Harvey Brooks — the legendary bassist who played with Miles Davis, the Doors, Jimi Hendrix, Richie Havens, Stephen Stills, John Sebastian, Seals & Crofts, Boz Scaggs, Judy Collins, Loudon Wainright III, Phoebe Snow, and Phil Ochs — now lives in Israel.
But for many years, he was a Westport resident. Before that, however — perhaps most famously — he was in the studio with Bob Dylan. They recorded the groundbreaking album “Highway 61 Revisited” exactly 50 years ago today: July 28, 1965.
Today, Brooks posted this story on Facebook. It’s one his many Westport friends — and countless Dylan and Brooks fans around the world — will enjoy.
It was July 28, 1965. I was playing a gig in Manhattan. During a break, I went next door to eat at the Burger Heaven, when I got a phone call from Al Kooper. I’m playing on this album with Bob Dylan and they need a bass player – are you doing anything?
That phone call would change my life.
The next day — 50 years ago today — I drove from Queens to Manhattan. I was soon in an elevator on the way to play for Bob Dylan’s “Highway 61 Revisited” album at Columbia Studio A at 777 Seventh Avenue. I opened the door to the control room, took a deep breath and entered.
The first person I saw was Albert Grossman, Dylan’s manager. Grossman had long gray hair tied in a ponytail and wore round, tinted wire-rimmed glasses. I thought he looked like Benjamin Franklin. A thin, frizzy-haired guy dressed in jeans and boots was standing in the front of the mixing console listening to a playback of “Like a Rolling Stone.” I assumed it was Bob Dylan, though I didn’t know him or what he looked like at the time.
When the music stopped, Albert said, who are you? I told him who, what and why. Dylan said “hi” and went back to listening. Al Kooper then came in to make the official introduction. It was all very cryptic and brief.
I walked into the studio, took out my Fender bass and started to tune it. My instrument was strung with La Bella flat wounds which I still use. I plugged in the Ampeg B-15 amplifier which was provided by the studio. It sounded warm and percussive. The B-15 was my gig amp as well.
Though I was only 21 years old, I had already played many club gigs with a range of performers. I had worked with varying styles and felt I could adapt to about anything on the fly. So I was comfortable in the studio, and ready for anything Dylan could throw my way.
Suddenly, the studio door burst open. In stormed Michael Bloomfield, a moving ball of energy. He wore penny loafers, jeans, a white shirt with rolled-up sleeves and had a Fender Telecaster hanging over his shoulder. Bloomfield’s hair was as electric as his smile. It was the first time I had met or even heard of him.
At the first session, Joe Macho Jr. had played bass. He had been replaced by Russ Savakus who Dylan didn’t like either. Dylan wanted someone new for the rest of the sessions. Kooper recommended me to Dylan. Dylan needed to be comfortable with his bass player. Kooper knew I had a good feel and adapted quickly.
For Dylan, it was not enough to be a skilled studio musician. He wanted musicians who could adapt quickly to his style. I admitted to him that I hadn’t heard any of his music before the session, but was really impressed by “Like a Rolling Stone,” which I first heard when I walked into the studio.
“Well, these are a little different,” Bob responded. I assumed he meant from his past work, but Bob was bit vague. He gave me a crooked smile and then lit up a cigarette.
New producer Bob Johnston, a Columbia staff producer from Nashville, was already producing Patti Page when he got the Dylan assignment.
Johnston had a “documentary” approach that allowed him to capture fleeting moments in the studio. Frustrated by the technical bureaucracy at the Columbia studio, he ordered several tape machines brought into the control room, so he could keep one running at all times in order to capture anything Dylan might want to keep. That tactic worked quite well.
Though the first session for “Highway 61 Revisited” had been only 2 weeks earlier, a lot had happened in the interim. “Like a Rolling Stone,” recorded at the first session, had been released and caught on like fire.
Only 4 days earlier, Dylan had been booed when he went electric at the Newport Folk Festival. It was a pivotal time in his career. He was beginning the transition from being a “pure” folk artist to a rock and roll performer.
Now we were at the 2nd session, my 1st, uncertain of what was on Dylan’s mind. In a few minutes he came out of the control room and started to sing the first of 3 songs we would work on that day.
Dylan sang the first, “Tombstone Blues,” a few times. There were no chord charts. It was all done by ear. As a habit, I made a few quick chord charts for myself as I listened to him perform. Everyone focused on Dylan, watching for every nuance. Then, the band went for it.
As we began recording, Dylan was still working on the lyrics. He was constantly editing as we recorded. I thought that was a really amazing way that he worked. His guitar or piano part was the guiding element through each song. Every musician in that room was glued to him. We would play until Dylan felt something was right. His poker face never revealed what he was thinking.
It might have taken a couple of takes for everyone to lock in. There were mistakes of course, but they didn’t matter to Dylan. If the feel was there and the performance was successful, that’s all that mattered. In real life, that’s the way it is. If the overall performance happens, there is always something there. Bob would go into the control room and listen. Johnston may have been the producer keeping the tape rolling, but it was all Dylan deciding what felt right and what didn’t.
Bloomfield’s fiery guitar parts accented Dylan’s phrasing. He was a very explosive guitar player and didn’t settle back into things. He was aggressive and a little bit in front of it. My goal is finding a part that makes the the groove happen. Dylan set the feel and direction with his rhythm. My bass parts reflected what I got from him.
Most of my early playing experience had been in R&B bands that performed Wilson Pickett and Jackie Wilson tunes, or songs by the Beatles and Rolling Stones. Playing with Dylan created a totally new category. I call it “jump in and go for it.”
We recorded “It Takes a Lot to Laugh” and “Positively 4th Street” the same way. Masters for the 3 songs were successfully recorded on July 29. (“Positively 4th Street” was issued as a single only.)
At the close of the session that 1st night Dylan attempted to record “Desolation Row,” accompanied only by Al on electric guitar and me on bass. There was no drummer. This electric version was eventually released in 2005, on “The Bootleg Series Volume 7” album.
Our producer had a love of and even a bias toward Nashville musicians. It became an underlying topic during the session about how good they were. He kept talking about how cool Nashville is. I felt his comments were disparaging to us. I felt Johnston thought of us as New York bumpkins in a way.
This Nashville bias played into “Desolation Row.” I thought the version without drums that I did with Al that night was slower and definitely more soulful. We really liked it. Clearly, Johnston thought otherwise. On August 2, 5 more takes were done on “Desolation Row.” However, the version of the song ultimately used on the album was recorded at an overdub session on August 4.
When I left the studio after the final session, I didn’t have a sense of whether or not we had created a hit record. I did know, however, that all the songs felt good. They felt solid. I now understand that’s why “Highway 61 Revisited” was a successful record. In all the takes Bob chose, he made sure he got what he wanted from each song. He knew what he wanted. It’s an amazing talent that really knows what they want.