Carol Kaye was born in Everett, Wash., but her family moved to L.A. when she was six. Her father played Dixiland trombone, her mother piano. Carol took up the guitar when she was 13, and by 14, she was helping teach, doing demonstrations and working jazz gigs. After a succesful career as an L.A. jazz guitarist in the fifties, Carol broke into studio work in 1957, playing guitar on a Sam Cooke record, and countless others were to follow. From then on, she was constatnsly on call!
This project by Carol Kaye and Ray Brown was recorded at "WesternStudios 2" in 1968 by the same musicians that played on many hits and soundtracks at that time. Carol is on Fender bass, Ray Brown doubles the groove and plays bass melodies, jazz great Howard Roberts is on guitar, Joe Sample plays the Fender/Rhodes piano, John Guerin is on drums and Milt Holland on congas. Carol remembers: "My Fender Precision bass and amp were set deliberately with a lot of highs and 'click' sound to separate from Ray's beautiful rich acoustic bass sound and recorded as a mix from direct box and live amp sound. Ray and I had been working a lot together, playing improvised parts together on such films as 'Thomas Crown Affair' (Michel Legrad), all of Quincy Jones' 60's and early 70's movie scores, and many fine Henry Mancini recordings."
I read a fascinating article this week, one that blew my mind. Carol Kaye was a popular studio musician back in the ’60s and ’70s. I had never heard her name until this week, and when I did, I was shocked to see some of the songs and albums on her resume:
Frank Wilson 1965 Motown (with Carol Kaye bass, Earl Palmer drums, cut in Hollywood) This recording auctioned at record $41, 700, is UK soul hit.