Biography

Carol Kaye was born in Everett, Washington to musician parents, Clyde and Dot Smith, both professionals. She has played and taught guitar professionally since 1949, played bebop jazz guitar in dozens of nightclubs around Los Angeles with top groups (also in Bob Neal's jazz group with Jack Sheldon backing Lenny Bruce, with Teddy Edwards, Billy Higgins etc.), accidentally got into studio work late 1957 with the Sam Cooke recordings and other big recordings on guitar for the 1st 5 years of studio work in Hollywood.

In 1963 when a Fender bassist didn't show up for a record date at Capitol Records…

She picked up the Fender bass (as it was called then) and augmented her busy schedule playing bass and grew quickly to be the no. 1 call with record companies, movie & TV film people, commericals (ads), and industrial films.

She enjoyed working under the direction of Michel LeGrand, Quincy Jones, Elmer Bernstein, Lalo Schifrin, David Rose, David Grusin, Ernie Freeman, Hugo Montenegro, Leonard Rosenman, John Williams, Alfred & Lionel Newman, etc. as well as the numerous hits she recorded for hundreds of recording artists.

Beginning in 1969,

She wrote her first of many bass tutoring books, "How To Play The Electric Bass" effectively changing the name of Fender Bass to Electric Bass and began teaching 100s of Electric Bass students, many of them now famous themselves.

Her tutors are endorsed by such notables as Professor Joel Leach, 10-year winner of the Pacific Jazz Festival Awards with his famous Cal-State Northridge Jazz Bands, and Plas Johnson, jazz/blues studio sax legend ("Pink Panther"). She stepped out to perform live with the Hampton Hawes Jazz Trio in the mid 70s, has given many seminars all over the USA, and is a leader in Electric Bass education.

Her Work

Click below to expand and read.

A note from Carol…

There were around 350 really great studio musicians who played together, created lines together (especially the rhythm sections), and had the right attitude to constantly work some round-the-clock hours almost every day of the year to help create and perform in the studios. My fellow studio musicians and I had no idea this music would live on so well, but it's awfully nice to be driving in the car and know:

"oh there's Earl's fine fills, there's Hal's great tomtoms, ah nice piano Larry, beautiful trumpet Ollie, good violins you all, great percussion Gene and Victor, perfect time Don" and on and on.

I was raised by musician-parents and just sort of grew up around music, we were poor, but when music was played, you had a sparkle in your life. And the sparkle is still there years later after all the recording we did, for when you turn on the radio, there are all my fellow musicians. I grew fond of so many, we were all in it together, pulling together for a hit, and loved to groove together. The looks, the feel of the music, the inside quick joke, it was a warm feeling.

The coffee and vending machines got a work out too as sometimes we had to eat out of cans (no time to eat), sleep on our 5-minute break on the floor (get 8 hours sleep a night, are you kidding?), run to the next date. People used to ask how you got in the studios, we'd all say: "learn how to grab a parking place, don't be late, and carry a pencil, don't be egotistical, oh and yes, know how to create, read music and play your --- off".

I almost feel embarrassed about all the credits but these tunes represent the work of everybody, not just me, not just the star, or the tune, but of mostly family-oriented musicians who were respected, in-demand, no-nonsense coffee-driven (yes) and there were some pretty funny moments too, plenty of one-liners at times.

These are some of the musicians playing on your favorite past recordings, movies, TV shows:

 
 

There are more than this list, but this gives you a picture of the musicianship, a real family of talented people, who made 1,000s of recordings of the late 50s, 60s, 70s, etc.

 

From Carol…

 

I want to THANK my personal Cartage Company, Modern Van, for the great daily amplifier deliveries to various studios I recorded at each day. They provided me with terrific accurate support. ll I had to do was run in the studio and tune-up - one of my amps was always there, all set up, and turned on, ready to go.

Thanks to: Ed Van Sloten (owner), Ron Trowbridge, Ray Metz, Bill Gibson, Donny Patterson, Pat Anthony Arvonis, Bob Coco, Larry & Ron. FYI, Bill & Donny later started Superior Musical, and another Modern Van part-timer named Ken started S.I.R.!

It was an experience to be recording while 60s assassinations, Viet Nam War, racial strife, and marches were going on in the outside world. Altho' we were sort of "isolated" we were all affected by such dramatic changes in the world, the music reflects that.

We knew the music was being appreciated, and that mattered very much, plus the music helped many a film and TV Show too in those dark cavern-like studios with the big screens with a constant click-track on in your earphones in sync with the film.

Many a chase scene had the excitement of a Quincy Jones score (lots of bass), or a bedroom scene with sentimental trombone solos of a great David Grusin score, soft pop-jazz or exciting music of Michel LeGrand, or the excitement of a car-truck duel ("Dual", Spielberg's 1st film, I was the "truck" sometimes, don't laugh, it paid well).

Who can forget the "Mission Impossible" and MASH music? "Airport", "Sweet Charity" & "Thomas Crown Affair" had their own great scores. And Bill Cosby would join in on tambourine for his TV show music. These are precious memories. The contractors would hired us (at the behest of the conductor, A&R man, arranger, or ?) and sometimes be a little strict (no talking etc.), so we'd get a quick relief at the water fountain on our "five", run for a minute to wake the blood up, call into the phone service which had lines in all the studios to take more record dates etc., it was frantic. Do I miss it? You bet I do, nothing like it, and we all miss each other too, they were the best!

More about Carol

HER INFLUENCES: Her musician parents Clyde and Dot Smith, Charlie Christian, Duke Ellington, Howard Roberts, Artie Shaw, Sonny Stitt, Miles Davis, Horace Silver, Hampton Hawes, Ray Charles, Ralph Pena.

CAROL'S GEAR: Ibanez SRX700 Bass, Thomastik-Infeld Jazz Flats strings, GK MB150S-iii Amp, Ibanez RG321 with Seymour Duncan Humbucker Jazz Pickup Alnico Pro II, with Thom. George Benson Elec. Jazz Guitar Flat strings etc., TI Benson Flats Strings for Jazz playing.

Bass used in 1960s studio work: Fender Precision w/Fender Flatwound Strings, always with a pick. Fender Concertone 4-10 amp, then in late 60s, Versatone amp.