The producer and mix engineer of the first "Stuff" album discuss the troubled birth of this milestone recording. Herb Lovelle died in New York City on April 8,.
An Interview with Joe Gallivan, the Innovative Jazz Drummer Praised by Stravinsky and Ignored by Nearly Everyone Else
He said, “It's between you, Bernard Purdie, and Herb Lovelle to do the album.” I said, “If it's rock, I'd hire Bernard Purdie and Herb Lovelle before I'd hire me. That's what they do; that's not what I do. But if it's electronic, then I'd hire me
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Personnel: Muddy Waters (vocals, slide guitar); Rosetta Hightower (vocals); Sam Lawhorn, Rory Gallagher (guitar); Carey Bell Harrington (harmonica); Seldon Powell (tenor saxophone); Ernie Royal, Joe Newman (trumpet); Garnett Brown (trombone); Steve Winwood, George Fortune (piano, organ); Rick Grech (bass); Mitch Mitchell, Herbie Lovelle (drums). Recorded at I.B.C Studios, London England. Originally released on Chess (60013). Includes liner notes by Andy Schwartz. Personnel: Muddy Waters (vocals, guitar, slide guitar); Rosetta Hightower (vocals); Rory Gallagher, Sammy Lawhorn (guitar); Carey Bell Harrington, Carey Bell (harmonica); Seldon Powell (saxophone, tenor saxophone); Ernie Royal, Joe Newman (trumpet); Garnett Brown (trombone); George Fortune, Steve Winwood (piano, organ, keyboards); Billy C. Wirtz (piano, organ); Herb Lovelle, Mitch Mitchell (drums). Liner Note Authors: Alan Schwartz; Andy Schwartz. Recording information: I.B.C. Studios, London, England (12/04/1971-12/08/1971); Record Plant, New York, NY (12/04/1971-12/08/1971). Unknown Contributor Roles: DZN; Mia Krinsky. Following in the footsteps of his fellow Chicago blues legend Howlin' Wolf, Muddy Waters journeyed across the big pond in 1972 to record an album with some of British rock's leading lights. Rory Gallagher, Rick Grech, Steve Winwood, and Mitch Mitchell were of the generation that had grown up loving Muddy's blues, and these sessions afforded them the opportunity to give something back to the man who had inspired them. The difference between the Brits' approach and the traditional Chicago style is immediately apparent, right down to the preponderance of very un-Chicago inside notes in Mitch Mitchell's drumming. However, the intent of these sessions was to put a new sheen on Muddy's music while not straying too far from its roots. In this respect, the album is a success. The horn section that appears on some cuts is far less incongruous than on the notorious MUDDY, BRASS & THE BLUES. A guitars
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Personnel: B.B. King (guitar, vocals); Hugh McCracken (guitar); Paul Harris (piano, electric piano, organ); Gerald Fingers Jemmott (bass); Herbie Lovelle (drums). Includes liner notes by Ralph J. Gleason. Personnel: B.B. King (guitar, vocals); Hugh McCracken (guitar); Paul Harris (piano, electric piano, organ); Gerald Fingers Jemmott (bass); Herbie Lovelle (drums). Includes liner notes by Ralph J. Gleason. Personnel: B.B. King (vocals, guitar); Hugh McCracken (guitar); Paul Harris (piano, electric piano, organ); Herb Lovelle (drums). Liner Note Author: Ralph J. Gleason. Recording information: Hit Factories, East and West. Photographer: Philip Melnick. Arranger: Bert DeCoteaux. COMPLETELY WELL may have Peter Max-meets-YELLOW SUBMARINE cover graphics, but the original liner notes (B.B. is to the blues guitar what Ernest Hemingway was to the novel.) are the only evidence of late-1960s excess. This album is raw, gritty, and real. King is in top form, playing his distinctive brand of blues with all the heart and soul of his greatest work. Contained here is The Thrill is Gone, perhaps King's signature song. Reaching number 15 on the pop charts, it was his biggest hit, one that helped establish him as the premier blues man of his generation. King's powerful, poignant vocal-a mixture of regret and menace-is augmented by a simple but chilling string section and his lacerating guitar work. Beyond that, the album is chock full of great tracks. The crackling opener, So Excited, features a sassy horn section, subtly percolating organ, and wah-wah lead guitar. You're Losin' Me, a sprightly funk number, is augmented by supple bass playing courtesy of the aptly named Gerald Fingers Jemmott. You're Mean is an extended jam session in which the only vocals are King's defiant cries of You been mean!
Besides Love Cry Want , Gallivan has had a long, brilliant musical career, especially his collaborations with saxophonist/flautist/English horn player Charles Austin in the ’70s and ’80s. Their 1977 album Expression to the Winds —which came out... Although the two musicians at times sound like a chamber orchestra version of Sun Ra's Arkestra , or Eric Dolphy circa Out to Lunch on strong hallucinogens, or even the Taj Mahal recordings of New Age flautist Paul Horn, this album is pretty much... Unfortunately, Expression to the Winds is long out of print and unlikely to get a reissue any time soon. The same can be said for nearly all of Gallivan's releases, and this hard-luck situation recurs throughout our conversation. Because even though he's played with some of the greatest musicians of the 20th century onstage and in the studio and flirted with greater exposure over the decades, Joe Gallivan invariably has encountered setbacks and hardships in his dealings... That being said, he was one of the first musicians to test Robert Moog's prototype drum synthesizer —along with ELP's Carl Palmer. He still uses the Moog Drum to this day. Gallivan underwent open heart surgery on Sept 28, 2015 and has just returned to live music circuit in March, when we did this interview. His partner, the author/artist/musician Alicia Bay Laurel (she published the popular back-to-the-land manual Living on the Earth in 1970), instructed me to call Gallivan after noon, as she's a late riser. As it turns out, when I reached him, he'd just woken up, but he quickly shifted into raconteur mode and was going strong for nearly two hours. We covered a lot of ground, including his current musical activities, his work with the incredible electronic-jazz outfit Powerfield (so obscure they have no videos on YouTube), his brilliant and cursed Love Cry Want band mates, the fucked-up... This interview is very long, but there are no others with Gallivan on the net. Consider it (over)due diligence for a musician who's dwelled for far too long in obscurity. The Stranger : When I listen to Expression to the Winds , it sounds like if the Sun Ra Arkestra were condensed into a duo format. It has a really incredible use of space and dynamics, but with a smaller palette of sounds. Joe Gallivan : Thanks. I thought we had it together, but I just kept waiting and waiting and sooner or later somebody’s going to figure it out. [ laughs ]. What were your aims with Expression to the Winds and the other records you did with Charles Austin. Was it all improvised or did you compose those pieces. Improvised, yes, but Charles and I played a year and a half every day before we made the record. We made a record in Miami that was all acoustic, then when I got electric. I mean, we played every day. This friend of mine who just died, Stan Goldstein, had a key to Criteria Recording Studios. he worked there as an engineer. We were able to go in there every day and rehearse. We also rehearsed at the school where Charles was teaching. His students would leave at 3 in the afternoon and go out one door and we'd come in the other. We'd rehearse till 6:30 and then jump in our cars and go home and change, then go to our night gig. I was working with a piano trio and Charles was working with a quartet. We did that for a long time, playing every day. So we had our sound pretty well developed before we entered the studio. it was a little book that Charles made. I don't have one now. We basically described how we were playing and what are thoughts were about things. Some of it was about intervals, things like that. We would play a piece and record it. Of course, in those days, recording was not easy. We had reel to reel. So we'd record a piece and listen back and criticize it. It was a lot of work. It was all new for everybody then, free improvisation. There was a core of people in Miami who were different.
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Stuff (Stuff album) - Wikipedia, the free encyclopedia
Stuff; Studio album by Stuff; Released: 1976: Recorded: 1975-1976, Longview Farm: Genre: Jazz, Funk, Jazz Fusion: Length: 39:53: Label: Warner Bros. Producer: Herb ...
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Herb Lovelle biography, filmography, age, wallpapers & latest news
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