By Joe Gagliardo

The American Dream—you flip out after seeing the Vanilla Fudge at the age of fourteen; play a bunch of their songs in a band; retire from the music business for twenty years; and then years later, go from being an Assistant Webmaster of a Vanilla Fudge fan site to being the bass player in the Vanilla Fudge and Cactus.  Only in America!

Pete grew up in a house filled with music.  His mom played piano (though they didn’t have one in the house), and his dad tinkered with a 1949 Hammond Spinet organ.  His dad also owned and operated an electronics company that built stereos and TVs.  That meant a lot of demonstration records were in the house, and his dad was always spinning records – from classical to jazz.  Pete had his own cool collection of 45s, including “Bad Boy” by the Jive Bombers.

In 1962, when Pete was nine or ten years old, he was a percussionist in his grammar school concert band. Many bass players picked up the bass after seeing Paul and The Beatles, but Pete picked up drumsticks instead, after seeing Ringo.  Pete banged on a practice pad and furniture, until he cobbled together a drum set.  By his freshman year of high school, his parents bought him a set of Ludwig Black Diamond Pearl drums, which he still owns.  He studied music theory in high school, and attended William Patterson University for two years studying percussion, where he studied with Thad Jones.

Like many kids at the time, having friends play music in his basement worked well, but once his bandmates decided they wanted to jam at other houses, pulling the drums on a wagon was not a viable alternative, so Pete volunteered to play guitar.  One day, his best friend said to Pete “we have enough guitars—play bass! It only has 4 strings, and you only have to play one low note at a time.”  Pete thought that would be cool, but after developing into a pretty good drummer, he quickly grew bored playing roots and fifths.  That was soon about to change.

When Pete was fourteen, a musician friend who was a year older, and always on the cutting edge of new music, took him to an outdoor concert in New Jersey to see a band called the Vanilla Fudge.  It was August, 1967, the day before the Fudge’s debut LP was released.  Although the band had released the 45 “You Keep Me Hanging On,” Pete had not heard it.  Seeing the Fudge and hearing Tim Bogert changed his life that day. Tim’s lines were innovative, and he played with speed and muscle. To this day, Tim is one of the fastest bass players Pete has ever seen, even if he is sometimes only playing with one finger. The bass was no longer boring!

In addition to igniting his interest in the bass guitar, Pete immersed himself in the music of the Vanilla Fudge, even learning the keyboard parts on his dad’s Hammond Spinet.  There came a point when Pete could play the entire Vanilla Fudge album on bass, organ and drums!

When Pete was part of a cover band, Heaven’s Sundae, they became popular playing the teen clubs, CYO events, and school dances.  Because their repertoire included a heavy dose of Fudge music, they were often referred to as the Heaven’s Vanilla Fudge Sundae.

After playing the New Jersey music circuit for several years, Pete retired from music for about twenty years.  During that time, he worked in the printing industry, married and raised a family, became a volunteer firefighter, and became a volunteer search and rescue dog handler.

You must be wondering–how did Pete get pulled back into music?

Well, his bass playing neighbor signed up for a gig around Christmas, 1993 playing cover tunes, and when he realized he didn’t know most of the songs, and it was only a few days away from the gig, he asked Pete to share the gig with him as a favor.  The neighbor didn’t care that Pete hadn’t played for twenty years, and Pete did the gig, playing two of the three sets.  That ignited the “bug” in him, and he started going to weekly jam nights, just to listen.  Ultimately, the bass player of the house band found out Pete played bass, and got him up on the bandstand.

When Pete was in his early forties he was looking to get a part-time job, and his wife suggested that he start playing music again.  He reunited with his childhood friend who originally encouraged him to play bass, and they started gigging together.  During the entire time, whether he was playing music, or in retirement from music, he continued to follow the members of the Fudge in their various projects.

Over the years, some of the bassists Pete has loved listening to include Tim Bogert, Paul McCartney, Chris Squire and John Entwistle.

In March, 1997, on a night he couldn’t sleep, he went to his computer, rather than turn on the TV, and, by chance, punched in Vanilla Fudge.  A fan web site popped up that had only been in existence for a few months, and he started communicating with the Administrator.

Since Pete had some familiarity with websites, he became the Assistant Administrator.  At this point in time, the Fudge was not together, the Fudge members had no affiliation with the site, and Pete had no contact with members of the Fudge.  Over time, each member found the site, and the Administrator convinced the band to make it their official website, and that’s what happened.

One of the first official steps taken by the official site was to interview Vince Martell.  When Pete saw the interview, which was done outdoors, he realized that he and Vince lived in the same area.  Although Pete had no contact with Vince Martell, one of Vince’s friends contacted Pete through the website to talk about the band.  Pete gave him his contact information, and asked him to pass it on to Vince.

Months later, Pete received a call from Vince, who was impressed Pete knew so much about the Fudge.  Pete asked Vince to let him know when he would be playing, and Pete ended up going to see Vince play an acoustic show at a coffee house.  When Pete asked Vince to play the song “Thoughts”, from the Renaissance LP, a song Vince wrote, they hit it off, had a lengthy conversation, and became friends.

Weeks later, Vince was telling Pete that he had an acoustic duo gig that night, but the bass player dropped out at the last minute.  When Pete offered to fill in, Vince was surprised, because Pete had never mentioned that he was a musician.  Pete filled in, and that further solidified their friendship, and led to Pete joining the Vince Martell Band in 2000.

In 2002, the Vanilla Fudge consisted of Vince on guitar, Tim Bogert on bass, Carmine Appice on drums, and Bill Pascali on keys.  The band had three gigs lined up for a Friday, Saturday and Monday–at the Stone Pony in Asbury Park, NJ, a club in Virginia, and BB Kings in NYC.  Pete and his wife had decided to take a mini vacation, and catch the band at each of the three stops.  To his surprise, he received a call from Carmine on Thursday, at 4:15 pm, saying Tim had suddenly taken ill. Vince had told the band Pete knew all of the material, and Carmine asked if Pete would be able to sub.  Thursday night at 10 PM, they did a quick run through the set at Pete’s house, and Pete did all three dates, playing bass and singing Tim’s harmony parts.  That subbing went on for the next six months, including tours of Sweden, Denmark and California.

Pete’s playing with the band ended when his vacation time ran out at his day job, and he was replaced by T.M. Stevens.  Pete was so upset that he quit his job in the printing industry, and acquired a real estate license, so he could play music and make his own hours at work.

In 2004 and 2005, Pete toured with Essra Mohawk, whose Primordial Lovers album was rated by Rolling Stone as one of the 25 top albums of all time.  Essra is also known for her songwriting, including “Change of Heart” by Cyndi Lauper, and “Stronger Than the Wind” by Tina Turner, and she played for a period with Frank Zappa and the Mothers of Invention, and assumed the moniker “Uncle Meat.”

In 2005, the original Fudge members reunited, now including Mark Stein on keys.  Tim Bogert asked Pete to be his bass tech, and Pete also became the band’s road manager during 2005-2006.

Tim Bogert retired from playing in 2008, and in 2010, Carmine booked the Fudge for a gig at BB Kings in NYC.  At that point, 10 years after the odyssey began with joining the Vince Martell Band, Pete became the bass player for the Vanilla Fudge, and remains there today.

Prior to Pete’s joining the Fudge full-time in 2010, Carmine, had reformed Cactus with Tim Bogert and Jim McCarty.  Tim retired shortly thereafter, and another bass player was brought in.  When that bassist couldn’t make a gig, Pete was called in, and ended up being with Cactus for the next five years.

Pete has multiple releases with all these bands, including solo albums with Vince Martell, and live and studio albums with Vanilla Fudge and Cactus.  He has also played a number of memorable gigs with these bands, including the Fudge on the Jimmy Fallon Show; the Fudge headlining the Suwalki Blues Festival in Poland in front of 10,000 fans; and Cactus appearing with Govt. Mule at a blues fest in Germany.

Pete’s original go-to bass was a ’66 Hagstrom II bass, which he hot-rodded by adding a Gibson Humbucker pickup, and he wired it in stereo so that it could run through a Marshall stack and a Standell Super Artist.  In 1974, he purchased a “74 Fender Jazz bass, that he played regularly until 2007.  In 2007, he bought a Washburn 6 string, that became his go-to bass, tuned BEADGB.

In recent years, he has acquired a stash of Michael Tobias Design (“MTD”) basses, including a USA 635-24, a USA 5-string Saratoga, a Kingston KZ6 with Bartolini pickups, a 4-string Kingston CRB that he uses with Vanilla Fudge, and a Kingston 5-string Saratoga.  For his rig, he uses Hartke HyDrive 4×10 and 1×15 cabinets with a HA 5000 head.  He supplements his sound with a Boss Bass Chorus and a Boss Distortion pedal.

You can catch Pete and the Vanilla Fudge on tour, and you can check out Pete’s playing here:

Vanilla Fudge–“You Keep Me Hanging On” Live on Jimmy Fallon https://youtu.be/RuisGkFcDXI

Cactus—“Parchman Farm” Live in Tokyo https://youtu.be/_Sc6J3rPeMw

By Joe Gagliardo

Harlan Lee Terson started playing bass in 1966—his first bass was a 1966 Pelham Blue Gibson EBO.  He played in various bands while in high school and college, and after receiving a Bachelor of Arts in music from the University of Illinois-Chicago, he began playing professionally on the Chicago scene.

For the last forty-five years, Harlan has been a familiar figure on Chicago’s musical landscape.   His steady “in the pocket” groove has kept him working on the competitive Chicago blues circuit, recording and touring internationally with some of Chicago’s greatest blues artists. He has played bass on more than forty- five recordings and jingles, and Bass Player Magazine has described him as “…one of Chicago’s great blues bassists.”

His influences include all styles of blues, as well as the recorded sounds of Stax/Atlantic and Motown. James Jamerson, Carole Kaye, Tommy Cogbill, and Duck Dunn are just a few of his favorite bassists.

Harlan’s career highlights include playing with the Lonnie Brooks Blues Band where he played on five recordings, two of which received Grammy nominations.

During his time with Lonnie, the band played three European tours, including Hamburg, Germany, 1981 Blues Estafette in Utrecht, Holland (with Jimmy Rogers and Walter Horton), and 1982 Chicago Blues Giants tour (with Lefty Dizz, Eddie Shaw, Ken Saydak, and Melvin Taylor).

He has also appeared, recorded and toured extensively with many other artists, including the legendary Otis Rush, Bo Diddley, Magic Slim, Albert Collins, Sunnyland Slim, Eddy Clearwater, Jimmy Rogers, Kim Wilson, Duke Robillard, Eddie Shaw, Eddie “Cleanhead” Vinson, Big Mama Thornton, Lurrie Bell, Steve Freund, Tad Robinson, Dave Specter and the Bluebirds, Jimmy Johnson, Sharon Lewis, Bob Margolin, The Chicago Rhythm Review, The Blue Coast Band, and Chicago blues rockers, The Fabulous Fish Heads.

In addition to his gigs, Harlan performed at the internationally famous Kingston Mines in Chicago for more than twenty years, and at Rosa’s Lounge.  He has been on the teaching staff at The Old Town School of Folk Music since 1999.  Notable alums of the Old Town School include Roger McGuinn and John Prine, among others.

These days, you can catch Harlan playing one of his Fender Jazz or Precision basses with the Rockwell Avenue Blues Band, made up of many veterans of the Chicago blues scene, including Ken Saydak (Big Shoulders, Lonnie Brooks Blues Band), Steve Freund (Sunnyland Slim, Big Walter), Tad Robinson (Dave Specter and the Bluebirds, Solo), and Marty Binder (Albert Collins, Buddy Guy and Junior Wells).  The band recently released an album on the Delmark label, Back to Chicago.

You can also catch Harlan with The Blue Coast Band, whose members have also worked with many of Chicago’s greatest blues artists, going back to the vibrant Chicago Blues Scene of the 1970’s.  Blue Coast has released a CD Lake City, and includes Mark Wydra (Eddy Clearwater, Buddy Guy and Junior Wells), Ron Sorin (Hubert Sumlin, Willie Kent) and Jon Hiller (Jimmy Johnson, James Burton and Charlie Musselwhite).

Being a busy player, you can also catch Harlan with Dave Specter and the Bluebirds, which also includes Marty Binder from the Rockwell Band, and Chicago Blues Legend, Brother John Kattke.  Harlan has recorded multiple records with Dave Specter.

Check out Harlan’s playing:

Otis Rush-“Crosscut Saw” https://youtu.be/xpk6kIJCZ_s “Just trying to play it true to the Albert King version….”

Dave Specter/Jorma Kaukonen-“How Low Can One Man Go?” https://youtu.be/5JrlaCWQfMk “This song felt like a Boogie, so I played it like a Boogie….”

Rockwell Avenue Blues Band-“Boogie in the Rain” https://youtu.be/doU1i-y8MOA  “Here, I am following the guitar….”

Lonnie Brooks-“Sweet Home Chicago” https://youtu.be/Lw4-sExT–M

Blue Coast Band-“Northeaster” https://youtu.be/Nroh3lOXz0k “These last two songs, I was just trying to push the groove….”

Val Burke, bassist (electric) by Tom Semioli

Seminal Sides: You Broke My Heart So…I Busted Your Jaw (1973), The Mirror (1974) by Spooky Tooth; Willie & The Mighty Magnificents Play That Funky Beat.

Artists / Bands: Spooky Tooth, Willie & The Mighty Magnificents

Cited by Marcus Miller and Jamaaladeen Tacuma as a profound influence on their playing, Val Burke hails from the bass player capital of the world: Queens County, New York City.

Val served as the house bassist for Stang / All Platinum records, waxing sides with The Moments, (Ray, Goodman & Brown) Whatnauts, Linda Jones, Donnie Elbert, Sylvia. As the Concord Resort Orchestra bassist, Burked backed Ben Vereen, Tom Jones, Tony Martin, Robert Goulet to cite a few. Val also worked A&R for Cameo.

He anchored two latter day Spooky Tooth slabs You Broke My Heart So…I Busted Your Jaw (1973), and The Mirror (1974). Tooth were long in the tooth with regard to their commercial and artistic prime, yet these platters do have their enjoyable, groovin’ moments.

Dig this Burke bass passage which must’ve inspired Marcus and Jamaaladeen: “Women and Gold” from The Mirror  https://youtu.be/1IVm5kwyoOk

He worked the bass chair for Elephant’s Memory Band sax colossus Stan Bronstein’s Living On the Avenue (1976), and Willie & The Mighty Magnificents Play That Funky Beat.

Dig Val working the pocket with Stan Bronstein on the title track to “Living on the Avenue” https://youtu.be/PHkeywFLw6E  

Dig Val with Willie & The Mighty Magnificents “Funky Beat” https://youtu.be/X36hc5wh3Eo

Interview with Val Burke in Ebony Live: Larry Smith Unsung Hero of Hip Hip Gets His Props (2017) https://bit.ly/3h4J6gw

Interview with Jamaaladeen Tacuma which cites Val Burke: For Bass Players Only by Jon Liebman https://forbassplayersonly.com/interview-jamaaladeen-tacuma/

“But there was one bass player who turned my head completely around and became a major influence. His name is Val Burke. Val was the bass player in a self-contained R&B band called Willie & the Mighty Magnificents. They were the backup studio band for a group called the Moments, which had hits like “Love on a Two-Way Street.” At the time, they were headed up by hip-hop pioneer Sylvia Robinson of Sugar Hill Records. This band was cooking all the time when I saw them…..”

From his home in The Windy City, KYBP Chicago Bureau Chief recalls his performance with the “Father of Rock and Roll” – Charles Edward Anderson Berry! With Little Richard as the opening act, Chuck possibly mistakes Joe for Joey Spampinato who anchored Chuck and Keith Richards in the 1987 documentary Hail! Hail! Rock and Roll! upon Berry’s inspection of Gagliardo’s Danelectro – which was a nearly the same instrument used by the NRBQ bassist in the film.

Steve Priest, bassist by Tom Semioli

Seminal Sides: Just about a any Sweet Greatest Hits compilation will do….

Artists/Bands: The Sweet 

Are you ready Steve?

He anchored the “Godfathers of Glam” – however The Sweet were much more than a passing pop trend. Pub rockers with a rhythm and blues background and strong vocal harmonies which set them apart from their loud and proud peers, the classic quartet of Brian Connolly, Andy Scott, Mick Tucker, and bassist Steve Priest initially made their commercial bones with bubble-gum tunes composed by Mike Chapmen and Nicky Chinn.

Yet the lads could also pen hits and album tracks that rocked hard akin to their competition– Thin Lizzy, Mott The Hoople, and T. Rex – hence the contradiction which plagued their career and legacy: were they substance or sizzle?

You be the judge. They certainly inspired the LA metal scene (Quiet Riot) and second wave of British metal (Def Leppard) of the 1980s, and indie-rockers of the 90s who worked in the pop spectrum cited them as a touchstone despite their tinsel trappings.

Akin to many players of his generation, Priest was drawn to the instrument by way of Jet Harris, and the harder edge aesthetic of the Rolling Stones and The Who.  He toiled in various beat groups in the 1960s, The Countdown and The Army wherein he worked with legendary producer Joe Meek.

A singer / composer Priest was among rock’s consummate song players – working the pocket with occasional rhythmic and harmonic flourishes as the situation warranted.

Following The Sweet, Priest migrated to Los Angeles and formed The Allies which failed to reach a wide audience. In 2006 he waxed a solo slab Priest’s Private Poems.  In 2008, after years away from the biz, Priest led his own version of The Sweet, and penned an autobiography Are You Ready Steve? in 1994 to tell his side of the Sweet story.

Among Priest’s weapons of choice included Fender and Rickenbacker basses.

Steve Priest Sound & Vision

“Fox On The Run” https://youtu.be/qBdFA6sI6-8

“Love Is Like Oxygen” https://youtu.be/zRgWvvkSvfk

“Talk to Me” from Priest’s Private Poems https://youtu.be/sUZxfMUSThE

Steve Priest’s The Sweet live in 2019 https://youtu.be/qCgIW8ZjleE

By Fran Festa

Bassist Rick Haynes of the Gordon Lightfoot Band may just have the longest running gig in popular music.

Born and raised in Toronto, Rick actually started out in the early 60’s on the piano, and was classically trained at the Royal Conservatory under the direction of his pianist mother. Later… he took up the guitar, leaning toward jazz and blues, and then grabbed a bass to help out some friends. He passed his audition with Lightfoot in 1968 and has been with the revered singer songwriter – recording artist since then.

Rick’s first LP with Gordon was the stellar ’69 release Sunday Concert. Fast forward to 2020 and Haynes has anchored 20 plus albums, hit singles, and thousands of concert performances.

The consummate song player, check out Rick Haynes as he supports Gordon with a combination of pocket grooves and countermelodies – rendered with a warm, resonant tone which serves the singer and his songs:

“If You Could Read My Mind” https://youtu.be/23nUU1xxx3s

“Baby Step Back” https://youtu.be/Zl8CqCmSqcw

BBC In Concert – taped in 1971 https://youtu.be/PEVQiUMbvHU

Over the years, Rick has been seen mostly with his vintage Fender Precision basses, though he has used Fender Jazz, MusicMan StingRay, and a Kramer Focus.

More recently, Rick has returned to the P with a newer Fender American Deluxe Precision.

When he’s not touring or doing TV appearances, Rick listens to old blues, he digs old cars, and probably best, hangs out with the grandchildren.

All richly deserved after his amazing fifty-two-year stint – and counting – with Canada’s finest export!

By Joe Gagliardo

Mark started playing bass on a 1970 Fender Mustang.  By 1972, he was playing a Rickenbacker 4001 and anchoring Utopia, a horn band that preceded Todd Rundgren’s band of the same name.  Utopia was playing the music of Chicago, Earth Wind & Fire, and Average White Band, among others, and was tearing up the college and club circuit until 1979.  This fit his playing style well, because in addition to Paul McCartney, Mark was deeply influenced by the melodic playing of Peter Cetera with Chicago.

In 1979 Mark joined the band Lovecraft. HP Lovecraft is one of the legendary bands in Chicago that started out as a folk/psych band in the 60’s, and included George Edwards on guitar, Jerry McGeorge (Shadows of Knight) on bass, and Michael Tegza on drums (2 Lps-HP Lovecraft and HP Lovecraft II).

With a shortened name, Lovecraft moved to a more rock sound in the early ‘70’s, and included Marty Grebb (Buckinghams, Leon Russell, Bonnie Raitt and more), Jim Donlinger (Aorta), Michael Been (The Call), and Michael Tegza (one Lp-Valley of the Moon).  By the mid-70’s Lovecraft was a Funk band, which included vocalist Lalomie Washburn, Tegza and Frank Capek on guitar (one Lp-We Love You Whoever You Are).

In 1980, after Lovecraft, Mark and Frank Capek joined one of Chicago’s hot power pop bands, The Kind, who had opened shows for Lovecraft.  That line-up was rounded out by leader, songwriter and lead vocalist, Frank Jalovec, and Frank Sberno on drums (The Hurd).

Within short order, three of The Kind’s songs were creating a hell of a buzz!  “Total Insanity” was played heavily by WXRT, and was recently included in The Dirt- the story of Motley Crue, and is on The Numero Group’s compilation cd, Buttons—From Champaign to Chicago.

“When You Rock” received heavy play rotation on WLUP and WMET, two of Chicago’s other radio giants, and the band got a big push when “Loved By You” became a staple of WLS radio.  By this time, Mark was slinging a Cherry Red 8-string Hamer bass, as well as a 4 string Hamer Cruise bass.

This line-up of The Kind had a run until 1986, and released two Lps, The Kind and Pain and Pleasure.  During this time, the band toured extensively, and played shows with musically diverse groups, including, ZZ Top, Duran Duran, Robert Palmer, Angel City, and The Romantics.

After The Kind, Mark spent the next six years playing with The Legends, primarily a cover band, that also worked with Chicago DJ, John Records Landecker.  This run had the band playing with Paul Revere and the Raiders, The Monkees, America, Rare Earth and many other bands from the 60’s and early 70’s.

These days, Mark is a co-owner of Naperville Music outside of Chicago, where he started to work as an employee in 1977, and became an owner in 1985. He is also busy working to promote the careers of his two sons, Dylan and Mark, who are involved in music.

Dylan is a multi-instrumentalist, who released 2 CDs on Warner Brothers, Adventures in Real Time and Almost Real, and is currently working on his third CD.

Mark is a drummer who works at Old Style Music in California, and one of his fortes, besides drumming, is making custom pedals for a who’s who of musician clients.

Check out Mark’s playing:

The Kind-“Total Insanity” https://youtu.be/skrU8XF8LXc

The Kind-“Loved By You” https://youtu.be/I2icCGpPOMQ

The Kind “When You Rock” https://youtu.be/i-GqZ9MXvZc

The Kind-“I’ve Got You” https://youtu.be/SaViWQ66fcw

Mark Gardner, Dylan Gardner, Mark Gardner and Frank Capek-Recent Partial Live Clip of “Total Insanity” https://youtu.be/v8LjnoV0AGU

By Joe Gagliardo

The power of power pop!

Using a friend’s 6-string to start a garage band while in 9th Grade, Pete’s aggressive playing broke the B and E strings.  He then started playing bass lines on the 4 remaining strings, and within weeks moved up to a red Kalamazoo SG styled bass with a Fender-shaped headstock.

Growing up in a time when the garages and basements were bursting with bands, Pete jumped right into the fray.  Playing the classic rock of the day in Wisconsin with Bare Nerve Blues (Cream, Alice Cooper, Beatles, etc.), and morphing into Rory Slick and the Roadsters when there was a resurgence of Doo Wop and 50’s music, and moving back to a classic rock sound incorporating a few originals with Slick, the band became a favorite at the Church Key in Madison, Wisconsin.

In the late Fall of 1977, after a summer of a rotating cast of bandmates, Pete and childhood friends/long-time band mates, Pat McCurdy and Mike Hoffmann, formed the power-pop/new wave band Yipes.  The band started playing extensively, developed a strong following, and found a music home at Jay’s Longhorn, which was part of Minneapolis’ hot music scene.

Jimmy Ienner signed the band to his Millennium record label, where they released two LPs, Yipes and A Bit Irrational.  Yipes toured extensively in support of the records, including opening slots with Cheap Trick, Triumph, Foreigner, Kansas, Robert Palmer, Eddie Money, and Southside Johnny and the Asbury Jukes, among others, but national success eluded the band.

After Yipes, Pete continued to play bass in various musical configurations, until he stepped away from full-time playing to go to law school.

 In 2013, Yipes reunited to play at the Wisconsin Area Music Industry (“WAMI”) awards event when the band was inducted into the WAMI Hall of Fame.  This led to more high-profile shows, including Milwaukee’s Summerfest.  The band has continued to perform, and released a new album in 2018, entitled Yipes!!!, featuring all of the original members.

These days, Pete’s go-to bass is a 1979 natural finish Rickenbacker 4001, though he has a complete arsenal, including a ‘59’ style Roadworn Fender Jazz Bass, a late 90’s Fender Precision Bass, a Danelectro dual cutaway, a Fender Blasted Sandstone Jazz bass, strung with black nylon strings, and a 1974 Hofner Beatle bass.  His preferred amp is an Ampeg Portaflex.

Pete’s musical influences reflect the variety of music he has played-Paul McCartney, Jack Bruce, James Jamerson, and Duck Dunn. As you can hear from the tunes below, Pete plays melodically, in support of the song, giving the other band members a platform to play off of.

You can catch Pete and Yipes live, and when he is not playing his bass, he is a top-entertainment lawyer in Chicago with Mandell Menkes, where he has devoted a significant amount of his time as a volunteer with Lawyers for the Creative Arts.

Yipes-“Blink of an Eye” https://youtu.be/s6hBLEcPeM0

Yipes Redux-“Last of the Angry Young Men” https://youtu.be/fTSH95b0894

Pat McCurdy & The Men About Town-“Don’t Move”  https://youtu.be/qeBDXg1m-uI

“Oh I like that… The Zombies bass player!” The first time Chris White heard “She’s Not There” on broadcast media was on the BBC’s Juke Box Jury wherein guest panelist Beatle George Harrison praised the band and their bassist! The Zombies first recordings were helmed by a new kid in the studio who would go on to become a rock legend: Gus Dudgeon. From Terminal Studios in beautiful downtown Bermondsey UK, our first of a series of interview segments with producer / composer / bassist Chris White.

“It was like a cross between an ode and odyssey…” From Terminal Studios in beautiful downtown Bermondsey UK, our second in of a series of interview segments with producer / composer / bassist Chris White, who shares his recollections on one of the most iconic slabs in the history of rock and roll.

“I’m a songwriter who happens to play bass….”

In our third in a series of interviews with composer / bassist / producer Chris White from Terminal Studios in beautiful downtown Bermondsey UK, The Zombies bassist/composer (and Argent composer with Rod Argent) recalls writing “Hold Your Head Up” based on Jim Rodford’s permutated bassline from The Zombies classic “Time of the Season.” Following Chris’ interview, we include a clip from our 2014 Season One conversation at The Horn in St. Albans with the late Jim Rodford discussing the Argent hit and how he created the signature bass motif which inspired White and rocked a generation!

Mark Preston: “To have Chris White on film was very, very special to us, and to me on a deep personal level. I attended several moving performances of The Zombies Odessey and Oracle, including the historic 40th Anniversary show at Shepard’s Bush in 2008.

As we learn from our interview “A Butcher’s Tale” was composed by Chris, and it is an emotional recollection of how his family was affected in the Battle of Somme in World War One.

We conducted Chris interview on November 11 which is Armistice Day in England. Their holiday is similar to Memorial Day in the United States to honor fallen soldiers in past wars. Our cinematographer Derek Hanlon suggested that we post the Odessey and Oracle album on the wall behind Chris as visual backdrop. Before we started shooting our interview which was scheduled before noon, Chris asked me if we could pause for a moment of silence at the 11th hour of the 11th day of the 11th month to observe two minutes of silence as is custom.

Of course, we agreed. When the clock struck 11 in Room B at Terminal Studios in Bermondsey, we stopped shooting and all of us; including Bass Player editor Joel McIver, my partner Tom, Derek, Ollie our assistant, my wife Joanne, and Chris’ wife all stood in a circle with our heads bowed. Just seconds into our observance, the Odessey and Oracle album crashed to the floor. Chris opened his eyes and looked at me and I said “these things happen for a reason” and Chis said “yes they do…”

Here is our conversation with Chris!”

By Joe Gagliardo

Though they did not enjoy the commercial success of their peers Chicago, and Blood, Sweat & Tears – this Chicago based jazz rock band were among the best of their generation, and worthy of reevaluation in the evolution of rock music.

Between 1966-1968, The Flock released multiple singles on the local Destination and USA record labels, and they were favorites on radio and in the teen clubs.

On the first release “Can’t You See,” bassist Jerry Smith was featured on the lead vocal.

“Can’t You See” https://youtu.be/W2AxRoeCJKo

That single was followed up by a horn driven rave up “Take Me Back!”

“Take Me Back” https://youtu.be/sjZQADQg4aw

The Flock did not have a full horn section at that time – however by 1969 they added Frank Posa on trumpet, Rick Canoff on saxophone, and Tom Webb on saxophones and flute.

The band also brought in violinist Jerry Goodman – who would go on to greater recognition as a founding member of jazz rock superstars: Mahavishnu Orchestra. On their debut LP The Flock on Columbia records, John Mayall described them as the best band he had heard in America in his liner notes.

One listen to the first LP, and it is evident that the band was pursuing more of a jazz fusion sound, rather than the horn band sound that was popular at that time.  That said, the band rocked!

After a guitar and violin “Introduction”, the song “Clown” kicks off with Jerry’s thumping bass line, followed by a blast of horns that will blow your hair back, leading into lead guitarist, Fred Glickstein’s frenetic vocal, and ends with a soaring unison run up the neck by Jerry on bass, and Jerry Goodman on guitar.

The Flock’s sophomore on Columbia in 1970, Dinosaur Swamps, followed a similar musical vein as the debut LP. The Flock enjoyed a great run touring the U.S. and Europe, and playing major festivals and shows with The Who, Led Zeppelin, Jimi Hendrix, and Frank Zappa, among others.

One of the most memorable gigs was playing in front of 350,000 people at the Rotterdam Pop Festival in 1970. Smith and Goodman’s images are featured on the promotional poster from the movie Stamping Ground.  This was the “European Woodstock” with considerably more people in attendance.

As with all good things, they don’t last forever, and by 1971 Jerry was playing bass with Aura, and co-producing their debut LP on Mercury records.  Aura was a horn band led by the talented and charismatic lead singer, Al Lathan, and consisted of former members of legendary Chicago bands, including For Days & A Night, The Flock and The Mauds.  The LP was a mix of original songs, with a few cool covers of obscure songs by Richie Havens and Doug Sahm.

After Aura’s run ended, Jerry reunited with Fred Glickstein and Ron Karpman (drums), former founding members of The Flock, and they released the album Inside Out in 1975, which was produced by Felix Pappalardi on Mercury records.

Fast forward to today, and after a six-year stint in the re-formed Mauds, Jerry is part of the band Dinosaur Exhibit, which includes Jerry Goodman on Violin, Mike Flynn on Guitar, Pete Flynn on Drums, Quent Lang on Sax and Flute, and George Barr on Trumpet. The band plays the music of the members’ former bands, The Flock, Aura, The Mauds, as well as Jerry Goodman’s solo work.  A highlight for Dinosaur Exhibit was performing with Steely Dan last year at the Ravinia Fest in Highland Park, IL during Labor Day weekend in front of 43,000 people over two nights.

Jerry’s start as a bass player is like many other bass player stories—he was a guitar player, and the band needed a bassist.  He went through various basses, a Gibson EB-3, a Gibson EBO, a Hofner Beatle Bass that he traded for a Rickenbacker 4001, and by 1968, he had a Pink Paisley Tele Bass, with a matching Tele Guitar.  Jerry can be seen playing that bass on stage in the movie Stamping Ground.  While it would be great if he had the matching Paisley Teles, they are long gone.  Over the years, Jerry has favored Fender Precision Basses, Rickenbackers, and Laklands.  His current go-to bass is a Metallic Blue Lakland, with a Maple Neck, and he has a Copper-colored Fender American Performer with a P/J pickup configuration, as a back-up.

Jerry’s amps over the years have gone from an Ampeg Portaflex, to dual Acoustic 360’s, to dual Sunn Coliseum bass cabinets with 1x18s, driven by a 300 watt head, to a Trace Elliot 600 watt head pushing a Trace Elliot 2×10 and an SWR 4×10, and today a GK MB 800 watt head pushing a GK NEO 2×12 and a GK NEO 1×12.

In terms of Jerry’s playing style, he has always played tastefully, with a lot of improvisational movement, following in the footprints of his influences, Chris Squire, Jack Casady, Jaco Pastorius and Jack Bruce.  On the Flock and Aura LPs, his bass lines propelled many of the songs.  As his playing has progressed, he has become more of a melodic player, creating a pocket by being locked in with the drummer.

Traveling across the USA and Canada a few years ago with Steve Gadd, in his capacity as Director of North American Sales for Zildjian and Vic Firth, Jerry focused on the concept that it is not how many notes he plays, but how he plays the notes, and how to leave space.

You can catch Jerry and Dinosaur Exhibit in clubs and festivals, and check out his playing below:

The Flock “Clown” https://youtu.be/bKs1Zw47oyo

The Flock “Crabfoot” (Dinosaur Swamps) https://youtu.be/wrPIKrZ4yL8

The Flock “My Ok Today” https://youtu.be/5n0uGjGvSKc

Aura “No Opportunity Needed, No Experience Necessary” https://youtu.be/6zLjKFEswwI