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

Gordon Patriarca was born into a family that loved music – dad was a jazz / blues buff and mom played piano and show tunes.

 

Then along came the transistor radio! Gordon and his brother were inseparable from these new portable devices as the Top 40 sounds of WLS and WCFL in Chicago became the soundtrack of their childhood.

 

When Gordon was in 8th grade, a friend from Ireland with older brothers introduced him to Rory Gallagher and Taste, Jethro Tull, John Mayall, Cream, Led Zeppelin, and much of the great British blues rock of the era. By the time he entered high school, Gordon was in love with the music, however had yet to pick up a bass.  That was about to change soon…

 

His younger brother was excelling with guitar lessons, and Gordon – fired up by Jack Bruce’s incendiary musicianship – decided that playing bass would be “cool.”  A neighbor kid owned a Montgomery Ward’s bass and amp that he loaned to Gordon, and he and his brother would spend hours playing 12-bar blues progressions.

 

Eventually Gordon got bass, a cherry red Epiphone Newport, and joined a band with his brother while taking lessons from a pro – Paul Zibits.  Gordon’s high school graduation gift was ’76 Fender Jazz bass.

 

Circa 1979-80, Gordon honed his craft with Trouts, which was in the Elvis Costello / Squeeze / Joe Jackson bag: melodic and hooky.

 

At this point, Bruce Thomas (Elvis Costello & The Attractions) became a huge influence. Regulars on the local circuit, Trouts lasted for three years.

 

Following Trouts, Gordon took on a rockabilly gig with Stevie Starlite’s band, followed by a blues-rock-fusion gig with Don Griffin and the Griff Band. Gordon then spent five years with The Remainders, a band that started out as a Cajun / Zydeco / New Orleans style band which morphed into an Americana / roots-rock/ pop band which released a cassette and CD.

 

After his tenure in The Remainders, Gordon was back on the local club circuit, and busy in the studio appearing on over forty releases.  His many studio credits include albums with Yardsale and Word Bongo, Joe Pug, Kelley McCrae and Sage Francis, also recording sessions at Abbey Road Studio with Icos. Gordon also anchored European tours and recorded with Jan James.

 

Over a forty-year span, Gordon has played thousands of gigs, including shows with Survivor, Spirit, Matt “Guitar” Murphy, Screamin’ Jay Hawkins, Sugar Blue, and Robbie Fulks, among others.

 

Gordon’s go-to bass for twenty years was an Ampeg AEB-1 Scroll bass that he purchased for $90.00 in 1984, and consequently modified.

 

These days he has a penchant for Squire Precision and Tele basses which he “hot rods” by, among other things, changing the pick ups and bridges.  He also uses a custom SG Bass, and a Fender Jazz bass with DiMarzio pickups and flat wound strings. His bass rig is a Yamaha PB-1 Pre amp, run through a Peavey IPR Power Amp, into either an Eden 2×12, Sunn 1×18, Mesa 1×15, or some combination thereof.

 

Gordon’s playing philosophy is to focus on the groove with melodic flourishes, as well as to be intimately familiar with the style of music he is playing, and how to play it, whether it is rock, pop, country, blues, or reggae.

 

In addition to Jack Bruce and Bruce Thomas, his early bass influences include James Jamerson, Phil Lynott, Tony Stevens (Savoy Brown and Foghat), and Greg Ridley (Humble Pie).  Later on Gordon drew inspiration from Jaco Pastorius, Colin Moulding, and Rocco Prestia.

 

In addition to being the Musical Director for The School of Rock, he is involved in multiple projects: Simply Elton, Simply Billy(Joel), Too Bad Company, Heroes (Bowie), Yacht Rock with the Yacht Rockettes, Rick Lindy and Dave Specter.

 

 

Gordon Patriarca Sound & Vision …

 

Gordo’s Gigs Playlist: https://youtube.com/playlist?list=PLNPW-Nl7KKAP3QkN3zt07Gh5etV39Hv5g

Music I have appeared on as a bassist from 1980 to the present. Some solo bass weirdness included here too. Tracks include recordings as a band member and as a studio musician. Some live stuff too.

 

The Remainders “Two For The Blues” https://youtu.be/b-_GxL2a_Lc

 

Word Bongo “Witnesses” https://youtu.be/Csj9ftRiAp8

 

Yardsale “How Good It Feels” https://youtu.be/-R1Ysrormpg

 

Icos “Only You and I” https://youtu.be/QNGI7aa1vpA

 

 

By Joe Gagliardo

He anchored one of the most accomplished, versatile, and influential ensembles in the history of rock and roll. Do you believe in magic?

Steve Boone was raised in household brimming with the sounds of music – most notably the classical works of Liszt and Chopin, along with Broadway musicals such as Annie Get Your Gun, and South Pacific.

Mesmerized by Buddy Holly’s singing style, and his unique rhythmic disposition, Steve decided to be a musician upon hearing Lubbock Texas legend’s seminal classic “Peggy Sue” on the radio.

Steve was also influenced by his guitarist brother Skip, six years his senior. Skip made it as far as recording a few demos at RCA with Chet Atkins and cutting an LP with the band Auto Salvage.  Consequently, Skip had significant impact on Steve’s music career.

At sixteen while recovering from a serious auto accident, Steve began to play an acoustic guitar which his mom purchased for him – a Gibson LGO. Skip taught him a few chords, and Steve began playing along with the songs he was hearing on the faint, late night signal of WKBW radio in Buffalo, New York.

When Steve was a high school senior – Skip was working in a popular Westhampton, New York band – The Kingsmen. One of front men was drummer / singer Joe Butler – who also would play a major role in Steve’s career.

At Skip’s invitation, sometime in October 1962, Steve joined The Kingsmen on acoustic guitar for a few impromptu numbers and was invited become a full-fledged group member – which prompted Boone to get his hands on a 1957 Les Paul Goldtop.

Within weeks after joining, The Kingsmen’s bassist announced he was returning to Louisiana – and he suggested Steve as his replacement.  After a few quick lessons from the outgoing bass player, Boone quickly realized that he enjoyed creating and rendering bass passages.

Steve also learned that the bass and the kick-drum are essentially “married” to each other and he developed a dynamic rhythmic rapport with Joe Butler.

Steve and Joe gigged together as a tight unit for two-years until the summer of ’64, when Boone decided to leave the band for an extended tour of Europe. Steve was in search of the Merseybeat / British Invasion sound which was garnering worldwide popularity by way of The Beatles, Dave Clark Five, and Gerry and The Pacemakers. He also planned to attend college following his sojourn overseas.

By the end of 1964 Skip and Joe Butler had moved to Greenwich Village and their band, The Sellouts, had a regular gig at one of Trudy Heller’s clubs.

During one of Steve’s visits to New York, Skip suggested that his kid brother bring along his bass.  Despite his reluctance as he was planning to head off to school soon in January 1965, Steve did as his brother asked.  When Steve arrived at Skip’s apartment, he was greeted by Joe Butler who asked if he was interested in putting his bass guitar to use with a few guys who were serious musicians. Steve made his way to
the Village Music Hall where he met John Sebastian and Zal Yanovsky.

John and Zal, who had briefly played with Cass Elliot in the Mugwumps, were seeking to assemble their own group – and all they needed was a rhythm section!

Sebastian grew up in a musical family; a guitarist and composer, he learned harmonica from his dad who was a virtuoso on the instrument. John explained to Steve that was writing songs that blended the traditional sounds of rhythm and blues records with folk style guitar.

The duo asked Steve to jam – and he pulled out his ice-box white Fender Precision bass. They jelled instantly. Having similar influences, the music came together – even in the absence of a drummer!

The night following their introductory jam, Steve went to the Night Owl Cafe to hear John play with some of his friends—Tim Hardin, Fred Neil, Buzzy Linhart, and Felix Pappalardi.  By the end of their set, Steve was convinced that he wanted to be part of this scene.  As he walked back to his brother’s apartment – all the reasons he had for returning to school and pursuing a proper career were disappearing under the dark sky above.

Steve, John and Zal had decided to move forward, and Steve would “delay” college and dedicate the next six months to getting the band off the ground.

During rehearsals the following week, John received a call from Bob Dylan, asking if he could play bass on a few songs he was recording.  As Sebastian didn’t own a bass (nor did he drive) Steve loaded his bass (and John) into his car and headed off to Columbia Studios.  As John’s parts weren’t working out, he suggested that Steve play bass. Boone’s work with Bob can be heard on Bringing It All Back Home.

The Lovin’ Spoonful – a name derived from a Mississippi John Hurt song – made their live debut in February 1965 at the Night Owl Café.

Enter Joe Butler once again, who replaced the original Spoonful drummer. Another change took place – at the suggestion of renown producer / bassist Felix Pappalardi: Steve traded his beloved P bass for a Guild Starfire II with custom electronics.  With the line-up set, the band worked to tighten up its sound and bonded as friends.

The band cut a demo of “Do You Believe in Magic”- a classic song sans a chorus, and featuring Autoharp – which was rooted in rock – yet thoroughly indebted to the folk scene from which John and Zal were a product of.  The demo was so good that Kama Sutra label pressed it and it became a smash hit!

From 1965-1968, the Spoonful enjoyed a terrific artistic and commercial run—seven Top 10 singles, three charting albums, including a Top 10 album.  “Summer in the City” reached #1 on the Billboard Hot 100 in August1966 and remained there for three weeks.

Unlike many pop bands of their era, the Lovin’ Spoonful wrote and played on all their hits. In 2000 they were finally inducted into the Rock and Roll Hall of Fame.

In addition to his bass playing, Steve also had success as a composer, co-writing “You Didn’t Have To Be So Nice,” “Summer In The City,” and “Night Owl Blues.” Steve also wrote “Butchie’s Tune” which appeared in the film Blow Up as well as in the acclaimed TV series Mad Men. The bassist also penned “Full Measure” and “Forever,” which appeared on the final Spoonful album Everything Playing.

Boone utilized the Guild Starfire II on most of the Spoonful records save for Hums of the Lovin’ Spoonful and Everything Playing wherein Steve played a ‘61 dual concentric Fender Jazz bass – which was later stolen.

In 1973, after spending time living on a boat docked in St. Thomas, Steve moved Baltimore, where a female drummer he met while on the Islands was cutting a demo.

The recording studio featured a board equipped with parametric equalization on all the faders which was built by George Massenburg – which consequently opened the door to digital recording.  The studio had fallen into disrepair when the owner left the country and Steve took it over, renaming the venue Blue Seas Recording Studios.

Among the notable albums and artists who recorded there included Little Feat (Feats Don’t Fail Me Now) Robert Palmer (Pressure Drop),  along with tracks by Bonnie Raitt, Emmylou Harris, Verdine White, Sonny Terry, Joe Butler, John Sebastian and Ricky Scaggs, among others.

The Hunt Valley, Maryland studio was ultimately moved to a barge that was docked at Baltimore’s inner harbor.  The studio abruptly came to an end in 1977 when the barge sank.  At the time Steve was playing four nights a week with his band, Blanche, Ltd.

In 1981, Steve was playing music regularly in Baltimore with the Scott Cunningham Blues Band, doing occasional duets with John Sebastian, and sometimes, with Joe Butler, as a trio.

Steve moved to Florida in the late 1980s, taking a break from music until he was inspired by a Ft. Lauderdale pub band called The Irish Times – Steve co-produced their LP Live at Maguires Hill 16.

In 1990 promoters were itching for a Lovin’ Spoonful tour. Steve and Joe Butler decided to put a band together after John Sebastian and Zal declined a reunion of the four original members.

That band, with some personnel changes, has toured worldwide since 1991. Joe Butler has moved out front to sing, and the drums have been handled for the last twenty-five years, by Chicago born drummer Mike Arturi.

These days Steve no longer utilizes the Guild Starfire II though he did bring it out for the Rock and Roll Hall of Fame induction ceremonies.  Steve’s go-to bass for the past thirteen years the Ibanez BTB.  He loves the feel of the instrument and its resonance, though he advocates that tone comes from the player – from pressure on the fretboard to sustane, and of course, and deep notes tying in with the bass drum.

In 2014, Steve published a memoire entitled Hotter Than A Match Head Life on the Run with The Lovin’
Spoonful. The book not only spans the life and career of Steve Boone, it affords a life-lesson in rebounding after facing adversity multiple times, and also details how the Spoonful emerged in the era when folk music was not widely known, yet they achieved great success by combining that roots music with rock.

In February 2020, The Wild Honey Orchestra hosted an epic four-hour celebration of the music of The Lovin’ Spoonful as a fundraiser for the Autism Think Tank at The Alex Theatre in Glendale, California.

Steve, John Sebastian and Joe Butler participated in this event.  The Orchestra included Elliot Easton (Cars),
Dennis Diken (The Smithereens), Dave Alvin (The Blasters), Susan Cowsill, Carnie Wilson (Wilson Phillips), Carla Olson (The Textones), Mickey Dolenz, Claudia Lennear, Peter Case, Marshall Crenshaw, Marti Jones, Don Dixon, and Bill Lloyd, along with many other guest performers.

Nowadays you can catch Steve and the Spoonful on tour, and listen to Steve’s weekly radio show which airs Mondays at 6 PM EDT, on www.flaglerbeachradio.com.

Watch, listen to Steve Boone:

“Do You Believe In Magic” and “You Didn’t Have to Be So Nice” from the Big TNT Show 1965 https://bit.ly/3d48EaL

“Only Pretty, What A Pity” https://bit.ly/2VSa9mu

“Summer In The City”  https://bit.ly/3bWlIi1

“Night Owl Blues”  https://youtu.be/11-YxOGJ6Bs

“Butchie’s Tune” https://youtu.be/BRTkqGSKTts

American Bandstand -Interview The Lovin’ Spoonful https://bit.ly/2WgEuua

“Revelation: Revolution ‘69” https://youtu.be/PlGVriLQyn8

Steve’s Hotter Than A Match Head Life on the Run with The Lovin’ Spoonful can be found at www.SteveBoone.net

CODA:  A View of Steve Boone from “The Drum Throne”

Mike Arturi has forged a backbeat with Steve Boone for twenty-five years.

An accomplished drummer on the Chicago club circuit who has toured with such popular bands as Big Twist and the Mellow Fellows, Jade 50’s, Rick Saucedo, and radio personality Big John Howell, among others, Mike has been working 300 dates a year for close to twenty years! Aturi is an ardent student of the instrument, inspired and tutored by Petula Clark’s road drummer Shelly Elias, who was a legendary Chicago based percussionist, composer and educator.

In assessing his experience playing with Steve Boone, Mike describes Steve as a singularly unique bass player.  “He anchors the songs, and his passing tones are beautiful—extremely melodic.  He inspires me, and I play totally different because of him.” 

Notes Mike, “as long as I have Steve in my monitor, with my snare and kick, that’s all I need.”

And according to Steve, Mike became a foundation upon which he could build his bass playing. “Mike is a drummer I could comfortably lock in with as a rhythm section… [we] have developed the best chemistry I have had with any drummer.”

Honorable Mention:  When Mike in not drumming with the Spoonful, he is the Founder and Executive Director of the Universal Music Center (UMC), a non-profit music school located in Red Wing, Minnesota.

UMC is dedicated to enriching lives through music and live performance education, and is staffed with University trained educators who are also professional working musicians with national and international touring credentials.

UMC is proud of the fact that to-date, eleven students have gone on to become professional working musicians.  Mike also devotes an extensive amount of time to working with underprivileged and at-risk students.  In recognition of his contributions, Mike has been honored as a National Artist for the John F. Kennedy Center Turnaround Arts Program, and is a Teaching Artist for the St. Paul MN COMPASS Arts
Program.

 

By Joe Gagliardo

Influenced by jazz and rhythm and blues bassists, Charles Colbert started playing his Fender Precision bass guitar in his church, and graduated to playing the “chitlin circuit” behind many successful singers and groups, including Jan Bradley (a protégé of Curtis Mayfield), The Contours and The Drifters.

 

In the early 60’s, Charles was a member of The Daylighters; a Chicago-based soul vocal group.  Their single, “Cool Breeze,” was produced by Johnny Pate, and was a regional hit.

 

“Cool Breeze” https://youtu.be/iNGgcoVLWXo

 

In 1965, Charles was playing bass with Gary and the Knight Lites.  The band released a number of singles on local labels, but chart success eluded them until they changed their name to The American Breed, who were among the first racially integrated rock bands.

 

In 1967, with Charles on bass guitar, Gary Loizzo (American Breed, Pumpkin Studios Production) and Al Ciner (American Breed, Rufus and Three Dog Night) on guitars, and Lee Graziano (American Breed and Rufus) on drums; took “Step Out of Your Mind” to the Top 10 in Chicago, and it climbed to # 24 on the national charts.

 

“Step Out of Your Mind” https://youtu.be/cC1cl3LiJeU

 

Their next single, “Bend Me Shape Me,” with its immediately recognizable drum and horn introduction, took them to # 5 on the Billboard Hot 100, and resulted in multiple appearances on national TV, including American Bandstand and The Joey Bishop Show, where they were presented a Gold Record for their million-selling record.

 

“Bend Me Shape Me” https://youtu.be/9vXD55sf6ZU

 

Their live shows were filled with great music, vocals, and energy including drummer Graziano, who simultaneously played the drums and trumpet! As they were sponsored by Baldwin, the band had an array of fine guitars and amplifiers, which, combined with their stylish suits, created a cool visual on-stage symmetry.

 

 

As the musical and social landscapes were changing, so did the music of the American Breed.  The band gravitated towards funky soulful sounds.

 

Check out Charles’ driving bass and singing on “Hunky Funky” and on the socially conscious “Room At The Top,” co-written by Charles.

 

“Hunky Funky” https://youtu.be/yXv92nYDD_0

 

“Room at the Top” https://youtu.be/zFVNdJlPQhg

 

This was the precursor to what was to become Ask Rufus, and later Rufus.  However, Charles, deciding he wanted to sing and perform more, became one of Rufus’ three dynamite lead singers.  Charles was joined by Paulette McWilliams (Marvin Gaye, Luther Vandross, solo) and Jimmy Stella (The Circus).  At that point, Willie Weeks took over the bass chair in Rufus.  Note that this was pre-Chaka Khan!

 

Since the American Breed and Rufus, Charles has worked with, and/or produced, a virtual who’s who of artists, including Harry Belafonte, Ahmad Jamal, Johnny Taylor, Stevie Wonder, Chaka Khan, Kurtis Blow, Pops and Mavis Staples, Peabo Bryson, Rufus Thomas and Oscar Brown, Jr.

 

Charles is currently producing an inspirational CD on the American Breed entitled “Epiphany”, and he is also currently part of a musical project that will build on the We Are The World concept, using all legendary Chicago singers and musicians.

 

True to its name, it is an effort to “Bring Back The Love” between people.   These days, Charles’ go-to basses are his vintage Fender Precision and Jazz basses.

 

 

He is the Know Your Bass Player Adjunct Professor, contributing writer and video artist whose bassline renderings on KYBP profiles are both informative and entertaining.  As a bassist Tony Senatore has been referred to as “The Glue,” praised by Mars Cowling and his former legendary bandleader Genya Ravan, and garnered accolades aplenty from producers, engineers, journalists, and peers, among many others far too numerous to cite.  In a contemporary bass culture, which in my opinion, no longer seeks to explore the possibilities -and adventures – of the extended range and other “non-traditional” paths with the fervor of our rock and fusion forefathers– “Senny” exudes the attitude, spirit, and disposition of the greats from all genres and generations past who took the instrument to places others never imagined.

 

An educator, journalist, composer, collaborator, sideman, band-member, recording artist, and permutations thereof, Tony expounds his outlook that bassists should be free to express themselves by any means necessary -from one to multiple strings, effects, and technology – but to always understand and practice the fundamentals, respect tradition while moving forward, and pursue education with a balance of street smarts and academia – and enthusiasm. 

 

Senny also works behind the scenes of Know Your Bass Player on Film – selecting guests, and participating in the interview process – and ensuring that none of the visiting players consume more than their allotted share of the catering.

 

2023: Tony’s 12-String George Harrison Medley…. 

 

Dig Tony’s YouTube Page: Tony Senatore’s Classic Bass Tracks : https://www.youtube.com/user/senny4405

 

 

Check out Tony Senatore Know Your Bass Player on Film Season One and Season Tres, 2016 / 2019 New York City, Euphoria Studios. https://bit.ly/2EzW4o0

 

 

 

 

Rock lore on the “buzz” inspiration of their band moniker ranges from a reference to the Manchester drug scene to a line lifted from the British television series Rock Follies, whereas “cock” is simply local slang for a mate: “It’s the buzz, cock!”

 

Regardless, The Buzzcocks were among the most influential bands to emerge from the UK punk – new wave era with their deft combination of pop melodies as penned by Pete Shelley, stripped down arrangements, and boundless energy.  

 

Employing no frills four-to-the-bar roots passages to creative counter-melodic motifs, the bassist during the band’s glory years was Steve Garvey, who anchored some of their finest singles along with The Buzzcocks’ essential early canon: Another Music in a Different Kitchen (1978), Love Bites (1978), and A Different Kind of Tension (1979).

 

Garvey, who also moonlighted with pop punks The Teardrops (which also included members of The Fall and PIL) and drummer John Maher were a ferocious rhythm section which grooved mightily at a frenetic pace.

 

After The Buzzcocks’ initial split in 1981, Garvey worked with Steve Diggle (50 Years of Comparative Wealth / 1981), toiled in various ensembles, produced, lectured, and returned to the band briefly in the early 1990s for one of their numerous reunions. 

 

Steve Garvey Sound & Vision with The Buzzcocks

 

“What Do I Get” https://youtu.be/iMXR7w76VZU

 

 “Everybodys’ Happy Nowadays” https://youtu.be/pf2DgSJuUHc

 

 

What a difference the bass player makes…

 

When William Martin Joel was allowed to bring his seasoned touring band into the recording studio – he waxed one of the best singer-songwriter sides of his generation The Stranger (1977)*, which was the first of a series of seminal slabs by the piano man.

 

The late Doug Stegmeyer embellished Billy’s hits and album tracks with tastefully executed grace notes, slaps, fretless glissandos, and nimble plectrum and finger picking – all rendered with a crisp bite in the service of the song. Doug came to the attention of Joel as a member of the band Topper, which also featured Liberty DeVitto and Russel Javors. His first tour with BJ was in support of the Streetlife Serenade album, waxed in 1974 which he did not appear on.

 

*Members of the “classic” Billy Joel band appeared on Turnstiles (1976) – which failed to reach a wide audience upon its initial release.

 

Rock journalist Stephen Thomas Erlewine noted in All Music Guide: “…no matter how much stylistic ground Joel covers, he’s kept on track by his backing group. He fought to have his touring band support him on Turnstiles, going to the lengths of firing his original producer, and it was clearly the right move, since they lend the album a cohesive feel. Turnstiles may not have been a hit, but it remains one of his most accomplished and satisfying records, clearly paving the way to his twin peaks of the late ’70s, The Stranger and 52nd Street…” 

 

As pictured, Doug’s main weapon of choice was the Fender Telecaster bass.

 

Doug Stegmeyer /  Huffington Post Eleven More Bass Players Who Belong in the Rock and Roll Hall of Fame https://bit.ly/38QIjf7

 

Bruce Springsteen came to his senses and ensured that the E Street Band got their props – albeit fifteen or so years too late. Now Billy Joel needs to own up to the responsibility. As I and millions of others were witness, the classic Billy Joel band line-up of saxophonist / keyboardist Richie Cannata, drummer Liberty DeVitto, guitarists Russell Javors and David Brown, and the late bassist Doug Stegmeyer were among the best live bands of their era. And they were magic in the recording studio.

 

In the absence of Stegmeyer and company, Billy made good records. With Doug and the boys, Billy waxed classic records.  The Billy Joel band came of age in the 1970s – an incredibly fertile and diverse era. In those days, music artists competed and played on concert bills with everyone; spanning fusion powerhouses such as Return to Forever and Weather Report, to supergroups including Led Zeppelin; to groundbreaking roots artists such as Asleep at the Wheel and Townes Van Zandt; to prog rock masters Yes, Jethro Tull and King Crimson; to soul visionaries  Stevie Wonder, Marvin Gaye; to reggae innovators Bob Marley; to politico punk rockers such as The Clash and Patti Smith; to singer songwriter pioneers such as Joni Mitchell, Bob Dylan, Laura Nyro, Carole King and Van Morrison; and whatever we can pin on Frank Zappa and The Mothers – to name a very select few. Before computers hypnotized the masses, ad agencies segregated listeners, and bands became “brands,” young audiences of my generation were attuned to musical excellence. 

 

The classic line-up of the Billy Joel band exuded musical excellence and stood equal among these above referenced 1970s era artists. Go back and listen to their records, and their sizzling live set on The Stranger Deluxe Edition which fuses jazz, bar band rock, and Broadway. Doug Stegmeyer and his bandmates elevated the artistry of Billy Joel on stage and on record to greatness, and are long, long, overdue for their recognition in The Rock and Roll Hall of Fame in the Musical Excellence category. 

 

 

Doug Stegmeyer Sound & Vision….

 

Doug groovin’ ‘n’ poppin’ with Billy on “The Stranger” at Carnegie Hall 1977 https://youtu.be/qdLPI6XhEN8

 

Tony Senatore’s renditions of Doug’s signature passages:

 

“Zanzibar” https://youtu.be/IqrmqhQ8Z0o

 

“Stiletto” https://youtu.be/wx0NKCzTuLs

 

“Movin’ Out” https://youtu.be/VBZBdX4y0dI

 

“Angry Young Man” https://youtu.be/s8A7CrWrWJI

 

“Rosalinda’s Eyes” https://youtu.be/ZtVhMfR9crc

 

“All You Want To Do Is Dance” https://youtu.be/PiOff5cxSic

 

“Sleeping with the Television On” https://youtu.be/_d6MIS8L_y0

 

Doug also shined as a session cat with Graham Parker (Another Grey Area /1982), Phoebe Snow, Bob James, and Karen Carpenter, among others.

 

Graham Parker:

 

“Temporary Beauty” https://youtu.be/Px8laM6lwzw

 

“No More Excuses” https://youtu.be/0VQkoRGqAWg

 

Courtesy Paul Jackson Com

 

By Thomas Semioli

A giant of the instrument, Paul Jackson’s tenure as anchor of Herbie Hancock’s groundbreaking Headhunters ensembles brought jazz fusion and funk to the masses, and continues to influence generations of bass players and hip-hop artists who have endlessly sampled his work.

 

A master of rhythm and space, Jackson’s “economic” approach was founded on repetitive lower-register motifs punctuated with tuneful upper-register fills which complimented Herbie’s melodies and the grooves forged by drummers Harvey Mason and Mike Clark.

 

A Grammy Award nominated composer, solo recording artist, and in-demand session player/collaborator with artists including Santana, Stanley Turrentine, George Benson, Al Di Meola, the Oakland Symphony, and the Pointer Sisters – to cite a very select few – Paul Jackson was also an acclaimed educator and founder of Jazz for Kids.

 

Paul Jackson Sound & Vision…

 

Herbie Hancock “Palm Grease” https://youtu.be/sRn7WlikdUA     

 

Paul on the tracks he composed with Herbie:

 

“Chameleon” https://youtu.be/WYRrIBqKsJ4

 

“Hang Up Your Hang-Ups” https://youtu.be/d7kRlufrZJo

 

“Spider” https://youtu.be/HQPdVhYZgR0

 

Mike Clark / Paul Jackson Funk Tutorial Part One: https://youtu.be/i-3v0NN3FNo

 

Paul Jackson Trio “Everything” https://youtu.be/grQBpNRIAY0

 

Santana: “Give Me Love”  https://youtu.be/0MGBQffSVSY

 

Pointer Sisters “Chainey Do” https://youtu.be/xhmp3J79CNI