Interviews
Donald
"Duck" Dunn
[image courtesy
Ampeg Website]
ABOUT
DONALD "DUCK" DUNN
"As
the bassist for Booker T. & the MG's, Donald "Duck" Dunn became,
like James Jamerson at Motown, the man who provided a groove for an
entire generation to dance to. In Dunn's case it was the legendary
Memphis record label Stax/Volt, where he laid down basslines for soul
stars such as Otis Redding , Wilson Pickett and Albert King , helping
to create one of the largest bodies of soul and R&B music that
exists. [...more]
A
small sampling of the artists Duck has worked with include: Otis Redding,
Booker T. & the MG's, Bob Dylan, Rod Stewart, Joe Arnold, Floyd
Newman, Willie Hall, Bobby Manuel, Albert King, Roger Hawkins, Marvell
Thomas, David Hood, Ron Capone, Barry Beckett, Jim Keltner, The Memphis
Horns, Jim Horn, Eric Clapton, Packy Axton, and Neil Young.
-
from The All Music Guide: Donald
"Duck" Dunn Biography
Mike
Visceglia: How did you come to choose the bass as your instrument
and who were your primary influences?
"Duck" Dunn: When I heard B.B. King's "Sweet 16,"
I fell in love with the bass. I felt it was an instrument that I could
play. My influences were,of course, B.B. King's bass player--I don't
know his name. Other influences (and again I don't know their names
were, Hank Ballard's bass player, the feel of Bill Doggett's organ
bass, James Brown's band and, of course, James Jamerson.
Donald
"Duck" Dunn, Booker T, Steve Cropper and Anton Fig
image from The
Anton Fig Website [click to enlarge]
MV:
Your name and your playing first came into prominence with
the legendary Booker T & the MG's. How did that band form? Did
you have any idea that the music you were making would become as important
and revered as it has?
DD: Steve Cropper and myself were in a band called "The Mar-Keys,"
and Steve left the band to go work at what was then Satellite Records,
which later became Stax Records. Booker, Al Jackson and Lewie Steinberg
(the original bass player of Booker T & the MG's) were in the
studio with Billy Lee Riley and during that session,if I recall it
right, "Green Onions" was recorded. I replaced Lewie in
around '65 or '66.
I think we all maybe took for granted the music we were making until
we went to Europe on the Stax/Volt tour in 1967. I guess we thought
we were making regional southern hit music in the U.S., but in Europe
we found out it was worldwide.
MV:
Who were "Wayne Perkins and the Crimson Tide?"
DD: Wayne Perkins is a great guitar player who did session
work on some Mussel Shoals Sound records. He formed a band with some
friends of his and named it "Crimson Tide," of course, after the Alabama
football team. I produced the band on Capitol Records but, to my heartbreak,
it flopped.
MV:
Over the last several years there has been a lot of exposure
to James Jamerson and the great Motown sessions and players. What
were the Stax sessions like? Was there a similar environment of constant
creativity? Do you have any favorite stories about playing and recording
with Otis Redding, Wilson Pickett, Eddie Floyd, Isaac Hayes or others?
Do you think Stax sidemen were or are given the respect they deserve?
DD: Yes, there was constant creativity. Most of the horn arrangements
were done on the spot -- we called them "head arrangements." The rhythm
section, usually Booker or Isaac and Steve, had a basic structure
of the song, but everyone was open to any ideas other people had.
Playing on Otis's sessions was always my favorite because he made
a better musician out of you, which then reflected on the work done
on the other artists such as, Eddie Floyd, Johnny Taylor, Wilson Pickett,
and Carla and Rufus Thomas.
I think there was a lot of mutual respect between the Stax sidemen
and the studio musicians at Motown, Mussel Shoals and TSOP. I know
we were respected in Europe from the success of the Stax/Volt tour.
MV:
You're known for your fabulous sense of "Time," "Tone,"
and "Touch"- the three "T's." Do you have any feelings about modern
recording techniques such as click tracks, non-live tracking and intensive
overdubs? Do you think that the use or abuse of technology has helped
or hurt music?
DD: I'm not a fan of click tracks because I've always said
that "feel is sound," and I don't think you can get that with a click
track. I'm not a fan of non-live tracking either. Music, to me, is
best played live.
Overdubs are fine if you are patching a mistake, or even a guitar
or horn solo, but again, if the feel of the track isn't there, it's
useless.
The abuse of technology has definitely hindered music, in my opinion.
MV:
You're probably the only bassist in the world who has recorded
with most of the legendary guitarists ever known, from Steve Cropper,
Albert King and Freddie King, to George Harrison and Eric Clapton,
among others. Two Giants of the Instrument were Duane Allman and Jesse
Ed Davis. Do you have any comments on them as musical compatriots
or any particular remembrances of playing with them?
DD: Al Jackson, Duane Allman and I tried a session with the
late Herbie Mann in Atlantic Studios, but to tell you the truth,
it just wasn't the music for us -- it didn't work out too well.
I did some jam sessions with Jesse Ed and Leon Russell years back.
He was an incredible musician with a different feel of guitar I've
never heard since. And again, Duane Allman, I don't have to tell anyone
how good he was. They all know it.
MV:
"The Blues Brothers" was a cultural phenomenon. I remember
a lot of controversy back then over whether that whole idea was truly
reverential of the music or just mildly disguised exploitation of
blues and R&B. What are your feelings about this? How did you
enjoy being in those movies? Any particular memories of the enigmatic
John Belushi?
DD: The "Blues Brothers." Dan Aykroyd and John Belushi, I believe,
were as sincere in their music as anyone. I also believe it helped
in those days to bring back the blues and R&B. Danny Aykroyd is
probably one of the most honest and sincere men I have ever known.
As far as John Belushi, who wouldn't have liked to have known one
of the funniest men in the world? Making movies with those guys was
as honor. The Blues Brothers movie has turned into a classic, and
it's nice to know I was a part of it.
MV:
You seem to be the quintessential "roots" bassist. How do
you like to record your bass? What do you think of boutique 5 and
6 string basses? Any feelings about tube vs. transistor amplification?
DD: Most of the time I use the old Ampeg B15 Amp to record
my bass, and we also go direct. One might sound better than the other,
but I do like the amplified sound.
I like the 5 string basses better than the 6 but, being old fashioned,
I still prefer the Fender Precision. In my opinion, it is the Stradivarius
of basses.
Amplifiers - It doesn't matter to me if it's tube or transistor as
long as I can get my sound. You can run into a good one in either
category. But I do not like graphic equalized amps. I still like bass,
treble and middle.
MV:
How did your association with Neil Young begin? He's such
an iconoclastic musical figure. How do you like working and touring
with him? Are there any more tours with him planned?
DD:
I met Neil one night when he sat in with the MG's at the Lone Star
Roadhouse in New York. He did a Jimmy Reed song, "You Got Me Runnin'."
He liked the band, which led to a European tour in 1993. Since then,
I have worked with him in CSNY tours, and another with Jim Keltner,
Spooner Oldham, and Ben Keith. He is a pleasure to work with because,
I believe, we think a lot alike about music and we share a lot of
the same influences while growing up in music.
I'm not sure about any upcoming tours, but I think we will work together
again, either in the studio or a tour. I certainly hope so.
MV:
What do you look for most in a drummer? Who have been your
favorite drummers to work with?
DD: I like a hard back beat and a strong foot with drummers.
Of course, the one drummer who taught me a lot was Al Jackson. Some
of my other favorites -- Anton
Fig, Jim Keltner, Steve Potts, Jamie Oldaker and Ed Green. Not
so much in that order-- all of them play great.
MV:
The record industry has been in serious decline over the
past several years and there is a lot of cynicism about its future.
Do you have observations about the state of things, why it is where
it is and what may lie ahead?
DD: Piracy -- If it can't be stopped, I don't know where it's
headed. All I can tell you is that a lot of people I talk to, including
myself, have seen their royalties decrease by about 30%. That sucks.
MV:
Are there any newer bass players or recording artists that
are particularly impressing you these days?
DD:
I haven't heard anyone since Flea of The Red Hot Chili Peppers. I
like the bass player with The Wallflowers (ed: Barrie Maguire was
The Wallflowers' orignal bassist, currently it's Greg Richling). Course,
I can't say I listen to a lot of new music lately.
MV:
What music does Duck Dunn listen to when he's off the road
for inspiration or just relaxation?
DD: Lately, I listen to a lot of blues and R&B from the
'70s and '80s. I haven't heard anything new that has that feel. And
if it can't groove, it's just not music to me.
MV:
Are there any new personal projects on the horizon that
you'd like to talk about?
DD: Nothing new at the moment, but that could change with a
phone call. I'm hoping maybe next year Booker T & The MG's will
go to Europe for some festivals or shows. It's been a long time since
we were there and I would really like to go back.
MV:
I end every interview with the same question to get a cross
section of experiential points of view. What advice would you give
to an aspiring professional bass player today?
DD: I would tell them something that Al Jackson told me years
ago -- "Wait on the 2 and 4 from the drummer, and then add your
line."
One other thing I try to do is to blend my volume almost like you
were mixing a record. That's when I seem to get lost in my music and
good things just start happening.
Thank
you for the interview.
[Thanks too to Anton
Fig for putting us in touch!]
For
more information:
For
more information on Duck, please visit the following websites:
Donald's
page on Ampeg.com
Donald's
page on Lakland.com
http://www.AllMusicGuide.com
http://www.BookerT.com
Dave
Baron's Booker
T & The MG's Group on Yahoo!
