As the sixties came to an end Terry’s musical wings were extended to include some quite varied and unusual assignments.

He became musical director for the Broadway production of Oscar Brown Jnr.’s ‘Big Time Buck White’ in New York, which starred boxer Muhammed Ali, and followed this by becoming Bill Cosby’s 23-piece orchestra conductor during his stint at the International Hotel in Las Vegas.

The role of Arranger of Music for the Atlanta Symphony gave him the chance to work on the more serious aspects of music – a role that he thoroughly enjoyed. “Yeah that stint in Atlanta was very challenging yet educational for me. It gave me the chance to work with an entire orchestra and try new things.”

He wasn’t away from popular music for long however, and, in the early seventies, worked extensively with Dave Crawford on the arrangements for a variety of projects, including The Mighty Clouds of Joy ‘Kickin’’ and ‘Ride the Mighty High’ albums in Atlanta, Georgia. Ironically, Jack Ashford is listed as providing percussion on both albums.

By 1973 Mike Terry had settled in Atlanta, where he worked at the Mike Thevis Recording Studio on artists like Loleatta Holloway, Etta James and The Dells. The Dells album ‘No way back’ teamed him with Detroiter and former Motown writer/producer Ivy Jo Hunter, an assignment that brought particular pleasure. “I knew Ivy from Motown and finally got to work with him in production, ‘cause we never got the chance in Detroit. I’d always wanted to work with the Dells, so it was a double whammy for me.”

In 1974 he wrote the music score for the Fred Williamson movie ‘Boss Man’.  By 1976 he had relocated again, this time to New Jersey, where he worked with Sylvia (Robinson) and wrote another movie score for Fred Williamson, this time for his production of ‘No way back.’

It was during this period that he also renewed a long friendship with Philly veteran Jesse James. “I first met Jesse with Jack back in the sixties. When I moved to New Jersey he called me to come down to Philadelphia to work with him. We would write and arrange in Philly but always record in New York. It was kinda strange.”

He continued working into the late 1970s, before easing back to spend more time with his family.

But it wasn’t long before the musical genes surfaced in the next generation of the Terry clan as his son Matthew showed encouraging signs of musical prowess. Under the tutelage and guidance of his father, Matthew assumed the title Endeva the Beat Zmith and became a Hip Hop and Rap performer.

music: "Part Time Lover, Full Time Fool" - Loleatta Holloway (Aware album track)

Continued