I apologize if this has been posted before .

September, 2008

Chuck Leavell marks 25 years with the World’s Greatest Rock Band.

“Great” is an adjective that’s been overused and abused, to be sure. But when applied to Chuck Leavell, the word becomes revitalized, its definition clarified once again. After all, Chuck played one of the greatest piano solos in rock history when he improvised on the Allman Brothers’ “Jessica.” He’s logged a quarter century with the World’s Greatest Rock Band, the Rolling Stones. And simply put, he’s just a great guy. When you look up “great” in the dictionary, Chuck’s portrait should be what you see.
From Chuck’s itinerary, I have to infer that great people are also busy as the dickens. The Stone’s recent Bigger Bang tour took him around the world for two years, after which he stayed in Europe for a spell to do research on and speak about environmental issues, as well as tour and record his most recent two-disc CD set, Live in Germany — Green Leaves and Blue Notes. Back in the States, he shuttles between his tree plantation in Georgia, Washington D.C. to advise on legislation concerning agriculture and the environment, and many points around the country for speaking engagements and performances. We caught up with Chuck not after a night of rock ’n’ roll, but just prior to his delivery of a keynote address to a group of agricultural educators in California.



How was the Stones tour?
148 shows, over a two-year period. It was only supposed to last a year and a half, but there was the extension of the tour when Keith Richards fell out of a tree.

You weren’t involved in that incident, were you?
I pushed him. [Laughs.] I told him, “Keith, you wanna know about trees, call me, man. I’m the tree guy. Don’t fool with those things without calling an expert.”
Seriously, it was, as we all know, quite a bad injury. He was lucky — we all were lucky — that it wasn’t any worse than it was. He had a pretty severe subdural hematoma that required surgery. The good news is that it all worked out great. And the amazing thing to me is how quickly he recovered. Keith has a constitution that none of us can really understand. He’s an amazing physical specimen. Do you remember the Babylon tour? During that time he fell off a ladder in his library and broke his ribs. It was a significant injury that would normally take six or seven months of recovery before someone would be ready to go back to work — especially doing what he does. And he did it in about two and a half months.
The Bigger Bang tour was amazing. It marked the 45th year of the Stones. We were everywhere, with some “firsts,” too. We played in Shanghai, China, and that was a great experience. We also played in a lot of former Eastern Bloc places: Budapest, Hungary; Bucharest, Romania; Montenegro. Those were exceptional shows. In North America, we played in a lot of cities that don’t usually see big shows like us: Boise, Idaho; Halifax and Monkton, Canada. Those were really fun, and extremely successful. We had 80,000 people in Monkton. Then all the major cities too, went well. Who would’ve thought that 45 years later, the Stones would still have this kind of success? I’m grateful for it, and so is everyone else involved.

Was your role as MD — or referee — still the same as with previous tours?
I struggle with the right terminology, I really do. I’m sure Keith and Mick don’t appreciate me being referred to as musical director. But I do get called that from time to time. Sometimes I say I’m the musical navigator, navigating the murky waters of the Rolling Stones material.
It’s been 25 years for me with this band. It’s remarkable to hear myself say that, but there it is. I’ve enjoyed every moment of it, and through the years my role certainly has grown and changed. I do take a very active role in the rehearsal stage. I take notes throughout the rehearsal phase, and I document any changes to the arrangements, which I keep in several huge binders. So at any given soundcheck if somebody wants to try out “She’s a Rainbow,” I’ve got a reference chart for everyone to go by, right there.
It’s a comfort zone for them. They don’t have to fool with it. And I don’t mind doing it, I rather enjoy that role. Then when we’re actually on the stage doing a song that maybe they haven’t done in awhile and they’re not sure when the bridge comes, they might glance over at me, looking for some sort of hand signal or nod of the head, or whatever. I’m happy to do those things. It’s a lot of fun for me.

Did any of the new songs you’ve recorded with them, such as the four new tunes on Forty Licks, make it into the set list?
I think “Don’t Stop” did. That was the single that came out of those sessions. But we didn’t do it too much on the Bigger Bang tour, because we had a lot of other new songs to perform. That’s sometimes a dilemma with the Stones. When you’re in a band that has a catalog like that — we’re talking about some 400 original songs or so — obviously you want to cover some of the favorites, the Jumpin’ Jack Flashes, the Satisfactions, the Start Me Ups, those sort of things. And from tour to tour, you want to look at some more unusual songs. But also, they continue to write new songs. Even on the Forty Licks CD, which was basically a greatest hits collection, we had four new songs. After that, we did the Bigger Bang record, with another group of new songs to present.
It’s a delicate balance to find. If you do nothing but the new stuff, the fans are gonna get a little antsy. You really have to find a balance. Everybody makes suggestions. Keith will bend my ear saying, “Hey, why don’t you try to get Mick to do this.” And I do what I can.
My life in general is all about balance, and that applies to the Stones as well. Inevitably you’ll have conflicts between party A and party B, but you have to resolve those things. Maybe we’ll do this song tonight and that song the next night. The major thing is to try to find the best balance for the presentation of the show.

What was your rig for the Bigger Bang tour?
I carry a real Wurlitzer with me. I use a Yamaha CP300 digital piano. I find it sounds good and cuts through the mix very well. Occasionally I’ll use some of the other sounds: I’ll throw in a Rhodes sound. The Yamaha’s my main piano keyboard. I still have my MIDIed Hammond B-3 that’s made by Keyboard Specialties in St. Petersberg, Florida, by Paul Homb. I’ve used that axe for just about 20 years. One thing that I really enjoy about the MIDIed Hammond: It’s really convenient to throw the piano sound on the lower manual of the organ. Then usually I’ll use my left hand to comp chords or play bass notes and my right to play the organ. Sometimes I’ll have a Rhodes or Wurly sound on the lower manual. I use a foot switch for the Leslie so I can keep the left-hand part going. I also use a Korg OASYS for strings and other orchestral sounds. I also have a Yamaha TX802 backstage. Will Alexander is my tech.

For Bigger Bang, how involved were you in the writing, recording, and rehearsing phases?
Well, not at all in the writing phase. That’s all Mick and Keith. First they decided on where to go to record. Usually they go to Paris; for years they’ve gone there. But this time they said, “Hey, technology is so great these days, why don’t we do it someplace that’s more private? We can do it anywhere we like.” Mick has a fabulous estate in the south of France, and they decided to go there. [See sidebar, “How to Record a Stones Album” on page 24.]
Usually I wind up being heavily edited, and personally, I think the contributions I’ve made on Bigger Bang, Voodoo Lounge, and some of the other records deserve more exposure. As musicians, we’re always at the mercy of the producers and artist we work with. Would I do things differently? Damn right I would. But I’m not the guy making the call. You learn to live with those things, and at the end of the day, it is what it is.
On the most recent project, the Shine a Light DVD and soundtrack, I was pretty pleased with the mix. The keyboards are quite up-front. It’s a great movie and the soundtrack is great.

Was it fun to work with Martin Scorcese?
Oh, yeah. He’s such an icon. He’s done so many wonderful things in the world of music, like “The Last Waltz,” which is probably the definitive band documentary of all time. “No Direction Home,” a wonderful piece on Bob Dylan. The series, “The Blues.” He was the perfect choice for the job.
Originally, we were going to shoot the DVD in Rio De Janeiro, where we played to 1.5 million people. Scorsese said, “That would be fine, but let’s do it in a place that’s more intimate, where I can get the cameras closer.”
I thought that was a good call. It gets you more up close and personal with the band. He had 17 different cameras in the Beacon Theater in New York. You couldn’t turn your head more than a couple degrees without seeing another camera.
I personally love the historical footage, I would’ve loved to see more. I also thought the special guests were great. It was my suggestions to do “Lovin’ Cup” with Jack White, and “Live With Me” with Christina Aguilera. Mick had the brilliant idea to do “Champagne and Reefer” with Buddy Guy. They all did an amazing job.


When you know you’re going to have a guest sit in, does that require a special rehearsal that you have to manage?
It’s really just a matter of the selection, finding the right tune for the particular artist. Choosing “Lovin’ Cup” suited Jack White real well. It’s a little different, it’s not one of the Stones’ best-known songs, and it fit his personality. Same thing with Christina. She’s a powerhouse singer, she’s got pipes, and she’s a firey little thing. So I wanted to suggest something that would showcase her personality as well as work well as a duet with Mick. I think “Live With Me” fits the bill. It’s an edgy song, and it gave them both an opportunity to push hard, and they did.
There is one funny thing that occurs on “Champagne and Reefer,” which we learned from the Muddy Waters version. In blues, sometimes you have what’s called a “hang bar,” so that at the end of the turnaround instead of having an even number of bars, you have an extra bar, so it’s like a 13-bar blues. That’s the way it was on the Muddy record, and we decided to run with it. So when Buddy came in to rehearse, we did it that way. But in rehearsal, he kind of sounded like he wanted to go with 12 bars instead. We encouraged him to go with the 13-bar format, and worked it up as best we could.
But of course in the actual performance it all falls apart. I think the first time through we get it right, but by the second and third time through, it’s so obvious that it’s not happening. You can see Mick laughing about it, and we’re all laughing about it. But it’s the blues, and it’s fun. It’s a fun job.

Chuck’s Big Influences
Want to know who Chuck was reaching for as he developed his own unique style? Check out these cats:
Meade “Lux” Lewis
Montana Taylor
Pete Johnson
Memphis Slim
Otis Spann
Pinetop Perkins
Ray Charles
Little Richard
Jerry Lee Lewis
Leon Russell
Elton John
Keith Jarrett
Herbie Hancock


How to Record a Stones Album
1. Pick a Location
For Bigger Bang, the band chose Mick’s estate in the south of France; fewer distractions there.
2. Mick and Keith get together
They’ll say, “Okay, this is what I’ve got, what’ve you got?” Sometimes they’ll bring in someone like Don Was to offer opinions.
3. Bring in the drums
Then they’ll bring in Charlie Watts to get the beat down. The three of them will kick around things and modify them, until they start to take shape. They record just about everything.
4. Record the keeper tracks
Often, some of the initial rough demo tracks make it all the way to the final mix, if they’ve got the right sound and character.
5. Bring in the sidemen
After a period of time, Daryl Jones and I get the call to come down to Mick’s place to record our parts and fill in the gaps. That takes about a week.
6. Finish it up
Then they do vocal overdubs, and Don Was takes all the tracks and mixes it. Then it’s done.



I am a Frenchie ,as Mick affectionately called them in the Old Grey Whistle Test in 1977 .

Chuck started in 81 with the band, so that's 28 years.

Mathijs

I just quote the title 's article

well he only played one gig in 81 and all gigs in 82 so its 27 years

"When you look up 'great' in the dictionary, chuck's portrait should be what you see."

Well gag me with a spoon.

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melillo
well he only played one gig in 81 and all gigs in 82 so its 27 years

Leavel spent several days rehearsing for a position as keyboardist on the 81 tour, and was rewarded with playing one show. So his days with the Stones began with his auditions in '81.

Mathijs

chuck's the best

at what?

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melillo
at what?

at what chuck does?

thanks for clearing that up

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melillo
thanks for clearing that up

sure, but i didn't really think it needed clarification.

I had recently exchanged emails with both Chuck and his Wife, Rose, and they were GREAT, and very helpful.As a musician Chuck got a one of the best CV as a musician,just take a look at his bio, otherwise he wouldnt play with the Stones. I think that most of the critics against him are unfair.
SwayStones thanks for posting this interview!

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Riffbuk
... I think that most of the critics against him are unfair.
SwayStones thanks for posting this interview!

Fully agree, just see the DVD 2 of "Hail Hail Rock'n'roll" aka the rehearsals footage, when Johnnie JOHNSON askem him to play, a great moment

HMN

Class act. Great musician. Keeps the Stones together the best he can live.

isn't it a bit of a shame that they rely on a pianist as their musical 'navigator'

-all that talk about his gear - as if keyboards are 'key' to a Stones' show - which, sadly, they now are.

- and the way he talks about the band as 'we' and not 'they' ........

well, in effect, he is much more than a 'sixth' stone. he's somewhere between first and second.

Could 'they' (non-inclusive of Chuck) continue without him?

The timing of future Stones' touring activities depend on his (honourable) enviro-arrboricultural lecturing schedule.

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Riffbuk
I had recently exchanged emails with both Chuck and his Wife, Rose, and they were GREAT, and very helpful.As a musician Chuck got a one of the best CV as a musician,just take a look at his bio, otherwise he wouldnt play with the Stones. I think that most of the critics against him are unfair.
SwayStones thanks for posting this interview!

Yes ,Riffbuk ,I believe you & I do believe Chuck is a great musician & person.
I just meant that I 'd like to see the Stones on stage without keyboard ....without chorus ...Yeah I know I want the old times back ..



I am a Frenchie ,as Mick affectionately called them in the Old Grey Whistle Test in 1977 .

No mention at all of Ron Wood in the making an album section! Says it all really.

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Lady Jayne
No mention at all of Ron Wood in the making an album section! Says it all really.

I thought I read an interview with him where he said he only worked on A Bigger Bang from something like a week? Basically the album had been finished and they just brought him in to lay down some licks and solos. He was claiming he could finish so fast because he's "One Take Ronnie", though I imagine heavy editing and post-production had a lot of influence on those 'one takes'.

Anyway, good interview with Chuck. I do shudder a little when he seems to be putting more emphasis on the loudness of the keyboards - I do agree that it's warranted on some tracks, like 'Loving Cup'. But on guitar songs like 'Start Me Up' and 'All Down the Line', the piano does a lot more service to the song by staying in the background of the mix, not floating above it.

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Mathijs

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melillo
well he only played one gig in 81 and all gigs in 82 so its 27 years

Leavel spent several days rehearsing for a position as keyboardist on the 81 tour, and was rewarded with playing one show. So his days with the Stones began with his auditions in '81.

Mathijs

The article is from 2008. That's 26 if you count him in full time in 82. We're getting closer to 25.