Michigan's Musical Connection: Del Shannon

This long overdue entry in the wildly popular series, Michigan's Musical Connection, focuses on Del Shannon.

Del Shannon (December 30, 1934 – February 8, 1990) (born Charles Weedon Westover in Coopersville, Michigan) was an American rock and roller who launched into fame with the No. 1 hit "Runaway" (1961). The song introduced the musitron, an early form of the synthesizer played by "Runaway" co-writer and keyboardist Max Crook.

Shannon followed with "Hats Off to Larry", another big hit, and the less popular "So Long, Baby", another song of breakup bitterness. "Little Town Flirt", released in 1962, reached #12 in 1963 as did the album of the same name. After these hits, Shannon was unable to keep his momentum in the US, but became a sensation in England. In 1963, he became the first American artist to record a cover version of a Beatles song with "From Me to You".

Shannon returned to the charts in 1964 with "Handy Man", "Do You Wanna Dance", "Keep Searchin'", and "Stranger in Town" (1965), the latter two songs themed about flight from pursuit in a dangerous world. A 1966 chart offering was Shannon's cover of the Rolling Stones' "Under My Thumb". In the late 1960s after a dry spell of hits, he turned to production. In 1969, he discovered a group called Smith and arranged their hit "Baby It's You". He then produced his friend Brian Hyland's million seller "Gypsy Woman" in 1970. More from Wikipedia.

Here's a snip from the Rock and Roll Hall of Fame's web site about Shannon.

Del Shannon is a key figure in rock and roll’s transition from the Fifties to Sixties, serving as something of a link between Elvis and the Beatles. He was among the relatively few self-reliant rock and rollers of the Teen Idol era. He wrote his own material, played guitar and sang, and did not project a manufactured image. Shannon turned out a solid run of hits during the first half of the Sixties, including one bonafide classic ("Runaway") and seven more Top Ten singles. He also gave and received influence from the up-and-coming bands of the British Invasion, including the Beatles. More from RnRHoF

Michigan's Musical Connection: Marv Weyer

Though it has been sporadic lately, due largely to holiday travel, here is this week's edition of Michigan's Musical Connection. Today's artist spotlight takes into the genre of Rockabilly music. As a form of musical expression, Rockabilly is a hybrid between traditional country music, early rock and roll, swing music, and "doo-wop" musical flavors.
It's origins can be traced to the late 1940's to early 1950's. Here's a link to the Rockabilly Hall of Fame web page that includes a list of many artists that played a definitive and significant role for the genre.

There are several names that figure prominently in Rockabilly history that hail from Michigan. Our artist profile today is guitarist Marv Weyer. As there is limited online biographically information, I will offer a brief summary of his background from information I read at the Rockabilly Hall of Fame web site.
Marv Weyer was born in Pontiac, Michigan and grew up in a musical family where his father was a local bandleader. His earliest musical inspiration was classical guitar icon, Django Reinhardt. In high school, Marv played with The Jaguars who eventually went on to record on Motown's Tamla record label. Marv Weyer made several television appearances on local dance shows.

As his star began to rise, Marv decided to join the Marines where he served a tour in Vietnam and later based in California. He resumed his musical career and soon became something of a journeyman eventually heading to Nashville where he played with the likes of Bud Issacs, Merle Haggard, Ray Price, and Barbara Mandrell. In the early 1970's, Marv Weyer returned to Michigan and played in several jazz and country groups in the area. He partnered with fellow Michigander Eddie Jackson, another key figure in Rockabilly music. This association lasted until Eddie passed in 2002.

Rockabilly has been experiencing a revival, for lack of a better term, that saw this genre surfacing in the mid-1990's. A new and younger audience were "groovin'" to the music of Brian Setzer of Stray Cats fame and this allowed the legends of Rockabilly their long deserved due.

Michigan's Musical Connection: Eddie Burns

Michigan's Musical Connection is a weekly review of musicians and composers with roots to the Great Lake State. Some artists may be well known while others may be our little secret. From one end of the musical spectrum to the other, you never know what will show up next.

This week's artist profile is blues guitarist, Eddie Burns.

Great Lakes Folk Festival -

Eddie Burns has carried the torch of African-American blues in Detroit since 1948. His presentation of the early country blues styles in a contemporary band setting is unique in Michigan. Although he has taken his blues singing, guitar playing, and harmonica playing to Washington, D.C. and on European tours, Eddie is one of the few pure blues musicians to live and perform continuously in Michigan. He was honored with a Michigan Heritage Award in 1994.

Eddie grew up in the small Mississippi Delta towns of Wells and Dublin, where he heard country blues recordings in his grandfather's juke joint and listened to his father play blues on harmonica, guitar, and piano. His greatest influences from country blues recordings came from Tommy McClennan, Memphis Minnie, and Big Bill Broonzy on guitar and from John Lee "Sonny Boy" Williamson on harmonica. The harmonica was Eddie's first instrument as a boy. Playing "one string guitar" on the side of the house led Eddie to playing the six-string guitar.

Vintage Guitar Magazine -

An intensely proud man, this energetic 74-year-old is testimony to the longevity you can maintain when you’re focused and doing the music you love. He is still vital and intense, yet relaxed.

Snake Eyes’ version of “Your Cash Ain’t Nothing But Trash” says it all. “It ain’t the money,” he says. “It’s about that feeling you get when everybody’s having a good time.”

Hastings Street is long gone, but with Burns’ Snake Eyes, you be right back there at Henry’s Swing Club waitin’ for John Lee to walk in and announce, “Yeah people, we’s really havin’ a ball.” Sho nuff!

Michigan's Musical Connection: James Tocco

Welcome to the "post-midterm election" edition of Michigan's Musical Connection. As is the case with politics, the direction this weekly feature will take is just as unpredictable. And is also the case as with politics, if you don't get a result that you expected, just "tune" in next time.

This week I am casting the spotlight on James Tocco.

Kennedy Center for the Performing Arts -

Italian-American virtuoso James Tocco enjoys international renown as a recitalist, orchestral soloist, chamber musician and pedagogue. Beyond his vast repertoire of virtually the entire standard piano literature, he is widely regarded as among the foremost interpreters of American masterworks, including Bernstein's Age of Anxiety, which he recently recorded with Leonard Slatkin and the BBC London Symphony and performed with Marin Alsop and the New World Symphony; and the Corigliano Piano Concerto, of which he is acknowledged the definitive interpreter by the Pulitzer-Prize-winning composer. He has performed this spectacular work to great acclaim with the Atlanta, San Diego, Kansas City and Phoenix Symphonies and Louisville Orchestra, the latter including an acclaimed recording, and in the 2003-2004 season he reprises it with Andrew Litton and the Cincinnati Symphony, among other orchestras. The pianist's recent seasons included his Royal Concertgebouw Orchestra debut, performing the MacDowell Concerto and Gershwin's Rhapsody in Blue, both conducted by Leonard Slatkin. An especially accomplished recitalist, Mr. Tocco has been widely praised for his interpretations of Beethoven, Chopin and Liszt, as well as 20th-century composers, and he among the very few pianists to regularly program the keyboard works of Handel.

Born of Italian parents in Detroit, Mr. Tocco's love of music--especially opera--began in early childhood. At six he started studying piano and at twelve he made his orchestral debut, performing Beethoven's Second Concerto. Among the countless awards that followed were a scholarship to the Salzburg Mozarteum and a French government grant to study with Magda Tagliaferro in Paris. His musical education was completed with Claudio Arrau in New York. International prominence came with his First Prize victory in the International ARD Competition in Munich, followed by a major triumph as a last-minute replacement for Arturo Benedetti Michelangeli as guest soloist for the Tchaikovsky First Piano Concerto at the Vienna Festival. In the years since then he has performed literally around the world: throughout North and South America, Europe, the Soviet Untion, Japan, Australia, South Africa and the Middle East. His orchestral engagements include the Cleveland and Minnesota Orchestras; Berlin, London, Los Angeles, Hong Kong and Munich Philharmonics; London, Houston, Pittsburgh, Cincinnati, Detroit, Chicago, New World, National, and NHK (Japan) Symphonies. Conductors with whom he has collaborated include Marin Alsop, David Atherton, Esa-Pekka Salonen, Jesus Lopez-Cobos, Andrew Litton, Yoav Talmi, Robert Shaw, Yoel Levi, Zdenek Macal, Gerard Schwarz, Raymond Leppard, David Zinman, Lukas Foss, Georges Prtre, Neeme J°hrvi, James DePreist, Hugh Wolff, Wolfgang Sawallisch, Leonard Slatkin, John Nelson, Christoph Eschenbach and Christoph von Dohnnyi. Festival invitations include Salzburg, Vienna, Lockenhaus, Holland, Schleswig-Holstein, Dubrovnik, Wolf Trap, the Hollywood Bowl, Blossom, Ravinia, New York's "Mostly Mozart," Spoleto (USA) and Santa Fe.

Michigan's Musical Connection: Always A Fan

A few weeks ago I was talking with one of my close friends, catching up on all that has been happening to each of us this summer. As we talked, I mentioned this page and the MMC (Michigan's Musical Connection) that I have been assembling. He liked the idea and mentioned that it should be easy to find subject to spotlight. I explained that I was seeking more obscure or remote artists to profile at first. My rule has been only this so far - "No softballs".

He laughed at the prospect of people like Eminem, Kid Rock, Nugent, Stevie Wonder, or Seger being considered "softballs". When I explained that those artists are so easily recognized as being associated with Michigan, it would hardly add enough meat to the series in the early going. (Notice I said in the early going - I fully intended to dedicate a post these ambassadors of Michigan Music.)

I turned the tables on my friend a little though.

I suggested he write a piece about Bob Seger as he is a huge fan. At first, he declined outright but the more we talked about it, he began to give way. I told him that, though I enjoyed most of Seger's material, I don't really consider myself as much a fan as I know he is and I wanted to get a unique view. I suggested he write from the perspective of why Bob Seger has such fan appeal, both local and worldwide. He finally agreed and he has given me permission to post it here.

Always a Fan
by Jim Peters

His rock 'n roll soul runs so deep and true to his music and his audience, how could I not stay true to such a classic rock '’n roll icon as Bob Seger. The 60'’s, 70'’s, 80'’s, 90'’s, and this far into the new millennium...he'll never just "“roll away"”! The gibberish of him becoming more "Nashville" than "“Detroit"”, because of a couple crossover selections from his latest release, "Face the Promise", only proves his versatility over the years, and is testament to his continued success.


Be it fantasy or fact, I do have this memory of Bob playing at one of my "“teen club" dances (late 60'’s, early 70'’s -– eastside of Detroit), and it wouldn'’t surprise me to learn that most of his fans share the same thoughts. The experience of his music is so embedded in our lives. Whatever roads I'’ve taken, there'’s always been a Seger tune to smooth the rough rides and keep me on the straight and narrow ones! I'’ve always been able to recognize his music. Although I'’m not passionate about it, I think it'’s that you can recognize his passion in it...
the rockin' guitar, the rhythmic drums, some screaming sax, the sweetness of those seemingly ever-present back-up singers, whatever other instruments of Seger genius, and then let Bob loose with the mic, and that'’s a sound that is unmatched and unmistakebly classic rock '‘n roll!


Is it no surprise, the terms progressive, improved, both harder and softer, have all been applied to this release? Also no surprise, from "“Hourly Detroit" to the "“Detroit Free Press", the "“Metro Times"”, then to Jay Leno and David Letterman... his rock '‘n roll music, this album, the first in 11 years, the widespread interest, the anticipation, all the media hype, it's as though it'’s the debut of not only a new album, but a new artist! With a tour close to being a reality, perhaps we'll see a "“new" Bob Seger, refreshed, but not re-invented, leaving us all quite "“satisfied"”!

Thanks Jim! I really appreciate you taking the time to capture your thoughts and allow me to share with other Bob Seger fans.
We're working on the 6 billion, brother.

Michigan's Musical Connection: Sonny Stitt

Finally ...at last, it is Saturday and I am able to bring the overdue return of Michigan's Musical Connection. Sorry for the short break from this feature everyone. I have selected jazz icon, Sonny Stitt, as the featured artist for this installment. Let's get crackin'.

Wikipedia gets things started -

Edward "Sonny" Stitt (February 2, 1924 – July 22, 1982) was an American jazz saxophonist. He was a quintessential saxophonist of the bebop idiom. He was also one of the most prolific saxophonists, recording over 100 records in his lifetime. He was nicknamed the "Lone Wolf" by jazz critic Dan Morgenstern, due to his relentless touring and his devotion to jazz.

Stitt was born in Boston, Massachusetts, and grew up in Saginaw, Michigan. Stitt had a musical background; his father taught music, his brother was a classically trained pianist, and his mother was a piano teacher. His earliest recordings were from 1945, with Stan Getz and Dizzy Gillespie. He had also experienced playing in some swing bands, though he mainly played in bop bands. Stitt featured in Tiny Bradshaw's big band in the early forties.

Stitt played alto saxophone in Billy Eckstine's big band alongside future bop pioneers Dexter Gordon and Gene Ammons from 1945 until 1949, when he started to play tenor saxophone more frequently. Later on, he notably played with Gene Ammons and Bud Powell. Stitt spent time in a Lexington prison between 1948-49 on account of selling narcotics.

Here's some additional insight from a review page at JazzSpot

I feel that Sonny Stitt is currently the most underrated saxophonist of his generation. He is currently being penalized for not having recorded extensively for Blue Note or Verve, because we all know what a great job those labels are doing with dead artists. He also suffers from not having blown his own horn (autobiographically) during his life. How could he know that just weeks after subbing for the late Art Pepper at the Kool festival that he'd be joining him in the heavenly Bebop sax section?

However, his peers respected his ability (just check out how many name musicians played with him in the '50s and '60s). He also has a list of near misses that might surprise you. For instance, he was nominated for two Grammy awards (back when that really meant something) and there was no media darling like Wynton Marsalis to tell people what to think.

He also missed getting into the Down Beat hall of fame posthumously in 1982 because he had the misfortune to die in the same year (albeit weeks later) as Art Pepper. He actually subbed for Pepper just weeks prior to his own death.

Answers.com

Charlie Parker has had many admirers and his influence can be detected in numerous styles, but few have been as avid a disciple as Sonny Sitt. There was almost note-for-note imitation in several early Stitt solos, and the closeness remained until Stitt began de-emphasizing the alto in favor of the tenor, on which he artfully combined the influences of Parker and Lester Young. Stitt gradually developed his own sound and style, though he was never far from Parker on any alto solo. A wonderful blues and ballad player whose approach influenced John Coltrane, Stitt could rip through an up-tempo bebop stanza, then turn around and play a shivering, captivating ballad.

Michigan's Musical Connection: Commander Cody

This installment of Michigan's Musical Connection is slightly off the beaten path. This week's spotlight shines on Ann Arbor-born George Frayne. Frayne was born in July 1944 and around 1967 took the stage name of Commander Cody. I found little in the way of personal bio information but I'll give ya' what I've got.

Wikipedia -

Commander Cody and His Lost Planet Airmen was a rock band formed in 1967 in Ann Arbor, Michigan. The band's name was inspired by 1950s film serials featuring the character Commando Cody and from a feature version of an earlier serial, King of the Rocket Men, released under the title "Lost Planet Airmen". The band's founder and leader, George Frayne, took the stage name Commander Cody.

The band's style was basically a mixture of country music, rockabilly, and blues. It became legendary for marathon live shows, but many felt that the spirit of those performances was never fully captured in the band's recordings.

After several years spent playing in local bars, core members of the group migrated to San Francisco and scored a recording contract with MCA records; the group's first album release, titled Lost in the Ozone, arrived in late 1971 and yielded the group's best-known hit, a version of the country song "Hot Rod Lincoln" which reached the top ten on the Billboard singles chart in early 1972. The band released several moderately-successful albums through the first half of the decade and appeared in the Roger Corman movie Hollywood Boulevard before Frayne disbanded the group in 1976. The core members of this version of the band were Frayne, John Tichy, Billy C. Farlow, Bill Kirchen, Andy Stein, Paul "Buffalo" Bruce Barlow, Lance Dickerson, and the "West Virginia Creeper" on pedal steel.

Commander Cody web site -

After graduating in the spring of 1968, I took a job as instructor of art at Wisconsin State University in Oshkosh. I went back to Ann Arbor every weekend, which kept the band going, but eventually got me fired. Danny Erlewine took Tichy's place as 2nd guitar and Bill and Billy C shared lead vocals, until Kirchen took of to San Francisco. Through phone calls he told us the time was right in SF, and in June of '68 Creeper, Farlow and me jumped in my van and headed West. Our first gig was with Kirchen's band, (the Ozones) at the Town Pump on Mission St. Later the first Cody gig was playing on Telegraph Ave. in Berkeley, for Cody's Bookstore on July 4, with the Skiffle Bands "Pookie" on drum (snare).That date was one of the famous Berkeley Riots and we all wound up being gassed by the cops, (we grabbed our shit and split). Later that month we all moved into a big house on the Emeryville border, called it Ozone West and started practicing and going out on the street, (Telegraph Ave.) to play, (I played a really bad accordion). Here we met our very first "groupies" the fabulous Richmond Girls, (who were actually from Portland Ore). We got audition dates with Bill Graham in the City, and at Mandrakes in Berkeley.

Michigan's Musical Connection: Johnny Desmond

Welcome to the weekly installment of Michigan's Musical Connection. This week I have selected Johnny Desmond as the featured artist. Let's get crackin' -
Wikipedia -

Johnny Desmond (November 14, 1919-September 6, 1985) was an American popular singer.

He was born Giovanni Alfredo De Simone in Detroit, Michigan. As a boy, he sang on a local radio station, but at age 15 he quit to work at his father's grocery. He still retained a love of music, however, and went to the Detroit Conservatory of Music briefly before heading to the night club circuit, playing piano and singing.

In 1939 he formed his own singing group. The group was first called the Downbeats, but after being hired to work with Bob Crosby's big band in 1940, it was renamed the Bob-O-Links. The group appeared on fifteen commercial recordings by the Crosby orchestra, including two charted hits, "You Forgot About Me" (which reached #15), and "Do You Care?" (#18).

In the middle of 1941, however, Johnny decided to leave the Bob-O-Links to go solo. He became the featured vocalist for Gene Krupa's band, replacing Howard Dulaney, in September, recording over a dozen songs, the last of which was "All Those Wonderful Years," a song from the movie Keep 'em Flying, which reached #21 on the US charts.

In 1942 he enlisted in the United States Army, but his military service was in fact a continuation of his singing career. He was a member of Glenn Miller's Army Air Forces Orchestra and from November 1943 until some time in 1944 he toured Europe, mainly serving as a replacement for Tony Martin. He made a number of radio broadcasts with the Miller band and was even given his own show by the British Broadcasting Corporation, "A Soldier and a Song."

Not only was Desmond a popular singer but he was also an actor / director.
From Answers.com

While in the military, Desmond, who could sing in Italian, French, and German, performed with Glenn Miller on radio broadcasts designed to rattle the enemy. Following the war, he began his radio and television career. Desmond's last film appearance was as himself in the documentary tribute to the recently deceased Miller, Glenn Miller: A Moonlight Serenade in 1984. A year later Desmond passed away.

Unfortunately, I could not locate any video clips featuring Johnny Desmond.

Michigan's Musical Connection: Earl Klugh

Welcome music lovers. Today's edition of Michigan's Musical Connection will feature guitarist Earl Klugh. Mr. Klugh was born on September 16, 1954 in Detroit and fell in love with the guitar at the young age of 3 when he first picked up a guitar.

Earl is currently touring and, in fact, played last night here in Indianapolis, Indiana. You can get more tour information at Earl's web site.

Here is an excerpt from an interview with Earl Klugh from earlier this year by Modern Guitars Magazine:

Earl, who influenced you at the start?

Earl Klugh: Chet Atkins was probably my biggest influence by far. I started playing guitar in December of '63. I was playing finger style because the folk craze was so prevalent. I really liked the sound of classical guitar so that's what I played in.

I think it was 1967 when I first heard Chet play. I saw him on a television show and it opened up a world of possibilities for me. I literally went out and got all the Chet Atkins records I could find. You know, back in those days it was pretty isolated when attempting to do something as rarified as finding ways to learn how to play finger style guitar. The main source was records. I had an old Silvertone record player, and I had learned my basic chords, C, D, E, F, in major and minor. Basically I'd lift the needle back and forth and just work with my fingers. I'd just sit there all day until something clicked. And that was really my method of learning how to play, after about a year or so of guitar lessons as well.

Along the way, from listening to Chet's records, I found out about people like George Van Eps and Kenny Burrell, and classical players like Julian Bream, Segovia, Jorge Morel, Howard Roberts and all of the fine players who were available at that time. I really stuck with the finger style and the nylon string guitar. That was probably the most unique thing about my learning to play modern guitar, and that I was really interested in everybody, like Wes Montgomery and Johnny Smith, too. For me, I wanted to adapt what I could of their styles into my own style of acoustic and classical guitar.

Since his recording debut in 1976 with his self-titled album, Earl Klugh has produced a huge discography and has made a striking, enduring imprint in the music industry. Earl has provided inspiration for thousands of guitar enthusiasts and has attracted fans from many different musical genres.

Here is a YouTube clip of Earl Klugh and Chet Atkins that you may enjoy.


Thanks for stopping by. I hope you enjoy this installment as well as some of the previous chapters of Michigan's Musical Connection. Each Saturday, a new artist is in the spotlight and you never know who may the next subject. One thing for sure, they all have their own Michigan Connection.

Michigan's Musical Connection: Margaret Whiting

Finally....it's Saturday....the weekend. This week I am turning the spotlight on one of the most talented singers from the 40's & 50's era primarily. The featured artist is Margaret Whiting. Ms. Whiting comes from a family background in music and she became an iconic singer. I think she has one of the most wonderful voices I have ever heard. Be sure to check out the YouTube video at the end of the post and see if you don't agree.

Wiki

Margaret Whiting (born July 22, 1924) was a traditional pop music singer in the 1940s and 1950s.

Her musical talent may have been inherited; her father Richard Whiting, was a famous composer of popular songs. She also had an aunt, Margaret Young, who was also a singer and popular recording artist in the 1920s. In her childhood her singing ability was already noticed, and at the age of only seven years she sang for Johnny Mercer, for whom her father worked. In 1942, Mercer started Capitol Records with two partners, and signed her as one of their earliest recording artists.

Songbirds -

Throughout the long dark days of the Great American Songbook blackout, circa 1960-1980, it mostly fell upon Frank Sinatra and Ella Fitzgerald (with her Verve songbook series) to keep tradition alive. One of the pioneers of the LP songbook form, albeit in limited form in 1950, was Margaret Whiting with her Rodgers and Hart 10" LP tribute on Capitol. This Whiting Sings Kern songbook (originally a 2-LP collection, now available on one CD) represents one of only four trips that she made to the recording studio throughout the 1960s. Along with Jo Stafford, Doris Day, Rosemary Clooney, and Peggy Lee, Whiting had been one of most important pop singers of the 1940s and 1950s. This slackening off in studio activity was a stunning turn of events for a singer who, for more than two decades, had been a bellwether of good, no frills, straight-ahead pop singing.

BrainyQuote -

"I can't think of any other singer who grew up in a household where you would go into your father's studio and have someone like Arthur Schwartz working there. Imagine growing up and hearing Harold Arlen playing piano and singing his songs."

and this ....

"We teach young kids from 8 to 14 or 15 about their musical heritage through great songs written by American songwriters. We don't do too many modern composers, although we include songs from Billy Joel and other writers like him."
- Margaret Whiting

YouTube -

Michigan's Musical Connection: Ray Parker Jr

Welcome to yet another addition of Michigan's Musical Connection. If this is your first time visiting, let me give you the ground rules.
Each Saturday I select, at random, a musical artist that has ties to the Water Winter Wonderland otherwise known as Michigan. If the artist was born in Michigan, grew up in Michigan, or currently lives in Michigan - they gain admission to my series.
Pretty simple, eh?

This week I have selected Ray Parker Jr.

I remember first learning of Ray Parker Jr when I worked for a record distributor in Livonia. He was performing with his band, Raydio, and was signed to the Arista record label. I recall the band had several 45's that had strong sales for the company and I remember that they became an "evergreen title" for the local stores. It was many years before I learned that he was from the Detroit area.

Without a doubt, the biggest success for Ray Parker Jr that catapulted him to international fame was his title song from the movie, Ghostbusters.

Here's a clip from Soultracks about Ray Parker Jr -

Ray Parker is best known for an extremely successful career as a solo singing artist and as frontman for the group Raydio, but his most meaningful legacy may be in his lesser known role as one of the greatest session guitarists in Soul Music history.

A true prodigy, Parker was a sought-after guitarist around Detroit while still in high school, and began playing on a number of Holland-Dozier-Holland productions before graduation. His big break came when, at age 18, he was contacted by Stevie Wonder to play guitar on Wonder’s 1972 tour with the Rolling Stones. Over the next half decade he established an enviable career as a choice session musician, playing on albums by artists such as Wonder, the Chairmen of the Board, the Four Tops and Marvin Gaye.

In 1977 Parker was signed by Arista Records for a solo career. Instead, he brought on three contract guest singers (most notably first tenor Jerry Knight – later of “Breakin” fame as part of Ollie and Jerry) to put a group face on his music as the fictional band Raydio. As many in the music business expected, Raydio became an immediate hit. However, rather than creating muscular, electric soul that may have been anticipated based on Parker’s resume, Raydio became known for creating catchy, facile pop music.

Ray recently released a cd called "I'm Free". Here's some bio information available at Ray's web site.

Born May 1, 1954, in Detroit, MI, Parker started out as a teenaged session guitarist playing on sessions recorded for Holland-Dozier-Holland's Hot Wax and Invictus Records whose roster listed Freda Payne, Honey Cone, Chairman of the Board, 100 Proof Aged in Soul, Laura Lee, and 8th Wonder. He'd also play behind the Temptations, Stevie Wonder, the Spinners, Gladys Knight and the Pips, and other Motown acts when they appeared at the Twenty Grand Club. In 1972, Wonder called Parker to ask him to play behind him on a tour that he was doing with the Rolling Stones. Parker thought it was a crank call and hung up the phone. Wonder called back and convinced Parker that he was the real deal by singing "Superstition" to him.

Michigan's Musical Connection: Freda Payne

It's Saturday and that means it's time for the latest installment in the series, Michigan's Musical Connection. Looking through my previous entries in this collection I noticed that I had yet to spotlight any female artists. Today we will begin to correct my oversight.

Ladies and gentlemen, allow me to re-introduce Freda Payne.

Wikipedia -

At an early age, Freda Payne grew up listening to different jazz singers such as Ella Fitzgerald and Billie Holiday which helped her develop a taste for music. As a teenager, she attended the Institute of Musical Arts; she soon began singing radio commercial jingles and took part in (and won many of) local TV and radio talent shows. Her polished voice caught the attention of many different people including record producers. Berry Gordy wanted to give her a contract with Motown, and Duke Ellington (after allowing her to sing with his orchestra in Pittsburgh for two nights) also wanted to give her a contract. However, her mother did not permit these and wanted her to finish school first.

In 1963, she moved to New York City and worked with many different singers including Quincy Jones, Pearl Bailey, and Bill Cosby. During that same year, her debut album (of jazz), After the Lights Go Down Low and Much More!!!, was released on the Impulse! label (this album was reissued on CD in Japan in early 2002 and then reissued on CD in the United States in 2005). Three years later, she released her second album of jazz, How Do You Say I Don't Love You Anymore, for MGM. She also made occasional guest appearances on different television shows including The Merv Griffin Show and The Tonight Show (with Johnny Carson).

She even added theatrical credits to her repertoire; she understudied Leslie Uggams for the Broadway show Hallelujah Baby in 1967 and appeared with the Equity Theatre in a production of Lost in the Stars. Although she was doing well at supporting herself in the business, none of these things helped her break into stardom.

It should be noted there is a correction in the Wiki information. It lists Freda Payne as being born on September 19, 1945 when the actual birth year should read 1942.

From Freda's website -

Freda's link with some hometown friends proved to be very fruitful. Brothers Brian & Eddie Holland and Lamont Dozier (Holland-Dozier-Holland) were responsible for putting Motown music firmly on the map by writing and producing million sellers for acts that included the Four Tops, Martha & the Vandellas and the Supremes - whose last lead singer is Freda's sister Scherrie - also blessed with an incredible vocal talent.

Holland-Dozier-Holland's newly formed Invictus Records provided Freda with 2 million selling singles - Bring The Boys Home and Band Of Gold plus Deeper and Deeper, Cherish (What's Dear To You) and You Brought The Joy. Freda then moved to ABC and later Capitol Records, releasing the albums Payne & Pleasure, Out Of Payne Comes Love, Stares & Whispers, Supernatural High and Red Hot. 1993 saw the release of her critically acclaimed album An Evening With Freda Payne that perfectly showcases her incredible talents and incomparable jazz styling.

Most recently, Freda Payne is performing her tribute to Ella Fitzgerald and appears in the Sci-Fi movie, Saurian, which is due for broadcast on the Sci-Fi channel later this year.

Here's a clip via YouTube of Freda Payne performing on the Mike Douglas show in 1975.

Michigan's Musical Connection: Feature Enhancement

This weekend, I was trying to think about how I could make the series, Michigan's Musical Connection, an improved experience for the faithful readers. At first I thought, "improved.....? it's great already!". Then it hit me - V...I...D...E...O.

So I did a little digging and was able to locate some related video clips for some of the featured artist thus far and updated the original posts with the links. Now, when possible, Michigan's Musical Connection will feature video making the weekly series a multimedia extravaganza. All this and we reduced the price by up to 50% and more!

You can view the updated video by (1) click on the links in the sidebar where I have conveniently noted the updates - or - (b) click on the links below.

Joseph Bruce (Violent J)
Ron Carter
Marshall Crenshaw
Don Fagenson (Don Was w/ Was Not Was)
Michael "Cub" Koda (w/ Brownsville Station)

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Michigan's Musical Connection: Michael "Cub" Koda

Welcome to the Labor Day edition of Michigan's Musical Connection. This installment spotlights a guitarist who may be categorized as one the most famous "unknown" musicians of the 70's and 80's.

His name is Michael "Cub" Koda.

I had the chance to meet Cub Koda when I worked in the music business in Detroit. I worked for an independent music distributor, Ami Distributors, and we often handled logistics and promotion for small indie labels. When Cub Koda released his album, Cub Koda and The Points on the Baron record label, we sold it to local area record stores.

My meeting with Koda was a brief encounter and occurred on a day when he came to the warehouse to autograph promotional copies of his album for radio station promotions. He was in the office when I was asked to bring cartons of the LP from the warehouse. I was introduced to him by the owner of the company, we shook hands, and he thanked me for helping to sell him album.

I still have a promo copy of his album in my vinyl collection.

Here's some bio information about Cub Koda.



Allmusic -

Best known as the leader of Brownsville Station and composer of their hit, "Smokin' in the Boys Room," Cub Koda proved that his roots went far deeper, both before the band's formation, during its days in the sun, and long after its demise. His high-school band, the Del-Tinos, was dipping into blues and rockabilly as far back as 1963 -- not only pre-Butterfield, but pre-Beatles. Similarly, he recorded legendary home tapes during his off-hours from Brownsville, before the rockabilly revival had uttered its first hiccup, and later teamed with Hound Dog Taylor's former rhythm section, the Houserockers, to play the blues in the '80s. Along the way he cranked out a monthly column ("The Vinyl Junkie") and recorded a series of albums that kept roots music of all kinds alive without ever treating it like a museum piece. (more about Cub Koda here...)

On Tune Up, there is an interview with Cub Koda-

Cub Koda's career has covered the entire span of American roots music. Throughout Cub's recording career you can hear hints of blues, rock & roll,
rock-a-billy, jazz, folk, and another category that I'll just call Cub music. This all done with the clockwork precision of the seasoned pro that he is,
tossed in with Cub's sense of fun and adventure.

For those unaware of Mr. Koda's past accomplishments, please allow me to fill you in on some of the highlights. Cub was the lead guitarist, singer, & main songwriter of the legendary rock band Brownsville Station. They were were and are one of the most important bands to ever come out of Michigan. They were together from 1969 to 1979, and during that time they scored several international and national hits which include "Smokin' In The Boys Room", "Martian Boogie", "Lady Put The Light On Me"," Kings Of The Party", and "Let Your Yeah Be Yeah". "Smokin In The Boys Room" (which was penned by
Cub and Michael Lutz the bassist for Brownsville Station) went on to sell 2 1/2 million copies and was also a big hit for Motley Crue in the mid-eighties.

Lastly, Wikipedia has this info about Cub Koda -

Michael "Cub" Koda (born October 1, 1948, died July 1, 2000) was an American singer, songwriter, musician and music critic.

A native of Manchester, Michigan, Koda founded seminal 1970s rock band Brownsville Station and wrote many hit songs, including "Smokin' in the Boys' Room." While continuing to record and tour all his life, he also had a long career as a music writer. He co-wrote and edited the All Music Guide to the Blues (ISBN 0-87930-736-6) and Blues for Dummies (ISBN 0-7645-5080-2) and put together the CD of blues classics accompanying the latter title, personally selecting the exact version of each song that appeared on it. A complete discography and bibliography is available on the Official Cub Koda Homepage

Update: Bonus coverage on Cub Koda
Here's a little tidbit that you may enjoy via You Tube.

Michigan's Musical Connection: Joseph Bruce

Welcome to yet another episode in the continuing series, Michigan's Musical Connection. Here's how we play this game - this series we spotlight musicians, from all musical genre, that were either (1) born in Michigan, (2) raised in Michigan, or (3) are best known as being associated with the State of Michigan.

This entry is #7 and I have elected to jump to the other end of the musical spectrum from the last post. I admit this person represented a bit of an awareness challenge for me. I had actually been researching a different artist and found a thread that led me to Joseph Bruce.

I work in the entertainment business for a major record label distribution facility. We distribute the works of this performer with his band, Insane Clown Posse (ICP) and I never realized the band was rooted in Michigan. As I looked further into the background of the group, I found some pretty cool bits of information.

That's one main reason why I enjoy putting this series together. I am learning quite a bit about artists that are outside my usual area of interest or listening palette.

Wiki -

Joseph Bruce, (born April 28, 1972 in Wayne, Michigan) better known to the world as Violent J of the Insane Clown Posse. He is also the co-founder of the record label of the band, Psychopathic Records, with fellow ICP rapper Joseph Utsler (aka Shaggy 2 Dope) and their manager, Alex Abbiss. He is also younger brother to rapper Robert Bruce, (a.k.a. Jumpsteady). He has a son named Joseph Bruce II who was born in January 2005.

Shaggy 2 Dope mixes the music for the group, and because of this J sings the lead vocals on most songs. Plus, according to Shaggy, J spends more time in the studio, hence he has more vocals time.

He was offered a role in Prison Song as a security guard, but declined because he was not permitted to wear his clown make-up.

In his own movie Big Money Hustlas which he wrote, he had to pay $100,000 out of his own pocket to complete it. In all of his CDs he gives credit to "the Butterfly".

Michael Jackson was one of his favorite artists including Prince and Pearl Jam.

The feud between Eminem and Insane Clown Posse began in 1998 when Eminem approached them with a flyer to promote his "Slim Shady LP" release party which stated 'Insane Clown Posse might make an appearance!' Neither Violent J nor Shaggy knew or met Eminem at the time. Violent J declined the invasion and Eminem took it as an insult, then in a song on the Marshall Mathers LP album of Eminem's called them names which made ICP and Eminem enemies.

Bruce is also a professional wrestler. He started off in 1990 as an independent wrestler under the moniker Dropkick Daniels and Corporal Darrell Daniels. His first match ever was working for Al Snow, and it was also the same night where Rob Van Dam and Terry Brunk (Sabu) had their first matches.

Bruce then went on to wrestle in the WWF, ECW and a long stint in WCW with Shaggy, Vampiro and Raven as The Dead Pool. After WCW, he and Shaggy created Juggalo Championshit Wrestling, which was a huge success with "juggalos" (ICP's fanbase), and the backyard wrestling fanbase. Bruce remains great friends with many wrestlers including Sabu, RVD, and Vampiro, just to name a few.

Update 9/03/06: Short video clip of Joseph Bruce aka Violent J doing a Saturday Night Fever bit on the tour bus. Via YouTube.

Michigan's Musical Connection: Leo Sowerby

Welcome to the latest installment of my series, Michigan's Musical Connection. Every Saturday, I select an artist at random who has some connection to the great State of Michigan. The qualifications I have chosen for inclusion in this series is pretty broad. Artists that were either born in Michigan, raised in Michigan, or currently reside in Michigan. Pretty simple, right? With that said, let's get this entry underway.

Leo Sowerby was born in Grand Rapids, Michigan in 1895 and died in 1968. Mr. Sowerby was a composer and organist and studied at the American Conservatory in Chicago. He also studied in Rome in 1921 and later became a teacher at the American Conservatory. In 1927, he became the organist and choirmaster at St. James Episcopal Church in Chicago.

Here's a snip from an essay about Leo Sowerby -

Sowerby was born on May 1, 1895 in Grand Rapids, Michigan, and spent most of his adult life in Chicago. He was thus one of the authentic musical voices of the Midwest, of the great American heartland. His talent blossomed early - his violin concerto was premiered in 1913, when the composer was 18 years old and his orchestral works were featured on programs by the Chicago Symphony Orchestra from his early 20s on. He went on to produce a catalogue of more than 550 works, including other concertos (for piano, organ, cello, and harp), five symphonies, and music in every other genre with the sole exception of opera. He was the first winner of the American Prix de Rome, he won the Pulitzer Prize in 1946 for his cantata The Canticle of the Sun, and his orchestral music was played not only by the Chicago Symphony, but by the Boston Symphony, the Philadelphia Orchestra, the New York Philharmonic, and many others. His success extended beyond the traditional classical concert stage. How many people who associate Sowerby only with organ and choral music know that when bandleader Paul Whiteman sought new works in the jazz idiom after his great success with Gershwin's Rhapsody in Blue, one of the first composers he turned to was Sowerby? (He wrote two works for Whiteman's band, one called Synconata and the other called Monotony, a piece for metronome and jazz band). His music could indeed vibrate with the syncopated urban accents of the Jazz Age, but he painted vivid musical landscapes, such as the tone poems Prairie and Comes Autumn Time (in both its orchestral and organ versions), or From the Northland, his evocation of the forests and Great Lakes of his native Michigan. His reputation as a specialist in sophisticated liturgical music was balanced by the fact that two of his best-sellers during his lifetime were his instrumental settings of The Irish Washerwoman and Pop Goes the Weasel.

With the sole exception of his pupil Ned Rorem, Sowerby was the last American composer with a national reputation in the world of concert music to display any more than a token interest in church music. He was organist of St .James' Episcopal Cathedral in Chicago for more than 40 years, and his liturgical music occupies a central place in his life's work and in the history of American church music. He produced a long list of anthems, each of which is a master class in the techniques of writing choral music. They illuminate the sacred texts in a truly symphonic style, and feature organ accompaniments that make integral and idiomatic contributions to the texture of the music - real organ music: no one-size-sort -of-fits-all "keyboard" parts like those which so many church music programs seem to demand today. (more...)

Leo Sowerby began composing at the age of ten and through his career he totaled more than 500 works. Considered the pre-eminent American composer of organ music, Sowerby garnered recognition throughout his career which included a Pulitzer Prize for Music in 1946.

From Answers.com -

Sowerby began piano lessons when he was seven and was teaching himself theory from a textbook at 11. He moved to Chicago in 1909 and continued his music studies while at Englewood High School. At age 15, Sowerby received some cursory instruction on the organ, but from then on would be self-taught.

Sowerby's debut as a composer came in 1913 when the Chicago Symphony at an all-America concert performed his Concerto for Violin and Orchestra. Four years later, Sowerby gave his first public performance on the piano at the Norfolk, Connecticut, Festival.

His first pair of published compositions was a Woodwind Quintet (1916) and Serenade for string quartet (1917), which was a birthday present to Elizabeth Sprague Coolidge. In December 1917, Sowerby went into the U.S. Army and served for 15 months in England and France as a clarinetist and bandmaster. Sowerby remained in Europe after his discharge from the army and began composing a series of works including his First Symphony, which led to him being awarded the first American Prix de Rome in 1921. For the next three years Sowerby resided at the American Academy in Rome, writing among others From the Northland a composition that would win the Society for the Publication of American Music Award. (more...)

Michigan's Musical Connection: Don Fagenson

Today is Saturday and it is time for another installment in my series called, Michigan's Musical Connection. This episode features an artist whose music dances through the entire musical genre spectrum. This artist has achieved critical and popular success on both sides of the soundboard.

From Wiki -

Don Was (born Donald Fagenson on September 13, 1952 in Detroit, Michigan) is an American musician and a music and record producer.

Fagenson graduated from Oak Park High School in the Detroit suburb of Oak Park, then attended the University of Michigan at Ann Arbor but dropped out after the first year. A journeyman musician, he grew up listening to the Detroit blues sound and the jazz music of John Coltrane and Miles Davis.

Using the stage name "Don Was," he formed the group Was (Not Was), making several albums in the 1980s before disbanding in 1993. However, the group has reunited for performing and recording, with two albums scheduled to be released in 2005.

Don Was has earned recognition as a capable record producer and has produced for numerous singers including Bob Dylan, Bob Seger, Glenn Frey, Iggy Pop, Khaled, Jackson Browne, and several albums for Bonnie Raitt including her Nick of Time album that won the 1990 Grammy Award for Album of the Year. Was has worked with such bands as the Rolling Stones, The B-52's, Barenaked Ladies and others. He served as music director and/or consultant for several motion pictures such as The Country Bears, The Rainmaker, and Hope Floats.

In 1995, Don Was earned a Grammy Award for Producer of the Year.

He is the father of Eve 6 drummer Tony Fagenson.

As I am writing this entry I am listening to a Was (Not Was) tape to aid in capturing the spirit perhaps. One thing that I am taken by while listening is that Don Was could almost be considered a niche artist but one that occupied many niches. But more about Was (Not Was) will be the subject of a future installment. I hope this whet your appetite until then.

Update 9/03/06: Bonus video included now - This clip features Was Not Was via YouTube.

Michigan's Musical Connection: Sy Oliver

Before I proceed, I have to tell everyone how much fun this episode has been to compose. Part of what I hope to convey in this feature is that Michigan has been, and continues to be, the birthplace and/or adoptive home of many creative people that enrich our lives through the expression of their art. This process of presenting these artists here is also a path of personal education for me.
I have been involved in the music business for about thirty years; as a musician and also while employed for various entertainment companies. I have always had a deep and passionate interest in music, it's history, the mechanics and the behind-the-scenes occurrences associated.
This week, the featured artist is Sy Oliver. Born in Battle Creek on December 17, 1910 and later moved to Ohio where his parents were teachers. Sy Oliver had a dynamic career and was very influential in the genre of Big Band and Jazz musical styles. He was a performer, composer, arranger and band leader.

African American Registry -

Melvin James "Sy" Oliver was from Battle Creek, Michigan. Both of his parents were music teachers in Ohio, where he grew up. He played the trumpet as a boy and at the age of 17 took a job with Zack Whyte and his Chocolate Beau Brummels. He joined the Jimmie Lunceford orchestra in 1933. There he established a reputation for innovative arranging characterized by imaginative instrumentation and a full-bodied sound. He also developed a distinctive "“growl" sound, in his own playing.

In 1939 he joined the orchestra of Tommy Dorsey as a singer and arranger. He led a band while in the army during World War II and returned to Dorsey's orchestra after the war. From the late 1940s to the early '70s Oliver held a variety of jobs, including a decade as musical director of Decca Records. (more...)

I am also including a snippet from an interview with Sy Oliver from 1974 where Sy recounts many of the highlights and hurdles he encountered.

Jazz Professional -

People think of musicians as being effete, weaklings, delicate and so on. You take the average man and let him live six months as .the average musician does, —he'd literally fall to pieces. During a war you say it takes a certain number of men behind the lines to keep one man up front with a gun. Well, people should sit down and figure out the man-hours it takes to present one minute on the stage,—the hours and hours of writing, rehearsing and the practice that these men went through to develop the expertise that they have. This doesn't spring full-blown.

Musicians would be the first to laugh if you said anything about their being dedicated, —only writers and analysts go around talking about that sort of thing. But they are literally dedicated people, —through something inside them that makes them that way.

There's so much romantic nonsense written about music, talking about New Orleans jazz, Chicago jazz, Kansas City jazz. Ridiculous, —it's all of a piece. To say otherwise is just trying to make a good story. Music is never static; guys come along with new ideas constantly. Sometimes they're old ideas that have been obscured by time, like many rock cliches, things out of ragtime, and so on. But whether the idea being presented is something from the past or something for the future, it's still filled with change. What happens is: the worth-while things from any fad remain part of the language. The good things in the music of yesterday live and combine with the good things in the music of today to make the music of tomorrow. (more from this ...)

I will conclude this post with one more quoted link from Answers.com:

Sy Oliver's melodic yet sophisticated arrangements helped define the Jimmy Lunceford sound in the 1930s and modernized Tommy Dorsey's band in the '40s. A fine trumpeter (excellent with a mute) and a likable vocalist, Oliver made his recording debut with Zack Whyte's Chocolate Beau Brummels in the late '20s and also worked with Alphonse Trent. Joining Lunceford in 1933, Oliver was responsible for such memorable charts as "My Blue Heaven," "Ain't She Sweet," "Organ Grinder's Swing," and "'Tain't What You Do," among many others. It was a major blow to Lunceford when Oliver jumped at the chance to make a lot more money arranging and occasionally singing for Tommy Dorsey. The hiring of Sy Oliver was a major help for T.D. in getting Buddy Rich to join his band. Oliver's arrangement of "On the Sunny Side of the Street" was his biggest hit for Dorsey. After a brief attempt at leading his own orchestra in 1946, Oliver became a freelance arranger and producer for the remainder of his long career. As late as 1975-1980, he was regularly leading a band but Sy Oliver will always be best known for his classic Lunceford charts. ~ Scott Yanow, All Music Guide (more ...)

Michigan's Musical Connection: Dick Wagner

In sitting down to put this post together, I found it challenging due to the diversity and musical impact of this artist. In reading his resume, I was nothing short of astounded by the immense role he has played on the musical landscape.
Here's what Wiki tells about Dick Wagner -

Wagner was Alice Cooper's right-hand man on Welcome to My Nightmare, Go To Hell , Lace And Whisky, and From the Inside, helped in song writing, composing, production and of course lead guitar. Dick was often accompanied by lead guitarist Steve Hunter, they have played together since the 60's.

Wagner lent his playing (and in some cases, songwriting) talents to some of the 1970s biggest hard rock albums, including Lou Reed's Rock N Roll Animal, Alice Cooper's Welcome to My Nightmare, and KISS' Destroyer.

Growing up in the Detroit area, Wagner's first true band, The Frost, formed in the late 1960s as they built up a substantial following in the Michigan area (which at the time also nurtured such other outfits as the Stooges, MC5, Bob Seger, Ted Nugent, and Grand Funk Railroad), and issued a total of three albums during their tenure together on Vanguard Records: 1969's Frost Music and Rock and Roll Music, plus 1970's Through the Eyes of Love. All three albums plus a 'best of' compilation are available on CD from Vanguard.

Bob Ezrin used Wagner & Hunter on Lou Reed's controversial 1973 studio release Berlin which was a dark concept album that followed a pair of seedy characters beset by drug addiction, which leads to spousal abuse, prostitution, child welfare, and ultimately, death.

Wagner has lend his talents to recordings by other artists. Aerosmith's Get Your Wings has Wagner and Hunter playing the "guitar duel" on "Train Kept a Rollin'" along with Joe Perry. Wagner also plays on KISS' Destroyer, Peter Garbriel's self-titled solo debut, Hall & Oates' Along the Red Ledge, Mark Farner's self-titled solo debut, and a pair of albums for the star of The Rocky Horror Picture Show, Tim Curry.

If you want to see the diversity in Dick Wagner's career, visit his web site. Of particular note is his discography.
I also found an interview by Dick Wagner at Vintage Guitar.com for those guitarist in the room.

Michigan's Musical Connection: Ron Carter

I first heard of Ron Carter in 1978 or 1979 when I first went to work for a local independent record distributor in Livonia called Ami Distributors. I worked for Ami and the owners of that company for many years. The three gentlemen that owned the company gave me my start in the field of entertainment distribution in which I am still working. One man, in particular, was a mentor to me and I learned a great deal from this man. His name was Bobby "Sugar" Schwartz and he, along with Carl Mooradian and Harry "Babe" Manoogian owned the company.

Ami Distributors marketed several independent record labels. One of the largest was Fantasy Records. Fantasy had a varied stable of artist but perhaps the most recognized and profitable was "Credence Clearwater Revival". Fantasy had several subsidiary labels as well whose specialty genre was jazz. Prestige, Milestone, Riverside, Galaxy were some of the labels I remember from those days.

Ron Carter, as you will read from some bio information I found, has appeared on over 2000 recordings and performed with the likes of Miles Davis, McCoy Tyner, Stanley Turrentine, Eric Dolphy, Stan Getz, Herbie Hancock, Milt Jackson, and many others.

The epitome of class and elegance, though not stuffy, Ron Carter has been a world class bassist and cellist since the '60s. He's among the greatest accompanists of all time, but has also done many albums exhibiting his prodigious technique. He's a brilliant rhythmic and melodic player, who uses everything in the bass and cello arsenal; walking lines, thick, full, prominent notes and tones, drones and strumming effects, and melody snippets. His bowed solos are almost as impressive as those done with his fingers. Carter has been featured in clothing, instrument, and pipe advertisements; he's close to being the bass equivalent of a Duke Ellington in his mix of musical and extra-musical interests. Carter's nearly as accomplished in classical music as jazz, and has performed with symphony orchestras all over the world. He's almost exclusively an acoustic player; he did play electric for a short time in the late '60s and early '70s, but hasn't used it in many, many years. Carter began playing cello at ten. But when his family moved from Ferndale, MI, to Detroit, Carter ran into problems with racial stereotypes regarding the cello and switched to bass. He played in the Eastman School's Philharmonic Orchestra, and gained his degree in 1959. Read more here ...

You can also read more about Ron Carter by visiting his web site.

Update 9/03/06 - Bonus video snippet of Ron Carter on stage earlier this year.