TOOLS OF THE TRADE KEYBOARD CHUCK LEAVELL Keyboard BY RUSSELL HALL Chuck Leavell “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. Honky Tonk Women some of the most memorable recordings of Somehow, in the midst of these activities, Rip This Joint our times. His rollicking contribution to the Leavell has managed to record several Coming Home Down the Road a Piece Allmans’ “Jessica” is oft en cited as one of albums of his own. His latest—a two-CD Alberta, Alberta rock’s best piano 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 Tumbling Dice Scores of other artists have sought up performances that range from Rolling Compared to What Leavell’s services—George Harrison, the Stones classics to Allman Brothers gems to Jessica Georgia on My Mind Black Crowes and Aretha Franklin, to a smattering of original songs. Statesboro Blues 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 the Rolling Stones. Starting out as Central Michigan University, Leavell spoke “second pianist” behind founding member with us about his extraordinary career in Ian Stewart, Leavell has since become the music thus far. PERFORMING SONGWRITER 70 JULY/AUGUST 2008 ##111111 JJuly/Aug.08.0.indduly/Aug.08.0.indd 7700 77/1/08/1/08 88:44:35:44:35 PPMM KEYBOARD CHUCK LEAVELL CONTINUED You began playing with the Rolling Stones Mick Jagger and Leavell in 1982. Did you audition? rehearsing for the Rolling Stones Voodoo Lounge 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 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 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 concert. 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 Nicky Hopkins, Billy Preston 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 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 “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 Ray Charles 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 Chuck Berry, the Beach Boys, an arrangement or get the right take. Th at impact. How so? the Stones and the Beatles. 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] Steel Wheels. 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 Capricorn Records: Alex Taylor, who was studio album, [2005’s] A Bigger Bang. himself, the Raylettes, Fathead Newman James Taylor’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 ##111111 JJuly/Aug.08.0.indduly/Aug.08.0.indd 7711 77/1/08/1/08 88:44:53:44:53 PPMM KEYBOARD CHUCK LEAVELL END 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.