Keyboardist Chuck Leavell releases new live CD set
By Russell Hall
© 2008 The E.W. Scripps Co./Independent Mail
Wednesday, August 6, 2008

Chuck Leavell can claim membership in not one — but two — of rock and roll’s greatest bands. First with the Allman Brothers, and then with the Rolling Stones, the Macon, Ga., native has lent his keyboard skills to some of the most important recordings of our times. He’s also made several superb solo albums. His latest, “Live in Germany: Green Leaves & Blues Tour 2007,” features piano-based versions of Rolling Stones and Allman Brothers classics, plus a smattering of original songs. Speaking by phone, Leavell shared his thoughts about his remarkable career.

Russell Hall: How did you come to join the Allman Brothers, back in the mid ’70s?

Chuck Leavell: I was called upon to work on Greg Allman’s solo record (1973’s “Laid Back”). Oftentimes the other Allmans would come in, and other musicians as well, and we would have jam sessions — very loose and informal. Of course the band had lost Duane by that time. They had gone out on the road as a five-piece, without a replacement, and I think they were going through a tough time. By pure accident these sessions opened their eyes to the possibility of having another instrument in the band.

RH: Did you feel you were plugging a hole that had been left by Duane?

CL: I didn’t feel any real pressure, because I wasn’t a guitar player. Anyone who tried to fill those shoes would have felt lots of pressure, and would have been scrutinized much more than I was. When the idea of a piano-player in the Allmans came up, people sort of scratched their heads, but once they heard it, they saw that it worked. I felt no pressure to be anything other than what I am, and to do what I do.

RH: You’ve been with the Rolling Stones since 1982. How has your role evolved through the years?

CL: Beginning with the “Steel Wheels” rehearsals, I’ve kept detailed documentation. Since that time the band has looked to me for use of this. How did we do it last time? What was the arrangement we did? Where were the background vocals? Do we want to change anything? Those kinds of issues. From there, my role went toward the set list. I started making suggestions to Mick about certain songs I thought would be fun to play, and that fans might like to hear. They knew I was a fan long before I ever joined the band, so I have that dual perspective — as a musician and as a fan.

RH: On your new solo album you adapted several Stones and Allman Brothers songs from guitar-centered to piano-based arrangements. Did that come easily?

CL: The way it worked was, I sent some mp3s to the musicians, so they could hear them prior to our first rehearsal. Some of those recordings were early demos I did backstage during the last Stones tour, whenever I had a minute or two. The musicians did their homework, and they came in prepared for the two short rehearsals we did. By the time we did the show in Frankfurt, everybody was ready to go. But there was also an element of things being on the edge, because we had only had those two rehearsals. Everybody was on the their tiptoes.

RH: The early ’70s was a period of great piano-based singer-songwriters — Elton John and Billy Joel and so forth. And yet you chose to spend your career mostly as a sideman. How come?

CL: My focus has always been on whatever band I was with. And quite frankly there was never room for another singer, although I did enjoy singing background with the Allmans. And I do contribute some background vocals with the Stones. It was really just circumstance. With my old band, Sea Level, I was put in that role a bit, somewhat reluctantly. Because I had already worked with such great singers, I probably felt an inferiority complex. But at this point I think I’ve matured as a vocalist, and I have more confidence in my voice than I did in those days. I enjoy much more now.