BlountEdge
I play (mostly) jazz basses
- Apr 15, 2004
- 480
- 28
- Disclosures
- Former contributing writer for Bassics Magazine
It's nice to see that there's such appreciation for Doug Rauch here, but I'm not surprised, considering his talent.
Several years ago (around 2002/03), while working as a contributing writer for a U.S. bass publication, I requested approval to write a DR feature article. My intentions were: 1) to pay homage to a gifted bassist who had inspired me. 2) To finally unravel the mystery surrounding his life and musical development. Thankfully, I was given the green light.
I began by sending an email blast to every musician I could think of, who had known, played with or cited Rauch as an influence over the years. The email distribution was quite extensive, including most of the musicians mentioned in this thread and many others.
The initial response was excellent, with some offering comments of praise, quotes and (most importantly) commitments to grant interviews. Some respondents referred me to others, who they felt should be involved. After just a few days, I was truly grateful for the support that I received.
Since my vision was to write the definitive DR magazine biography, I felt that the participation of certain key individuals, (whom I considered essential to the story) was needed. Among those who offered immediate support were Greg Errico, (drummer for Sly and the Family Stone), who had work with Rauch on several projects, (including the Betty Davis and Giants albums) and Lenny White, who gave a lengthy and candid interview, offering insight into Rauch's playing and equipment. Needless to say, I really need dig out those interview tapes! Other responses came from Marcus Miller (who replaced Rauch in Lennys band), Victor Bailey (who suggested that I speak with Lenny White) and Mark King (who agreed to contribute, but was challenged by the demands of his tour at the time). These are some of the responses that I immediately recall, but there were others. It was obvious that Rauch had made a strong impression on musicians who had heard him and/or worked with him.
Despite my initial progress, the project eventually lost momentum, when I was unable to gain the participation of the individuals who held the largest pieces of the puzzle. (For the record, these individuals - whose names I have intentionally omitted - did not refuse participation, nor did they express a lack of support for the project. However, for reasons that in some cases are still unclear, it just didn't happen. A bit disillusioned, I put the project on hold, where it has remained.
The comments offered in this thread have inspired me to hopefully re-visit the project at some point in the future. Obviously, there's a story here that needs to be told.
BlountEdge
Several years ago (around 2002/03), while working as a contributing writer for a U.S. bass publication, I requested approval to write a DR feature article. My intentions were: 1) to pay homage to a gifted bassist who had inspired me. 2) To finally unravel the mystery surrounding his life and musical development. Thankfully, I was given the green light.
I began by sending an email blast to every musician I could think of, who had known, played with or cited Rauch as an influence over the years. The email distribution was quite extensive, including most of the musicians mentioned in this thread and many others.
The initial response was excellent, with some offering comments of praise, quotes and (most importantly) commitments to grant interviews. Some respondents referred me to others, who they felt should be involved. After just a few days, I was truly grateful for the support that I received.
Since my vision was to write the definitive DR magazine biography, I felt that the participation of certain key individuals, (whom I considered essential to the story) was needed. Among those who offered immediate support were Greg Errico, (drummer for Sly and the Family Stone), who had work with Rauch on several projects, (including the Betty Davis and Giants albums) and Lenny White, who gave a lengthy and candid interview, offering insight into Rauch's playing and equipment. Needless to say, I really need dig out those interview tapes! Other responses came from Marcus Miller (who replaced Rauch in Lennys band), Victor Bailey (who suggested that I speak with Lenny White) and Mark King (who agreed to contribute, but was challenged by the demands of his tour at the time). These are some of the responses that I immediately recall, but there were others. It was obvious that Rauch had made a strong impression on musicians who had heard him and/or worked with him.
Despite my initial progress, the project eventually lost momentum, when I was unable to gain the participation of the individuals who held the largest pieces of the puzzle. (For the record, these individuals - whose names I have intentionally omitted - did not refuse participation, nor did they express a lack of support for the project. However, for reasons that in some cases are still unclear, it just didn't happen. A bit disillusioned, I put the project on hold, where it has remained.
The comments offered in this thread have inspired me to hopefully re-visit the project at some point in the future. Obviously, there's a story here that needs to be told.
BlountEdge
