11 Questions with Chuck Leavell

To say that Chuck Leavell is a man of many talents is technically very true, but closer to the truth is that he is a man of many passions. After coming to Macon in 1969 and becoming a member of The Allman Brothers Band in 1972, Chuck has remained in the mid-state with his wife—who he dotingly calls “a Georgia Peach”—on Charlane Plantation in Twiggs County. At this point, perhaps like déjà vu, the renowned keyboardist is riding high. His newest solo album, Live in Germany, a mix of beloved hits and new songs, will be released on May 13th through Sony. Before that, Martin Scorsese unveiled Shine the Light, his documentary about The Rolling Stones “A Bigger Bang Tour”, on which Chuck played the past two years. As if that weren’t enough, he is a three-time author and a two-time Georgia Tree Farmer of the Year, presently appointed by Gov. Sonny Perdue to the Georgia Land Conservation Council. Despite his hectic schedule, Mr. Leavell took time to talk with The 11th Hour, and we couldn’t be happier about it. – Chris Horne

1) So, it is 1972, you’re 20 years old and about to join the Allman Brothers Band. Walk me through that experience.

It was an evolution for sure. I came in 1969, for the first time, playing with a couple of different bands. Played with a band called Sundown and we made a record, and it was of no real consequence. But it was a beginning. Then session work with my friends Johnny Sandlin and Paul Hornsby. Of course, I should explain that some of these bands I was with opened up for The Allman Brothers so there was some interaction. For instance, my years with Alex Taylor and also with Dr. John. Eventually, I was asked to play on Gregg Allman’s first solo record. There were some impromptu jam sessions that took place during the recording of that. The rest of the Allman Brothers would come down and would just play. After about two or three weeks of this, I got a call: “Can you please come to the offices of Capricorn Records for a meeting?” I thought, “Jeez, did I do something wrong?” I walked into the room, and there was Phil Walden and the members of The Allman Brothers. I thought, “Oh no. What the hell is this?” After a couple pleasantries, the shoe dropped. “The guys want to know if you’re interested in being in the band.” You could’ve knocked me over with a feather. Of course, we know what my answer was.

2) Did you feel any pressure when you joined?

You know, I didn’t. For me, it’s always been about being in it for the music. Whether it is Joe Blow or The Allman Brothers, if it is something that turns me on as a musician that’s what matters. Our emphasis was on making the best music we could. It was an interesting decision on their part to not try to get another guitar player in the band because they were known as a guitar band with Dickey and Duane. But it worked nicely and people accepted me readily.

3)   How did playing in Sea Level affect the music you were making?

Sea Level started as a little trio called We Three, which was Jaimoe and Lamar Williams and myself. Jaimoe was so great at always encouraging us to play—you know, on an off day or even when we were on tour just to play and experiment and to keep our chops up. The influence that Jaimoe had was really quite profound on what we were doing musically. Jaimoe encouraged us to listen to a lot of jazz, everything from Cannonball Adderley to John Coltrane to Miles Davis. That really opened up my eyes and opened up my mind. It pushed me as a musician—pushed all of us—to explore, to experiment. I’ll be forever grateful to Jaimoe for that.

4)   In what ways has that work informed what you’re doing now?

What I’m doing now and what you hear on the new CD is really a logical extension of that. When you listen to a song like “Tomato Jam” on the new record, I think you hear Sea Level in that. That’s the kind of thing that Sea Level was doing. It’s just a logical progression for me. There’s a lot of other things on there, as you know, Chris, that reflects on my whole career working with different artists. But when you hear the level of musicianship that these wonderful German players contributed, what you’re hearing is what I think Sea Level probably would’ve evolved into being.

5)   What was the inspiration for doing a live CD?

Through my years, I’d made several friends in Europe over my efforts for conservation. One of those people suggested doing a tour to get those issues out in front of the public. Eventually, the stars aligned. So I stayed in Europe after finishing the tour with The Stones. This one particular show we were doing a live radio broadcast in their state-of-the-art studios. When I listened back to the initial broadcast, I went “Wow, this turned out a lot better than I thought possible.” So immediately I got the idea to release a live CD.

6)   Were you worried about capturing the verve of live performances on this new CD?

When you’re put on the spot like we were—we only had the two rehearsals; it was so fast—you either rise to the occasion or it all falls apart. (laughs) Fortunately, these guys are all talented musicians, and they all rose to the occasion. It was just, I think, a magical night, and I am so grateful that it was documented.

7)   Since 1982, you’ve been playing with the Rolling Stones on tour, and some refer to you as “the fifth Rolling Stone”. How did you get in with such an iconic group?

First of all, Bill Graham, who was a huge, huge promoter in the Sixties and Seventies, who unfortunately died in a helicopter crash about 15 years ago, was a big promoter of the Allman Brothers, and we became good friends. He was a great guy and he just loved music. When the Brothers broke up, Bill helped me out with Sea Level. Then there was a time when I didn’t really communicate with Bill, and he became the tour director for The Rolling Stones in 1981. Also, I think that Bill Wyman had heard of me so when the suggestion was made, he sort of jumped on it and was like, “Yeah, I’ve heard of that guy. Let’s get him in here.” I’ve managed to keep the chair all these years later, 25 years later.

8)   What is your role with The Stones?

My role has definitely evolved. When I first came in, it was just as a background musician, just to fill the gaps and whatever. But, as time went on, I began to play a stronger role in the rehearsals and the planning stages and helping select what I think the set list should be. So even though you don’t see a whole lot of me in the Shine a Light movie, you definitely do see some of what my contributions are to the band. I think it is a great film that Scorsese directed and a great presentation of the present-day Rolling Stones.

9)   Do you wish you had been more involved, that you got more recognition?

Well, look. Any time you have a band like that and a frontman like Mick Jagger, it’s going to be 90% about him. That’s fine. That’s the way it is. I think anybody would tell you that surely you would want to see yourself on screen more. You are also very aware of what the public sees and the filmmaker feels is the best vantage to use. I think, more so, over and above, when you shut your eyes and listen to the music, you really hear the contribution. I’m really proud of the film and of the soundtrack.

Chris: What’s it like trying to blend in with those seriously charismatic personalities?

Chuck: Again, my role is much more musical than as a presence. Hopefully that shows in the film and when people go to the concerts. Do I feel like—yeah, sure, I’m a rock and roll guy? I’ve been a rock-and-roller all these years, and do I fit in, in that regard? Yes, I do. I don’t think I’d be there if anyone felt I didn’t.

10)   What moments in your career have just floored you?

There have been so many, I must say, but I’ll pick a few. One was recently on the last tour, playing in Rio. We played with a million-and-a-half people there. That was an extraordinary experience, just to look out and see that volume of people, and also the passion that the Latin people have. That’s actually on the “Bigger Bang” DVD. There’s a whole disc dedicated to that show. Others? Certainly the Unplugged record with Eric Clapton was a milestone for me. Going back to the Allman Brothers days, Watkins Glen, which was, I think, 1973. At the time it set the record for the largest crowd at a musical venue. That was 600,000—Allman Brothers, Grateful Dead and The Band. And the Allmans headlined the show. That was just an amazing thing. It was a surprise because I think the promoters expected about a quarter-million people. To have 600,000 caused some problems, but everyone rose to the occasion.

11)   What’s life like, after the road, when you finally get to settle in at home on Charlane Plantation?

There you go. There’s my other life, which I’m equally as passionate about. The balance is I get to listen to the sound of the wind and the pines, and the crunch of leaves under my feet as opposed to loud rock music. That really does help me get a balance as a human being. When you’re in nature, you realize its power. The feeling you get just being in the woods, seeing the wildlife, being next to that everyday—that’s what I do when I’m at home. It really helps set your priorities straight. It’s great that I get to play with these bands—and boy, oh boy, am I fortunate to do it but—our world and our future is an even bigger issue. We face a lot of challenges with these things. I think it is important that we open up our eyes and try to find some solutions to all the challenges.