The Soul of a Music Man: The Al Kooper Interview

He went into the recording studio as a skinny teenaged guitarist for the first time in the late 1950s. Played organ with Dylan when he ‘went electric’ at the Newport Folk Festival in 1964. Was a member of the groundbreaking Blues Project and formed the first jazz/rock ensemble Blood, Sweat and Tears in 1967. Added the distinctive keyboard and French horn flourishes to The Stones ‘You Can’t Always Get What You Want’. Had an album cover designed by Norman Rockwell. Wrote ‘This Diamond Ring.’ Was featured on albums by Jimi Hendrix, The Who, George Harrison, BB King, Tom Petty, Roger McGinn, Dion, Lynyrd Skynyrd, Rick Nelson, Nils Lofgren, The Tubes, Simon & Garfunkel, Trisha Yearwood, Tracy Nelson, and Taj Mahal. Helped plan the original rock and roll festival, the Monterrey Pop Festival. And that doesn’t even scratch the surface of the power wielded by the one of the most influential personalities in music you may never have heard about.

The man is Al Kooper.

Kooper details his long and winding road in one of the best books written by any musician, ‘Backstage Passes & Backstabbing Bastards - Memoirs of a Rock ’n Roll Survivor.’ Imagine sitting at Brian Wilson’s house when he pulls out an early version of Good Vibrations; playing on Hendrix’ ‘Electric Ladyland’ and having a signed Jimi Hendrix guitar delivered to your house the next day; being with George Harrison on the day after John Lennon was murdered and recording the backing tracks that became ‘All Those Years Ago.’ If you love rock and roll, and if you’re reading this story you do, pick up the book…today.

The past year has been one of change for Al. His mother, former Blues Project band mate Andy Kulberg and friend George Harrison died. He underwent a serious operation in late 2001 from which he has nearly recovered. His years-in-the-making retrospective on Sony Legacy, ‘rare & well-done: the greatest and most obscure recordings from 1964-2001’ was released the week after terrorists destroyed the Twin Towers. But through it all, Al Kooper remains that rock and roll survivor. He’s playing with what he considers one of the best groups of musicians he’s ever been associated with: The Rekooperators (Anton Fig, Jimmy Vivino, Mike Merritt and, of course, Al Fonts).

Fufkin was honored to talk with Al about his life and where his life might take him.

fufkin: First off, how are you feeling after your surgery?

AK: As of the Ides Of March I am 99% recovered from a November 12th operation and thanks for asking.

fufkin: Your book 'Backstage Passes and Backstabbing Bastards' gave us a real behind the scenes look into the life of rock and roll star. You were a part of so many moments in the history of rock and roll; did you ever feel like the Woody Allen character Zelig?

AK: Only in retrospect / never at the time.

fufkin: You started out as a session guitarist, audio engineer and songwriter. One of the songs you wrote has become a staple of oldies radio, "This Diamond Ring." Were you part of those sessions or simply happy that someone had recorded your song and it had become a hit?

AK: I hated the Gary Lewis version when I heard it. We wrote the song as a soul R&B tune and Gary made it into a vanilla milkshake. I had NOTHING to do with that record. Leon Russell did the arrangement, in fact. Please hear the soul version on my CD Rare & Well Done. (Editor’s note: it is great!) Click here for review.

fufkin: One of the stories you tell in the book concerns George Harrison calling you about a session and you thinking it was a put-on. Any thoughts about the death of George?

AK: He died with dignity.

fufkin: Even though you were probably best known at the time as being a session man for everyone from Bob Dylan to the Rolling Stones to Hendrix to the Who were part of two seminal rock groups, The Blues Project and the founder of Blood, Sweat and Tears. Were you looking for a particular sound or were you more like a jazz musician looking to play with different combinations?

AK: I was the last guy to join the Blues Project after playing a session with them. I did found BS&T, but the guys who threw me out of the band claim that they founded it. Wacky World, aint it?

fufkin: For your recently released two-disc retrospective rare & well done: the greatest & most obscure recordings 1964-2001, was there any other material in the vaults you were surprised to find and that we might be hearing soon?

AK: There was an unreleased concert from The Fillmore East with Mike Bloomfield that took place in December 1968 that we are readying for release. As a result of all that searching and compiling, there are an additional 120 unreleased Al tracks just sitting in my basement. Doubt they will be out in my lifetime.

fufkin: How do you think the material has held up over the years?

AK: Once one of my albums is released, I can’t listen to it for at least fifteen years because of the repetition involved in creating it. Then when I do listen to it, all I hear are the mistakes. I think my fans are more conversant with the actual recordings than I am.

fufkin: As a New Yorker for most of your life, how did the September 11th bombing affect you? How difficult was it to release rare & well-done only a week later considering the years it had taken to get it released?

AK: Well 911 affected me deeply. I wrote a song about it called "Soul Of A New Yorker" which I hope to be playing live at my concerts this summer. Rare & Well Done was skedded for release 9.18.01 for months before it actually came out. Unfortunately, it got lost in the rubble of 911, but as I've always said: "Murphy's Law follows me like a stalker!"

fufkin: We were also an A&R man for quite a while, beginning with Columbia records. One of your first finds was The Zombies at the time of Odyssey and Oracle. Did you know right away how special this record was?

AK: Yes

fufkin: Did you recognize the beauty in Argent and White's chordal voicings and unique keys in part because of your abilities as a keyboardist and musician in general? Was there anyone else really writing in that manner at the time other than The Beatles and a few others?

AK: It was a musical breath of fresh air, elegantly written, performed & produced. Columbia was going to pass on putting it out ‘til I stepped in.

fufkin: Were you frustrated the label didn’t do more to promote this record?

AK: No. One expects the normal.

fufkin: You also found Lynyrd Skynyrd in 1972. They were the first group you signed to your Sounds of the South label. In Backstage Passes, you describe working with them through their first couple of albums as being rewarding but then they decided to take their own path. Were you disappointed that you weren’t allowed to continue making music with them?

AK: I was allowed. WE mutually decided that we had spent enough time in the studio together and if were to remain friends we should quit after three albums. So we did - quit & remain friends

fufkin: Is there a group or artist you would really would like to work with now or in the past? A particular LP you would have liked to participate in?

AK: I love XTC, Phil Perry & KingsX - I'd work with any of them anytime.

fufkin: On your web site, www.alkooper.com, you list your Top 100 albums of all time. The list features everything from Flim and the BBs to the Beatles, Beach Boys, James Brown, Jimmy Smith and Les Paul. Is there anything your heard in the past couple of years you'd like to add? What are you listening to today?

AK: Mostly I listen to old blues and gospel records; primarily Jimmy Reed or The Swan Silvertones. I rarely like today's music, but ya know, it's not exactly AIMED at me. Bands like KingsX, XTC, Free, Tetra Splendour, Hobex and Rance Allen Group are the most current bands that get a spin in the old living room.

fufkin: I understand you're going to be contributing to a Beatles tribute CD on Bullseye Records out of Canada. What track will you cover?

AK: So far, "Eleanor Rigby" as a blues shuffle.

fufkin: Now in your sixth decade in music, what’s ahead for you?

AK: Well, there’s always good news and bad news. First the good: I hired a booking agent for the first time in decades and I have pledged to get out there and rock. I avoided serious touring since the mid-seventies, so that it didn't work out that playing gigs supported me. I always wanted to play for the sheer joy of it. Now I miss it so much, I am raring to go. But STILL for the joy of it. My songs have been taking care of me and that affords me the chance to go out and play more often. First on the bill are festivals in Seattle & Portland the first week in July w/ The Rekooperators. Chicago and NY are lined up for May. So, expect to see me sweatin’ away on a stage near you this summer.

Photo Credit: Al Kooper

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