Умер саксофонист Бобби Киз

Только что прочитал :http://www.nashvillescene.com/nashvillecream/archives/2014/12/02/rolling-stones-saxopho...
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RIP.....((

Ох ты, роллинговский саксофонист .. Жалко.

Жаль. Хороший музыкант.

RIP

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Очень жаль.
Играл почти со всеми Битлами..

Со страницы Кита Ричардса в Фейсбуке..

R.i.p.

R.I.P.

R.I.P.

Bobby Keys: five great performances with the Rolling Stones, John Lennon and more

The great saxophonist, who has died aged 70, added a touch of style to countless records – here are five of the best.

http://www.theguardian.com/music/musicblog/2014/dec/02/bobby-keys-five-great-performanc...

Dion and the Belmonts – The Wanderer

It can be hard to ascertain who played on the original rock’n’roll records. One version of events – held to by Keys himself – asserted that he played on Elvis Presley’s Return to Sender. Another insists it was Boots Randolph. A more significant performance, anyway – assuming it is, as is claimed, a young Keys – is the sax part on Dion’s The Wanderer. For a start, it’s a better record than Return to Sender, swaggering like a young buck on the street: it sounds like a guy wandering the streets in search of action. Second, the sax break is crucial to the song: it provides the main instrumental hook of the chorus, and the solo is an explosion of delight. There’s something about the saxophone that simply sounds lewd, and the solo in The Wanderer is one long wolf whistle. He never forgot his love of and loyalty to the original rock’n’rollers: when, in the 1980s, he became musical director of Ronnie Wood’s Florida club he promptly booked Jerry Lee Lewis, Fats Domino and the Crickets.

Joe Cocker – The Letter

The Letter wasn’t an oldie at the point Joe Cocker recorded it for his live album Mad Dogs & Englishmen in 1970 – it had been a hit for the Box Tops in 1967. Cocker’s arrangement slowed it down into a swampy, funky groove, with the brass of Keys and trumpeter Jim Price giving it a bracing power. It also afforded Keys the chance to cut loose, with a stylish, lyrical solo, that doesn’t outstay its welcome, but feels like the glue holding this slightly ramshackle performance together. Keys had an instinctive feel for the funky blues, one that scores of stars demanded for their own records.

The Rolling Stones – Brown Sugar

Keys is most famous for his association with the Stones, and Brown Sugar was his most famous moment. To the end of his time touring with them, the moment he stepped forward to take his hard, cruel solo in Brown Sugar was greeted with a huge cheer. He and Keith Richards had been born on the same day, and the closeness of their relationship was attested to in Richards’ autobiography, Life. In his own memoir, Every Day Is Saturday Night, Keys recalled that the mayhem continued into the 1990s, when a Stones tour stopped at a golf resort hotel, and he decided to play a round: “When I hit my ball it hooked into the trees, ricocheted – and landed smack dab in the middle of his breakfast. So he shot it. He’s standing there on his patio with a pistol in his hand and smoke coming out of the muzzle. He was holding this smoking shell that used to be my golf ball. He said: ‘That’s a 10-stroke fucking penalty, and if you ever do it again I’ll do the same to you! You ruined my fucking breakfast!’ He was getting ready to eat his eggs Benedict.”

Rolling Stones – Can’t You Hear Me Knocking

It seems a shame not to have anything from Exile on Main Street, in which Keys’s saxophone is such a key element in the sonic gumbo, but arguably his greatest single performance came on this track from Sticky Fingers, when he gets the best part of two minutes to unfurl a solo, backed by Ricky Dijon on congas. It starts with a pair of flutters before a line starts to reveal itself, delicately and with restraint. Aptly, given the song’s title, it sounds like someone waiting outside a door. It builds in intensity, but with care, for the backing never gets too obtrusive, until he allows it to fade into Mick Taylor’s guitar. A masterpiece.

John Lennon – Whatever Gets You Thru the Night

Keys was beloved by the Beatles as well as the Stones. He worked on George Harrison’s All Things Must Pass as well as on this, Lennon’s only US No 1 during his lifetime. This is funky Keys: he crops up repeatedly through the song, but the 15 seconds he gets at the intro are the crucial part: in that brief burst of horn he gets to set the song in motion. Get it wrong and he kills the song dead. But Bobby Keys rarely got things wrong on record. His closeness to Lennon was not just musical: he was one of the players in Lennon’s “lost weekend” in Los Angeles, from 1973 to 1975, along with Ringo Starr, Harry Nilsson and Keith Moon.

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Photo:John Lennon and saxophonist Bobby Keys.

John Lennon 1969 with Jim Price, Bobby Keys, George Harrison, Eric Clapton,

R.I.P.

RIP

Keith Richards:

For Bobby. Recorded December 18th 1970, This version was recorded at a jam session during me and Bobbys 27th birthday party. Al Kooper was on piano, and Eric Clapton played slide guitar on it.

Brown Sugar - The Rolling Stones - Early Version 1969