| Author | Message | ||
  Cool Ju (cool_ju) 3-Pundit Username: cool_ju Post Number: 47 Registered: 4-2004 Posted From: 205.188.116.139 |
Wasn't a guy named MIke Terry the cat who grunted and growled the sax on many of the early Motown songs? Isn't that sax and the way he played it a Motown motif? Why is there not much mention of him and the sax which could be considered the most easily recognized piece of the Motown Sound? | ||
~medusa~ (~medusa) 5-Doyen Username: ~medusa Post Number: 259 Registered: 3-2004 Posted From: 68.79.114.222 |
I do remember that Sax on quite a few of Motown songs. ...and you're so right, what happened with that, where is he, is he still around ? | ||
John Lester (theboyfromxtown) 4-Laureate Username: theboyfromxtown Post Number: 80 Registered: 4-2004 Posted From: 217.44.166.39 |
For all your young SD'ers, Mike Terry posted on Soulful Detroit in its infant days. | ||
Ralph Terrana (ralph) Moderator Username: ralph Post Number: 374 Registered: 3-2004 Posted From: 209.240.205.63 |
Mike is a very private person and prefers to remain out of the spotlight. He is also a gifted arranger and producer. | ||
steve w (steve_w) 1-Arriviste Username: steve_w Post Number: 7 Registered: 4-2004 Posted From: 81.174.203.94 |
In the early days of collecting rare records when information was very scarce you tended to build a mental note of names of arrangers and producers that constantly kept cropping up, Mike Terry and Sonny Sanders were my main men, I bought blind when I saw them mentioned, they never let me down, in later years Jack Ashford and Paul Riser filled the mantle. I hope they all can do more projects | ||
Ralph Terrana (ralph) Moderator Username: ralph Post Number: 377 Registered: 3-2004 Posted From: 209.240.205.63 |
So do I Steve. I am lucky to have known all of these talented guys and have been further lucky to have worked with some, and even produced by one ( Sonny Sanders ) during my career. I would love to see these guys back in action. The music world would be a better place. | ||
Wonder B (wonder_b) 6-Zenith Username: wonder_b Post Number: 558 Registered: 4-2004 Posted From: 81.248.123.180 |
Mike Terry was a third of the Geo-Si-Mik trio of producers (George Clinton, Sidney Barnes and Mike Terry) who produced a lot of other artists in the early 60's... Wonder B | ||
Ron Murphy (ron_murphy) 4-Laureate Username: ron_murphy Post Number: 82 Registered: 4-2004 Posted From: 68.42.90.140 |
the first sax player on the early Motown recordings was Beans Bowles..he also played the flute on some such as "Come To Me''. also don't forget Eli Fontaine played sax on many Motown recordings as well... including the great intro on "What's Going On" | ||
Ralph Terrana (ralph) Moderator Username: ralph Post Number: 380 Registered: 3-2004 Posted From: 209.240.205.63 |
Two extremely " bad ass " players Ron. | ||
HARRY DHESI (harry_dhesi) 1-Arriviste Username: harry_dhesi Post Number: 2 Registered: 3-2004 Posted From: 217.155.105.174 |
Ralph Dave and i met Mike Terry on one of our visits to Detroit.It was an honour to be in his company and listen to him talking about Motown/Golden World and 60ts in general.He indicated then he might bring out his sax and do some projects. Harry Dhesi | ||
David Meikle (david_meikle) 5-Doyen Username: david_meikle Post Number: 211 Registered: 3-2004 Posted From: 81.130.211.124 |
Mike also arranged many of Detroit's finest recordings. I think we listed 125 top notch sounds at one stage. A seriously talented guy and one of the top 5 people in the Detroit story for sure. A webisode will appear down the line on Mike. | ||
Graham Finch (acooolcat) 4-Laureate Username: acooolcat Post Number: 102 Registered: 4-2004 Posted From: 210.200.105.229 |
I was disappointed (and surprised) that his name wasn't even mentioned by any of the other Funks in SITSOM movie. Although his sax isn't really part of the rhythm section, it's an integral part of the Detroit sound. Possibly of greater significance are Mike's arrangements - his name appears on numerous Detroit record labels and the quality of the music is alway top-notch. A legend. | ||
mel(andthensome) (mel) 5-Doyen Username: mel Post Number: 246 Registered: 4-2004 Posted From: 81.154.133.57 |
I second that graham. a legend indeed and then some............... mel | ||
Chazz Dixon (voycecz) 1-Arriviste Username: voycecz Post Number: 4 Registered: 6-2004 Posted From: 205.188.116.139 |
Check out Jack's book "The View From the Bottom" it includes a chap titled The Mike Terry Connection and Just Productions, it's ecellent reading. Apart from the stories Marv T and Fuq have shared with me Jack's book filled in a lot of blanks. Thanks Mr Ashford for sharing your experience. | ||
Eli (phillysoulman) 6-Zenith Username: phillysoulman Post Number: 634 Registered: 4-2004 Posted From: 172.140.26.245 |
In February of 1968, while playing guitar with the Vibrations at the Twenty Grand, I had the honour of befriending the great Mike Terry, who after hearing me play, invited me to play on a session of his at the brand new Tera Shirma, studio B. I was honoured to be among such players as Bob Babbitt, Eddie Willis, George mc Gregor, Eddie Bongo, Johnny Griffith, so in essence, I was a "funk brother" for a day, and quite a memorable experience it was! (Message edited by phillysoulman on July 09, 2004) | ||
Don (don) 5-Doyen Username: don Post Number: 260 Registered: 4-2004 Posted From: 68.75.172.95 |
Graham, I think Mike's name is in the credits of SITSOM along with the likes of Beans, Fontaine, Marcus Bellgrave. I know I heard just about anything Mike has ever produced, arranged, conducted and performed on record, at one time. What struck me was the way those Motown records in particular always broke out with that BARITONE SAX solo break in a song, wow! One thing about music that it always has an hummor about it at times. Cause when I heard the B Sax then or even now, it made/makes me laugh, not to poke fun. Cause I never it played on record or in performance before pe sa. Of course in jazz but not in jazz until much later. I always thought how innovative how it was portrayed in The Detroit Sound. I hope you all can understand where I'm going on this. I mean Detroit took this instrument which was used in the earlier forms of music as Rhythm 'n Blues, Doowop and Rock 'n Roll only to be taken in a newer approach to a newer stage of R&B of the 60's. I always dug his work on all the records I had on him, plus his producing and arranging as well. I'm from Chicago and I don't want to leave out all all the great music scenes in other states and regions, no I haven't forgotten about ev'ry one's proud heritage. What intrigues me of all of Mr. Terry's work was the work he's done with Joshie Jo Armstead (I perfer Josie), Jo Armstead. I love her compositions and Mr. Terry's arrangement charts. Cause with this winning combination duo of team work sounded as a Chicago record made here in Chicago, is what's strange about it. Terry's work & skills always seems to fit into what ever city's regional sound no matter which coast and in which in and between's, which places him high on my list of writer/arrangers. Don | ||
Don (don) 5-Doyen Username: don Post Number: 263 Registered: 4-2004 Posted From: 68.75.172.95 |
Can anyone answer this question for me. Did Mike Terry played the session on Joe Mathews' Thelma release of "You Better Mend Your Ways". And doesn't the song (to me) reminds you of The Miracles Tamla release of "Mickey's Monkey". I wonder which came first? Mathews sounded more alike Emanuel Laskey to me, or was it a misspelt of the press. I assumming though was it a Joe Mathews and/or a Emanuel Laskey vocal? | ||
Don (don) 5-Doyen Username: don Post Number: 264 Registered: 4-2004 Posted From: 68.75.172.95 |
No that's not correct in regards to Jo Armstead's recordings. They weren't recorded here (maybe not some), her's we're done in The D? | ||
Graham Finch (acooolcat) 4-Laureate Username: acooolcat Post Number: 117 Registered: 4-2004 Posted From: 210.200.105.226 |
Don, it's Joe singing on that Thelma 45, not Emanuel. And it's probably Mike playing, as many of the Funks played on those Thelma sessions, which were cut at United Sound. Yes, Mike's name is listed at the end of the movie, but I think he merits a lot more than that. It seems that Mike played his Bari as a baritone or bass singer would have interjected in a 50's doo-wop song. | ||
Cool Ju (cool_ju) 3-Pundit Username: cool_ju Post Number: 58 Registered: 4-2004 Posted From: 64.12.116.138 |
"...eems that Mike played his Bari as a baritone or bass singer would have interjected in a 50's doo-wop song." Yeah, come to think of it! | ||
Graham Finch (acooolcat) 4-Laureate Username: acooolcat Post Number: 118 Registered: 4-2004 Posted From: 210.200.105.225 |
Hi, Cool Ju Mike actually said that, or something like it. | ||
Cool Ju (cool_ju) 3-Pundit Username: cool_ju Post Number: 59 Registered: 4-2004 Posted From: 152.163.252.200 |
Wow |
