in the UK now, but I was raised in Los Angeles, so I'm very familiar with where you are. 

George Whitty: Well, I bet you know it a lot better than I do because I don't spend that much time there, but I have access to it when I need it. 

Gina Sedman: Awesome! So, let's talk about your beginnings. Tell me your story of how you transitioned from being virtually unknown in Oregon to being introduced as a professional in this industry. 

George Whitty: Well, it depends on what you call a professional. But my first professional gig was with a terrible Elvis impersonator. (Laughs) 

Gina Sedman: Awesome, I love it. (Laughs) 

George Whitty: Yeah, this guy had all the surgeries; he looked like Elvis. It was amazing! But he couldn't sing. The night we did our big debut gig, I had all these visions of going to Vegas with him, buying synthesizers, and so on. But he got super drunk, and that was the end of that. (Laughs) 

But I guess, by that point, I was officially a professional musician. (Laughs) 

Gina Sedman: That's hilarious, George! (Laughs) Thanks for sharing that fun story. 

George Whitty: After that, I worked in little Top 40 bands in Boston in 1983 and 1984. Then, I moved to New York and started networking. A great bass player named Eric Udel was on the scene, playing with Mike Stern at the "55 Bar." He was also playing various R&B gigs and would always call me and say, "George, I have a little gig for us on Macdougal St. It pays $35.00, but they'll feed us." (Laughs) 

Through these kinds of gigs, I met other musicians and, more importantly, got to play with them. That, of course, just makes you better, and they recommend you for different things. I did some weird, funny gigs and many excellent ones, too. 

Through that, I started working with a great R&B band in Connecticut. Sometimes, George Benson's bass player would join us, and the drummer who used to sub for us was playing with Eliane Elias, a great piano player and now a singer.  

He recommended me to Eliane, who was married to Randy Brecker then. Randy got me to do some demos, which led to producing the Brecker Brothers' return record. 

Before that, I had met other people through that band, and we produced a couple of tracks for Chaka Khan on her The Woman I Am album. I was an early adopter of the idea of making a whole record in our bedroom on a sequencer.  

At that time, I had an 8-track reel-to-reel tape machine. 

So, for me, it was basically just getting into New York, scrabbling around, and networking. I had these horrible $500 cars that I left abandoned on the Long Island Expressway, which forced me to go work on cruise ships. We were so “broke” for a long time that, for four months, we didn't even have a phone. Gina, how are you supposed to get gigs as a musician in New York if you don't have a phone? But none of us could afford to get the bill paid. (Laughs) 

But you keep meeting people, and as long as you're a good person who brings value to what they do, you keep climbing up. Next thing you know, you're on the scene and actually making a living at it. 

Gina Sedman: Awesome! Great story, George. Thank you so much for sharing. Now, all the blood, sweat, and tears paid off because your work rendered massive success. You won an Emmy for All My Children and produced award-winning albums. Could you share a little bit about that? 

George Whitty: Yeah, well, the Emmy was kind of a surprise. I had been writing music for different soap operas—daytime dramas—for years. 

At one point, I didn't have enough work, but one day, I answered an ad from David Nicktern. He needed a mixing engineer, so I reached out. He knew who I was and said, "I think you should try writing for this." 

It turned out to be a great gig. Anytime you had a day or two off, you could write a soap cue, and they paid by the minute they used. So, I tried to write music that fit the scenes and the taste of the music supervisors. I had been doing that for years. 

I think it was for As The World Turns that we had been nominated for Grammys before but hadn't won. Then, regarding All My Children, I didn't think we'd win because it was an internet-only release, so I didn't even put it on my calendar. One night, I was scrolling through Facebook and saw Brian in a tuxedo holding an Emmy. Sure enough, we won that time, which was kind of cool. 

I wrote a lot of great music for those shows. It was a real art form, trying to enhance the scenes and give them depth without overpowering them. 

Gina Sedman: Now, George, did you write the theme music for any of the daytime soaps? 

George Whitty: No, but if I had written the theme music, I'd be sitting on a beach chair in Tahiti right now. I might have gotten off my beach chair to work with Ellis Hall, but that would have been the only reason! (laughs) What I would do, though, is watch the show to see where they played my music. I'd see 10 or 11 minutes of my music go by, and I'd think, "Gee, I probably just made around $700." (laughs)  

It was a library of music, so I didn't score each scene, but overall, it was a great gig. It was a bummer when those shows went off the air because they were like cash cows. It was also super flexible—I even worked on some cues while flying to Japan! Whenever I had time, I would just kick out more soap cues and make more money.  

Gina Sedman: Wow, George! That's fantastic! I really enjoyed your story! What an incredible journey you've had. Seeing all the tremendous opportunities God has opened up for you throughout your life is inspiring. I'm so proud of you! Now, let's shift gears and chat a bit with Ellis Hall. Do you remember those old TVs where you had to click, click, click to find the channel you wanted?  

Well, I've landed on the Ellis Hall channel, so let's dive in. Mr. Ellis Hall, it's also a privilege to speak with you. Just look at how blessed I am today! I've got two remarkable and talented individuals here with me on Zoom. What did I do to deserve such a blessing? Thank you again for being here.  

Ellis Hall: Thank you for having me.  

Gina Sedman: It's my pleasure. Now, Mr. Hall, you've been dubbed the "Ambassador of Soul" by conductor Jeff Tyzik, and you're also the declared protégé of the legendary Ray Charles. Firstly, congratulations! Secondly, can you tell me what that title means and how it shaped your musical mission?  

Ellis Hall: Thank you, Gina. That's a funny story because I had been doing symphonies through the auspices of Mr. Ray Charles, who was the only artist signed to his own label. He kept saying, "Boy, you need to be doing symphonies." Of course, he used a lot more expletives, but this is a family publication, so we'll leave it there. (laughs)  

That being said, I started working with everyone from the Boston Pops to the Rochester Symphony, where Jeff Tyzik was in residence. I kept telling him and others that I was working hard on my ambassadorship.  

One day, Jeff tapped me on the shoulder and said, "That's it—you're the Ambassador of Soul!" And I said, "The Ambassador of Soul?" (just like they say on Soul Train) (laughs)  

He said, "I can't reach that high!" And I told him, "You've got to squeeze something to get there!" (laughs) And from there, the title stuck. What I didn't know then was that when I was with Tower of Power, I was getting my education. What happened was that George came to see us perform at a scruffy little club in New York City. He said he'd been trying to meet me because we both went to Berklee at different times—he's a young whippersnapper! (laughs)  

Our buddy Alec said, "You two need to work together." I got George's number in 2012 but couldn't reach him immediately. Finally, at the end of 2022, we worked on a song called "Hug Me," and let me tell you, dear, if you haven't heard it, you need to.  

Since then, we've been on this path together, and like the old saying goes, "Get on the train or get out of the way."  

Gina Sedman: Alright, everyone, you heard it straight from his mouth! Now we know exactly what to do. (laughs) I love it! I spoke with George about his life journey earlier, so now it's your turn, Ellis. Can you share a little bit about how you got to where you are today?  

Ellis Hall: Alright! I was born in Savannah, GA, and at the time, my family lived in a tiny town where one side of the sign said "Entering," and the other said "Leaving."  

Gina Sedman: Oh man! That's hilarious! That's small!  

Ellis Hall: Yeah, that's how small it was. Clarkston, GA—way up there, where there's nothing but poultry and the occasional fruitcake that somehow floats around the world. (laughs)  

Gina Sedman: Oh no, not the fruitcake! That's the gift that keeps on giving. (laughs)   

Ellis Hall: My mom realized a year after my birth that my brown eyes had somehow turned blue, and I said, "No, I wasn't a male version of Crystal Gayle." My mom and dad kept saying, "We need to figure out a way for him to develop his independence." In Georgia, there were separate hospitals for Black and white people, so I'm sure you can guess where I went, even though I looked in the mirror and thought I was Chinese. (laughs)  

Since they forgot to put the silver nitrate in, the version of glaucoma that I have caught hold of me. I tell folks all the time that there are usually no symptoms until the pressure builds up in the eye, so please get checked out. Our charity is affiliated with that; it's called the "Leighala J & Ellis Hall Jr. Music & Arts Academy." We provide instruments to kids and create awareness about glaucoma.  

My parents said I needed to go to a school in Boston called Perkins School for the Blind. It was actually in Watertown, MA, so I could learn to be independent and accept help from kind folks like you. I know how to get around; I travel all over the country with just my cane and my guitar and cause a lot of loving trouble.  

Gina, I'd be all over the place, and people would say, "Hey, how did he show up?" And don't make me drive your car because I will! (laughs)  

Gina Sedman: That's hilarious, Ellis! I love your spirit! (laughs)  

Ellis Hall: Thank you! (laughs) Once I started going to Perkins, it really turned my world around. The only party I avoid is the pity party. They had musical instruments in the school, but I wanted to be an architect when I went. I didn't think about music until I was 14 when my older brother snuck me into a club. With my watering eyes, I saw the looks on the faces of the band as they whipped the audience into a frenzy, and a light bulb literally went off in my head, so I went home. 

I had a bongo set, and I remember putting together my own drum set and driving my parents crazy. My mom would say, "Son, I know you need to practice, but do they have to make all that fuss? With a capital F!" (laughs)  

So, I learned how to play guitar, bass, drums, and keyboards to try and be like Brother GW (George Whitty), as I call him. I used to play organ in the church and even learned how to play the pedals, but I often just played the manual bass.  

When I was about six years old, I remember the choir would be singing, and I would sing, "Yes, Jesus Loves Me." My mom would say, "You can't sing that loud!" But I knew there was no stopping me once I was on this path. And I'm glad about that because it led me to Brother George. Now we have our first single and wait until you hear the rest of the record! George always does his thing, sends it to me, and then I stir the pot.  

George Whitty: And then I'd have to stir it again on my side, prompting more stirring by Ellis on his side. (laughs)  

Gina Sedman: Amazingly, we live in an era with such possibilities. People previously needed a budget to travel to studios for original recordings. Now, everything can be accomplished digitally.  

Ellis Hall: With that being said, in one of the first shows I did, my bass player was missing, so I had to play organ bass, sing, and play the organ with the guitarists for 5,000 screaming folks. At 17, even though I had a pit in my stomach and an adrenaline rush, we got those people standing on their feet.  

From there, I started working with groups like The Temptations and Earth, Wind & Fire. I even had to play bass for The Spinners because their bass player was missing. They asked me, saying, "Wait, Ellis is a keyboard player." My bass player said, "No, you don't understand. He does play bass. In fact, bass is my favorite." I love bass and all instruments, so I ended up playing for The Spinners. They didn't know I knew their music, so they were doing their dance steps while I played "It's A Shame," "I'll Be Around," and all those big hits.  

That led me to Ray Charles. The next day, he came to a party and asked me, "Who are you? Where did you come from, and why didn't somebody tell me? I'm going to have to kick a lot of 'you know what.'" I went into his office and gave him some songs; the rest is history. Then he asked me, "Boy, have you ever done symphonies?"  

I said, "No, Papa Ray." That's what I called him. You know, I gave him major respect. He introduced me to many different symphonies. One time, I came to London to do some shows with Tower of Power, and one place I played was "The Jazz Café."  

I didn't know this because I was Bobby's director, but at the time, The Stones and this other eclectic group were there, and they would sit there and watch me do my thing because Bobby had me open up as a solo artist for them. I got everybody stomping around and stuff. Then Bobby said, "You're causing a riot in here," but I said, "I got to do that." (laughs)  

It was amazing. When I went there with Tower of Power, Emilio, the leader, and I tried to chase down a double-decker bus. We didn't catch it, but we tried! (laughs) I love the English vibe! Now, George and I want to go over there and see if we can cause a stir of love.  

Gina Sedman: Yes! I would definitely love to see you guys out here performing. That would be amazing! Both you and George have such massive careers, and I think it's incredible that you came together to expand even more.  

Ellis Hall: I wanted to mention that I got to play a song for the fabulous Mr. Nelson Mandela.  

Gina Sedman: Oh, that's wonderful! Tell me about it.  

Ellis Hall: What blew my mind was when he found out about a song I wrote called "Why Should I Care." After hearing it, he said to my people and later told me, when he gave me a hug, that it became one of his favorite songs to listen to. He has listened to a lot of music. Then I sang a song for Miss Oprah and some special people she had with her. It was a tune called "Sister Rosa." It's a song about Miss Rosa Parks.  

So, as artists, we become vessels. For example, when Brother George writes the song, I add my 2½ cents worth, or vice versa. We do whatever it takes to lift the world higher, even if it's a sad song.  

Gina Sedman: Ellis, that's beautiful! What an incredible journey! I know you both have only scratched the surface due to time constraints, but let me ask you, George: How many instruments do you play?  

George Whitty: Well, I'm mostly a keyboard player, but starting way back in 1985, I got really into drum programming, and for some reason, that was always a good fit for me. I'm fascinated by great drummers, and I have a bit of a process. So, I kind of play drums, but it's mostly programming. I do love to play bass. I think if I weren't a keyboard player, I would definitely be a bass player. I believe Ellis and I both feel like that's the band's most urgent, throbbing, great instrument.  

And, of course, when I saw Ellis with Tower of Power, with one of the greatest bass players of all time, Francis Rocco Prestia, that whole club used to just throb when that band played there!  

With our record, there's a lot of Moog bass on this album because I can't help myself; I will play that at any chance I get. I've done orchestration for Herbie Hancock with the Los Angeles Philharmonic, and I always work up super detailed demos for that. So, I'm not actually playing a violin, but I'm arranging for the violin and playing in violin parts and so forth. But I'm not like Ellis; I won't go around the bandstand and kick everybody off their instruments and play it better than them! (laughs)  

Gina Sedman: That's so funny, George! Have you seen this guy when he performs on stage? I couldn't believe my eyes! The other day, I watched a video of "Ellis doing Ellis" and felt like you did. My husband insisted that I check him out because he's been a massive fan of Ellis's work. He kept saying, "Just watch him!" I was like, "Are you serious?" The way you switch between instruments is incredible, and not just that—he plays them all exceptionally well!  

George Whitty: Yeah, he's playing it like a boss! It's one of the highlights of the show.  

Gina Sedman: Yes, you are both fantastic artists! Now, let's talk about what you both are up to. You have a new project out. How did all this wonderfulness come together? 

George Whitty: George Whitty: We have a mutual friend-Ellis and me. This guy who has been kind of the project manager on the record and really the godfather of this whole project, is Alec Berfield. And of all places for Alec to live, he's in Bandon, Oregon, 20 miles south of Coos Bay, where I grew up. He has known Ellis for 24 years. 

Alec has also been instrumental in booking Ellis for various gigs and events. They're old friends. Alec also knew of me, and he had this idea that we had to get together one way or another. So, he proposed that we collaborate on this tune written by a Ukrainian rock singer—a very good one—named Slava Vakarchuk. Alec sent it to me, and I knew I would be working with Ellis Hall, one of my all-time heroes. I've had my eye on Ellis since 1988. (laughs) 

So anyway, I knew this had to be my very best work. I also knew what a sophisticated musician Ellis is and that he'd appreciate it if I reharmonized the tune. 

I got on the phone with Ellis, and we briefly discussed it. He sang me a groove—just a drum part—and that's still the drum part for the first half of the tune. It was pretty clear where it needed to go from there. 

So, I put in my synth bass and started having fun with that. Then, I added a bunch of harmonies because the original track was pretty simple. 

One of the hallmarks of R&B, and especially Ellis Hall's R&B, is excellent harmony. So, we kept building on that. Early on, I received a vocal track from Ellis. 

I always tell people that working with Ellis is like Christmas Day. We created a beautiful piece expressing our solidarity with Ukraine and its people. 

At the end of the video are some messages and a link where people can visit a support page to donate to Ukraine. Much like Ellis resonated with the people of Jonestown and those in Israel and Palestine—detailed in his song "Why Should I Care"—we resonated with the plight of the Ukrainian people, just letting them know that they have our admiration. 

That was the start of it. We had so much fun working together that we wanted to create more music. Alec stepped in and found an executive producer, an angel investor named David Ford, who's also an outstanding guitarist and singer on the record. We put together what I think is a fantastic R&B album, with us pushing each other to do our very best work. 

Ellis Hall: And George has this thing, as you'll hear on the rest of the record, where he puts his fingers, toes, and everything else into the arrangement. Then, it becomes a symphonic amalgamation of intensity that your ears simply cannot refuse to listen to. Seriously. 

George Whitty: The other half is everything Ellis does on the vocal arrangements. The lead vocals are just off the charts! I've been saying since we started this that there's no way this shouldn't be chosen as "Best R&B Performance" for a Grammy Award. The imagination and the quality of his voice are just amazing! Many people claim to have a five-octave range, and while a few people do, we have songs on this record where Ellis goes from the lowest C on the piano to five octaves up—and it's not a stunt, it's just pure musicianship. 

Ellis also plays guitar on this. One of these days, I'll have him show me some things on the organ because his soul organ work on this project is beautiful. 

Gina Sedman: That's awesome, gentlemen! I'm eager to learn more about your notable collaborations. Now, I hear there's a project coming out in 2025 titled Die Living. Could you share some details about it? 

George Whitty: Yes, the first single from that project is due to be released on October 18th. 

Ellis Hall: Gina, George sent me the track "Die Living," and he sang the vibe he envisioned for the song. I was able to tweak, twist, and turn his thought process. It was a true joy. It's all about telling a universal story, starting with his intensity with his boys and going on from there. 

He's telling this story, making folks live that story. Ultimately, I had to give it that "EH – Temptations" vibe. (laughs) 

George Whitty: And that's when the track really hits its stride. It's just percussion, me on the bass, and Ellis going completely wild on the vocals. I always tell people I wish that part lasted 30 minutes. 

Ellis Hall: Yeah, that's what he said to me! But you know what? I didn't even think about it like that—it felt so good at the end that I had to laugh! 

Gina Sedman: Wow! I love it! You guys are amazing. I'm so, so incredibly proud of you. Is there anything else you'd like to share with the readers about your forthcoming project? 

Ellis Hall: Yes, listen to the whole record—whether on CD, streaming, or however you like—and just know we're thankful for letting us into your world. Hopefully, we can expand it with the love we feel. 

George Whitty: I'll add to what Ellis said. Both of us grew up in an era where the music wasn't just soulful and funky but had a lot of messages—like the music of Marvin Gaye, Stevie Wonder, and Jackie Wilson. 

We tried to capture that spirit on this project, too. Some of the tunes are just fun and funky to dance to, but there are also many expressions of hope, goodwill, and empathy for the world. 

Gina Sedman: Awesome. It's been a complete pleasure speaking with you! One last thing before we close—I'm a big lover of words of wisdom. I believe people who've already been where others want to go can offer so much if newcomers are willing to listen and learn. It would be fantastic if you both could impart some wisdom to them! Let's start with you, George. 

George Whitty: I would say, if your heart is really in it, even in our weird new world, you'll find a way to make it happen. It's a little more challenging to rise to the top now, but there's a two-sided thing to it. What drives excellent musicians to become great is that they're kind of neurotic. They listen to themselves playing or writing, thinking, "This is terrible." That criticism pushes you to get better, but don't become a prisoner of it. Don't be so self-critical that you can't enjoy yourself on stage. 

So, my message is to be kind to yourself and appreciate everything you bring to the table, while also recognizing that you've got room to grow. Even after all this time, I still have growing to do. And get with people who are from your "home planet." 

I grew up in Coos Bay, Oregon, around many great people, but they weren't my people. When I got to Berklee College of Music, I found people like me—nervous, neurotic, talented, and always trying to improve. I found my place there. So, find your tribe. 

Gina Sedman: Yes! That's so good! I love that you mentioned finding your tribe. It's essential to be around people who understand you and your journey. Thank you, George. Ellis, what about you? What would you share? 

Ellis Hall: I'd say, like George mentioned, don't chase anything. Live your dream to the best of your ability; the audience will feel you because you're coming from an honest place. 

If you're going to get funky, don't fake it. If you're going country, make people feel like they're walking through that field with you. Have fun with it because that feeling sits within you, and it's just about how much you want to let it out. 

Nobody will ever be like you, and you don't want to be like anybody else. But when you play or sing like you mean it, you can never go wrong. “Chakalaka with a C!” (laughs) 

Gina Sedman: I love that! It's truly remarkable. I especially appreciated your mention of not chasing after anything. I firmly believe that whatever is in God's will for your life will come to you. You don't have to chase it; all you need to do is be available. God will open the doors if it's meant to be. 

I also loved how you talked about living your dream to the best of your ability. That phrase, "to the best of your ability," is key. You shouldn't strive to be a carbon copy of anyone else—just focus on being the best version of yourself, and that is enough. Each of us has a unique gift that God has placed within us, and we should focus on sharing that gift with the world. That, in itself, is beautiful. 

Gentlemen, thank you so much! You have no idea what a blessing this is for me and how honored I feel to interview two remarkable men with such impressive careers. Not only is your talent extraordinary, but after speaking with you, it's clear that your hearts match the enormity of your gifts. You are beautiful people, and I'm grateful for the opportunity to meet you. 

Thank you for allowing me the privilege of telling your story. My prayer for both of you is that God continues to bless the work of your hands according to His will. I pray you'll keep touching the world with the beautiful art that God has placed within you. May the Lord keep you safe on your journeys, bless your families, and continue to inspire you both with wonderful creativity in music and lyrics. 

Again, thank you for your time; it is truly an honor. I'm praying for beautiful blessings in your lives. Your achievements are significant, and I appreciate your contributions to the artistic community. Thank you so much! 

George Whitty: And we thank you. 

Ellis Hall: Yes, thank you, Gina. 

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