Interview With Harvey Brooks: Bass Gear, Bob Dylan, Jim Morrison, Jimi Hendrix, and More

Photo courtesy of Harvey Brooks

Harvey Brooks is an American bass guitarist who worked with Bob Dylan on his album “Highway 61 Revisited”. He then joined Mike Bloomfield’s Electric Flag. After that, he played on The Doors’ album “Soft Parade” and joined the band to play Live at The Forum in Los Angeles and Madison Square Garden in New York. At a jam at the Cafe Au Go Go in Greenwich Village, he and Jimi Hendrix started jamming on some chord changes that eventually became “Little Wing”. Harvey released an album in 2021 called “Elegant Geezer” and has written a book with his wife and Frank Beacham about 50 years of playing Bass called “View from the Bottom”. 

KB: Did you always want to be a musician growing up? 

I learned two chords in junior high school, and that inspired me to get a job as a newspaper delivery boy and then ask my parents if I bought a guitar, would they pay for lessons? They said yes.

KB: Why did you choose the bass? What is so special about this instrument? 

I chose the bass because my friend Bob Rose had a band that I joined called the Citations. The group had drums, two guitars, and a saxophone. We had a manager who heard about Bassist Monk Montgomery, who was playing the electric bass with Lionel Hampton, and thought that since I played second guitar and we only needed one guitar, I was delegated to be the bassist in the band, which turned out to be a blessing because I was the bass singer in a 1964 doo wop vocal group. The bass parts came naturally. 

KB: You were part of Bob Dylan’s backing band on the sessions that became the album “Highway 61 Revisited”… What do you remember of these sessions, and how was it working with Bob Dylan? 

This was my first major league recording session. I got a call from a friend, Al Kooper, inviting me to the session. Dylan was not satisfied with the previous bass player. Al, having worked with me before, was confident I would fit. It seems Dylan was comfortable with me because I was invited back the next day. I met Mike Bloomfield for the first time at these sessions. 

KB: You joined Mike Bloomfield’s Electric Flag… What is your fondest memory of working with him? 

We would rehearse at the Sausalito heliport, sharing rooms with a few other bands like Santana, Denise Kaufman & Ace of Cups, Quick Silver Messenger Service, and Sons of Champlin. These rehearsals were Michael at his best. Creating arrangements and driving the band. One late night in our rehearsal room, Michael, Buddy Miles, Jimi Hendrix, and myself jammed. This was a one-time experience.

KB: You played with The Doors on their album “The Soft Parade” and performed with them live… What was it like working with Jim, and what is your fondest memory? 

Jim was a brilliant and driven writer and performer. When he was sober, we had interesting conversations, but I avoided him when he was drunk or high. Playing in Madison Square Garden was amazing, and though the sound was difficult, I was able to lock in with drummer John Densmore. 

KB: Paul Butterfield… What is the first word that comes to your mind, and why that word? 

Blues…..He was a bluesman that knew no color and lived his life trying to keep the band working. Butter knew all the clubs and the players in his Chicago world, and when producer Paul Rothchild put Mike Bloomfield together with him, success followed. Unfortunately, with that success and moving to Woodstock, New York, Paul’s family life and management problems brought on alcohol and drug problems.

KB: What bass guitars did you use over the years, and what equipment? Do you have a particular favorite? 

Bass Guitars:

Japanese Tower bass, Rickenbacker, Fender Precision, Fender Jazz, Ampeg Baby bass, Ampeg AEB-1, Epiphone EB-2, Ted Gardner 4-string fretless, Earthwood Acoustic Bass Guitar. Ovation Elite 5-String Bass Guitar.

Bass Guitar Strings: LaBella Strings for Bass & Guitar.

Amplifiers:

Current – Hartke LH1000, Hartke 410-XL cabinet, Ampeg B-15, Fender Dual Showman, Ampeg SVT.

KB: How do you describe your own sound on the bass? 

I play LaBella flat-wound strings with PJ pickup configuration on a Fender Bass that gives me a solid sound using my left hand fingertips to control the duration and dynamic of the notes I’m playing. My style of playing manifests itself in a supporting role, never interfering with the lead vocal or instrumental melody. A good example is the tune “Summer Breeze” by Seals & Crofts, “Touch Me” by the Doors or “Positively 4th Street” by Bob Dylan, and “Killing Floor” by the Electric Flag.

KB: What makes a great blues song or a great song in general? 

Number one is the story you’re telling; it has to be believable. A strong, simple repetitive bass line to carry the listener along, and finally a powerful hook or chorus to bring it all home.

KB: You played with Jimi Hendrix several times. What was it like playing with him (He looks like he’s in a bubble when he plays)? 

We locked into the electric sound, and the spaceship took off. At a jam at the Cafe Au Go Go in Greenwich Village, we started jamming on some chord changes that eventually became “Little Wing”. He was never at a loss for ideas, which, for me, was a musical feast.  

KB: What are you currently up to? 

I have written a book with my wife Bonnie Brooks and good friend Frank Beacham entitled “View From The Bottom,” published and available on Amazon and most other online sites. Bonnie has a children’s book titled “Gramps Has A Ponytail” on Amazon. 

I recorded an album named “Elegant Geezer” available on Amazon and other sites. Bonnie and I can also be found on Facebook and YouTube:

YouTube
Facebook
Album “Elegant Geezer”
View From the Bottom: Miles Davis- Bitches Brew