Performing Songwriter

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BY RUSSELL HALL Keyboard TOOLS OF THE TRADE KEYBOARD CHUCK LEAVELL at philosophy—with regards to keyboard playing—has served Leavell well for four decades. Dating back to his earliest years with the Allman Brothers, the 55-year-old Macon, Ga., native has graced some of the most memorable recordings of our times. His rollicking contribution to the Allmans’ “Jessica” is oſten cited as one of rock’s best piano solos. At the other extreme, the subdued elegance he brought to Eric Clapton’s Unplugged album helped set the tone for that influential project. Scores of other artists have sought Leavell’s services—George Harrison, the Black Crowes and Aretha Franklin, to name but three—but since 1982 Leavell’s main role has been that of keyboardist for the Rolling Stones. Starting out as “second pianist” behind founding member Ian Stewart, Leavell has since become the Stones’ unofficial music director. When he’s not on the road or in the studio, chances are he’s busy working his tree farm in rural Georgia or rallying support for forestry and conservation issues. Somehow, in the midst of these activities, Leavell has managed to record several albums of his own. His latest—a two-CD set titled Live in Germany: Green Leaves & Blue Notes Tour 2007—employs all facets of his keyboard skills. Accompanied by some of Germany’s top musicians, Leavell offers up performances that range from Rolling Stones classics to Allman Brothers gems to a smattering of original songs. A couple of days aſter being awarded an honorary Doctor of Music degree from Central Michigan University, Leavell spoke with us about his extraordinary career in music thus far. “e most important thing is to do the song justice,” says Chuck Leavell. “It’s not about being flashy or trying to set the world on fire. It’s about contributing to a piece of material in the best way possible.” CHUCK LEAVELL Live in Germany: Green Leaves & Blue Notes Tour 2007 [Evergreen Arts] DISC 1 In the Wee Wee Hours Route 66 Living in a Dream King Grand Honky Tonk Women Rip This Joint Coming Home Down the Road a Piece Alberta, Alberta DISC 2 Here Comes the Sun Tomato Jam Blue Rose Tumbling Dice Compared to What Jessica Georgia on My Mind Statesboro Blues Savannah Chuck Leavell PERFORMING SONGWRITER JULY/AUGUST 2008 70

Transcript of Performing Songwriter

Page 1: Performing Songwriter

BY RUSSELL HALLKeyboard

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Th at philosophy—with regards to keyboard playing—has served Leavell

well for four decades. Dating back to his earliest years with the Allman Brothers, the 55-year-old Macon, Ga., native has graced some of the most memorable recordings of our times. His rollicking contribution to the Allmans’ “Jessica” is oft en cited as one of rock’s best piano solos. At the other extreme, the subdued elegance he brought to Eric Clapton’s Unplugged album helped set the tone for that infl uential project.

Scores of other artists have sought Leavell’s services—George Harrison, the Black Crowes and Aretha Franklin, to name but three—but since 1982 Leavell’s main role has been that of keyboardist for the Rolling Stones. Starting out as

“second pianist” behind founding member Ian Stewart, Leavell has since become the

Stones’ unoffi cial music director. When he’s not on the road or in the studio, chances are he’s busy working his tree farm in rural Georgia or rallying support for forestry and conservation issues.

Somehow, in the midst of these activities, Leavell has managed to record several albums of his own. His latest—a two-CD set titled Live in Germany: Green Leaves & Blue Notes Tour 2007—employs all facets of his keyboard skills. Accompanied by some of Germany’s top musicians, Leavell off ers up performances that range from Rolling Stones classics to Allman Brothers gems to a smattering of original songs.

A couple of days aft er being awarded an honorary Doctor of Music degree from Central Michigan University, Leavell spoke with us about his extraordinary career in music thus far.

“Th e most important thing is to do the song justice,” says Chuck Leavell. “It’s not about being fl ashy or trying to set the world on fi re. It’s about contributing to a piece of material in the best way possible.”CHUCK LEAVELL

Live in Germany: Green Leaves & Blue Notes Tour 2007

[Evergreen Arts]

DISC 1In the Wee Wee Hours

Route 66Living in a Dream

King GrandHonky Tonk Women

Rip This JointComing Home

Down the Road a PieceAlberta, Alberta

DISC 2Here Comes the Sun

Tomato JamBlue Rose

Tumbling DiceCompared to What

JessicaGeorgia on My Mind

Statesboro BluesSavannah

Chuck Leavell

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You began playing with the Rolling Stones in 1982. Did you audition?I did, on very short notice. I got the call one day and was on a plane the next to Washington, Conn., where the band was rehearsing for their U.S. tour. It went really well. I thought I had the gig then, but the band decided to stay with [former Faces keyboardist] Ian McLagan. I think the fact that Ronnie [Wood] and Ian were such good friends infl uenced that decision. Also, the band was close to beginning the tour, and since McLagan had done previous tours with them, they may have felt more comfortable staying with the status quo. But once that tour ended, during a break over Christmas, I got the call that I was on board.

Why did the band want another piano player, in addition to Ian Stewart?I actually asked Stu that, shortly aft er I had gotten the gig. I said, “Stu, you’re such a great player. Why am I here?” And he said (adopting a British accent), “I don’t like slow songs. Th ey’re boring. And I don’t like minor chords. Th ey sound Chinese.” Stu just chose not to play those kinds of songs. Th at’s one reason that, through the years, the Stones had players like Nicky Hopkins, Billy Preston and McLagan. Stu handled most of the real rock

’n’ roll boogie stuff —“It’s Only Rock and Roll,” for instance. I learned a lot from Stu. Aft er his sad passing in 1985, it was natural that I would slide into playing the tunes he was known for, in addition to the other duties.

What’s a typical studio session like with the Stones?(Laughs) Th ere really is no such thing. It’s changed through the years. Th e early records I did with them— [1983’s] Undercover and [1986’s] Dirty Work—were diffi cult. Th at wasn’t the best period, perhaps, as far as the relationship between Mick and Keith was concerned. Th ose sessions tended to be very long, with lots of jams. More oft en than not the songs were written on the spot, and it sometimes took days or weeks to fi nd an arrangement or get the right take. Th at changed dramatically during the period of [1989’s] Steel Wheels. Mick and Keith prepared better, and the songwriting was done, for the most part, before they walked in the door. Th e sessions were more focused, more concentrated and not nearly as long. Since then, things have more or less continued in that fashion. Th at applies to the most recent studio album, [2005’s] A Bigger Bang.

How much latitude do Jagger and Richards give you regarding your parts for a song and for a live performance?

It’s free rein, pretty much. Th at’s not to say that what I think—or the contribu-tions I make—don’t oft en end up on the cutting-room fl oor. Th at’s up to Mick, Keith and the producer. It sometimes hurts my feelings when I feel I contributed something signifi cant—something that sounded good—and it becomes indiscernible in the mix, or they choose not to use it. But that’s their call. As regards the live stuff , that’s

where they seem to favor me. Th e recent record—Shine a Light, from the Scorsese concert fi lm—has a pretty good keyboard mix. Another Stones album with a good keyboard mix is [1995’s] Stripped. But for some reason, with a lot of the studio stuff , my playing gets buried.

You’ve said that seeing Ray Charles perform when you were young had a tremendous impact. How so?I was 13 or 14 when I saw him live for the fi rst time. I had started playing music by then. I had a band called the Misfi ts, and I played a little keyboard, but I was really focused on the guitar. We’ve all had those moments where something excites us, or moves us, and that’s what happened to me that night. It was an incredible band—Ray himself, the Raylettes, Fathead Newman on sax and Billy Preston on organ. I made up my mind that night I wanted to be in a band that powerful. I wanted to make that my career.

And that drove you toward the piano?Th at was the other thing about that concert. Hearing his great piano playing inspired me to play more keyboards. Th at was a big change, from that moment on.

You’re self-taught. How did you learn?My mother played, and when I was young, I would tug on her skirt and ask her to play for me. She played mostly standards. I was

fascinated by it. I would sit at the bench and ask her to teach me. She also led me toward other resources, and I tinkered around on my own. Aft er a year or so I began to sort the puzzle out. I learned some scales and chords, and played with a cousin who played guitar—folk stuff like Chad and Jeremy, Bob Dylan, the New Christy Minstrels. Rock ’n’ roll was just around the corner, and I began listening to Chuck Berry, the Beach Boys, the Stones and the Beatles. I also listened to the indigenous music of the South—Wilson Pickett, Major Lance, Sam and Dave, and other R&B acts. I formed my own band, and was off and running.

How did you join the Allman Brothers?Early on I worked with a couple of artists on Capricorn Records: Alex Taylor, who was James Taylor’s older brother, and Dr. John, who was managed by Capricorn founder Phil Walden. Th at encompassed about two-and-a-half years. It was like climbing the ladder, in the late ’60s and early ’70s. My name began

Mick Jagger and Leavell rehearsing for the Rolling

Stones Voodoo Lounge Tour, 1994

CHUCK LEAVELLKEYBOARD CONTINUED

“Th ere’s no such thing as a typical session with the Stones. It’s changed through the years.”

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to be known by others, including the Allman Brothers. I was called in to work on Gregg’s solo record, [1973’s] Laid Back. Oft entimes the other Allmans would come in, and other musicians, as well, and we would have jam sessions—very loose and informal. Th e band had lost Duane by that time. Th ey had gone out on the road as a fi ve-piece, without a replacement for Duane, and they were going through a tough time. By pure accident those sessions opened their eyes to having another instrument in the band. Th is went on for two or three weeks, and I got a call to come in for a meeting. Lo and behold, all the Allman Brothers were there, along with Phil Walden, and they asked me to be in the band.

Your solo on “Jessica” is one of the all-time great rock piano solos. How much time did you spend working on that?It was pretty much improvised. Dickey [Betts] brought the song to the band, we liked it and started working on it. We all pitched in on the arrangement. Th ey sort of looked at me like, “OK, kid, here’s your chance. Let’s get a spot for you to solo.” I was just focused on trying to make the song work. I didn’t sit there and design the solo. Once the solo became what it was, though, people were always disappointed if I didn’t play it the same way it’s played on the record.

What’s your main piano for composing?At home I have a Yamaha C7—a wonderful piano that I love to play. I also have a Young Chang YP208, in another building on our plantation. And in my offi ce I have a P-200 digital Yamaha. I’m never far from something that makes a piano sound. For live performance, to play rock ’n’ roll in this day and time, it makes sense to use a digital instrument. It just cuts through the mix so much better, and cuts down on problems with feedback and bleeding. For the last couple of tours I’ve used a Yamaha CP-300. It’s a great instrument. I’m always on the lookout for something new and exciting, but so far I’m hanging with the Yamaha. And let’s not forget the Hammond B3. I’ve got a special MIDI’d Hammond B3 that’s especially helpful when playing with the Stones. I’ve also used it with Eric Clapton and George Harrison. What’s convenient about it is that, because it’s MIDI’d, I can put the piano down on the lower manual, and play piano with the left hand, while using the right hand for the organ. At the same time I can use a foot switch for the Leslie to turn fast or slow. Th at gives me a nice bit of range.

Your new live album includes several Stones and Allman Brothers songs that you

re-arranged for piano. Was that diffi cult?First of all, let me say how fortunate I was to work with those fi ne German musicians. Th at was what made it so special. Th ey’re mostly jazz guys, and I think they enjoyed

the opportunity to get a bit outside that box and apply their talents to the music I brought to them. As for the arrangements, I sent some MP3s to them, so they could hear them prior to our fi rst rehearsal. Some were arrangements of recorded songs that I had done. Others were early demos I did backstage during the Stones tour, whenever I had a minute or two. We did two short rehearsals. By the time we did that show, in Frankfurt, everybody was ready to go. But there was also an element of things being on the edge, because we had only done the two rehearsals. Everybody was on their tiptoes.

Besides the new album, what are your proudest moments on record?Certainly “Jessica” is up there. Th at song—and that performance—have stood the test of time. Th e whole Brothers and Sisters album was a landmark for me. Moving forward, Stripped is another proud moment. Th e Stones ballad “Out of Tears” [from 1994’s Voodoo Lounge] springs to mind. And some of Keith’s songs—especially one called “Losing My Touch”—have piano parts I’m very proud of. As far as other artists I’ve worked with, I’m proud of the work on Clapton’s Unplugged—especially “Old Love” and the alternate version of “Layla.”

How have you managed to avoid some of the pitfalls that go along with the rock ’n’ roll lifestyle?We’ve all seen soldiers go down, and that’s a sad thing. But on the other hand, lots of people have recovered from problems with addiction. For me, it’s all about the music. It’s just a great opportunity, and a glorious thing, to make records and work with all these artists. I would never want to jeopardize that. I want to keep myself reasonably fi t, so that when I walk in a room to work with someone, I feel good and have something to contribute. If I can do that, I’ve done something special.

AFTER ATTENDING a standing-room-only introduction of the RD-700GX at NAMM a few months back, there was no question PS would have to get our mitts on this fl agship digital stage piano from one of the few major players in the high-end keyboard game.

At fi rst touch, one of the most talked-about features was something of a turn-off. The weighted keys were responsive to velocity like a real piano, but the unique “Ivory Feel” keyboard has a texture that felt strange, initially. After roaming the 88s, however, the realistic physical keyboard became indis-pensable. The Ivory Feel is a tad unfamiliar, but it prevents sweaty fi ngers from slipping under hot stage lights by absorbing moisture, and feels great once you’ve made yourself at home.

The true-stereo, multi-sampled piano engine is anchored by a generous amount of acoustic- and electric-piano sounds and a handful of memory-intensive SuperNATURAL sounds including

ridiculously cool Wurly and Tine voices. Most all of the pianos pop, sing and ring out gracefully, evoking Herbie Hancock, while the Clav tones will have everyone doing their best Stevie Wonder. Organs, brass and strings are well represented, along with a modest but tasty smattering of those famous Roland lead synth tones and pads. The samples you don’t hear until releasing the keys sometimes make the most impact. Harpsichords, clavinets and other select sounds have “off” samples to simulate a note being muted at the key’s release.

IN A NUTSHELL: Roland’s new fl agship digital stage piano is all you could want on the road with you. Check out rolandus.com to fi nd out more about RD-700GX’s expansion options.

STREET PRICE: $2500.

ROLAND RD-700GX Digital Piano

BY DAVE JONES

PRODUCT REVIEW

The Stones performing at the 2005 Super Bowl

CHUCK LEAVELLKEYBOARD END

IN AA NUTSHELL:L: Roland’s new fl agship digitalstage piano is s aall you could want on the road with

u’ve made yourself

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