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In the early 1970s, a trendy musical phrase emerged – “the singer-songwriter”. It described a rising group of popular artists such as James Taylor, Carole King, Joni Mitchell, and Jackson Browne. However, it was discovered that all of these musicians actually despised the term. According to Danny Kortchmar, a guitarist who worked with all of them, not a single musician embraced it.
A recently released film called Immediate Family sheds light on this topic. According to director Denny Tedesco, the term “singer-songwriter” often gives the impression of a solo performer, but in reality, it was a collaborative effort. The musicians who played on famous artists’ albums were essential in the creation process, rather than just providing background music.
A single spin of the tracks they played on proves it. Would Browne’s Doctor My Eyes have the same punch without the bubbling introductory bass line devised by Leland Sklar? Or the melody in Taylor’s Fire and Rain have the same tug without the determined drum fills Russ Kunkel used to punctuate it? And how could the full impact of King’s It’s Too Late be felt without the melancholy guitar solo by Kortchmar, a run that has become so familiar, fans can hum it.
The narrative behind the solo itself highlights the significant role these musicians had in the recording. When the studio’s red light came on to indicate it was time to record “It’s Too Late,” King asked Kortchmar to play a solo. Her only instruction? “Make it good,” the guitarist shared with a chuckle. “What you hear on the track is exactly what I played.”
The movie, “Immediate Family,” draws attention to a group of four LA studio musicians who were known as the “Immediate Family.” These musicians, including bassist Sklar, drummer Kunkel, and guitarists Kortchmar and Waddy Wachtel, were highly influential in the music scene of the 1970s and 1980s. They collaborated with numerous famous artists mentioned previously, such as Linda Ronstadt, Warren Zevon, and Neil Young. Some of them even joined these artists’ touring bands and went on to write and produce hit songs. While they experienced some level of fame during their peak period, their full stories are only now being shared in the new film.
Kortchmar’s involvement with Taylor dates back to their teenage years in the 1960s when they spent summers together on Martha’s Vineyard. They formed a band called the Flying Machine, but Taylor eventually went to London and signed with the Beatles’ label, Apple. When Apple collapsed, Taylor returned to the US and recorded his breakthrough album, Sweet Baby James, with Kortchmar on guitar and Kunkel on drums. The following year, they also played on King’s iconic Tapestry album. Sklar joined their group after playing on Taylor’s album Mud Slide Slim. Wachtel completed the circle of musicians within a year by accumulating enough studio work. Their names may have remained unknown to the public if it weren’t for the producers they worked with, Peter Asher and Lou Adler, who made sure to feature them prominently on the album covers. This was especially crucial in the 1970s when fans would closely examine album art and credits. “On those covers, these musicians’ names were almost as big as the stars’,” Tedesco noted. “And they had unique names, like Waddy and Kootch (a nickname for Kortchmar), so they stood out.”
In comparison, the previous generation of renowned studio musicians, referred to as the Wrecking Crew, were often not recognized for their contributions to the numerous popular songs of the 1960s. The distinctions between the members of the Wrecking Crew and those in the Family, a newer group of musicians, are particularly evident to Tedesco, who directed a well-received documentary in 2008 called The Wrecking Crew that featured his father, the guitarist Tommy Tedesco. In addition to achieving a level of fame that the Wrecking Crew never experienced, the Family also received greater financial compensation. According to Tedesco, people would ask his father if he felt he should have been paid more for his work in the 60s. His father’s response was always that while they played on many successful hits, they also played on many unsuccessful ones and never asked for more money for those sessions.
The dynamic between the Crew and the Family varied greatly in both personal and professional aspects. While the Crew were given strict charts to follow, the Family had more creative freedom granted by the stars. Wachtel noted that the Family was hired for their unique interpretation of the songs.
Their similarity in age and artistic style, as well as their close proximity and shared social circles, greatly aided their collaboration. The director skillfully portrays the camaraderie among the studio musicians through various scenes in the film where they engage in playful banter. According to Tedesco, musicians have a unique way of communicating with each other, and their personal connections as individuals, not just as performers, greatly contribute to the success of their music.
There’s an especially deep connection between Wachtel and Kortchmar as co-guitarists. While they could have become rivals, instead they became great friends. “From the first gigs, we realized that we could play really well together because our styles are so different,” Kortchmar said.
“Danny’s sound is cleaner than the one I get,” Wachtel said. “I have a nasty sound whereas Danny has that beautiful, clean tone. We’re never on the same place on the neck.”
Both players, who originally come from New York, have now moved to LA and their playful attitudes reflect their hometown. This is evident in the anecdotes shared by Wachtel in the film, including one from the recording session for Steve Perry’s hit single “Oh, Sherrie.” Despite being hired as a rhythm guitarist, Wachtel confidently suggested adding a solo to the song. He even knew exactly how it should sound and where it should fit in. After some initial hesitation, the producer was convinced when Wachtel demonstrated his idea and everyone agreed that the solo elevated the song to a whole new level. Wachtel believes in speaking up when you know something is right.
During these moments, the musicians served not only as supporting members, but also as arrangers. In certain instances, they even embodied the role of a producer. These abilities proved valuable when the 70s transitioned into the 80s and the appearance, sound, and technology of music underwent significant changes. With the rise of MTV, synthesizers and drum machines emerged, potentially limiting the studio opportunities for musicians or rendering them obsolete. However, Kortchmar stated that they “found a way to adapt our playing to fit whatever situation arose next.”
Kortchmar began composing and producing music for well-known artists, particularly Don Henley, for whom he wrote the popular song “All She Wants to Do Is Dance” and co-wrote “Dirty Laundry.” In the meantime, Wachtel also wrote and produced songs for Zevon (including “Werewolves of London”) and various movie soundtracks. In the late 1980s, Wachtel joined Keith Richards’ band, the X-Pensive Winos, in addition to his work with The Rolling Stones. Wachtel noted that Richards is an incredibly talented rhythm player and he would often take on lead guitar duties during live performances. Wachtel also mentioned his ability to avoid playing over Richards’ parts.
During the 1970s, three members of the band Family – Kortchmar, Kunkel, and Sklar – formed their own group called The Section. The Section released three fusion-style instrumental albums. Prior to this, Sklar had contributed to one of the most prominent fusion albums, Spectrum by Billy Cobham. In 2001, the four members, along with singer Steve Postell, collaborated under the name Immediate Family to record an album. This same group has recently recorded a new album set to be released early next year. Additionally, Wachtel has been touring with Stevie Nicks, for whom he created the iconic guitar riff in her hit song “Edge of Seventeen.”
In the present day, it is uncommon for the members of the Family band to do session work. This is due to their other commitments as well as a decline in demand for their previous line of work. With advancements in technology, artists are now able to record music independently on their home computers, making expensive sidemen unnecessary. Kortchmar commented on the changing landscape of the industry, stating that many studios have closed down and expressing empathy for aspiring session musicians.
The Family members are especially grateful for the time they spent in the environment that they helped build. Kortchmar remarked, “We were putting in long hours during that period. It was like paradise.”
Tedesco, the director, expresses his joy in recognizing and documenting their efforts in his movie. He describes each song as a memory marker in one’s life and emphasizes the significance of acknowledging the contributions of these individuals in creating numerous meaningful moments.
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The movie “Immediate Family” has been released in US theaters and will be available for digital purchase on December 15. The release date for the UK is yet to be announced.
Source: theguardian.com
