Podcast appearances and mentions of Chuck Rainey

Agradece a este podcast tantas horas de entretenimiento y disfruta de episodios exclusivos como éste. ¡Apóyale en iVoox! En esta edición de nuestro podcast presentamos 'Above The Laws', nuevo trabajo discográfico de la flautista francesa Ludivine Issambourg, una perfecta representante del Jazz Funk de su país. En el repaso a novedades de la música Smooth Jazz reseñamos los álbumes de Boy Katinding, Dean Mark, Papik & The Soultrend Orchestra, Anita Carmichael y Neville ‘Breeze' McKreith. En el bloque central rescatamos dos discos del bajista Chuck Rainey, un fabuloso músico de sesión.Escucha este episodio completo y accede a todo el contenido exclusivo de Cloud Jazz Smooth Jazz. Descubre antes que nadie los nuevos episodios, y participa en la comunidad exclusiva de oyentes en https://go.ivoox.com/sq/27170

21-24 – Jazz Matters October 2024 Show Welcome to Jazz Matters, where I invite you to celebrate the music that means the world to me. This month's show is deeply personal, as it is dedicated to the memory of my father. I've been quiet since early June, as my father had been battling illness, and sadly, I lost him recently. This month's show is a tribute to him—a man whose life was also immersed in music. Although his taste gravitated towards country and classical, somehow, we always connected over the timeless sounds of Steely Dan. In his honour, I've included two of his favourite tracks, one from Can't Buy a Thrill and the other from Aja, albums that were very close to his heart. My father wasn't just a music lover, both my grandfather and my father were the greatest influences, shaping the way I experience and appreciate music. So, it feels only right to open today's show with a piece I believe they would have appreciated: Vincent Peirani's "This is New Shit." As I find my way back into the rhythm of things, I'm excited to explore new creative projects and ideas, including a new audiophile platform I've been working on. Though recent events have delayed its launch until December, I'll be sharing updates as I move forward. Thank you for checking out Jazz Matters, and here's to the man who always had music in his soul, my father. My podcast playlist is an ever-evolving exploration of sound, rhythm, and emotion. This month's playlist is a blend of jazz virtuosity, genre-defying fusion, and contemporary innovation, featuring some of the most forward-thinking musicians on the scene today. Essential Info Link to my blog on this show - https://www.jazzmattersuk.com/blogs/jazz-matters-october-2024-showcase Explore my Website and dive into Blogs, interviews Content, Music, Videos and Images - https://www.jazzmattersuk.com Music free to stream - https://pod.co/nudirections My Info - https://www.raysinfo.org All social media links and more – https://www.jazzmattersuk.com/linkhub Email - jazzmattersuk@gmail.com Playlist Vincent Peirani – This is New Shit Yussef Dayas, Venna, Charlie Stacey - Black Classical Music Chelsea Carmichael - Bone and Soil Evgeny Pobozhiy Orchestra – Stream Raquel Martins - Fragile Eyes Jeremy Pelt - No A.I Steely Dan – ‘Aja' – Aja Steely Dan – Kings Cal Tjader, João Donato, Chuck Rainey, Bobby Rodriguez,Ray Barreto, Takuya Kuroda - Dead End Dance Isaiah Collier & the Chosen Few - Perspective (Peace And Love) Kiefer Trio featuring Luke Titus & Pera Krstajic – Montara Kahil El'Zabar's Ethnic Heritage Ensemble - Return of the Lost Tribe Alison Crockett - Like Rain Nir Felder – Revival  Andy Milne and Unison - No Matter What Jeremy Ledbetter Trio – Flight Raquel Martins - Fragile Eyes Daniel Casimir – Balance Billy Cobham & George Adams Featured By The Johannes Faber Quintet

Writer and bassist Andy Cush (Pitchfork, Garcia Peoples) joins the podcast to discuss the challenges of tackling the Steely Dan hits with his new cover band Katy & the Liars, and shares how Chuck Rainey's bass parts on "Kid Charlemagne" and "Peg" inspired him to learn how to slap the bass. A member of The FM Podcasts Network.

Estreno de 'It Hits Different', nuevo disco de Norman Brown, uno de los mejores guitarristas de la música Smooth Jazz. También hacemos un repaso por los recientes trabajos de Jeff Logan, Reza Khan, Camera Soul, Jef Kearns y Adam Hawley. En el bloque central rescatamos dos discos en solitario del bajista Chuck Rainey, un músico que ha trabajado como músico de sesión en centenares de álbumes de otros artistas.

Playlist   Track Time Start Time Opening and Introduction (Thom Holmes) 11:57 00:00 1.    Herbie Hancock, Herbie Hancock Demonstrates The Rhodes Piano (1973 Rhodes). A terrific flexi-disc produced by Rhodes and narrated by Hancock who tells an interesting story about his first encounter with the instrument on a Miles Davis session and then he walks the keyboard through a series of effects. He speaks with the authority of a proud electronics tinkerer who understands the nuances that make this instrument so beloved by jazz musicians. This flexi-disc was originally delivered in the November 8, 1973 issue of Down Beat magazine. I provide both sides of the disc, in entirety. Tunes included during the demonstration include parts of Watermelon Man, Maiden Voyage, and The Spook. Soloist, Rhodes Electric Piano, Voice, Herbie Hancock. I thought it would be wisest to lead off this podcast with an overview of the Rhodes even though it is out of chronological sequence, being from 1973. We then go back a few years to hear tracks in proper time order. 12:48 11:57 2.    The Don Ellis Orchestra, “Open Beauty” from Electric Bath (1967 Columbia). Alto Saxophone, Flute, Soprano Saxophone, Joe Roccisano, Ruben Leon; Baritone Saxophone, Flute, Bass Clarinet, John Magruder; Bass, Dave Parlato, Frank De La Rosa; Bass, Sitar, Ray Neapolitan; Congas, Bongos, Chino Valdes; Drums, Steve Bohannon; Leader, Trumpet, Don Ellis; Percussion, Alan Estes; Piano, Clavinet, Fender Electric Piano Fender, Mike Lang; Tenor Saxophone, Flute, Clarinet, Ron Starr; Tenor Saxophone, Flute, Piccolo Flute, Clarinet, Ira Schulman; Timbales, Vibraphone, Percussion , Mark Stevens; Trombone, Dave Sanchez, Ron Myers, Terry Woodson; Trumpet, Alan Weight, Bob Harmon, Ed Warren, Glenn Stuart. 5:33 24:44 3.    Miles Davis, “Stuff” from Miles In The Sky (1968 Columbia). I think this was Miles' first album recorded using the Fender Rhodes, played by Herbie Hancock. See the opening tracks from this podcast for a story about this session from Hancock. Bass, Ron Carter; Drums, Tony Williams; Piano, Fender Electric Piano, Herbie Hancock; Tenor Saxophone, Wayne Shorter; Trumpet, Miles Davis. 16:59 30:14 4.    Joe Zawinul, “The Soul Of A Village (Part II)” from The Rise & Fall Of The Third Stream (1968 Vortex). Zawinul, along with Hancock, was an early adopter of the Fender Rhodes. Cello, Kermit Moore; Double Bass, Richard Davis; Drums, Freddie Waits, Roy McCurdy; Percussion, Warren Smith; Piano, Fender Electric Piano, Joe Zawinul; Tenor Saxophone, Arranged by, William Fischer; Trumpet, Jimmy Owens; Viola, Alfred Brown, Selwart Clarke, Theodore Israel. 4:16 47:10 5.    Oliver Nelson and Steve Allen, “Go Fly a Kite” from Soulful Brass (1968 Impulse). Another Steve Allen record, whom we heard from in part 1 playing the Wurlitzer Electric Piano. Here is a selection from an album on which he plays the Rock-Si-Chord and occasional piano. Arranged by Oliver Nelson; Rock-Si-Chord, piano, Steve Allen; Drums, Jimmy Gordon; session musicians, Barney Kessel, Bobby Bryant, Larry Bunker, Roger Kellaway, Tom Scott; Produced by Bob Thiele. 2:30 51:24 6.    J & K “Mojave” from Betwixt & Between (1969 A&M, CTI). “J” is J.J. Johnson (trombonist) and “K” is Kai Winding (trombonist). Their ensemble included Roger Kellaway playing the electric clavinette. An example of using the clavinet in jazz. This was most likely a Hohner Clavinet Model C which had just been introduced in 1968. Recorded at Van Gelder Studios during late 1968. 2:31 53:54 7.    Albert Ayler, “New Generation” from New Grass (1969 Impulse). An electric harpsichord played by Call Cobbs adds some subtle comping to this buoyant tune written by Ayler, Mary Parks, Rose Marie McCoy. Baritone Saxophone, Buddy Lucas; Design Cover And Liner, Byron Goto, Henry Epstein; Drums, Pretty Purdie; Electric Bass, Bill Folwell; Piano, Electric Harpsichord, Organ, Call Cobbs; Producer, Bob Thiele; Tenor Saxophone, Flute, Seldon Powell; Tenor Saxophone, Vocals, Albert Ayler; Trombone, Garnett Brown; Trumpet, Burt Collins, Joe Newman; Vocals, The Soul Singers. 5:06 56:22 8.    Bill Evans, “I'm All Smiles” from From Left To Right (1970 MGM). Piano, Rhodes Electric Piano, Bill Evans; Bass, John Beal; Conducted, arranged by Michael Leonard; Double Bass, Eddie Gomez; Drums,Marty Morell; Guitar, Sam Brown; Liner Notes, Harold Rhodes, Helen Keane, Michael Leonard; Produced by Helen Keane. For his 24th solo album, the long-established jazz pianist Evans took his turn playing both the Fender Rhodes and Steinway acoustic piano on this album, as two-handed duets no less. Liner notes were written by Harold Rhodes, inventor of the Rhodes Electric Piano. 5:42 1:01:24 9.    Sun Ra And His Intergalactic Research Arkestra, “Black Forest Myth” from It's After The End Of The World - Live At The Donaueschingen And Berlin Festivals (1971 MPS Records). You can hear Sun Ra enticing other-worldly sounds from a Farfisa organ beginning at about 1:35. Recorded in 1970. Of the many electronic keyboards heard elsewhere on this album (and occasionally on this track), here the Farfisa is heard the most. Farfisa organ, Hohner Electra, Hohner Clavinet, Piano, Performer, Rock-Si-Chord, Spacemaster, Minimoog, Voice, composed by, arranged by, Sun Ra; ; Alto Saxophone, Clarinet, Flute, Abshlom Ben Shlomo; Alto Saxophone, Flute, Clarinet, Danny Davis; Alto Saxophone, Flute, Oboe, Piccolo Flute, Drums, Marshall Allen; Baritone Saxophone, Alto Saxophone, Flute, Danny Thompson; Baritone Saxophone, Tenor Saxophone, Alto Saxophone, Clarinet, Bass Clarinet, Flute, Drums, Pat Patrick; Bass, Alejandro Blake Fearon; Bass Clarinet, Robert Cummings; Drums, Lex Humphries; Drums, Oboe, Flute, James Jackson; English Horn, Augustus Browning; Mellophone, Trumpet, Ahk Tal Ebah; Oboe, Bassoon, Bass Clarinet, Leroy Taylor; Percussion African, Other Fireeater, Dancer , Hazoume; Percussion Hand Drums, Nimrod Hunt; Percussion, Other Dancer, Ife Tayo, Math Samba; Photography By, Hans Harzheim; Producer, Liner Notes, Joachim E. Berendt; Tenor Saxophone, Percussion, John Gilmore; Trumpet, Kwame Hadi; Violin, Viola, Cello, Bass, Alan Silva; Voice, June Tyson. 9:07 1:07:05 10.Joe Scott And His Orchestra, “Raindrops Keep Fallin' On My Head” from Motion Pictures - The NOW Generation (1970 Mainstream). Listen for the Rock-Si-Chord in electric harpsichord mode. Bass, Charles Rainey; Cello, Charles McCracken, Gene Orloff, George Ricci, Maurice Bialkin;  Drums, Alvin Rogers, Joe Cass; Flute, Alto Flute, Bassoon, Tenor Flute, George Dessinger, Joe Soldo, Joseph Palmer, Philip Bodner; Flute, Flute Tenor, Alto Flute, Bassoon, Walt Levinsky; French Horn, Donald Corrado; Guitar, Jay Berliner, Stuart Scharf; Keyboards Rock-Si-Chord, Frank Owens; Mastered By Mastering, Dave Crawford (2); Percussion, Joseph Venuto; Piano, Frank Owens; Producer, Bob Shad; Trombone, Buddy Morrow, Tony Studd, Warren Covington, Wayne Andre; Trumpet, Bernie Glow, James Sedlar, John Bello, Mel Davis; Viola, Emanuel Vardi, Harold Coletta, John DiJanni, Theodore Israel; Violin, Aaron Rosand, Arnold Eidus, Emanuel Green, Frederick Buldrini, Harold Kohon, Harry Lookofsky, Joseph Malignaggi, Jules Brand, Leo Kahn, Lewis Eley, Mac Ceppos, Max Pollikoff, Paul Gershman, Peter Buonoconsiglio, Raymond Gniewek, Rocco Pesile, Winston Collymore. 2:28 1:16:12 11.The Phoenix Authority, “One” from Blood, Sweat & Brass (1970 Mainstream). Note the Rock-Si-Chord. Arranged by Ernie Wilkins; Bass, Charles Rainey; Drums, Grady Tate, Herbie Lovelle; Flute, Alto Saxophone, Baritone Saxophone, Tenor Saxophone, Chris Woods, Hubert Laws; Guitar, David Spinosa, Kenneth Burrell; Organ, Piano, Rock-Si-Chord, Frank Anderson, Frank Owen; Producer, Bob Shad; Trombone, Benny Powell, George Jeffers; Trumpet, Joseph Newman, Lloyd Michaels, Ray Copeland, Woody Shaw. 2:43 1:18:38 12.The Phoenix Authority, “Sugar, Sugar” from Blood, Sweat & Brass (1970 Mainstream). Listen for the Rock-Si-Chord. Arranged by Ernie Wilkins; Bass, Charles Rainey; Drums, Grady Tate, Herbie Lovelle; Flute, Alto Saxophone, Baritone Saxophone, Tenor Saxophone, Chris Woods, Hubert Laws; Guitar, David Spinosa, Kenneth Burrell; Organ, Piano, Rock-Si-Chord, Frank Anderson, Frank Owen; Producer, Bob Shad; Trombone, Benny Powell, George Jeffers; Trumpet, Joseph Newman, Lloyd Michaels, Ray Copeland, Woody Shaw. 3:34 1:21:20 Sun Ra's flare for electronic sound in performance is demonstrated in the following three tracks that make excellent use of the several keyboards, the Farfisa organ, Minimoog, and Rock-Si-Chord. 13.Sun Ra And His Astro-Intergalactic-Infinity-Arkestra,' “Discipline No. 11” from Nidhamu (Live In Egypt Vol. II) (1974 El Saturn Records). Recorded at Ballon Theater, Cairo, Egypt December 17, 1971. Sun Ra playing several electronic keyboards in turn, the organ, Minimoog, and Rock-si-Chord. What I hear is some organ (Farfisa?) in the opening, then Sun Ra turns to a wild exchange between the Minimoog (monophonic) and Rock-Si-chord (polyphonic) during the second half of the track. Alto Saxophone, Congas, Larry Northington; Alto Saxophone, Flute, Danny Davis, Hakim Rahim; Alto Saxophone, Flute, Oboe, Marshall Allen; Baritone Saxophone, Pat Patrick; Baritone Saxophone, Flute, Danny Thompson; Bass Clarinet, Elo Omoe; Composed By, Arranged By, Piano, Organ, Minimoog, Rock-Si-Chord, Sun Ra; Engineer Recording Engineer, Tam Fiofori; Percussion, Lex Humphries, Tommy Hunter; Photography By, Sam Bankhead; Photography Liner Photo, Mike Evans; Producer, Infinity Inc. And The East; Tenor Saxophone, Percussion, John Gilmore; Trumpet, Congas, Kwame Hadi; Vocals, June Tyson. 9:31 1:24:52 14.Sun Ra And His Astro-Intergalactic-Infinity-Arkestra,' “Cosmo-Darkness” from Live In Egypt Vol. I (Nature's God) (Dark Myth Equation Visitation) (1972 Thoth Intergalactic). Beginning around 0:26, you get an example of Sun Ra's rhythmic, trace-like playing of the Rock-Si-Chord. Alto Saxophone, Congas, Larry Northington; Alto Saxophone, Flute, Danny Davis, Hakim Rahim; Alto Saxophone, Flute, Oboe, Marshall Allen; Baritone Saxophone, Pat Patrick; Baritone Saxophone, Flute, Danny Thompson; Bass Clarinet, Elo Omoe; Composed By, Arranged by, Piano, Organ, Minimoog, Rock-Si-Chord, Sun Ra; Engineer Recording Engineer, Tam Fiofori; Percussion, Lex Humphries, Tommy Hunter; Photography By, Sam Bankhead; Photography Liner Photo, Mike Evans; Producer, Infinity Inc. And The East; Tenor Saxophone, Percussion, John Gilmore; Trumpet, Congas, Kwame Hadi; Vocals, June Tyson. 2:05 1:34:25 15.Sun Ra And His Astro-Intergalactic-Infinity-Arkestra,' “Solar Ship Voyage” from Live In Egypt Vol. I (Nature's God) (Dark Myth Equation Visitation) (1972 Thoth Intergalactic). This track features Sun Ra and the Minimoog in an extended solo. Alto Saxophone, Congas, Larry Northington; Alto Saxophone, Flute, Danny Davis, Hakim Rahim; Alto Saxophone, Flute, Oboe, Marshall Allen; Baritone Saxophone, Pat Patrick; Baritone Saxophone, Flute, Danny Thompson; Bass Clarinet, Elo Omoe; Composed By, Arranged by, Piano, Organ, Minimoog, Rock-Si-Chord, Sun Ra; Engineer Recording Engineer, Tam Fiofori; Percussion, Lex Humphries, Tommy Hunter; Photography By, Sam Bankhead; Photography Liner Photo, Mike Evans; Producer, Infinity Inc. And The East; Tenor Saxophone, Percussion, John Gilmore; Trumpet, Congas, Kwame Hadi; Vocals, June Tyson. 2:40 1:36:30 Herbie Hancock mastered an array of keyboards, including the Fender Rhodes and several ARP models in the next three tracks tracing only two years in his musical journey. 16.Herbie Hancock, “Rain Dance” from Sextant (1973 Columbia). Patrick Gleason provides beats and beeps using the ARP 2600 and ARP Soloist. Bass Trombone, Tenor Trombone, Trombone Alto Trombone, Cowbell, Pepo (Julian Priester); Congas, Bongos, Buck Clarke; Drums, Jabali (Billy Hart); Effects Random Resonator, Fundi Electric Bass Fender Electric Bass With Wah-Wah And Fuzz, Double Bass, Mchezaji (Buster Williams); Electric Piano Fender Rhodes, Clavinet Hohner D-6 With Fender Fuzz-Wah And Echoplex, Percussion Dakka-Di-Bello, Mellotron, Piano Steinway, Handclaps, Songs by Mwandishi (Herbie Hancock); Synthesizer, Mellotron, John Vieira; Soprano Saxophone, Bass Clarinet, Piccolo Flute, Afoxé Afuche, Kazoo Hum-A-Zoo, Mwile (Benny Maupin); ARP 2600, ARP Soloist, Dr. Patrick Gleeson; Trumpet, Flugelhorn, Mganga (Dr. Eddie Henderson). 9:19 1:39:08 17.  Herbie Hancock, “Palm Grease” from Thrust (1974 Columbia). Hancock himself plays all the keyboards and synthesizers on this album. Drums, Mike Clark; Electric Bass, Paul Jackson; Electric Piano Fender Rhodes, Clavinet Hohner D-6, Synthesizer Arp Odyssey, Arp Soloist, Arp 2600, Arp String, written by Herbie Hancock; Percussion, Bill Summers; Producers, David Rubinson, Herbie Hancock; Soprano Saxophone, Tenor Saxophone, Bass Clarinet, Alto Flute, Bennie Maupin. 10:36 1:48:18 18.Herbie Hancock, “Nobu” = ノブ from Dedication = デディケーショ(1974 CBS/Sony). Fascinating recording because it is Hancock solo with an assortment of keyboards, including the Fender Rhodes and multiple ARP models. Piano, Fender Rhodes, Arp Pro Soloist, Arp Odyssey, Arp 3604, Arp 2600, Arp PE-IV String Ensemble, composed by Herbie Hancock; Engineer, Tomoo Suzuki; Producer, David Rubinson. 7:33 1:58:46 The analog synthesizer became a regular companion of the Fender Rhodes in jazz, leading up to the end of the 1970s. 19.Bobbi Humphrey, “My Little Girl” from Satin Doll (1974 Blue Note). The great jazz funk flutist Bobbi Humphrey released a series of albums around this time that often-featured fantastic synthesizer players. Here you can pick out the Minimoog by Don Preston and the ARP (Odyssey?) by Larry Mizell. The synths included here are in contrast to the more experimental sounds that Herbie Hancock was issuing at the same time. Flute, Vocals, Bobbi Humphrey; ARP Synthesizer, Larry Mizell; Minimoog, Don Preston; Bass, Chuck Rainey; Congas, King Errison; Drums, Harvey Mason; Electric Piano Fender Rhodes, Fonce Mizell, Larry Mizell; Guitar, John Rowin, Melvin "Wah Wah" Ragin; Percussion, Roger Sainte, Stephany Spruill; Piano, Jerry Peters; Produced by Chuck Davis, Larry Mizell; Trumpet, Fonce Mizell. 6:39 2:06:19 20.Ramsey Lewis, “Jungle Strut” from Sun Goddess (1974 Columbia). Another mainstream jazz artist who found many interesting sounds to accompany his electric piano. ARP, ARP Ensemble, Piano, Fender Rhodes, Wurlitzer electric piano, Ramsey Lewis; Congas, Drums, Derf Rehlew Raheem, Maurice Jennings; Electric Upright Bass Fender, Cleveland Eaton; Guitar, Byron Gregory; Synthesizer Freeman String, Ramsey Lewis; Tambura, Percussion, Maurice Jennings; Vocals, Derf Rehlew Raheem; Written by, R. Lewis. 4:40 2:12:54 21.  Ramsey Lewis, “Tambura” from Sun Goddess (1974 Columbia). ARP, ARP Ensemble, Piano, Fender Rhodes, Wurlitzer electric piano, Ramsey Lewis; Drums, Tambura, Congas, Percussion, Maurice Jennings; Electric Upright Bass Fender, Cleveland Eaton; Guitar, Byron Gregory; Written by R. Lewis. 2:52 2:17:32 22.Clark Ferguson, “Jazz Flute” from RMI Harmonic Synthesizer And Keyboard Computer (1974 Rocky Mount Instruments, Inc.). Not an instrument often used in jazz, so I turn to the company's demonstration album for a sample of this more advanced in the RMI keyboard family. RMI Harmonic Synthesizer, Clark Ferguson. 2:43 2:20:24 23.  Fernando Gelbard, “Sombrero De Flores” from Didi (1974 Discos Redonde). A straight-up jazz track from Argentine musicial Gelbard that features both the Fender Rhodes and the Minimoog. Fender Rhodes, Minimoog, Fernando Gelbard; Bass, Ricardo Salas; Congas, Vocals, Ruben Rada; Drums, Norberto Minichillo; Fender Rhodes, Minimoog, Fernando Gelbard; Percussion, Effects, Miguel "Chino" Rossi; Producer, Alberto M. Tsalpakian, Juan Carlos Maquieira; Tenor Saxophone, Horacio "Chivo" Borraro. 7:25 2:23:04 24.  Fernando Gelbard, “Mojo Uno” from Didi (1974 Discos Redonde). This track features an outrageously unique Minimoog part that is akin to something you would hear from Sun Ra. Fender Rhodes, Minimoog, Fernando Gelbard; Bass, Ricardo Salas; Congas, Vocals, Ruben Rada; Drums, Norberto Minichillo; Fender Rhodes, Minimoog, Fernando Gelbard; Percussion, Effects, Miguel "Chino" Rossi; Producer, Alberto M. Tsalpakian, Juan Carlos Maquieira; Tenor Saxophone, Horacio "Chivo" Borraro. 2:00 2:30:28 25.Jan Hammer “Darkness / Earth In Search Of A Sun” from The First Seven Days (1975 Atlantic). On this track you get to hear (I think) three different synthesizers all fit for Hammer's purpose, the solo Moog, Oberheim fills, and Freeman strings. Producer, Engineer, Piano, Electric Piano, Moog, Oberheim, and the Freeman string synthesizer; digital sequencer, Drums, Percussion, Composed by, Jan Hammer. 4:29 2:32:26 26.Larry Young's Fuel, “Moonwalk” from Spaceball (1976 Arista). CDX-0652 Portable Moog Organ, Minimoog , FRM-S810 Freeman String Symphonizer, Organ Hammond B-3, Fender Rhodes, Piano, Larry Young Jr.; Bass Rickenbacker, Dave Eubanks; Hohner Clavinet , Piano, Minimoog, Julius Brockington; Drums Ludwig Drums, Zildgian Cymbals, Percussion, Jim Allington; Guest Special Guest Star, Larry Coryell; Guitar, Danny Toan, Ray Gomez; Percussion, Abdoul Hakim, Barrett Young, Clifford Brown, Farouk; Producer, Terry Philips; Tenor Saxophone Selmer, Soprano Saxophone Selmer, Flute Armstrong, Vocals, Al Lockett; Vocals, Paula West. 5:32 2:36:52 27.Larry Young's Fuel, “Startripper” from Spaceball (1976 Arista). CDX-0652 Portable Moog Organ, Minimoog , FRM-S810 Freeman String Symphonizer, Organ Hammond B-3, Fender Rhodes, Piano, Larry Young Jr.; Bass Rickenbacker, Dave Eubanks; Hohner Clavinet , Piano, Minimoog, Julius Brockington; Drums Ludwig Drums, Zildgian Cymbals, Percussion, Jim Allington; Guest Special Guest Star, Larry Coryell; Guitar, Danny Toan, Ray Gomez; Percussion, Abdoul Hakim, Barrett Young, Clifford Brown, Farouk; Producer, Terry Philips; Tenor Saxophone Selmer, Soprano Saxophone Selmer, Flute Armstrong, Vocals, Al Lockett; Vocals, Paula West. 4:44 2:42:22 28.Wolfgang Dauner, “Stück Für Piano Und Synthesizer Op. 1” from Changes (1978 Mood Records). Dauner is one of the only jazz players to utilize the massive EMS Synthi 100. Written, produced, recorded, Steinway C-Flügel piano, EMS Synthi 100, Oberheim 4 Voice Polyphonic Synthesizer, Wolfgang Dauner. 9:51 2:47:04 29.Wolfgang Dauner, “War Was, Carl?” from Grandison - Musik Für Einen Film (1979 Zweitausendeins). More analog synthesizer jazz from Germany. C-flute, Alt-flute, Baß-flute, Manfred Hoffbauer; Oboe, English Horn, Hanspeter Weber; Percussion, Drums,  Jörg Gebhard; Piano, Synthesizer, Percussion, Conductor, Wolfgang Dauner. 1:12 2:56:54 30.Wolfgang Dauner, “Intellektuelles Skalpell” from Grandison - Musik Für Einen Film (1979 Zweitausendeins). C-flute, Alt-flute, Baß-flute, Manfred Hoffbauer; Oboe, English Horn, Hanspeter Weber; Percussion, Drums,  Jörg Gebhard; Piano, Synthesizer, Percussion, Conductor, Wolfgang Dauner. 1:26 2:58:06   Opening background music: 1) Sun Ra And His Astro-Intergalactic-Infinity-Arkestra,' “The Light Thereof” from Live In Egypt Vol. I (Nature's God) (Dark Myth Equation Visitation) (1972 Thoth Intergalactic) (5:14). Farfisa organ playing from Sun Ra. 2) Oliver Nelson and Steve Allen, “Green Tambourine” from Soulful Brass (1968 Impulse) (2:28). Steve Allen plays the Rock-Si-Chord. 3) Oliver Nelson and Steve Allen, “Torino” from Soulful Brass (1968 Impulse) (2:02). Steve Allen plays the Rock-Si-Chord. Opening and closing sequences voiced by Anne Benkovitz. Additional opening, closing, and other incidental music by Thom Holmes. See my companion blog that I write for the Bob Moog Foundation. For a transcript, please see my blog, Noise and Notations. I created an illustrated chart of all of the instruments included in this podcast, paying special attention to the expressive features that could be easily adopted by jazz musicians. You can view it on my blog, Noise and Notations.  

Mike Brignardello is an award winning bassist who has been a staple of the Nashville recording scene for over four decades. He was also a founding member of the melodic hard rock outfit Giant. Mike's discography is vast with credits ranging from Dolly Parton to Travis Tritt and everyone in between.    Some Things That Came Up:  -1:30 Gold Records -5:20 Stax Records and American Music Label in Memphis  -8:50 Born in Cuba. Started bass at 16  -10:10 Bass Duet with Chuck Rainey  -13:30 Intuition-Execution-Expectation -14:00 The Nashville pace!  -18:30 Cohesion, Intentionality and Technology -24:00 5-20 players that become family  -25:00 14,600+ days of recording in Nashville  -27:40 Meeting and working with Dann Huff -31:45 GIANT was the final push to be in a band  -36:00 Studio Musicians Academy Podcast with Miles and Gio -47:10 10,000 hours is a good START  -47:50 Amy Grant hires the Degarmo+Key band and records two live records -49:15 The Grooveyard band  -51:20 Gear and Pedals  -55:00 Standout career tracks  -57:20 The Fave 5  -64:30 Contact Mike via youtube.com/mikebrignardello -66:30 “Everybody Loves Me” book by Lee Sklar  -68:30 Family Name Origins  -71:00 Location Inspires Opportunity    Follow:  youtube.com/mikebrignardello      The Rich Redmond Show is about all things music, motivation and success. Candid conversations with musicians, actors, comedians, authors and thought leaders about their lives and the stories that shaped them. Rich Redmond is the longtime drummer with Jason Aldean and many other veteran musicians and artists. Rich is also an actor, speaker, author, producer and educator. Rich has been heard on thousands of songs, over 25 of which have been #1 hits!   Rich can also be seen in several films and TV shows and has also written an Amazon Best-Selling book, "CRASH! Course for Success: 5 Ways to Supercharge Your Personal and Professional Life" currently available at:   https://www.amazon.com/CRASH-Course-Success-Supercharge-Professional/dp/B07YTCG5DS/ref=sr_1_1?keywords=crash+redmond&qid=1576602865&sr=8-1   One Book: Three Ways to consume....Physical (delivered to your front door, Digital (download to your kindle, ipad or e-reader), or Audio (read to you by me on your device...on the go)!   Buy Rich's exact gear at www.lessonsquad.com/rich-redmond   Follow Rich: @richredmond www.richredmond.com   Jim McCarthy is the quintessential Blue Collar Voice Guy. Honing his craft since 1996 with radio stations in Illinois, South Carolina, Connecticut, New York, Las Vegas and Nashville, Jim has voiced well over 10,000 pieces since and garnered an ear for audio production which he now uses for various podcasts, commercials and promos. Jim is also an accomplished video producer, content creator, writer and overall entrepreneur.   Follow Jim:   @jimmccarthy www.jimmccarthyvoiceovers.com

Tonight's Jazz Feature is a suite in 6 movements written by the late Gary McFarland and it's titled "America The Beautiful: An Account of It's Disappearance". McFarland wrote this music in 1968 over deep concerns about his beloved America which was in that year in turmoil...race riots, assassinations, the Vietnam War plus the wanton destruction of the environment manifested by endless shopping malls, tract housing, garbage strewn everywhere and unmitigated greed. This suite is McFarland's protest of all of these happenings. However it is not an angry suite but more a lament for what was happening to the nation. It is an orchestral piece with the odd solo movements and played by first call New York musicians such as trumpeters, Marvin Stamm, Snooky Young and reed masters like Jerome Richardson, Romeo Penque, pianist Warren Bernhardt, guitarist Eric Gayle, bassist Jerry Jemmott and Chuck Rainey and drummer Bernard Purdie to name but a few. The music of Gary McFarland and his "America The Beautiful" suite is tonight's special Jazz Feature.

Episode 168 of A History of Rock Music in Five Hundred Songs looks at “I Say a Little Prayer”, and the interaction of the sacred, political, and secular in Aretha Franklin's life and work. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a forty-five-minute bonus episode available, on "Abraham, Martin, and John" by Dion. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Resources No Mixcloud this week, as there are too many songs by Aretha Franklin. Even splitting it into multiple parts would have required six or seven mixes. My main biographical source for Aretha Franklin is Respect: The Life of Aretha Franklin by David Ritz, and this is where most of the quotes from musicians come from. Information on C.L. Franklin came from Singing in a Strange Land: C. L. Franklin, the Black Church, and the Transformation of America by Nick Salvatore. Country Soul by Charles L Hughes is a great overview of the soul music made in Muscle Shoals, Memphis, and Nashville in the sixties. Peter Guralnick's Sweet Soul Music: Rhythm And Blues And The Southern Dream Of Freedom is possibly less essential, but still definitely worth reading. Information about Martin Luther King came from Martin Luther King: A Religious Life by Paul Harvey. I also referred to Burt Bacharach's autobiography Anyone Who Had a Heart, Carole King's autobiography A Natural Woman, and Soul Serenade: King Curtis and his Immortal Saxophone by Timothy R. Hoover. For information about Amazing Grace I also used Aaron Cohen's 33 1/3 book on the album. The film of the concerts is also definitely worth watching. And the Aretha Now album is available in this five-album box set for a ludicrously cheap price. But it's actually worth getting this nineteen-CD set with her first sixteen Atlantic albums and a couple of bonus discs of demos and outtakes. There's barely a duff track in the whole nineteen discs. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript A quick warning before I begin. This episode contains some moderate references to domestic abuse, death by cancer, racial violence, police violence, and political assassination. Anyone who might be upset by those subjects might want to check the transcript rather than listening to the episode. Also, as with the previous episode on Aretha Franklin, this episode presents something of a problem. Like many people in this narrative, Franklin's career was affected by personal troubles, which shaped many of her decisions. But where most of the subjects of the podcast have chosen to live their lives in public and share intimate details of every aspect of their personal lives, Franklin was an extremely private person, who chose to share only carefully sanitised versions of her life, and tried as far as possible to keep things to herself. This of course presents a dilemma for anyone who wants to tell her story -- because even though the information is out there in biographies, and even though she's dead, it's not right to disrespect someone's wish for a private life. I have therefore tried, wherever possible, to stay away from talk of her personal life except where it *absolutely* affects the work, or where other people involved have publicly shared their own stories, and even there I've tried to keep it to a minimum. This will occasionally lead to me saying less about some topics than other people might, even though the information is easily findable, because I don't think we have an absolute right to invade someone else's privacy for entertainment. When we left Aretha Franklin, she had just finally broken through into the mainstream after a decade of performing, with a version of Otis Redding's song "Respect" on which she had been backed by her sisters, Erma and Carolyn. "Respect", in Franklin's interpretation, had been turned from a rather chauvinist song about a man demanding respect from his woman into an anthem of feminism, of Black power, and of a new political awakening. For white people of a certain generation, the summer of 1967 was "the summer of love". For many Black people, it was rather different. There's a quote that goes around (I've seen it credited in reliable sources to both Ebony and Jet magazine, but not ever seen an issue cited, so I can't say for sure where it came from) saying that the summer of 67 was the summer of "'retha, Rap, and revolt", referring to the trifecta of Aretha Franklin, the Black power leader Jamil Abdullah al-Amin (who was at the time known as H. Rap Brown, a name he later disclaimed) and the rioting that broke out in several major cities, particularly in Detroit: [Excerpt: John Lee Hooker, "The Motor City is Burning"] The mid sixties were, in many ways, the high point not of Black rights in the US -- for the most part there has been a lot of progress in civil rights in the intervening decades, though not without inevitable setbacks and attacks from the far right, and as movements like the Black Lives Matter movement have shown there is still a long way to go -- but of *hope* for Black rights. The moral force of the arguments made by the civil rights movement were starting to cause real change to happen for Black people in the US for the first time since the Reconstruction nearly a century before. But those changes weren't happening fast enough, and as we heard in the episode on "I Was Made to Love Her", there was not only a growing unrest among Black people, but a recognition that it was actually possible for things to change. A combination of hope and frustration can be a powerful catalyst, and whether Franklin wanted it or not, she was at the centre of things, both because of her newfound prominence as a star with a hit single that couldn't be interpreted as anything other than a political statement and because of her intimate family connections to the struggle. Even the most racist of white people these days pays lip service to the memory of Dr Martin Luther King, and when they do they quote just a handful of sentences from one speech King made in 1963, as if that sums up the full theological and political philosophy of that most complex of men. And as we discussed the last time we looked at Aretha Franklin, King gave versions of that speech, the "I Have a Dream" speech, twice. The most famous version was at the March on Washington, but the first time was a few weeks earlier, at what was at the time the largest civil rights demonstration in American history, in Detroit. Aretha's family connection to that event is made clear by the very opening of King's speech: [Excerpt: Martin Luther King, "Original 'I Have a Dream' Speech"] So as summer 1967 got into swing, and white rock music was going to San Francisco to wear flowers in its hair, Aretha Franklin was at the centre of a very different kind of youth revolution. Franklin's second Atlantic album, Aretha Arrives, brought in some new personnel to the team that had recorded Aretha's first album for Atlantic. Along with the core Muscle Shoals players Jimmy Johnson, Spooner Oldham, Tommy Cogbill and Roger Hawkins, and a horn section led by King Curtis, Wexler and Dowd also brought in guitarist Joe South. South was a white session player from Georgia, who had had a few minor hits himself in the fifties -- he'd got his start recording a cover version of "The Purple People Eater Meets the Witch Doctor", the Big Bopper's B-side to "Chantilly Lace": [Excerpt: Joe South, "The Purple People Eater Meets the Witch Doctor"] He'd also written a few songs that had been recorded by people like Gene Vincent, but he'd mostly become a session player. He'd become a favourite musician of Bob Johnston's, and so he'd played guitar on Simon and Garfunkel's Sounds of Silence and Parsley, Sage, Rosemary and Thyme albums: [Excerpt: Simon and Garfunkel, "I am a Rock"] and bass on Bob Dylan's Blonde on Blonde, with Al Kooper particularly praising his playing on "Visions of Johanna": [Excerpt: Bob Dylan, "Visions of Johanna"] South would be the principal guitarist on this and Franklin's next album, before his own career took off in 1968 with "Games People Play": [Excerpt: Joe South, "Games People Play"] At this point, he had already written the other song he's best known for, "Hush", which later became a hit for Deep Purple: [Excerpt: Deep Purple, "Hush"] But he wasn't very well known, and was surprised to get the call for the Aretha Franklin session, especially because, as he put it "I was white and I was about to play behind the blackest genius since Ray Charles" But Jerry Wexler had told him that Franklin didn't care about the race of the musicians she played with, and South settled in as soon as Franklin smiled at him when he played a good guitar lick on her version of the blues standard "Going Down Slow": [Excerpt: Aretha Franklin, "Going Down Slow"] That was one of the few times Franklin smiled in those sessions though. Becoming an overnight success after years of trying and failing to make a name for herself had been a disorienting experience, and on top of that things weren't going well in her personal life. Her marriage to her manager Ted White was falling apart, and she was performing erratically thanks to the stress. In particular, at a gig in Georgia she had fallen off the stage and broken her arm. She soon returned to performing, but it meant she had problems with her right arm during the recording of the album, and didn't play as much piano as she would have previously -- on some of the faster songs she played only with her left hand. But the recording sessions had to go on, whether or not Aretha was physically capable of playing piano. As we discussed in the episode on Otis Redding, the owners of Atlantic Records were busily negotiating its sale to Warner Brothers in mid-1967. As Wexler said later “Everything in me said, Keep rolling, keep recording, keep the hits coming. She was red hot and I had no reason to believe that the streak wouldn't continue. I knew that it would be foolish—and even irresponsible—not to strike when the iron was hot. I also had personal motivation. A Wall Street financier had agreed to see what we could get for Atlantic Records. While Ahmet and Neshui had not agreed on a selling price, they had gone along with my plan to let the financier test our worth on the open market. I was always eager to pump out hits, but at this moment I was on overdrive. In this instance, I had a good partner in Ted White, who felt the same. He wanted as much product out there as possible." In truth, you can tell from Aretha Arrives that it's a record that was being thought of as "product" rather than one being made out of any kind of artistic impulse. It's a fine album -- in her ten-album run from I Never Loved a Man the Way I Love You through Amazing Grace there's not a bad album and barely a bad track -- but there's a lack of focus. There are only two originals on the album, neither of them written by Franklin herself, and the rest is an incoherent set of songs that show the tension between Franklin and her producers at Atlantic. Several songs are the kind of standards that Franklin had recorded for her old label Columbia, things like "You Are My Sunshine", or her version of "That's Life", which had been a hit for Frank Sinatra the previous year: [Excerpt: Aretha Franklin, "That's Life"] But mixed in with that are songs that are clearly the choice of Wexler. As we've discussed previously in episodes on Otis Redding and Wilson Pickett, at this point Atlantic had the idea that it was possible for soul artists to cross over into the white market by doing cover versions of white rock hits -- and indeed they'd had some success with that tactic. So while Franklin was suggesting Sinatra covers, Atlantic's hand is visible in the choices of songs like "(I Can't Get No) Satisfaction" and "96 Tears": [Excerpt: Aretha Franklin, "96 Tears'] Of the two originals on the album, one, the hit single "Baby I Love You" was written by Ronnie Shannon, the Detroit songwriter who had previously written "I Never Loved a Man (the Way I Love You)": [Excerpt: Aretha Franklin, "Baby I Love You"] As with the previous album, and several other songs on this one, that had backing vocals by Aretha's sisters, Erma and Carolyn. But the other original on the album, "Ain't Nobody (Gonna Turn Me Around)", didn't, even though it was written by Carolyn: [Excerpt: Aretha Franklin, "Ain't Nobody (Gonna Turn Me Around)"] To explain why, let's take a little detour and look at the co-writer of the song this episode is about, though we're not going to get to that for a little while yet. We've not talked much about Burt Bacharach in this series so far, but he's one of those figures who has come up a few times in the periphery and will come up again, so here is as good a time as any to discuss him, and bring everyone up to speed about his career up to 1967. Bacharach was one of the more privileged figures in the sixties pop music field. His father, Bert Bacharach (pronounced the same as his son, but spelled with an e rather than a u) had been a famous newspaper columnist, and his parents had bought him a Steinway grand piano to practice on -- they pushed him to learn the piano even though as a kid he wasn't interested in finger exercises and Debussy. What he was interested in, though, was jazz, and as a teenager he would often go into Manhattan and use a fake ID to see people like Dizzy Gillespie, who he idolised, and in his autobiography he talks rapturously of seeing Gillespie playing his bent trumpet -- he once saw Gillespie standing on a street corner with a pet monkey on his shoulder, and went home and tried to persuade his parents to buy him a monkey too. In particular, he talks about seeing the Count Basie band with Sonny Payne on drums as a teenager: [Excerpt: Count Basie, "Kid From Red Bank"] He saw them at Birdland, the club owned by Morris Levy where they would regularly play, and said of the performance "they were just so incredibly exciting that all of a sudden, I got into music in a way I never had before. What I heard in those clubs really turned my head around— it was like a big breath of fresh air when somebody throws open a window. That was when I knew for the first time how much I loved music and wanted to be connected to it in some way." Of course, there's a rather major problem with this story, as there is so often with narratives that musicians tell about their early career. In this case, Birdland didn't open until 1949, when Bacharach was twenty-one and stationed in Germany for his military service, while Sonny Payne didn't join Basie's band until 1954, when Bacharach had been a professional musician for many years. Also Dizzy Gillespie's trumpet bell only got bent on January 6, 1953. But presumably while Bacharach was conflating several memories, he did have some experience in some New York jazz club that led him to want to become a musician. Certainly there were enough great jazz musicians playing the clubs in those days. He went to McGill University to study music for two years, then went to study with Darius Milhaud, a hugely respected modernist composer. Milhaud was also one of the most important music teachers of the time -- among others he'd taught Stockhausen and Xenakkis, and would go on to teach Philip Glass and Steve Reich. This suited Bacharach, who by this point was a big fan of Schoenberg and Webern, and was trying to write atonal, difficult music. But Milhaud had also taught Dave Brubeck, and when Bacharach rather shamefacedly presented him with a composition which had an actual tune, he told Bacharach "Never be ashamed of writing a tune you can whistle". He dropped out of university and, like most men of his generation, had to serve in the armed forces. When he got out of the army, he continued his musical studies, still trying to learn to be an avant-garde composer, this time with Bohuslav Martinů and later with Henry Cowell, the experimental composer we've heard about quite a bit in previous episodes: [Excerpt: Henry Cowell, "Aeolian Harp and Sinister Resonance"] He was still listening to a lot of avant garde music, and would continue doing so throughout the fifties, going to see people like John Cage. But he spent much of that time working in music that was very different from the avant-garde. He got a job as the band leader for the crooner Vic Damone: [Excerpt: Vic Damone. "Ebb Tide"] He also played for the vocal group the Ames Brothers. He decided while he was working with the Ames Brothers that he could write better material than they were getting from their publishers, and that it would be better to have a job where he didn't have to travel, so he got himself a job as a staff songwriter in the Brill Building. He wrote a string of flops and nearly hits, starting with "Keep Me In Mind" for Patti Page: [Excerpt: Patti Page, "Keep Me In Mind"] From early in his career he worked with the lyricist Hal David, and the two of them together wrote two big hits, "Magic Moments" for Perry Como: [Excerpt: Perry Como, "Magic Moments"] and "The Story of My Life" for Marty Robbins: [Excerpt: "The Story of My Life"] But at that point Bacharach was still also writing with other writers, notably Hal David's brother Mack, with whom he wrote the theme tune to the film The Blob, as performed by The Five Blobs: [Excerpt: The Five Blobs, "The Blob"] But Bacharach's songwriting career wasn't taking off, and he got himself a job as musical director for Marlene Dietrich -- a job he kept even after it did start to take off.  Part of the problem was that he intuitively wrote music that didn't quite fit into standard structures -- there would be odd bars of unusual time signatures thrown in, unusual harmonies, and structural irregularities -- but then he'd take feedback from publishers and producers who would tell him the song could only be recorded if he straightened it out. He said later "The truth is that I ruined a lot of songs by not believing in myself enough to tell these guys they were wrong." He started writing songs for Scepter Records, usually with Hal David, but also with Bob Hilliard and Mack David, and started having R&B hits. One song he wrote with Mack David, "I'll Cherish You", had the lyrics rewritten by Luther Dixon to make them more harsh-sounding for a Shirelles single -- but the single was otherwise just Bacharach's demo with the vocals replaced, and you can even hear his voice briefly at the beginning: [Excerpt: The Shirelles, "Baby, It's You"] But he'd also started becoming interested in the production side of records more generally. He'd iced that some producers, when recording his songs, would change the sound for the worse -- he thought Gene McDaniels' version of "Tower of Strength", for example, was too fast. But on the other hand, other producers got a better sound than he'd heard in his head. He and Hilliard had written a song called "Please Stay", which they'd given to Leiber and Stoller to record with the Drifters, and he thought that their arrangement of the song was much better than the one he'd originally thought up: [Excerpt: The Drifters, "Please Stay"] He asked Leiber and Stoller if he could attend all their New York sessions and learn about record production from them. He started doing so, and eventually they started asking him to assist them on records. He and Hilliard wrote a song called "Mexican Divorce" for the Drifters, which Leiber and Stoller were going to produce, and as he put it "they were so busy running Redbird Records that they asked me to rehearse the background singers for them in my office." [Excerpt: The Drifters, "Mexican Divorce"] The backing singers who had been brought in to augment the Drifters on that record were a group of vocalists who had started out as members of a gospel group called the Drinkard singers: [Excerpt: The Drinkard Singers, "Singing in My Soul"] The Drinkard Singers had originally been a family group, whose members included Cissy Drinkard, who joined the group aged five (and who on her marriage would become known as Cissy Houston -- her daughter Whitney would later join the family business), her aunt Lee Warrick, and Warrick's adopted daughter Judy Clay. That group were discovered by the great gospel singer Mahalia Jackson, and spent much of the fifties performing with gospel greats including Jackson herself, Clara Ward, and Sister Rosetta Tharpe. But Houston was also the musical director of a group at her church, the Gospelaires, which featured Lee Warrick's two daughters Dionne and Dee Dee Warwick (for those who don't know, the Warwick sisters' birth name was Warrick, spelled with two rs. A printing error led to it being misspelled the same way as the British city on a record label, and from that point on Dionne at least pronounced the w in her misspelled name). And slowly, the Gospelaires rather than the Drinkard Singers became the focus, with a lineup of Houston, the Warwick sisters, the Warwick sisters' cousin Doris Troy, and Clay's sister Sylvia Shemwell. The real change in the group's fortunes came when, as we talked about a while back in the episode on "The Loco-Motion", the original lineup of the Cookies largely stopped working as session singers to become Ray Charles' Raelettes. As we discussed in that episode, a new lineup of Cookies formed in 1961, but it took a while for them to get started, and in the meantime the producers who had been relying on them for backing vocals were looking elsewhere, and they looked to the Gospelaires. "Mexican Divorce" was the first record to feature the group as backing vocalists -- though reports vary as to how many of them are on the record, with some saying it's only Troy and the Warwicks, others saying Houston was there, and yet others saying it was all five of them. Some of these discrepancies were because these singers were so good that many of them left to become solo singers in fairly short order. Troy was the first to do so, with her hit "Just One Look", on which the other Gospelaires sang backing vocals: [Excerpt: Doris Troy, "Just One Look"] But the next one to go solo was Dionne Warwick, and that was because she'd started working with Bacharach and Hal David as their principal demo singer. She started singing lead on their demos, and hoping that she'd get to release them on her own. One early one was "Make it Easy On Yourself", which was recorded by Jerry Butler, formerly of the Impressions. That record was produced by Bacharach, one of the first records he produced without outside supervision: [Excerpt: Jerry Butler, "Make it Easy On Yourself"] Warwick was very jealous that a song she'd sung the demo of had become a massive hit for someone else, and blamed Bacharach and David. The way she tells the story -- Bacharach always claimed this never happened, but as we've already seen he was himself not always the most reliable of narrators of his own life -- she got so angry she complained to them, and said "Don't make me over, man!" And so Bacharach and David wrote her this: [Excerpt: Dionne Warwick, "Don't Make Me Over"] Incidentally, in the UK, the hit version of that was a cover by the Swinging Blue Jeans: [Excerpt: The Swinging Blue Jeans, "Don't Make Me Over"] who also had a huge hit with "You're No Good": [Excerpt: The Swinging Blue Jeans, "You're No Good"] And *that* was originally recorded by *Dee Dee* Warwick: [Excerpt: Dee Dee Warwick, "You're No Good"] Dee Dee also had a successful solo career, but Dionne's was the real success, making the names of herself, and of Bacharach and David. The team had more than twenty top forty hits together, before Bacharach and David had a falling out in 1971 and stopped working together, and Warwick sued both of them for breach of contract as a result. But prior to that they had hit after hit, with classic records like "Anyone Who Had a Heart": [Excerpt: Dionne Warwick, "Anyone Who Had a Heart"] And "Walk On By": [Excerpt: Dionne Warwick, "Walk On By"] With Doris, Dionne, and Dee Dee all going solo, the group's membership was naturally in flux -- though the departed members would occasionally join their former bandmates for sessions, and the remaining members would sing backing vocals on their ex-members' records. By 1965 the group consisted of Cissy Houston, Sylvia Shemwell, the Warwick sisters' cousin Myrna Smith, and Estelle Brown. The group became *the* go-to singers for soul and R&B records made in New York. They were regularly hired by Leiber and Stoller to sing on their records, and they were also the particular favourites of Bert Berns. They sang backing vocals on almost every record he produced. It's them doing the gospel wails on "Cry Baby" by Garnet Mimms: [Excerpt: Garnet Mimms, "Cry Baby"] And they sang backing vocals on both versions of "If You Need Me" -- Wilson Pickett's original and Solomon Burke's more successful cover version, produced by Berns: [Excerpt: Solomon Burke, "If You Need Me"] They're on such Berns records as "Show Me Your Monkey", by Kenny Hamber: [Excerpt: Kenny Hamber, "Show Me Your Monkey"] And it was a Berns production that ended up getting them to be Aretha Franklin's backing group. The group were becoming such an important part of the records that Atlantic and BANG Records, in particular, were putting out, that Jerry Wexler said "it was only a matter of common decency to put them under contract as a featured group". He signed them to Atlantic and renamed them from the Gospelaires to The Sweet Inspirations.  Dan Penn and Spooner Oldham wrote a song for the group which became their only hit under their own name: [Excerpt: The Sweet Inspirations, "Sweet Inspiration"] But to start with, they released a cover of Pops Staples' civil rights song "Why (Am I treated So Bad)": [Excerpt: The Sweet Inspirations, "Why (Am I Treated So Bad?)"] That hadn't charted, and meanwhile, they'd all kept doing session work. Cissy had joined Erma and Carolyn Franklin on the backing vocals for Aretha's "I Never Loved a Man the Way I Love You": [Excerpt: Aretha Franklin, "I Never Loved a Man the Way I Love You"] Shortly after that, the whole group recorded backing vocals for Erma's single "Piece of My Heart", co-written and produced by Berns: [Excerpt: Erma Franklin, "Piece of My Heart"] That became a top ten record on the R&B charts, but that caused problems. Aretha Franklin had a few character flaws, and one of these was an extreme level of jealousy for any other female singer who had any level of success and came up in the business after her. She could be incredibly graceful towards anyone who had been successful before her -- she once gave one of her Grammies away to Esther Phillips, who had been up for the same award and had lost to her -- but she was terribly insecure, and saw any contemporary as a threat. She'd spent her time at Columbia Records fuming (with some justification) that Barbra Streisand was being given a much bigger marketing budget than her, and she saw Diana Ross, Gladys Knight, and Dionne Warwick as rivals rather than friends. And that went doubly for her sisters, who she was convinced should be supporting her because of family loyalty. She had been infuriated at John Hammond when Columbia had signed Erma, thinking he'd gone behind her back to create competition for her. And now Erma was recording with Bert Berns. Bert Berns who had for years been a colleague of Jerry Wexler and the Ertegun brothers at Atlantic. Aretha was convinced that Wexler had put Berns up to signing Erma as some kind of power play. There was only one problem with this -- it simply wasn't true. As Wexler later explained “Bert and I had suffered a bad falling-out, even though I had enormous respect for him. After all, he was the guy who brought over guitarist Jimmy Page from England to play on our sessions. Bert, Ahmet, Nesuhi, and I had started a label together—Bang!—where Bert produced Van Morrison's first album. But Bert also had a penchant for trouble. He courted the wise guys. He wanted total control over every last aspect of our business dealings. Finally it was too much, and the Erteguns and I let him go. He sued us for breach of contract and suddenly we were enemies. I felt that he signed Erma, an excellent singer, not merely for her talent but as a way to get back at me. If I could make a hit with Aretha, he'd show me up by making an even bigger hit on Erma. Because there was always an undercurrent of rivalry between the sisters, this only added to the tension.” There were two things that resulted from this paranoia on Aretha's part. The first was that she and Wexler, who had been on first-name terms up to that point, temporarily went back to being "Mr. Wexler" and "Miss Franklin" to each other. And the second was that Aretha no longer wanted Carolyn and Erma to be her main backing vocalists, though they would continue to appear on her future records on occasion. From this point on, the Sweet Inspirations would be the main backing vocalists for Aretha in the studio throughout her golden era [xxcut line (and when the Sweet Inspirations themselves weren't on the record, often it would be former members of the group taking their place)]: [Excerpt: Aretha Franklin, "Ain't Nobody (Gonna Turn Me Around)"] The last day of sessions for Aretha Arrives was July the twenty-third, 1967. And as we heard in the episode on "I Was Made to Love Her", that was the day that the Detroit riots started. To recap briefly, that was four days of rioting started because of a history of racist policing, made worse by those same racist police overreacting to the initial protests. By the end of those four days, the National Guard, 82nd Airborne Division, and the 101st Airborne from Clarksville were all called in to deal with the violence, which left forty-three dead (of whom thirty-three were Black and only one was a police officer), 1,189 people were injured, and over 7,200 arrested, almost all of them Black. Those days in July would be a turning point for almost every musician based in Detroit. In particular, the police had murdered three members of the soul group the Dramatics, in a massacre of which the author John Hersey, who had been asked by President Johnson to be part of the National Advisory Commission on Civil Disorders but had decided that would compromise his impartiality and did an independent journalistic investigation, said "The episode contained all the mythic themes of racial strife in the United States: the arm of the law taking the law into its own hands; interracial sex; the subtle poison of racist thinking by “decent” men who deny they are racists; the societal limbo into which, ever since slavery, so many young black men have been driven by our country; ambiguous justice in the courts; and the devastation in both black and white human lives that follows in the wake of violence as surely as ruinous and indiscriminate flood after torrents" But these were also the events that radicalised the MC5 -- the group had been playing a gig as Tim Buckley's support act when the rioting started, and guitarist Wayne Kramer decided afterwards to get stoned and watch the fires burning down the city through a telescope -- which police mistook for a rifle, leading to the National Guard knocking down Kramer's door. The MC5 would later cover "The Motor City is Burning", John Lee Hooker's song about the events: [Excerpt: The MC5, "The Motor City is Burning"] It would also be a turning point for Motown, too, in ways we'll talk about in a few future episodes.  And it was a political turning point too -- Michigan Governor George Romney, a liberal Republican (at a time when such people existed) had been the favourite for the Republican Presidential candidacy when he'd entered the race in December 1966, but as racial tensions ramped up in Detroit during the early months of 1967 he'd started trailing Richard Nixon, a man who was consciously stoking racists' fears. President Johnson, the incumbent Democrat, who was at that point still considering standing for re-election, made sure to make it clear to everyone during the riots that the decision to call in the National Guard had been made at the State level, by Romney, rather than at the Federal level.  That wasn't the only thing that removed the possibility of a Romney presidency, but it was a big part of the collapse of his campaign, and the, as it turned out, irrevocable turn towards right-authoritarianism that the party took with Nixon's Southern Strategy. Of course, Aretha Franklin had little way of knowing what was to come and how the riots would change the city and the country over the following decades. What she was primarily concerned about was the safety of her father, and to a lesser extent that of her sister-in-law Earline who was staying with him. Aretha, Carolyn, and Erma all tried to keep in constant touch with their father while they were out of town, and Aretha even talked about hiring private detectives to travel to Detroit, find her father, and get him out of the city to safety. But as her brother Cecil pointed out, he was probably the single most loved man among Black people in Detroit, and was unlikely to be harmed by the rioters, while he was too famous for the police to kill with impunity. Reverend Franklin had been having a stressful time anyway -- he had recently been fined for tax evasion, an action he was convinced the IRS had taken because of his friendship with Dr King and his role in the civil rights movement -- and according to Cecil "Aretha begged Daddy to move out of the city entirely. She wanted him to find another congregation in California, where he was especially popular—or at least move out to the suburbs. But he wouldn't budge. He said that, more than ever, he was needed to point out the root causes of the riots—the economic inequality, the pervasive racism in civic institutions, the woefully inadequate schools in inner-city Detroit, and the wholesale destruction of our neighborhoods by urban renewal. Some ministers fled the city, but not our father. The horror of what happened only recommitted him. He would not abandon his political agenda." To make things worse, Aretha was worried about her father in other ways -- as her marriage to Ted White was starting to disintegrate, she was looking to her father for guidance, and actually wanted him to take over her management. Eventually, Ruth Bowen, her booking agent, persuaded her brother Cecil that this was a job he could do, and that she would teach him everything he needed to know about the music business. She started training him up while Aretha was still married to White, in the expectation that that marriage couldn't last. Jerry Wexler, who only a few months earlier had been seeing Ted White as an ally in getting "product" from Franklin, had now changed his tune -- partly because the sale of Atlantic had gone through in the meantime. He later said “Sometimes she'd call me at night, and, in that barely audible little-girl voice of hers, she'd tell me that she wasn't sure she could go on. She always spoke in generalities. She never mentioned her husband, never gave me specifics of who was doing what to whom. And of course I knew better than to ask. She just said that she was tired of dealing with so much. My heart went out to her. She was a woman who suffered silently. She held so much in. I'd tell her to take as much time off as she needed. We had a lot of songs in the can that we could release without new material. ‘Oh, no, Jerry,' she'd say. ‘I can't stop recording. I've written some new songs, Carolyn's written some new songs. We gotta get in there and cut 'em.' ‘Are you sure?' I'd ask. ‘Positive,' she'd say. I'd set up the dates and typically she wouldn't show up for the first or second sessions. Carolyn or Erma would call me to say, ‘Ree's under the weather.' That was tough because we'd have asked people like Joe South and Bobby Womack to play on the sessions. Then I'd reschedule in the hopes she'd show." That third album she recorded in 1967, Lady Soul, was possibly her greatest achievement. The opening track, and second single, "Chain of Fools", released in November, was written by Don Covay -- or at least it's credited as having been written by Covay. There's a gospel record that came out around the same time on a very small label based in Houston -- "Pains of Life" by Rev. E. Fair And The Sensational Gladys Davis Trio: [Excerpt: Rev. E. Fair And The Sensational Gladys Davis Trio, "Pains of Life"] I've seen various claims online that that record came out shortly *before* "Chain of Fools", but I can't find any definitive evidence one way or the other -- it was on such a small label that release dates aren't available anywhere. Given that the B-side, which I haven't been able to track down online, is called "Wait Until the Midnight Hour", my guess is that rather than this being a case of Don Covay stealing the melody from an obscure gospel record he'd have had little chance to hear, it's the gospel record rewriting a then-current hit to be about religion, but I thought it worth mentioning. The song was actually written by Covay after Jerry Wexler asked him to come up with some songs for Otis Redding, but Wexler, after hearing it, decided it was better suited to Franklin, who gave an astonishing performance: [Excerpt: Aretha Franklin, "Chain of Fools"] Arif Mardin, the arranger of the album, said of that track “I was listed as the arranger of ‘Chain of Fools,' but I can't take credit. Aretha walked into the studio with the chart fully formed inside her head. The arrangement is based around the harmony vocals provided by Carolyn and Erma. To add heft, the Sweet Inspirations joined in. The vision of the song is entirely Aretha's.” According to Wexler, that's not *quite* true -- according to him, Joe South came up with the guitar part that makes up the intro, and he also said that when he played what he thought was the finished track to Ellie Greenwich, she came up with another vocal line for the backing vocals, which she overdubbed. But the core of the record's sound is definitely pure Aretha -- and Carolyn Franklin said that there was a reason for that. As she said later “Aretha didn't write ‘Chain,' but she might as well have. It was her story. When we were in the studio putting on the backgrounds with Ree doing lead, I knew she was singing about Ted. Listen to the lyrics talking about how for five long years she thought he was her man. Then she found out she was nothing but a link in the chain. Then she sings that her father told her to come on home. Well, he did. She sings about how her doctor said to take it easy. Well, he did too. She was drinking so much we thought she was on the verge of a breakdown. The line that slew me, though, was the one that said how one of these mornings the chain is gonna break but until then she'll take all she can take. That summed it up. Ree knew damn well that this man had been doggin' her since Jump Street. But somehow she held on and pushed it to the breaking point." [Excerpt: Aretha Franklin, "Chain of Fools"] That made number one on the R&B charts, and number two on the hot one hundred, kept from the top by "Judy In Disguise (With Glasses)" by John Fred and his Playboy Band -- a record that very few people would say has stood the test of time as well. The other most memorable track on the album was the one chosen as the first single, released in September. As Carole King told the story, she and Gerry Goffin were feeling like their career was in a slump. While they had had a huge run of hits in the early sixties through 1965, they had only had two new hits in 1966 -- "Goin' Back" for Dusty Springfield and "Don't Bring Me Down" for the Animals, and neither of those were anything like as massive as their previous hits. And up to that point in 1967, they'd only had one -- "Pleasant Valley Sunday" for the Monkees. They had managed to place several songs on Monkees albums and the TV show as well, so they weren't going to starve, but the rise of self-contained bands that were starting to dominate the charts, and Phil Spector's temporary retirement, meant there simply wasn't the opportunity for them to place material that there had been. They were also getting sick of travelling to the West Coast all the time, because as their children were growing slightly older they didn't want to disrupt their lives in New York, and were thinking of approaching some of the New York based labels and seeing if they needed songs. They were particularly considering Atlantic, because soul was more open to outside songwriters than other genres. As it happened, though, they didn't have to approach Atlantic, because Atlantic approached them. They were walking down Broadway when a limousine pulled up, and Jerry Wexler stuck his head out of the window. He'd come up with a good title that he wanted to use for a song for Aretha, would they be interested in writing a song called "Natural Woman"? They said of course they would, and Wexler drove off. They wrote the song that night, and King recorded a demo the next morning: [Excerpt: Carole King, "(You Make Me Feel Like) A Natural Woman (demo)"] They gave Wexler a co-writing credit because he had suggested the title.  King later wrote in her autobiography "Hearing Aretha's performance of “Natural Woman” for the first time, I experienced a rare speechless moment. To this day I can't convey how I felt in mere words. Anyone who had written a song in 1967 hoping it would be performed by a singer who could take it to the highest level of excellence, emotional connection, and public exposure would surely have wanted that singer to be Aretha Franklin." She went on to say "But a recording that moves people is never just about the artist and the songwriters. It's about people like Jerry and Ahmet, who matched the songwriters with a great title and a gifted artist; Arif Mardin, whose magnificent orchestral arrangement deserves the place it will forever occupy in popular music history; Tom Dowd, whose engineering skills captured the magic of this memorable musical moment for posterity; and the musicians in the rhythm section, the orchestral players, and the vocal contributions of the background singers—among them the unforgettable “Ah-oo!” after the first line of the verse. And the promotion and marketing people helped this song reach more people than it might have without them." And that's correct -- unlike "Chain of Fools", this time Franklin did let Arif Mardin do most of the arrangement work -- though she came up with the piano part that Spooner Oldham plays on the record. Mardin said that because of the song's hymn-like feel they wanted to go for a more traditional written arrangement. He said "She loved the song to the point where she said she wanted to concentrate on the vocal and vocal alone. I had written a string chart and horn chart to augment the chorus and hired Ralph Burns to conduct. After just a couple of takes, we had it. That's when Ralph turned to me with wonder in his eyes. Ralph was one of the most celebrated arrangers of the modern era. He had done ‘Early Autumn' for Woody Herman and Stan Getz, and ‘Georgia on My Mind' for Ray Charles. He'd worked with everyone. ‘This woman comes from another planet' was all Ralph said. ‘She's just here visiting.'” [Excerpt: Aretha Franklin, "(You Make Me Feel Like) A Natural Woman"] By this point there was a well-functioning team making Franklin's records -- while the production credits would vary over the years, they were all essentially co-productions by the team of Franklin, Wexler, Mardin and Dowd, all collaborating and working together with a more-or-less unified purpose, and the backing was always by the same handful of session musicians and some combination of the Sweet Inspirations and Aretha's sisters. That didn't mean that occasional guests couldn't get involved -- as we discussed in the Cream episode, Eric Clapton played guitar on "Good to Me as I am to You": [Excerpt: Aretha Franklin, "Good to Me as I am to You"] Though that was one of the rare occasions on one of these records where something was overdubbed. Clapton apparently messed up the guitar part when playing behind Franklin, because he was too intimidated by playing with her, and came back the next day to redo his part without her in the studio. At this point, Aretha was at the height of her fame. Just before the final batch of album sessions began she appeared in the Macy's Thanksgiving Parade, and she was making regular TV appearances, like one on the Mike Douglas Show where she duetted with Frankie Valli on "That's Life": [Excerpt: Aretha Franklin and Frankie Valli, "That's Life"] But also, as Wexler said “Her career was kicking into high gear. Contending and resolving both the professional and personal challenges were too much. She didn't think she could do both, and I didn't blame her. Few people could. So she let the personal slide and concentrated on the professional. " Her concert promoter Ruth Bowen said of this time "Her father and Dr. King were putting pressure on her to sing everywhere, and she felt obligated. The record company was also screaming for more product. And I had a mountain of offers on my desk that kept getting higher with every passing hour. They wanted her in Europe. They wanted her in Latin America. They wanted her in every major venue in the U.S. TV was calling. She was being asked to do guest appearances on every show from Carol Burnett to Andy Williams to the Hollywood Palace. She wanted to do them all and she wanted to do none of them. She wanted to do them all because she's an entertainer who burns with ambition. She wanted to do none of them because she was emotionally drained. She needed to go away and renew her strength. I told her that at least a dozen times. She said she would, but she didn't listen to me." The pressures from her father and Dr King are a recurring motif in interviews with people about this period. Franklin was always a very political person, and would throughout her life volunteer time and money to liberal political causes and to the Democratic Party, but this was the height of her activism -- the Civil Rights movement was trying to capitalise on the gains it had made in the previous couple of years, and celebrity fundraisers and performances at rallies were an important way to do that. And at this point there were few bigger celebrities in America than Aretha Franklin. At a concert in her home town of Detroit on February the sixteenth, 1968, the Mayor declared the day Aretha Franklin Day. At the same show, Billboard, Record World *and* Cash Box magazines all presented her with plaques for being Female Vocalist of the Year. And Dr. King travelled up to be at the show and congratulate her publicly for all her work with his organisation, the Southern Christian Leadership Conference. Backstage at that show, Dr. King talked to Aretha's father, Reverend Franklin, about what he believed would be the next big battle -- a strike in Memphis: [Excerpt, Martin Luther King, "Mountaintop Speech" -- "And so, as a result of this, we are asking you tonight, to go out and tell your neighbors not to buy Coca-Cola in Memphis. Go by and tell them not to buy Sealtest milk. Tell them not to buy—what is the other bread?—Wonder Bread. And what is the other bread company, Jesse? Tell them not to buy Hart's bread. As Jesse Jackson has said, up to now, only the garbage men have been feeling pain; now we must kind of redistribute the pain. We are choosing these companies because they haven't been fair in their hiring policies; and we are choosing them because they can begin the process of saying, they are going to support the needs and the rights of these men who are on strike. And then they can move on downtown and tell Mayor Loeb to do what is right."] The strike in question was the Memphis Sanitation Workers' strike which had started a few days before.  The struggle for Black labour rights was an integral part of the civil rights movement, and while it's not told that way in the sanitised version of the story that's made it into popular culture, the movement led by King was as much about economic justice as social justice -- King was a democratic socialist, and believed that economic oppression was both an effect of and cause of other forms of racial oppression, and that the rights of Black workers needed to be fought for. In 1967 he had set up a new organisation, the Poor People's Campaign, which was set to march on Washington to demand a program that included full employment, a guaranteed income -- King was strongly influenced in his later years by the ideas of Henry George, the proponent of a universal basic income based on land value tax -- the annual building of half a million affordable homes, and an end to the war in Vietnam. This was King's main focus in early 1968, and he saw the sanitation workers' strike as a major part of this campaign. Memphis was one of the most oppressive cities in the country, and its largely Black workforce of sanitation workers had been trying for most of the 1960s to unionise, and strike-breakers had been called in to stop them, and many of them had been fired by their white supervisors with no notice. They were working in unsafe conditions, for utterly inadequate wages, and the city government were ardent segregationists. After two workers had died on the first of February from using unsafe equipment, the union demanded changes -- safer working conditions, better wages, and recognition of the union. The city council refused, and almost all the sanitation workers stayed home and stopped work. After a few days, the council relented and agreed to their terms, but the Mayor, Henry Loeb, an ardent white supremacist who had stood on a platform of opposing desegregation, and who had previously been the Public Works Commissioner who had put these unsafe conditions in place, refused to listen. As far as he was concerned, he was the only one who could recognise the union, and he wouldn't. The workers continued their strike, marching holding signs that simply read "I am a Man": [Excerpt: Stevie Wonder, "Blowing in the Wind"] The Southern Christian Leadership Conference and the NAACP had been involved in organising support for the strikes from an early stage, and King visited Memphis many times. Much of the time he spent visiting there was spent negotiating with a group of more militant activists, who called themselves The Invaders and weren't completely convinced by King's nonviolent approach -- they believed that violence and rioting got more attention than non-violent protests. King explained to them that while he had been persuaded by Gandhi's writings of the moral case for nonviolent protest, he was also persuaded that it was pragmatically necessary -- asking the young men "how many guns do we have and how many guns do they have?", and pointing out as he often did that when it comes to violence a minority can't win against an armed majority. Rev Franklin went down to Memphis on the twenty-eighth of March to speak at a rally Dr. King was holding, but as it turned out the rally was cancelled -- the pre-rally march had got out of hand, with some people smashing windows, and Memphis police had, like the police in Detroit the previous year, violently overreacted, clubbing and gassing protestors and shooting and killing one unarmed teenage boy, Larry Payne. The day after Payne's funeral, Dr King was back in Memphis, though this time Rev Franklin was not with him. On April the third, he gave a speech which became known as the "Mountaintop Speech", in which he talked about the threats that had been made to his life: [Excerpt: Martin Luther King, "Mountaintop Speech": “And then I got to Memphis. And some began to say the threats, or talk about the threats that were out. What would happen to me from some of our sick white brothers? Well, I don't know what will happen now. We've got some difficult days ahead. But it doesn't matter with me now. Because I've been to the mountaintop. And I don't mind. Like anybody, I would like to live a long life. Longevity has its place. But I'm not concerned about that now. I just want to do God's will. And He's allowed me to go up to the mountain. And I've looked over. And I've seen the promised land. I may not get there with you. But I want you to know tonight, that we, as a people, will get to the promised land. So I'm happy, tonight. I'm not worried about anything. I'm not fearing any man. Mine eyes have seen the glory of the coming of the Lord."] The next day, Martin Luther King was shot dead. James Earl Ray, a white supremacist, pled guilty to the murder, and the evidence against him seems overwhelming from what I've read, but the King family have always claimed that the murder was part of a larger conspiracy and that Ray was not the gunman. Aretha was obviously distraught, and she attended the funeral, as did almost every other prominent Black public figure. James Baldwin wrote of the funeral: "In the pew directly before me sat Marlon Brando, Sammy Davis, Eartha Kitt—covered in black, looking like a lost, ten-year-old girl—and Sidney Poitier, in the same pew, or nearby. Marlon saw me, and nodded. The atmosphere was black, with a tension indescribable—as though something, perhaps the heavens, perhaps the earth, might crack. Everyone sat very still. The actual service sort of washed over me, in waves. It wasn't that it seemed unreal; it was the most real church service I've ever sat through in my life, or ever hope to sit through; but I have a childhood hangover thing about not weeping in public, and I was concentrating on holding myself together. I did not want to weep for Martin, tears seemed futile. But I may also have been afraid, and I could not have been the only one, that if I began to weep I would not be able to stop. There was more than enough to weep for, if one was to weep—so many of us, cut down, so soon. Medgar, Malcolm, Martin: and their widows, and their children. Reverend Ralph David Abernathy asked a certain sister to sing a song which Martin had loved—“Once more,” said Ralph David, “for Martin and for me,” and he sat down." Many articles and books on Aretha Franklin say that she sang at King's funeral. In fact she didn't, but there's a simple reason for the confusion. King's favourite song was the Thomas Dorsey gospel song "Take My Hand, Precious Lord", and indeed almost his last words were to ask a trumpet player, Ben Branch, if he would play the song at the rally he was going to be speaking at on the day of his death. At his request, Mahalia Jackson, his old friend, sang the song at his private funeral, which was not filmed, unlike the public part of the funeral that Baldwin described. Four months later, though, there was another public memorial for King, and Franklin did sing "Take My Hand, Precious Lord" at that service, in front of King's weeping widow and children, and that performance *was* filmed, and gets conflated in people's memories with Jackson's unfilmed earlier performance: [Excerpt: Aretha Franklin, "Take My Hand, Precious Lord (at Martin Luther King Memorial)"] Four years later, she would sing that at Mahalia Jackson's funeral. Through all this, Franklin had been working on her next album, Aretha Now, the sessions for which started more or less as soon as the sessions for Lady Soul had finished. The album was, in fact, bookended by deaths that affected Aretha. Just as King died at the end of the sessions, the beginning came around the time of the death of Otis Redding -- the sessions were cancelled for a day while Wexler travelled to Georgia for Redding's funeral, which Franklin was too devastated to attend, and Wexler would later say that the extra emotion in her performances on the album came from her emotional pain at Redding's death. The lead single on the album, "Think", was written by Franklin and -- according to the credits anyway -- her husband Ted White, and is very much in the same style as "Respect", and became another of her most-loved hits: [Excerpt: Aretha Franklin, "Think"] But probably the song on Aretha Now that now resonates the most is one that Jerry Wexler tried to persuade her not to record, and was only released as a B-side. Indeed, "I Say a Little Prayer" was a song that had already once been a hit after being a reject.  Hal David, unlike Burt Bacharach, was a fairly political person and inspired by the protest song movement, and had been starting to incorporate his concerns about the political situation and the Vietnam War into his lyrics -- though as with many such writers, he did it in much less specific ways than a Phil Ochs or a Bob Dylan. This had started with "What the World Needs Now is Love", a song Bacharach and David had written for Jackie DeShannon in 1965: [Excerpt: Jackie DeShannon, "What the "World Needs Now is Love"] But he'd become much more overtly political for "The Windows of the World", a song they wrote for Dionne Warwick. Warwick has often said it's her favourite of her singles, but it wasn't a big hit -- Bacharach blamed himself for that, saying "Dionne recorded it as a single and I really blew it. I wrote a bad arrangement and the tempo was too fast, and I really regret making it the way I did because it's a good song." [Excerpt: Dionne Warwick, "The Windows of the World"] For that album, Bacharach and David had written another track, "I Say a Little Prayer", which was not as explicitly political, but was intended by David to have an implicit anti-war message, much like other songs of the period like "Last Train to Clarksville". David had sons who were the right age to be drafted, and while it's never stated, "I Say a Little Prayer" was written from the perspective of a woman whose partner is away fighting in the war, but is still in her thoughts: [Excerpt: Dionne Warwick, "I Say a Little Prayer"] The recording of Dionne Warwick's version was marked by stress. Bacharach had a particular way of writing music to tell the musicians the kind of feel he wanted for the part -- he'd write nonsense words above the stave, and tell the musicians to play the parts as if they were singing those words. The trumpet player hired for the session, Ernie Royal, got into a row with Bacharach about this unorthodox way of communicating musical feeling, and the track ended up taking ten takes (as opposed to the normal three for a Bacharach session), with Royal being replaced half-way through the session. Bacharach was never happy with the track even after all the work it had taken, and he fought to keep it from being released at all, saying the track was taken at too fast a tempo. It eventually came out as an album track nearly eighteen months after it was recorded -- an eternity in 1960s musical timescales -- and DJs started playing it almost as soon as it came out. Scepter records rushed out a single, over Bacharach's objections, but as he later said "One thing I love about the record business is how wrong I was. Disc jockeys all across the country started playing the track, and the song went to number four on the charts and then became the biggest hit Hal and I had ever written for Dionne." [Excerpt: Dionne Warwick, "I Say a Little Prayer"] Oddly, the B-side for Warwick's single, "Theme From the Valley of the Dolls" did even better, reaching number two. Almost as soon as the song was released as a single, Franklin started playing around with the song backstage, and in April 1968, right around the time of Dr. King's death, she recorded a version. Much as Burt Bacharach had been against releasing Dionne Warwick's version, Jerry Wexler was against Aretha even recording the song, saying later “I advised Aretha not to record it. I opposed it for two reasons. First, to cover a song only twelve weeks after the original reached the top of the charts was not smart business. You revisit such a hit eight months to a year later. That's standard practice. But more than that, Bacharach's melody, though lovely, was peculiarly suited to a lithe instrument like Dionne Warwick's—a light voice without the dark corners or emotional depths that define Aretha. Also, Hal David's lyric was also somewhat girlish and lacked the gravitas that Aretha required. “Aretha usually listened to me in the studio, but not this time. She had written a vocal arrangement for the Sweet Inspirations that was undoubtedly strong. Cissy Houston, Dionne's cousin, told me that Aretha was on the right track—she was seeing this song in a new way and had come up with a new groove. Cissy was on Aretha's side. Tommy Dowd and Arif were on Aretha's side. So I had no choice but to cave." It's quite possible that Wexler's objections made Franklin more, rather than less, determined to record the song. She regarded Warwick as a hated rival, as she did almost every prominent female singer of her generation and younger ones, and would undoubtedly have taken the implication that there was something that Warwick was simply better at than her to heart. [Excerpt: Aretha Franklin, "I Say a Little Prayer"] Wexler realised as soon as he heard it in the studio that Franklin's version was great, and Bacharach agreed, telling Franklin's biographer David Ritz “As much as I like the original recording by Dionne, there's no doubt that Aretha's is a better record. She imbued the song with heavy soul and took it to a far deeper place. Hers is the definitive version.” -- which is surprising because Franklin's version simplifies some of Bacharach's more unusual chord voicings, something he often found extremely upsetting. Wexler still though thought there was no way the song would be a hit, and it's understandable that he thought that way. Not only had it only just been on the charts a few months earlier, but it was the kind of song that wouldn't normally be a hit at all, and certainly not in the kind of rhythmic soul music for which Franklin was known. Almost everything she ever recorded is in simple time signatures -- 4/4, waltz time, or 6/8 -- but this is a Bacharach song so it's staggeringly metrically irregular. Normally even with semi-complex things I'm usually good at figuring out how to break it down into bars, but here I actually had to purchase a copy of the sheet music in order to be sure I was right about what's going on. I'm going to count beats along with the record here so you can see what I mean. The verse has three bars of 4/4, one bar of 2/4, and three more bars of 4/4, all repeated: [Excerpt: Aretha Franklin, "I Say a Little Prayer" with me counting bars over verse] While the chorus has a bar of 4/4, a bar of 3/4 but with a chord change half way through so it sounds like it's in two if you're paying attention to the harmonic changes, two bars of 4/4, another waltz-time bar sounding like it's in two, two bars of four, another bar of three sounding in two, a bar of four, then three more bars of four but the first of those is *written* as four but played as if it's in six-eight time (but you can keep the four/four pulse going if you're counting): [Excerpt: Aretha Franklin, "I Say a Little Prayer" with me counting bars over verse] I don't expect you to have necessarily followed that in great detail, but the point should be clear -- this was not some straightforward dance song. Incidentally, that bar played as if it's six/eight was something Aretha introduced to make the song even more irregular than how Bacharach wrote it. And on top of *that* of course the lyrics mixed the secular and the sacred, something that was still taboo in popular music at that time -- this is only a couple of years after Capitol records had been genuinely unsure about putting out the Beach Boys' "God Only Knows", and Franklin's gospel-inflected vocals made the religious connection even more obvious. But Franklin was insistent that the record go out as a single, and eventually it was released as the B-side to the far less impressive "The House That Jack Built". It became a double-sided hit, with the A-side making number two on the R&B chart and number seven on the Hot One Hundred, while "I Say a Little Prayer" made number three on the R&B chart and number ten overall. In the UK, "I Say a Little Prayer" made number four and became her biggest ever solo UK hit. It's now one of her most-remembered songs, while the A-side is largely forgotten: [Excerpt: Aretha Franklin, "I Say a Little Prayer"] For much of the

The Bassists are Wild! Featuring clips from nine Superstar bassists who have previously been guests on the podcast. Leland Sklar has played on a zillion recordings and is known for his work with a host of singer-songwriters including James Taylor, Carole King and Jackson Browne. Nathan East has also played on a zillion recordings including his work with Phil Collins and Eric Clapton. Jimmy Haslip is perhaps best known for his work with the Yellowjackets, one of the premier contemporary jazz fusion bands. Chuck Rainey is an acclaimed bassist who has worked with Aretha Franklin to Steely Dan. Britt Lightning has played with Pink, Rachel Platten and Vixen. Jim Fielder held down the bottom with Blood Sweat & Tears. Timothy B. Schmit has been a member of Poco and the Eagles. And John Lodge has been a mainstay of The Moody Blues since the ‘60s. What a show! —--------------------------------------The Follow Your Dream Podcast:Top 1% of all podcasts with Listeners in 200 countries!For more information and other episodes of the podcast click here. To subscribe to the podcast click here.To subscribe to our weekly Follow Your Dream Podcast email click here.To Rate and Review the podcast click here.“Dream With Robert”. Click here.—----------------------------------------“IT'S ALIVE!” is Robert's new Project Grand Slam album. Featuring 13 of the band's Greatest Hits performed “live” at festivals in Pennsylvania and Serbia.Reviews:"An instant classic!" (Melody Maker)"Amazing record...Another win for the one and only Robert Miller!" (Hollywood Digest)"Close to perfect!" (Pop Icon)"A Masterpiece!" (Big Celebrity Buzz)"Sterling effort!" (Indie Pulse)"Another fusion wonder for Project Grand Slam!" (MobYorkCity)Click here for all links.Click here for song videos—-----------------------------------------Audio production:Jimmy RavenscroftKymera Films Connect with Leland Sklar at:www.facebook.com/lelandsklarofficialConnect with Nathan East at:www.nathaneast.comConnect with Jimmy Haslip at:www.jimmyhaslipbass.comConnect with Chuck Rainey at:www.chuckrainey.comConnect with Britt Lightning at:instagram.com/brittlightningConnect with Suzi Quatro at:www.suziquatro.comConnect with Timothy B. Schmit at:www.timothybschmit.comConnect with John Lodge at:www.johnlodge.com Connect with the Follow Your Dream Podcast:Website - www.followyourdreampodcast.comEmail Robert - robert@followyourdreampodcast.com Follow Robert's band, Project Grand Slam, and his music:Website - www.projectgrandslam.comPGS Store - www.thePGSstore.comYouTubeSpotify MusicApple MusicEmail - pgs@projectgrandslam.com

John and his guest, Rick Marotta, do a deep dive into this classic and somewhat overlooked Steely Dan song, "Don't Take Me Alive." Rick gives an insiders view into the recording of this iconic drum track from Steely Dan's Royal Scam album during the golden age of recording. Besides breaking down Rick's iconic drum track, we also discuss the other legendary musicians on this track: Larry Carlton on guitar, Don Grolnick on keyboards, Chuck Rainey on bass and of course Donald Fagen and Walter Becker. Check out the other episodes of TrackTalk and  @livefrommydrumroom and please subscribe!https://linktr.ee/live_from_my_drum_roomwww.youtube.com/c/JohnDeChristopherLiveFromMyDrumRoom

Introducing "TrackTalk" a brand new series exclusively on Live From My Drum Room With John DeChristopher! "TrackTalk" features iconic tracks, with iconic drum parts, and the drummers who played them. TrackTalk gives you an insider's view on your favorite songs, by the drummers who helped create them.  In this episode of TrackTalk, John and legendary drummer, composer and producer, Rick Marotta, do a deep dive into Steely Dan's iconic track, "Peg." Rick breaks down his incredible and elusive groove and provides some great insights into this famous track. And because it's Rick Marotta, there are many laughs along way! Check out the episode and subscribe so you never miss an episode! https://linktr.ee/live_from_my_drum_roomhttps://linktr.ee/live_from_my_drum_roomwww.youtube.com/c/JohnDeChristopherLiveFromMyDrumRoom

In this episode Ian Allison talks to Chuck Rainey, one of the most admired bass players in popular music. Chuck has played and recorded with the likes of King Curtis, Sam Cooke, Etta James, The Supremes, Aretha Franklin, Marvin Gaye, Steely Dan, Roberta Flack and Quincy Jones. This is an excerpt from Bass Space 2022.

In this episode Ian Allison talks to Chuck Rainey, one of the most admired bass players in popular music. Chuck has played and recorded with the likes of King Curtis, Sam Cooke, Etta James, The Supremes, Aretha Franklin, Marvin Gaye, Steely Dan, Roberta Flack and Quincy Jones. This is an excerpt from Bass Space 2022.

A master is someone who teaches, a master is someone who sacrifices and loves themselves. To master is knowing how to access your native gifts. As far as my guest is concerned that translates out to being one of the most in demand, highly respected, versatile bassists in the world. He was raised by his musical elders like Richard Davis who had been a guest twice on this show. The Pisces swimming upstream downstream always adapting, always churning, overcoming. Astrology aside my guest has played with The Queen of Soul Aretha Franklin for the last 50 years. That was in between studying and watching Mingus dual with Dolphy in some mob run club. Lock the groove, play free, play a blues before the word funk even came into the lexicon. He's played and recorded with King Curtis, Jim Pepper, Duane and Gregg Allman, Eddie Harris, Gil Scott Heron, The Voices of East Harlem and Shirley Scott. A master gives back like Ali Akbar Kahn and Jerry Wexler and Dizzy Gillespie. Knowing their instrument, knowing their strengths like Chuck Rainey or Bernard Purdie or the late great Richard Tee.......my guest today is giving back on multiple levels including mixing live iconic music with youth baseball. Something only Jackie Robinson would have dreamed off.... Jerry Jemmott welcome to the JFS

Join us as we get into thee legendary Chuck Rainey "On Bass", Find out what we're listening to "Because of The Bass", plus more!Listen to the songs featured on todays episode here: https://youtube.com/playlist?list=PLCliC2En6Kk4RPwrJl2z0Scu4j0bcV1Q1We'd love to here from you, please send feedback and questions to Bassfortheculture@gmail.comCatch us on Instagram @bassforthculture and on Facebook| Bass For The Culture

The other 15 percent take center stage as the wheel of crap lands on 1983. Lee Elia stood up for his team said a lot of really profane but accurate things and ended up getting fired a few months later, Leon Durham was the only All-Star on the club, Chuck Rainey almost threw a no-hitter, Fergie forgot how to throw the ball to first base, the Cubs played a five game series in Pissburgh and lost them all, and their interim manager had first managed in 1947. The guys play six degrees of Craig Lefferts, find out who wrote the opening theme to This Week in Baseball (you won't believe the tie-in on that one) and they talk about Ted Williams hitting ropes off a pre-teen kid. --- Send in a voice message: https://anchor.fm/desipio/message

Gar nicht so leicht nach der genialen Episode mit Mad Jazz eine neue Folge aufzunehmen - denn die Messlatte hängt seitdem sehr hoch! Doch Martin alias der englische Wurzelbert hat sich extrem gut geschlagen, berichtet von seinem Werdegang als Bassist, warum er heute keine Orangen mehr hat, wie es sich seinen Bass gebaut hat trotz Caipirinha (den er übrigens auch nicht mehr spielt, man erkennt ein Muster) und er trotzdem sehr glücklich mit dem eingeschlagenen Weg ist. Dazu gibts eine schöne Meldung zu Chuck Rainey und einen tollen Gastbeitrag. Viel Spaß! www.bassic.de www.sebastian-stolz.de

We are SUPER stoked to announce another new guest, Liam Galiano, to The Story!Liam started playing bass in a Lancaster County high school when Primus' “Tommy the Cat” inspired him to stop pretending to play clarinet and start pretending to slap bass. Luckily, thanks in large part to lessons with professor and consummate bassist Tim Wolfe, Liam learned to tastefully play any genre, at least well enough to not get fired!This has led him to a still early but successful career of session work and live performance for a huge variety of artists and genres. Not limited to his '75 Fender Jazz, Liam also plays upright bass in musicals, and six-string bass in his own music. He released a Christmas album performed exclusively on solo bass and voice, and plans to release some new original music this year. Before joining Soul Miners Union, Liam toured with Sun & Rain and shared bills with some of the top names in that scene including Perpetual Groove, Papadosio, and Tauk.While he still loves the absolutely bombastic creativity of high school idols Les Claypool and Brian Richie, Liam's biggest influences today are those bass legends who have not only chops, but also restraint. Through studying Marcus Miller, Chuck Rainey, James Jamerson, Victor Wooten, Geddy Lee, and so many others, Liam has found his own voice. As the great Ian Martin Allison says, “I have never wanted to be the star; I wanted to be the star's bass player.”Support this podcast at — https://redcircle.com/the-story/donations

Buying vintage gear can be a gamble even for the most knowledgable of experts. We've noticed a trend happening recently that we wanted to talk about: unscrupulous folks are pillaging parts from valuable old gear and returning it - BUYER/SELLER BEWARE.Also discussed: Liam Gallagher, Daredevil Pedals teaming up with zZounds, TWA Pedals' new Scott Henderson signature, new Epiphone Cantrell sigs, new Electrical Guitar Company, Mutable Instruments closing down, Reaper check-in, Facebook killing podcasts, Dave's juicy pedalboard dilemma, Chuck Rainey, The Brian Jonestown Massacre recovering stolen gear, and flatlining NFT sales.Please note: episode image is not about buyer beware, we still love the ES-330. Just thought it was a nice family pic. :)

Chuck Rainey is one of the greatest electric bassists of all time and a studio musician extraordinaire. He's played on over a thousand recording sessions resulting in dozens of hit records. He's revered for his legendary work in the ‘60s and ‘70s with artists like Aretha Franklin, Steely Dan, The Jackson 5, Roberta Flack and Quincy Jones. He talks about and we play hits from all of these artists and we also discuss Donnie Hathaway, Carly Simon, Motown, Elliott Randall, Gabor Szabo and others.My featured song in this episode is “Catch You Later” from the Spring Dance album by my band Project Grand Slam. Spotify link HERE.--------------------------------------------   Chuck and I discuss the following:Starting out on the trumpetWorking with Aretha and the team from Atlantic RecordsRecording with The Jackson 5Recording and touring with Roberta FlackWorking with Quincy Jones on records, sitcoms and filmsHis first jazz session with Lena Horne In the Songfest we play and discuss these songs:“Rock Steady”“Peg” “Dancing Machine”“Reverend Lee”  “Summer In The City” “The Streetbeater” - Sanford & Son Theme “Watch What Happens”  If you enjoyed the show, please Subscribe, Rate, and Review. Just Click Here. “The Shakespeare Concert” is the new album by Robert's band, Project Grand Slam. It's been praised by famous musicians including Mark Farner of Grand Funk Railroad, Jim Peterik of the Ides Of March, Joey Dee of Peppermint Twist fame, legendary guitarist Elliott Randall, and celebrated British composer Sarah Class. The music reviewers have called it “Perfection!”, “5 Stars!”, “Thrilling!”, and “A Masterpiece!”. The album can be streamed on Spotify, Apple and all the other streaming services. You can watch the Highlight Reel HERE. And you can purchase a digital download or autographed CD of the album HERE.  Robert's “Follow Your Dream Handbook” is an Amazon #1 Bestseller. It's a combination memoir of his unique musical journey and a step by step how-to follow and succeed at your dream. Available on Amazon and wherever books are sold. Get your Complimentary DREAM ROADMAP with Robert's 5 steps to pursue and succeed at YOUR dream. Just click here: https://www.followyourdreampodcast.com/DreamRoadmap Connect with Chuck at:https://chuckrainey.com Connect with the Follow Your Dream Podcast:Website: www.followyourdreampodcast.comFacebook: www.facebook.com/FollowYourDreamPodcastEmail Robert: robert@followyourdreampodcast.com Follow Robert's band, Project Grand Slam, and his music:Website: https://www.projectgrandslam.comInstagram: https://www.instagram.com/projectgrndslamStore: https://www.thepgsstore.com/  YouTube: https://www.youtube.com/user/PGSjazzFacebook: https://www.facebook.com/projectgrandslam/Spotify: https://open.spotify.com/artist/04BdGdJszDD8WtAFXc9skWApple Music: https://music.apple.com/us/artist/project-grand-slam/274548453Email: pgs@projectgrandslam.com

ジロキチの開店２年目からずっとジロキチの音を作って支えてくださっているワオさんを、店長タカさんと副店長ぐんちゃんと一緒にお迎えしておしゃべり。今回は多くのボイスメッセージやコメントをいただきました！桑原和夫物語りはつづく。「ジロキチナウ」のコーナーでは、カウンターのメグより最新のジロキチニュースをお届け。２年前に突如始まったこのラジオも今回で最終回となりました。これまで沢山のご聴取誠にありがとうございました！ぜひまたライブの現場でお会いしましょう～！！ ㅤ ★On-Air tracks★ㅤ JIROKICHIライブ音源 2018年11月29日 「CHUCK RAINEY with Friends 2days」 Chuck Rainey(b,vo) 西慎嗣g Scott Latham(dr) エルトン永田key Bob斉藤sax Mac清水perc ㅤ 番組への応援チャージ♪はJIROKICHIオンラインショップ で受け付けています。御礼にJIROKICHIで使えるドリンクチケットを配送させていただきます。どうぞよろしくお願いします！ https://jirokichi.official.ec/ --------------------- Radio House JIROKICHI Official web www.jirokichi-radio.com/ ㅤ Opening theme : Elena Kato Ending theme : Mitsuhide Tatsumi ㅤ Mixing & Mastering Engineer：Ai Isshiki ㅤ Production support : goen sessions/ フロントポーチ /neuron / アンテナㅤ www.jirokichi.net

The legendary Chuck Rainey joins Vinyl Crisis.

Questlove sits down with legendary musicians Chuck Rainey and Bernard Purdie to talk through how they influenced and, in some cases, invented the ubiquitous groove that's become the music of our lives. Learn more about your ad-choices at https://www.iheartpodcastnetwork.com

Humble genius talks about playing on countless crossover hits and his philosophies about working, relationships and knowing the language.

Agradece a este podcast tantas horas de entretenimiento y disfruta de episodios exclusivos como éste. ¡Apóyale en iVoox! El saxofonista Kenny G edita 'New Standards', un álbum integrado por once composiciones originales inspiradas en el Pop y el Jazz de los años 40 y 50. Lo estrenamos y repasamos discos de actualidad de la música Smooth Jazz publicados por Bobby Lyle, Daryl Beebe, Will Downing, Jay Rowe y Elena Maque. En el bloque central rescatamos dos discos del bajista Chuck Rainey. Escucha este episodio completo y accede a todo el contenido exclusivo de Cloud Jazz Smooth Jazz. Descubre antes que nadie los nuevos episodios, y participa en la comunidad exclusiva de oyentes en https://go.ivoox.com/sq/27170

“Nature has the benefits and the power to transform our lives.” – Rod Taylor   Rod Taylor, Ph.D. is an award-winning educator, scholar, author, and musician who's been active in teaching and training for over twenty-five years. He's the Founder and CEO of Performance Learning Concepts, a training and development company whose clients include Fortune 500 companies like Deloitte, Nissan North America, and DCI-Artform. Advance degrees in education, literature, writing, and philosophy have influenced his approach to working with leaders, teachers, and those in the business world, and he has published, presented, written, and taught in all of these areas over the last two decades. Rod lives in Nashville, TN, where he has also long been involved in music as a performer, educator, and writer and has been fortunate enough to play and/or record with Krista Detor, Jenee Fleenor, Victor Wooten, Cindy Morgan, Chuck Rainey, and a variety of other great musicians.   Your Key Takeaways Nature's Role - How Rod has supplemented his life with focused time in nature, and the effect this had on his psychological well-being  Nature vs Wildness – Making the important distinction to experience the beauty of the unpredictable world  A Heightened State of Focus – Gaining energy by slowing down to speed up Immersion – The deepest level of empathy in our lives Finding Our Way to Nature – Exploration through literature and finding less predictable interactions with nature   Resources Website LinkedIn Instagram Facebook   Connect with Darren For more information on the Nature Advantage visit natureadvantageshow.com   Darren's Social Media Instagram Facebook LinkedIn

“The heart of everything I do centers on trying to figure out how we can grow, learn, reflect, and become and grow closer to who we know we want to be, and who we are at our core” – Rod Taylor   Rod Taylor, Ph.D. is an award-winning educator, scholar, author, and musician who's been active in teaching and training for over twenty-five years. He's the Founder and CEO of Performance Learning Concepts, a training and development company whose clients include Fortune 500 companies like Deloitte, Nissan North America, and DCI-Artform. Advanced degrees in education, literature, writing, and philosophy have influenced his approach to work with leaders, teachers, and those in the business world, and he has published, presented, written, and taught in all of these areas over the last two decades. Rod lives in Nashville, TN, where he has also long been involved in music as a performer, educator, and writer and has been fortunate enough to play and/or record with Krista Detor, Jenee Fleenor, Victor Wooten, Cindy Morgan, Chuck Rainey, and a variety of other great musicians.   Your Key Takeaways An Educator At Heart – Learning as the common thread and centerpiece behind Rod's journey to discover who we are at our core   Design Thinking – Exploring the 5 steps of the purposeful discipline method of approaching creative solutions to a problem Convergent vs Divergent Thinking – How a simple household item can reveal our lens of creativity  Music and Leadership – The leadership lessons the bass teaches us by serving in the back as the foundation, the heart, and the merging of rhythm and harmony Finding Our Way to Nature – Exploration through literature and finding less predictable interactions with nature   Resources Website LinkedIn Instagram Facebook   Connect with Darren For more information on the Nature Advantage visit natureadvantageshow.com   Darren's Social Media Instagram Facebook LinkedIn

Un estilo surgido de las influencias del jazz y el rock en un dúo irrepetible con un notable acento neoyorquino: Walter Becker y Donald Fagen. La persistencia en una producción cercana a la perfección en arreglos, solos de guitarra, baterías contundentes y precisas exigiendo al máximo a músicos colaboradores del más alto nivel: Larry Carlton, Steve Gadd, Jeff Porcaro, Joe Sample, Chuck Rainey, Mark Knopfler, Mike McDonald, Jay Graydon, Lee Ritenour… Donald Fagen compone un tema para lo último de David Crosby, cuyo hijo, James Raymond, es un fan declarado. Y Terence Boylan sencillamente fue al mismo cole que Fagen. DISCO 1 STEELY DAN Peg (4) DISCO 2 EYE TO EYE Shakespeare Stole My Baby (ORDENADOR) DISCO 3 DONALD FAGEN New Frontier (5) (THE NIGHTFLY) DISCO 4 ROSIE VELA Magic Moment (Cara 1 Corte 2) u ORDENADOR DISCO 5 DAVID CROSBY Rodríguez For a Night (ORDENADOR) DISCO 6 CRUEL SHOES Baltimore Joe (4) DISCO 7 A GIRL CALLED EDDY Jody (3) DISCO 8 TERENCE BOYLAN Shame (6) DISCO 9 CHINA CRISIS Bigger The Punch I’m Feeling (Cara 2 Corte 3) DISCO 10 WALTER BECKER  Down The Bottom (1) (ELEVEN TRACKS OF WHACK DISCO 11 ROBERT KRAFT On the West Side (ORDENADOR) Retro Active 1983 DISCO 12 JANGO Joyful Caravan (For Curtis) (1) DISCO 13 STEELY DAN Green Flower Street (THE NIGHTFLY Escuchar audio

It's All About The Bass (Part 3) In this episode of #ITWWSS we dive deeper into the bottom end, with some of Rock N' Roll's greatest bass players. From Chas Chandler, John Entwistle, John Paul Jones, and Paul McCartney, to John Deacon, Geddy Lee, Rhonda Smith, Jack Bruce, Jerry Scheff, Walter Becker, Chuck Rainey, Barry Oakley, and Bootsy Collins. Songs from a few of Britain's finest… The Animals, The Who, The Beatles, Led Zeppelin, David Bowie and Queen, Rush, Jeff Beck, and Cream. Rush, a Canadian export. And a few (for good measure) from the U.S.A… The Doors, Steely Dan, The Allman Brothers Band, and James Brown. All in all, some of rock's greatest recordings. Although, the choices are overwhelming. There are so many more examples of great bass driven songs that a part four is inevitable. All three Yardbirds guitarists, Eric Clapton in Cream, Jeff Beck, and Jimmy Page in Led Zeppelin, are included. You'll hear some of their most legendary work. Jeff Beck, who never rests on his laurels, is heard live with bass player Rhonda Smith (Prince), drummer Jonathan Joseph, and guitarist, Nicolas Meier. The Allman Brothers have been a favorite since the original release of Live At Fillmore East. Recorded 50 years ago, in March 1971, their performance sounds as good today, as it did then. Talking about the original Jam Bands, forget about it! Bootsy Collins is known for his persona, as much as his bass playing. As James Brown's bassist, along with his brother on guitar, they helped define some of the Godfather of Soul's funkiest tracks. It doesn't get any funkier than "Sex Machine" (it was never substantiated that the song was about me, but rumors still exist. The same goes for that Carly Simon song) Thanks again for your support, by liking this page and subscribing to this podcast!!! It makes all the difference If you'd like to be in touch, suggest a theme, have your originals heard, or just want to say hi… @stewstrauss on Instagram and Twitter. StewartStrauss on Facebook The Into The Woods with Stewart Strauss Theme Song ©2020StewartJStrauss --- Support this podcast: https://anchor.fm/stewart-strauss/support

It's All About The Bass (Part 3) If The Bass Is Rockin' Don't Bother Knockin'!   In this episode of #ITWWSS we dive deeper into the bottom end, with some of Rock N' Roll's greatest bass players. From Chas Chandler, John Entwistle, John Paul Jones, and Paul McCartney, to John Deacon, Geddy Lee, Rhonda Smith, Jack Bruce, Jerry Scheff, Walter Becker, Chuck Rainey, Barry Oakley, and Bootsy Collins. Songs from a few of Britain's finest… The Animals, The Who, The Beatles, Led Zeppelin, David Bowie and Queen, Rush, Jeff Beck, and Cream. Rush, a Canadian export. And a few (for good measure) from the U.S.A… The Doors, Steely Dan, The Allman Brothers Band, and James Brown. All in all, some of rock's greatest recordings. Although, the choices are overwhelming. There are so many more examples of great bass driven songs that a part four is inevitable. All three Yardbirds guitarists, Eric Clapton in Cream, Jeff Beck, and Jimmy Page in Led Zeppelin, are included. You'll hear some of their most legendary work. Jeff Beck, who never rests on his laurels, is heard live with bass player Rhonda Smith (Prince), drummer Jonathan Joseph, and guitarist, Nicolas Meier. The Allman Brothers have been a favorite since the original release of Live At Fillmore East. Recorded 50 years ago, in March 1971, their performance sounds as good today, as it did then. Talking about the original Jam Bands, forget about it!  Bootsy Collins is known for his persona, as much as his bass playing. As James Brown's bassist, along with his brother on guitar, they helped define some of the Godfather of Soul's funkiest tracks. It doesn't get any funkier than "Sex Machine" (it was never substantiated that the song was about me, but rumors still exist. The same goes for that Carly Simon song) Thanks again for your support, by liking this page and subscribing to this podcast!!! It makes all the difference If you'd like to be in touch, suggest a theme, have your originals heard, or just want to say hi… @stewstrauss on Instagram and Twitter. StewartStrauss on Facebook The Into The Woods with Stewart Strauss Theme Song ©2020StewartJStrauss  

It's All About The (Iconic) Bass! On this episode of listener supported #ITWWSS... Songs that you know instantly from their iconic bass line, or the bass carries the song in a unique and recognizable way. I urge you to snap your fingers and move your feet, while you're listening to songs from… Miss Peggy Lee, with Joe Mondragon and Stan Levy. Lou Reed, with Herbie Flowers. Sly and The Family Stone, featuring Larry Graham. Billy Cobham, with Leland Sklar, Jan Hammer and Tommy Bolin. Robben Ford (covering the O'Jays) with Jimmy Earl, Ray Williams, Terry Evans, Edgar Winter, Ivan Neville and Steve Potts. Pink Floyd. Morphine (Mark Sandman.) Muse. Tennessee Ernie Ford. The Blues Brothers, with Donald “Duck” Dunn and Steve Cropper. Aretha Franklin, featuring Chuck Rainey. Stevie Wonder, featuring Nathan Watts. Red Hot Chili Peppers. Stevie Wonder, featuring Prince and En Vogue. Some of these songs and performances influenced generations to follow. Some are so funky, you can smell it! All are great!!  Thanks for your continued support and happy listening!!! If you'd like to contact me, please use @stewstrauss on Instagram and Twitter. www.stewartstrauss.net stewartstrauss.bandcamp,com

It's All About The (Iconic) Bass! On this episode of listener supported #ITWWSS... Songs that you know instantly from their iconic bass line, or the bass carries the song in a unique and recognizable way. I urge you to snap your fingers and move your feet, while you're listening to songs from… Miss Peggy Lee, with Joe Mondragon and Stan Levy. Lou Reed, with Herbie Flowers. Sly and The Family Stone, featuring Larry Graham. Billy Cobham, with Leland Sklar, Jan Hammer and Tommy Bolin. Robben Ford (covering the O'Jays) with Jimmy Earl, Ray Williams, Terry Evans, Edgar Winter, Ivan Neville and Steve Potts. Pink Floyd. Morphine (Mark Sandman.) Muse. Tennessee Ernie Ford. The Blues Brothers, with Donald “Duck” Dunn and Steve Cropper. Aretha Franklin, featuring Chuck Rainey. Stevie Wonder, featuring Nathan Watts. Red Hot Chili Peppers. Stevie Wonder, featuring Prince and En Vogue. Some of these songs and performances influenced generations to follow. Some are so funky, you can smell it! All are great!! Thanks for your continued support and happy listening!!! If you'd like to contact me, please use @stewstrauss on Instagram and Twitter. www.stewartstrauss.net stewartstrauss.bandcamp,com --- Support this podcast: https://anchor.fm/stewart-strauss/support

Making A Scene Presents Gerry Casey's Interview with Dean Zucchero!I'm a four-string, Fender tradition bassist from the East Village of New York City with influences steeped in the Rock / R&B and Blues sounds of the 60s with mentors such as (Motown's) James Jamerson, (Zeppelin's) John Paul Jones, (BB King's) Jerry Jemmott, (Aretha Franklin's) Chuck Rainey and (The Who's) John Entwistle. 

In the weeks leading up to our conversation at AZPM Chuck and I did nearly three hours of woodshedding regarding life as a musician. So much great insight about longevity, practice, resiliency, paralysis, hard times, perseverance and native spirit. Love Always, JF --- Support this podcast: https://anchor.fm/jake-feinberg/support

Texas, Hampton Hawes, Steve Gadd, Gary Katz, Donald Fagan, Everett Barksdale, Bernard Purdie, Spider Webb, David Clayton Thomas, Practice, Practice, Practice, Tuba, Drugs, Slop Jar, Paul Humphrey The Jake Feinberg Show --- Support this podcast: https://anchor.fm/jake-feinberg/support

Andrés Calamaro es tan buen músico como bocazas. Esto le ha conferido siempre un gran poder de atracción, para bien o para mal. En mi caso para bien, siempre que haga oídos sordos a sus aleatorios desvaríos. Tengo que reconocer, aunque para hacer este programa he escuchado algo, que casi desconozco por completo su etapa anterior a los Rodríguez, etapa genial por otra parte. De su etapa en solitario, si hacemos una excepción con su quíntuple disco de rarezas, caprichos y alguna gran canción, un disco que no entendí y que me dejo una profunda sensación de tomadura de pelo, me quedo con todo lo demás. De esta época en solitario, vamos a escuchar hoy uno de sus mejores trabajos. Se trata de “Alta suciedad”. Tras la etapa de los Rodríguez, Calamaro quiso dar una vuelta de tuerca a su creatividad y se fue a Nueva York para grabar sus nuevas canciones con un profundo sabor americano. Se rodeo de grandes músicos, gente como Steve Jordan o Chuck Rainey que habían grabado con mitos de la talla de Lennon o Tom Waits. Músicos muy buenos pero también muy caros, por lo que Calamaro grabó el album en dos semanas y se ahorró una buena cantidad de dólares y el resultado como comprobamos después no se resintió en absoluto. Las canciones rompen con su antiguo sonido y se abren a muchos otros: rock, funky, beatles, rancheras, sabinadas, soul, pop, baladas y deliciosas frikadas... En fin… Calamaro en estado puro. El disco da su pistoletazo de salida con un gran riffs, contundente y sin florituras. "Alta Suciedad", un tema rock increíble y que acabamos de escuchar. Otro de los grandes temas que nos guarda es disco es "Donde manda marinero", el único que, tal vez, recupera claramente el toque "Rodríguez". Alta suciedad fue un éxito de ventas, vendió más de 500.000 en todo el mundo y esto le permitió realizar una gran cantidad de conciertos, compartiendo escenario con músicos como Fito Páez y Joaquín Sabina, entre otros. Diez años después, en 2007, Alta suciedad fue colocado en el décimo puesto en la lista de Los 100 mejores álbumes del rock argentino, y lo bueno fué que lo hicieron 180 músicos y periodistas musicales, y eso si que tiene mérito. Bueno, pues ahora llega el subidón del disco, una canción que derrocha clase por todos sus poros. "Loco", un tema sencillo con unos arreglos, unos coros y un bajo descomunal... puro single radiofónico Por cierto, la letra produjo una cierta polémica entre la gente de bien, concretamente el verso «Voy a salir a caminar solito, sentarme en un parque a fumar un porrito». Bueno... Flaca es una especie de himno al desamor, un tema precioso. Sobre la canción, Calamaro dijo: “Flaca es una canción que tiene un desarrollo instrumental con muy pequeños movimientos, porque gira sobre la misma armonía, es monótona y al final tiene un cambio en la armonía que se vuelve un poco más compleja. Para mí es una canción que tiene más importancia en lo musical que en lo lírico. Flaca puede entenderse como la sarta de mentiras 'inocentes' que uno dice por amor, querer decir una y terminar diciendo todo lo contrario: no me mientas, no me digas la verdad”. Flaca. Imbuido del mejor espíritu sabiniano, Calamaro compone "El tercio de los sueños". También es verdad que esta canción, con otra música y otra letra, ya la hemos escuchado antes, y según opiniones, más y mejor, tal vez, pero bueno, es curioso ver con que facilidad puede sacarse de la manga, con los ojos cerrados, un tema de Sabina. El punto más alto del disco y tal vez de Calamaro se encuentra aquí en “Crímenes Perfectos” una balada autodestructiva que emociona sin culpa alguna hasta a personas que dicen ser difíciles de emocionar. El estribillo de este tema es perfecto, hecho a medida de lo que viene siendo el tema, en uno de esos perfectos equilibrios que le hacen crecer en suspenso para dar lugar al solo, EL SOLO, precioso, por lo menos para los que nos gusta la expresividad antes que los solos cargados de distorsión y de velocidad que muchas veces nada tiene que ver con la canción. Creo que el tema es minimalismo puro pero tan bien hecho que no se le puede reprochar nada, tal vez la obra maestra de Calamaro. Crimenes perfectos Y nos vamos. Con todas sus luces y sus sombras, Calamaro es un gran artista. Y como tal, un poquito suyo. Queridos, hasta la próxima semana. Pasadlo bien y, como dirían los romanos, carpe diem, que son dos días. Como siempre… ¡Buenas Vibraciones!

Legendary electric bass player talks about learning from his mentors like Bobby Durham and Charles Mingus. --- Support this podcast: https://anchor.fm/jake-feinberg/support

Ariane Cap & Andrew Ford talk about their guitar lessons available on TrueFire, perform, and answer questions. To learn more and watch the video from this live session, please visit truefire.com/live.About Ariane:Born and raised in Innsbruck, Austria, Ariane has been musically active since the age of five, playing classical piano and the recorder. She entered the Conservatory of the Land Tirol at age 6, where she studied the piano and the flute until the age of 18. She started playing in local rock, pop and dance bands and picked up the electric bass and soon added the upright. She entered the Academy of Music Vienna in 1996 studying jazz bass and bass education. In 1998, she received a scholarship from the Academy of Music of Vienna in Austria to the University of Miami, where she spent a year in the graduate program on Austrian and US scholarships. She then received a teaching assistantship at the University of South Florida in Tampa, where she received her Graduate Certificate of Music.Ariane has studied with greats such as Victor Wooten, Steve Bailey, Chuck Rainey, Gerald Veasley, Kai Eckhardt, Kenny Werner, and others.Ariane has played in countless bands and projects in Europe and the US, enjoying eclectic styles. She particularly loved playing with bands such as the Mozartband (a fusion of funk, rock and Mozart featuring members of the Viennese Philharmonic), and the Celtic rock band Tempest, who she toured with for three years. Ariane recorded and toured with "kindie-rock" sensation The Sippy Cups, a psychedelic rock circus appealing to kids and their parents alike with jugglers, aerialists, and a rocking show, as well as The Palmwine Boys, who fuse acoustic African Palmwine Music with Americana. Ariane was part of the creation of Cirque du Soleil's adaptation of The Tempest, Amaluna, in Montreal.She is an experienced sideman as well, most recently supporting guitar virtuoso Muriel Anderson and the German flamenco stars Tierra Negra on fretted and fretless basses, or Cabo Jazz pianist Diego Rodriguez and vocalist extraordinaire Daline Jones. She recently recorded with multi Grammy award winning producer Keith Olsen. Current bands include Lara Price's Girls Got the Blues, an all-star female cast of Bay Area musicians including Janice Maxie-Reid, Pam Hawkins and Annie Sampson, as well as the platinum winning band Generation Esmeralda with Jimmy Goings. She plays 80's Rock and adaptations of game music with the band Raj and the Zenmasters.Ariane also performs a solo set featuring a genre bending selection (from Bach via Jazz to African World Music) of originals and covers performed on her effects and looping setup. Her latest project is a duo with Bassoonist Paul Hanson, the OoN Band (Out of Nowhere).The founder of "Step Up Music Vallejo," she is also an educator. She co-conducts bass seminars and rock camps all over the US, teaching along side Steve Bailey, Leo Nocentelli, DJ Logic, Dave LaRue, Carl Verheyen, Walfredo Reyes, and others. She regularly teaches at the Berkeley Jazz School and Workshop, in high demand for her "Pattern system" approach and her creative way of integrating music theory and ear training naturally. In 2014, she was selected by the prestigious Ucross Foundation to participate in an artist in residence program in Ucross, Wyoming. She used this time to write, compose and practice 11 hours a day and more.As a freelancing composer and sound designer, Ariane has turned out music and sound for hand held and online games for Wolf Track Audio, Karney Music, and Sound and Somatone. About Andrew:Andrew Ford is a bass player, composer, arranger, producer and educator. He has performed with legendary artists in almost every major genre of music, while also having a Masters degree in Education. He has recorded, toured, or performed with Al Jarreau, Whitney Houston, David Crosby, Robben Ford, Chaka Khan, George Duke, Gladys Knight, James Ingram, Israel Houghton, Dianne Reeves, Peabo Bryson, Patti Austin, Lynne Fiddmont, Christopher Cross, Jerry Butler, Michael McDonald, David Pack, The Emotions, Melissa Manchester, Brenda Russell, Phil Perry, The Stylistics, Larry Carlton, Oleta Adams, Jeffrey Osborne, Jeff Lorber, Deniece Williams, Randy Crawford, Norman Brown, Graham Nash, Boney James, Paul Brown, Kirk Whalum, Michael Paulo and many others.Andrew has taught bass at the Musicians Institute in Hollywood(BIT), Citrus Community College, the Los Angeles Music Academy, and the University of La Verne. He has also taught Music Business at the college level. He has written or co-written many songs, including "Flame" which is on the 2013 Grammy Nominated Al Jarreau project. Andrew has also had success writing for tv, with a number of songs in regular rotation.

The Talkin NOIZ Crew is Fired up to have The Master Musician and Bassist Extraordinaire, Victor Wooten joins us for our Monday Show. He brings his unique perspective about music, life and more to The NOIZ Makers. We are also joined by bass Legend Chuck Rainey! This is a MUST Listen Show!See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

In 1974, Don & Walt ensconced to The Village Recorder in West Los Angeles to produce a series of taut ‘n’ tight vignettes in their, now trademarked, style. The original quintet remain, just. Their time as ‘Steely Dan as a band’ is coming to an end. A raft of hot session players including Jeff Pocaro, Chuck Rainey and Jim Gordon flesh out incredibly accelerating, sophisticated songwriting. Come and find out what a Squonk is! Enjoying the show? Please support BFF.FM with a donation. Check out the full archives on the website.

My guest today is bass player Harry Brus. Born in Austria, Harry and his family moved to Australia when he was 7 years old.  Inspired by Hank B Marvin and The Beatles, Harry first picked up the guitar as a teenage. In '65 his band The Amazons scored a record deal with Festival Records and since then he has never stopped working as a professional musician. In '67 Harry jumped at the chance to play lead guitar for pop idol Johnny Young, and later joined Tony Gaha And The In People. A fortunate encounter with sax great Geoff Oakes started Harry's lifelong love affair with soul music. During these years Harry discovered bass-giant, James Jamerson, whose legendary bass style became Harry's true inspiration on the bass. Jamerson, the great Chuck Rainey and Jerry Jemmott became the three gentlemen of bass who inspired Harry's own unique bass style. Harry has played with a host of Australian and NZ greats. Mother Earth, Renee Geyer, Kevin Borich, Australian Crawl, Tommy and Phil Emmanuel, Barry Leef, Marcia Hines Jimmy Barnes and countless others.  A workhorse of a musician, a true Australian music legend, this has kept Harry in the game for 53 years and counting.  This one's a cracker. So sit back back and open your ears to some of the life and times of Mr Harry Brus. This conversation was recorded 05/10/2020. For more information on Harry Brus: Harry Brus Facebook Harry Brus Band Facebook YouTube ------------------------------------------------------------------------------------------------------------------------------   Click here to securely donate or tip The Gig Life Podcast via PayPal. Your support is very much appreciated. Thank you. The Gig Life Podcast: Website Instagram Facebook  Twitter  

The dirt farmer, a cultivator of land in Arkansas. Toiling in the fields with a rhythm of his own. Unique, not like Gene Krupa or Buddy Rich or Earl Palmer but a pulsating percolating personification that set the dirt farmer apart from every other drummer. My guest today is a guitar player with a unique and distinctive sound that roils in his hometown of Woodstock, NY. Unlike every long haired kid who showed up on a bus my guests roots are in Woodstock before Dave Holland and John Simon and Bernard Purdie, Chuck Rainey and John Sebastian moved up there. Even before the dirt farmer made it to big pink. My guest percolates with multiple musical units going to the lush green of Maine and the urban jungle of Philly playing guitars, mandolins and dobros passing on traditional roots music to future generations of big eared people. Let the body dance be it in Nashville or Georgia singing for your supper with Vassar Clements, Hargus Pig Robbins, Jerry Carrigan and Tut Taylor. He returned to Upstate New York in the early 1980s and connected with the dirt farmer who he had once known before. When that farmer was at big pink with fellow artists Rick Danko, Garth Hudson and Richard Manual who played the Getaway Inn in Saugerties or some small bar in Auburn because they want to connect with the audience. It makes no difference how many amalgamation a of The Band there were. The peaks and valleys, the brown album to a blaze of glory. My guest was part of a band that wanted to play music they wanted to play. Not trying to make a hit for the suits but knowing that from organic creative story telling the magic will reveal itself....the musics hot and you might have to stand - Jim Weider welcome to the JFS. --- Support this podcast: https://anchor.fm/jake-feinberg/support

My guest today is a lover, leader and life giver of music. The decisions that he makes correlate to art and relationships because you must have intimate relationships with cats to make real music. Cats like Dino Danelli who came up playing swing music with the likes of Lionel Hampton. My guest was part of The Rascals. A rock quarter that produced jukebox hits that the ladies could bob their heads too. The group was deeper then their pop hits. The messages within their music spoke of justice for all, seeing black musicians and Latin musicians being treated poorly, demanding integration at their concerts, knowing their limitations and winding up in some Orgy following a late set @ the Port Chester Theatre. After the calliopes have left the circus you are left with your own island of real. Not the kind of island you see on TV. Commercials rather one where the animals walk freely amongst the bush and a swirling Hammond organ drum bands are burning there way from Las Vegas to Bearsville. My guest has collaborated with the most visceral musicians on the planet. Play from your guts, leave it out in a dream with Steve Cropper or Chuck Rainey, Alice Coltrane and Buzzy Fieton. My guest understood the value of the accompanist and the session cats in order for the rascals to play world music. I thought Blue Eyed Soul came from Boz Scaggs but in fact it was this group that fostered the name. A dainty polite way to say that these cats were most influenced by race records, African Roots Music and The Shea Stadium Scoreboard. They were not interested in competing with the British Invaders original material but rather leaned on their own experiences which are rooted in rhythm and blues and northern soul with a blend of symphonic My guest adapted to changing times in both personnel and within the industry knowing the cats who could help the group sound full. He also took on the burgeoning use of technology using the moog and Arp to create cosmic waves of consciousness within the ears of the listener. My guest channeled his intensity through meditation which most likely saved him from the webs of stardom. He knows its easy to kick a rock down 26 flights of stairs then to walk a boulder up from the bottom. To look yourself in the mirror and detest what you see but instead of wallowing in self pity you find little creases and crevices and family and soul to improve yourself and make that mirror become a Peaceful World. --- Support this podcast: https://anchor.fm/jake-feinberg/support

At one time tagged as the hardest working bass player in America, Chuck Rainey's bass playing on successful television shows, motion pictures and recordings illustrate his well-known and legendary style, feel and concept for the instrument and it's role in organized music. His unique bass lines accent numerous commercials and are an integral part of today's music across many music viewing and listening fronts.During the period 1963 thru 1971, Chuck toured and/or recorded with some of the most prominent artist of that era. They include King Curtis, Sam Cooke, Etta James, The original Coasters, Jackie Wilson, Harry Bellefonte, Al Kooper, The Supremes, Labelle, Aretha Franklin, Roberta Flack and Quincy Jones.