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Home , Billy Preston, Chuck Leavell, Ian McLagan, Ian Stewart (musician), Nicky Hopkins, Out of Tears

TOOLS OF THE TRADE KEYBOARD

CHUCK LEAVELL

Keyboard BY RUSSELL HALL “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

CHUCK LEAVELL in the best way possible.” Live in Germany: Green Leaves & Blue Notes Tour 2007 [Evergreen Arts] Th at philosophy—with regards to Stones’ unoffi cial music director. When he’s keyboard playing—has served Leavell not on the road or in the studio, chances DISC 1 In the Wee Wee Hours well for four decades. Dating back to his are he’s busy working his tree farm in rural Route 66 earliest years with the Allman Brothers, the Georgia or rallying support for forestry and Living in a Dream King Grand 55-year-old Macon, Ga., native has graced conservation issues. some of the most memorable recordings of Somehow, in the midst of these activities, our times. His rollicking contribution to the Leavell has managed to record several Coming Home Down the Road a Piece Allmans’ “” is oft en cited as one of albums of his own. His latest—a two-CD Alberta, Alberta rock’s best solos. At the other extreme, set titled Live in Germany: Green Leaves &

DISC 2 the subdued elegance he brought to Eric Blue Notes Tour 2007—employs all facets of Here Comes the Sun Clapton’s Unplugged album helped set the his keyboard skills. Accompanied by some Tomato Jam tone for that infl uential project. of Germany’s top musicians, Leavell off ers Blue Rose Scores of other artists have sought up performances that range from Rolling Compared to What Leavell’s services—, the Stones classics to Allman Brothers gems to Jessica Georgia on My Mind Black Crowes and , to a smattering of original songs. Statesboro name but three—but since 1982 Leavell’s A couple of days aft er being awarded an Savannah main role has been that of keyboardist honorary Doctor of Music degree from for . Starting out as Central Michigan University, Leavell spoke “second pianist” behind founding member with us about his extraordinary career in , Leavell has since become the music thus far.

PERFORMING 70 JULY/AUGUST 2008

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You began playing with the Rolling Stones and Leavell in 1982. Did you audition? rehearsing for the Rolling Stones I did, on very short notice. I got the call Tour, 1994 one day and was on a plane the next to Washington, Conn., where 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 It’s free rein, pretty much. Th at’s not to And that drove you toward the piano? gotten the gig. I said, “Stu, you’re such a say that what I think—or the contribu- Th at was the other thing about that . great player. Why am I here?” And he said tions I make—don’t oft en end up on the Hearing his great piano playing inspired (adopting a British accent), “I don’t like slow cutting-room fl oor. Th at’s up to Mick, Keith me to play more keyboards. Th at was a big songs. Th ey’re boring. And I don’t like minor and the producer. It sometimes hurts my change, from that moment on. chords. Th ey sound Chinese.” Stu just chose feelings when I feel I contributed something not to play those kinds of songs. Th at’s one signifi cant—something that sounded You’re self-taught. How did you learn? reason that, through the years, the Stones had good—and it becomes indiscernible in the My mother played, and when I was young, players like , and mix, or they choose not to use it. But that’s I would tug on her skirt and ask her to play McLagan. Stu handled most of the real rock their call. As regards the live stuff , that’s for me. She played mostly standards. I was ’n’ roll boogie stuff —“It’s Only ,” 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 “Th ere’s no such thing as a typical session with known for, in addition to the other duties. the Stones. It’s changed through the years.” What’s a typical studio session like with the Stones? (Laughs) Th ere really is no such thing. It’s where they seem to favor me. Th e recent fascinated by it. I would sit at the bench and changed through the years. Th e early records record—Shine a Light, from the Scorsese ask her to teach me. She also led me toward I did with them— [1983’s] Undercover and concert fi lm—has a pretty good keyboard other resources, and I tinkered around on [1986’s] Dirty Work—were diffi cult. Th at mix. Another Stones album with a good my own. Aft er a year or so I began to sort wasn’t the best period, perhaps, as far as keyboard mix is [1995’s] Stripped. But for the puzzle out. I learned some scales and the relationship between Mick and Keith some reason, with a lot of the studio stuff , chords, and played with a cousin who played was concerned. Th ose sessions tended to my playing gets buried. guitar—folk stuff like Chad and Jeremy, Bob be very long, with lots of jams. More oft en Dylan, the New Christy Minstrels. Rock ’n’ than not the songs were written on the spot, You’ve said that seeing perform roll was just around the corner, and I began and it sometimes took days or weeks to fi nd when you were young had a tremendous listening to , the Beach Boys, an arrangement or get the right take. Th at impact. How so? the Stones and . I also listened to changed dramatically during the period I was 13 or 14 when I saw him live for the the indigenous music of the South—Wilson of [1989’s] . Mick and Keith fi rst time. I had started playing music by Pickett, Major Lance, Sam and Dave, and prepared better, and the songwriting was done, then. I had a band called the Misfi ts, and other R&B acts. I formed my own band, and for the most part, before they walked in the I played a little keyboard, but I was really was off and running. door. Th e sessions were more focused, more focused on the guitar. We’ve all had those concentrated and not nearly as long. Since moments where something excites us, or How did you join the Allman Brothers? then, things have more or less continued in moves us, and that’s what happened to me Early on I worked with a couple of artists on that fashion. Th at applies to the most recent that night. It was an incredible band—Ray : Alex Taylor, who was studio album, [2005’s] . himself, the Raylettes, Fathead Newman ’s older brother, and Dr. John, on sax and Billy Preston on organ. I made who was managed by Capricorn founder Phil How much latitude do Jagger and Richards up my mind that night I wanted to be in a Walden. Th at encompassed about two-and- give you regarding your parts for a song band that powerful. I wanted to make that a-half years. It was like climbing the ladder, in and for a live performance? my career. the late ’60s and early ’70s. My name began Photo by Paul Natkin/WireImage

PERFORMING SONGWRITER 71 JULY/AUGUST 2008

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to be known by others, including the Allman re-arranged for piano. Was that diffi cult? Besides the new album, what are your Brothers. I was called in to work on Gregg’s First of all, let me say how fortunate I was proudest moments on record? solo record, [1973’s] Laid Back. Oft entimes to work with those fi ne German musicians. Certainly “Jessica” is up there. Th at the other Allmans would come in, and other Th at was what made it so special. Th ey’re song—and that performance—have stood musicians, as well, and we would have jam mostly jazz guys, and I think they enjoyed the test of time. Th e whole Brothers and sessions—very loose and informal. Th e band Sisters album was a landmark for me.

had lost Duane by that time. Th ey had gone The Stones performing at Moving forward, Stripped is another proud out on the road as a fi ve-piece, without a the 2005 Super Bowl moment. Th e Stones ballad “” replacement for Duane, and they were going [from 1994’s Voodoo Lounge] springs to through a tough time. By pure accident those mind. And some of Keith’s songs—especially sessions opened their eyes to having another one called “Losing My Touch”—have piano instrument in the band. Th is went on for two parts I’m very proud of. As far as other artists or three weeks, and I got a call to come in I’ve worked with, I’m proud of the work on for a meeting. Lo and behold, all the Allman Clapton’s Unplugged—especially “Old Love” Brothers were there, along with , and the alternate version of “.” and they asked me to be in the band. How have you managed to avoid some of Your solo on “Jessica” is one of the all-time the opportunity to get a bit outside that the pitfalls that go along with the rock ’n’ great rock piano solos. How much time did box and apply their talents to the music I roll lifestyle? you spend working on that? brought to them. As for the arrangements, We’ve all seen soldiers go down, and that’s It was pretty much improvised. Dickey I sent some MP3s to them, so they could a sad thing. But on the other hand, lots [Betts] brought the song to the band, we liked hear them prior to our fi rst rehearsal. Some of people have recovered from problems it and started working on it. We all pitched were arrangements of recorded songs that with addiction. For me, it’s all about the in on the arrangement. Th ey sort of looked I had done. Others were early demos I did music. It’s just a great opportunity, and a at me like, “OK, kid, here’s your chance. Let’s backstage during the Stones tour, whenever glorious thing, to make records and work get a spot for you to solo.” I was just focused I had a minute or two. We did two short with all these artists. I would never want on trying to make the song work. I didn’t rehearsals. By the time we did that show, in to jeopardize that. I want to keep myself sit there and design the solo. Once the solo Frankfurt, everybody was ready to go. But reasonably fi t, so that when I walk in a room became what it was, though, people were there was also an element of things being on to work with someone, I feel good and have always disappointed if I didn’t play it the the edge, because we had only done the two something to contribute. If I can do that, same way it’s played on the record. rehearsals. Everybody was on their tiptoes. I’ve done something special.

What’s your main piano for composing? PRODUCT REVIEW At home I have a Yamaha C7—a wonderful piano that I love to play. I also have a Young ROLAND RD-700GX BY DAVE JONES Chang YP208, in another building on Digital Piano our plantation. And in my offi ce I have a P-200 digital Yamaha. I’m never far from AFTER ATTENDING a standing-room-only ridiculously cool Wurly and Tine voices. Most all something that makes a piano sound. For introduction of the RD-700GX at NAMM a few of the pop, sing and ring out gracefully, live performance, to play rock ’n’ roll in this months back, there was no question PS would evoking Herbie Hancock, while the Clav tones will day and time, it makes sense to use a digital have to get our mitts on this fl agship digital have everyone doing their best . instrument. It just cuts through the mix so stage piano from one of the few major players Organs, brass and strings are well represented, much better, and cuts down on problems in the high-end keyboard game. along with a modest but tasty smattering of those with feedback and bleeding. For the last At fi rst touch, one of the most talked-about famous Roland lead synth tones and pads. The couple of tours I’ve used a Yamaha CP-300. features was something of a turn-off. The samples you don’t hear until releasing the keys It’s a great instrument. I’m always on the weighted keys were responsive to velocity like a sometimes make the most impact. Harpsichords, lookout for something new and exciting, but real piano, but the unique “Ivory Feel” keyboard and other select sounds have “off” so far I’m hanging with the Yamaha. And has a texture that felt strange, initially. After samples to simulate a note being muted at the let’s not forget the Hammond B3. I’ve got a roaming the 88s, however, the realistic physical key’s release. special MIDI’d Hammond B3 that’s especially keyboard became indis- helpful when playing with the Stones. I’ve pensable. The Ivory also used it with and George Feel is a tad unfamiliar, Harrison. What’s convenient about it is that, but it prevents sweaty because it’s MIDI’d, I can put the piano down fi ngers from slipping on the lower manual, and play piano with under hot stage lights the left hand, while using the right hand for by absorbing moisture, the organ. At the same time I can use a foot and feels great once you’veu’ve mamadede yyourselfourself IN A NNUTSHELL:UTSHELL: Roland’sRoland’s neneww fl agagshipship ddigitaligital switch for the Leslie to turn fast or slow. Th at at home. stagestage pianopiano iss aall yyouou ccouldould wwantant on ththee rroadoad with gives me a nice bit of range. The true-stereo, multi-sampled piano engine is you. Check out rolandus.com to fi nd out more anchored by a generous amount of acoustic- and about RD-700GX’s expansion options. Your new live album includes several electric-piano sounds and a handful of memory- Stones and Allman Brothers songs that you intensive SuperNATURAL sounds including STREET PRICE: $2500.

PERFORMING SONGWRITER 72 JULY/AUGUST 2008

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