{"id":3398,"date":"2017-02-06T19:34:12","date_gmt":"2017-02-06T19:34:12","guid":{"rendered":"http:\/\/www.afm47.org\/press\/?p=3398"},"modified":"2017-02-06T19:56:02","modified_gmt":"2017-02-06T19:56:02","slug":"interview-with-david-axelrod","status":"publish","type":"post","link":"https:\/\/afm47.org\/press\/interview-with-david-axelrod\/","title":{"rendered":"Remembering David Axelrod"},"content":{"rendered":"
\"\"

Photo by B Plus, courtesy of Dana Axelrod<\/p><\/div>\n

\n

On Feb. 5, 2017, composer, arranger and producer David Axelrod, whose work has been sampled by several of the biggest names in\u00a0hip hop,\u00a0passed away at the age of 83<\/a>.\u00a0<\/em><\/p>\n

This\u00a0<\/em>interview with Linda A. Rapka was originally published in the May 2011 issue of the AFM Local 47<\/a> Overture newspaper.<\/em><\/p>\n<\/div>\n

\n

A golden producer in the heyday of Capitol Records, David Axelrod lent his magic to hit jazz, funk and soul records of the 1960s and \u201970s. He churned out a succession of gold records and top singles with artists including Lou Rawls, Cannonball Adderley and the Electric Prunes, and his signature sound is a sampling favorite of today\u2019s hip hop artists. His keen eye for spotting unlikely successes garnered him a lasting imprint on some of the most eccentric albums of the era. Sailor-mouthed and charmingly surly, Axelrod minces no words about his improbable highs and cavernous lows during six decades in the industry.<\/p>\n

Raised in the tough black neighborhood of South Central, Axelrod started going out to the clubs at 15. \u201cIf you were in diapers and you had cash, they would serve you,\u201d he recalled. \u201cWe went there because we could get served. But then I started listening to the music.\u201d<\/p>\n

Big Joe Turner, Jimmy Witherspoon, Amos Milburn and other prominent black jazz and R&B artists of the Central Avenue scene turned Axelrod on to the world of music. In the late 1950s he spent a stint on the east coast, where he befriended the likes of Charles Mingus, Buddy Collette, Ernie Andrews and Gerald Wiggins. But his love of L.A. soon led him back home, where he found session work drumming for TV and film scores. His shift to producing made waves in jazz circles with his work on hard-bop tenor saxophonist Harold Land\u2019s \u201cThe Fox\u201d in 1959.<\/p>\n

Known for big beats and deep bass lines, the Axelrod sound was much heavier than typical of that era. \u201cI liked mixing the rhythms like rock with jazz and add classical sounding strings,\u201d he said. \u201cNobody was doing that. I don\u2019t know why. It seemed like a natural thing to do, I thought.\u201d<\/p>\n

He landed at Capitol in 1964 under Alan Livingston, for one simple reason: \u201cThat\u2019s where I wanted to be.\u201d Located in Los Angeles, it was the only major outside of New York and Chicago, and he wasn\u2019t about to leave his hometown again. That same year Capitol struck gold with the Beatles, which afforded unorthodox thinkers like Axelrod more leeway to experiment. He did A&R, wrote and produced a succession of gold albums and hit singles including Lou Rawls\u2019 \u201cDead End Street\u201d and Cannonball Adderley\u2019s \u201cMercy, Mercy, Mercy!\u201d and helped steer the company in new directions. His unprecedented move to hire black promoters to push Capitol\u2019s black artists paid off big. His idea to sign blond, blue-eyed pin-up actor David McCallum of \u201cThe Man From U.N.C.L.E.\u201d fame, despite the fact he had no previous experience and couldn\u2019t sing, landed four hit records. Axelrod was the golden boy.<\/p>\n

In 1968 he broke ground blending psychedelic rock with string arrangements on the Electric Prunes\u2019 concept album \u201cMass in F Minor,\u201d wholly composed, arranged and conducted by Axelrod. Sung in Latin, the album was received as innovative and adventurous and gained heightened popularity when the song \u201cKyrie Eleison\u201d appeared in the cult film \u201cEasy Rider.\u201d<\/p>\n

But the album\u2019s success came back to bite him; it was recorded not for Capitol, but for Reprise. \u201cLivingston had a fit!\u201d Axelrod mused. \u201cAfter he yelled at me for a while, he said, \u2018You\u2019ve got to write an album for us. That\u2019s an order.\u2019 I said, \u2018Oh, well OK.\u2019 Like I wasn\u2019t happy about it.\u201d<\/p>\n

That year he set to work on his first solo effort. Inspired by the poems and illustrations of English artist William Blake, the end result was a quixotic blend of pop, rock, jazz, theater music, and R&B using a rock orchestra. \u201cSong of Innocence\u201d surprised everyone when it met with widespread critical and popular success. \u201cIt turned everything upside-down,\u201d Axelrod said. \u201cSuddenly everyone\u2019s trying to do it. Especially in the U.K.\u201d Another Blake-inspired album, \u201cSongs of Experience,\u201d followed in 1969.<\/p>\n

During this time he continued to work with Adderley, Rawls and others including South African singer Letta Mbulu and bandleader David Rose. In 1970, with the exit of Livingston, Axelrod left Capitol. On the verge of making an album putting music to Alan Ginsberg\u2019s celebrated poem \u201cHowl!\u201d tragedy struck when Axelrod\u2019s 17-year-old son died. \u201cGinsberg was so hip. We talked about it,\u201d he said. \u201cHe told me certain things that were gonna happen because of my son dying. And he was right. They did.\u201d A few short years later, close friend and collaborator Cannonball Adderley died of a stroke. Axelrod\u2019s work slowed, and three solo albums he recorded in the 1980s went unreleased.<\/p>\n

In the early 1990s his music found renewed interest by the hip hop generation. His beats are sampled all over tracks by Dr. Dre, the Wu Tang Clan, Lauryn Hill, DJ Shadow, De La Soul, Sublime, Lil\u2019 Wayne and others. This surprised no one more than Axelrod himself. \u201cI\u2019m reading that I\u2019m one of the most sampled artists, and I\u2019m going, \u2018Where the hell is the money?’\u201d Though everyone was using his music, almost no one was paying royalties. He and his attorney are hoping to stave off drawn-out lawsuits by settling out of court.<\/p>\n

In 1993 he released his first album in over a decade, \u201cRequiem: Holocaust,\u201d and several compilations of his earlier work were also released. In 2001 he released the self-titled album \u201cDavid Axelrod\u201d on British DJ James LaVelle\u2019s label Mo\u2019Wax, which features new arrangements of 30-year-old rhythm tracks originally recorded for an unrealized third Electric Prunes album. For the first time in his career, in 2004 he headlined a sold-out concert at London\u2019s Royal Festival Hall.<\/p>\n

Axelrod continues to write music for an hour or two each day, but not for any particular project. \u201cIt doesn\u2019t need to be anything that\u2019s gonna be concrete or done,\u201d he said. \u201cIt\u2019s just writing. It\u2019s just to keep your mind active physically. You\u2019ve got to stay in shape.\u201d<\/p>\n

Now 80, Axelrod has no plans to stop making music anytime soon. \u201cWhat the hell else am I gonna do?\u201d<\/p>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

On Feb. 5, 2017, composer, arranger and producer David Axelrod, whose work has been sampled by several of the biggest names in\u00a0hip hop,\u00a0passed away at the age of 83.\u00a0 This\u00a0interview with Linda A. Rapka was originally published in the May 2011 issue of the AFM Local 47 Overture newspaper. A golden producer in the heyday […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_kad_blocks_custom_css":"","_kad_blocks_head_custom_js":"","_kad_blocks_body_custom_js":"","_kad_blocks_footer_custom_js":"","footnotes":""},"categories":[5,596],"tags":[909],"class_list":["post-3398","post","type-post","status-publish","format-standard","hentry","category-news","category-features","tag-david-axelrod"],"yoast_head":"\nRemembering David Axelrod - 47 Blog | AFM Local 47<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/afm47.org\/press\/interview-with-david-axelrod\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Remembering David Axelrod - 47 Blog | AFM Local 47\" \/>\n<meta property=\"og:description\" content=\"On Feb. 5, 2017, composer, arranger and producer David Axelrod, whose work has been sampled by several of the biggest names in\u00a0hip hop,\u00a0passed away at the age of 83.\u00a0 This\u00a0interview with Linda A. 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