Quote

If you'd done a good job you'd just step back and let all these different chemistries interact and let it go.

Al Kooper

Change background

T
T
T

Change font

TAGS & TOPICS

Al Kooper
Age: 80
Born: 1944
Born: February 5
Guitarist
Music Pedagogue
Musician
Pianist
Record Producer
Songwriter
Brooklyn
New York
Alan Peter Kuperschmidt
00016561891 IPI
Different
Good
Interact
Chemistry
Step
Steps
Jobs
Back
Done

More quotes by Al Kooper

Image
Still being ambitious to want to play on the record, I was a mediocre keyboard player. And uh, I seized the opportunity and played the organ.
Al Kooper
Image
I liked being challenged by music. It's good for me.
Al Kooper
Image
The very funny thing about Like A Rolling Stone is it was a six minute song, there was no music to read from. And there I was playing this unfamiliar instrument. So I would come in on the upbeat of one. I would wait until the band played the chord, and then as quickly as I could come in play the chord.
Al Kooper
Image
Every now and then we could steal somebody else's stuff.
Al Kooper
Image
...You couldn't help being influenced by Dylan.
Al Kooper
Image
The Highway 61 album [of Bob Dylan] was produced by Bob Johnston if I'm not incorrect. And Bob Johnston was an entirely different producer than Tom Wilson. Tom Wilson had produced jazz records and was a Harvard educated.
Al Kooper
Image
I started in the music business I was first introduced to 1650 Broadway, uh, which was in reality where everything happened in the '60s.
Al Kooper
Image
At the end of the playback of the take of Like A Rolling Stone, or actually during the thing, Bob Dylan said to the producer, turn up the organ. And Tom Wilson said, oh man, that guy's not an organ player. And Dylan said, I don't care, turn the organ up, and that's really how I became an organ player.
Al Kooper
Image
Mike Bloomfield sat down and started playing, and I went, whoa! Because I had never heard any white person play like that before. And he was about my age, and he just, that finished off my guitar career, just like that, in one afternoon.
Al Kooper
Image
My influences were mostly gospel. So I was playing my twisted Jewish equivalent of gospel music over his twisted equivalent of rock and roll music. And it was a very excellent marriage.
Al Kooper
Image
Producing Bob Dylan was pretty much a spectator sport.
Al Kooper
Image
I think it was Columbia politics, Columbia Records politics that, that, Tom Wilson left [Bob Dylan] after Like A Rolling Stone.
Al Kooper
Image
The first generation from the '50s that were in 1650 [Broadway] were pretty much all crooks, I mean just out and out crooks. And the next generation had a little more finesse. But I mean those first wave of people, you know, definitely would take all your money, no doubt about it.
Al Kooper
Image
Unlike so many Dylan-writer-wannabes and phony 'encyclopedia' compilers, Sean Wilentz makes me feel he was in the room when he chronicles events that I participated in. Finally a breath of fresh words founded in hardcore, intelligent research.
Al Kooper
Image
Only through sheer ambition did I end up playing on [Bob Dylan sessions] and the fact that I could do that is a testament to how disorganized it really was.
Al Kooper
Image
The [Bob] Dylan sessions were very disorganized, to say the least. I mean, the Like A Rolling Stone session I was invited by the producer to watch.
Al Kooper
Image
In the, uh, '30s and '40s, the Brill Building was the hub of, uh, musical activity in Tin Pan Alley in New York City. I believe Irving Berlin was there, and uh, and everything just centered around there.
Al Kooper
Image
Musically Bob [Dylan] is a primitive. He's not a Gershwin, or somebody that uses eloquent music terms.
Al Kooper