"Key Master" David Bennett Cohen Interview
www.DavidBennettCohen.com
Interview by Roger Zee (12/09/20)
Roger Zee: Who inspired you to play piano, guitar and sing?
David Bennett Cohen: I began piano lessons at seven and hated them! I had to practice one hour every day, just when I wanted to play outside with my friends. I studied pseudo-classical music that I couldn't relate to. Just rote learning, not putting together a repertoire. I never really masteredsight reading and even today, my reading ability remains, shall we say, way below par... But, I did learn how to use my fingers. My family fortunately owned a television early on. One day, I saw Meade Lux Lewis on some show. Don't remember which, but it entranced me! I finally heard some music that touched me. But no one back then taught Boogie Woogie or any form of Blues.
Then I discovered the guitar and a completely new way to look at music! I joined the Washington Square, Greenwich Village Folk scene of the late '50s and early '60s. We learned music simply by copying what others played and adding our own thing. I picked up how to improvise during those years and even figured out some Blues and Boogie-Woogie piano on my own. But I didn't get serious about it. I learned it by doing what I did to learn piano. Play the record, over and over, and then try to copy it. When I started strumming guitar, I knew I would end up a musician. I couldn't imagine doing anything else.
I really didn't resume playing keyboards until I joined Country Joe & the Fish. After that, I began playing more piano, and now, it's my "main" instrument. I still keep up on guitar, but I would say that 99% of the work I get comes for piano.
As far as singing goes, I really didn't start seriously until about seven years ago. It came at the encouragement and influence from Arthur Neilson and his wife, Karan Serafin. I feel more and more confident with it and I'm only sorry I didn't discover it sooner...
RZ: Name your major musical influences.
DBC: On Guitar: Pete Seeger, Andres Segovia, Julian Bream, Doc Watson, Clarence White, Merle Travis, Mississippi John Hurt, Reverend Gary Davis, Tom Paley, Paul Prestopino, Dave Van Ronk, Roy Berkeley, Winnie Winston, Muddy Waters, Big Bill Broonzy, Michael Bloomfield, Bola Sete, and so many others.
On piano, organ: Professor Longhair, Otis Spann, Johnnie Johnson, Artur Rubenstein, Lafayette Leak, Speckled Red, Dr John, Allen Toussaint, Robert Shaw, Tuts Washington, James Booker, Al Kooper, Jimmy Smith, Huey "Piano" Smith, Little Brother Montgomery, Roosevelt Sykes, Champion Jack Dupree, and many, many more.
RZ: You've worked with some major figures in the Rock/Blues/Folk world. Talk about them.
DBC: Country Joe: A very complex person. I can honestly say that I enjoyed some of the most ecstatic moments of my life with Joe, laughing hysterically for hours. Also, some of the most painful and bad experiences. Besides playing with the Fish, I also did a bunch of duo gigs with Joe.
The Blues Project: Danny Kalb and I have known each other since 1957 when we met and became friends in Washington Square. I had grown quite friendly with Al Kooper, but when I joined the band, Al had already moved on. Also friendly with the other members: Steve Katz, again part of the Washington Square scene and Roy Blumenfeld, my favorite drummer to play with. He's got the nastiest back beat I've ever heard. Before I joined them on piano, they played as a trio -- Danny, Roy and Don Kretmar on bass. We toured around opening for Procol Harum, Yes, the Mahavishnu Orchestra, ELP and so many others.
Mick Taylor Band: When Mick asked me to play with him, I happily shouted, "Yes!" I had seen him in 1970, I think, when he debuted with the Rolling Stones in Hyde Park. Colin Allen on drums, and Roger "Jellyroll" Troy on bass. We toured the East Coast, the Mid-West, and Canada. I could always tell when Mick felt in a good mood -- he took all the solos. When he didn't, I ended up with them!
Melvin Van Peebles: Melvin's a true Renaissance Man -- playwright, musician, actor, Wall Street tycoon. Totally delightful to know and work with. I played on one of his albums and did some gigs with him. I consider him a good friend and someone to aspire to live like. He would walk into a room and all the women would immediately gravitate to him.
Jimi Hendrix: So privileged to know Jimi! We met at the Monterey Pop Festival and after that, the two bands toured together up and down the West Coast for about three weeks. Sometimes CJ&F would open and sometimes the Jimi Hendrix Experience would. I used to go into their dressing room and jam guitar with Jimi. Once, he asked to see my instrument. When I handed it to him, he turned it upside down and backwards, left handed, of course, and proceeded to play some of the nicest Blues I've ever heard! I asked him how he did that. He said that while growing up in Seattle, if at a party and he didn't bring his own guitar, he couldn't play. So he learned how to play a right handed guitar lefty. Amazing! RIP.
Luther Tucker: So wonderful! We played all over California. Several times Elvin Bishop would sit in. Now, normally such a solid band that people just couldn't sit still when we played. But when Elvin would sit in, the energy would go through the roof! Tucker, a mellow, sweet man, who took life as it came. RIP.
Hubert Sumlin: The great guitarist from Howlin' Wolf. A really nice, sweet, uncomplicated person with always a kind word. RIP.
David Blue: I remember meeting him at the Folklore Center, probably in 1958. My friend Dan Lauffer came up to me in Washington Square and said he knew this fellow he wanted me to meet. Of course, he said, "David Cohen, meet David Cohen!" And how many times did I hear, "Will the real David Cohen stand up!" Over the years, whenever he landed in NYC or I in LA, we would get together and play a few gigs and hang out. A dear friend and a great songwriter. I miss him. RIP.
Arlen Roth: I met him in 1971 when we played with Happy and Artie Traum and became friends. He always invited me to sit in with him, and we really enjoyed playing guitars together. I made an instructional record on Rock and Roll guitar and I did a video to promote it. Arlen's in that video, wherever it landed... A dear friend who faced many hard times but always managed to emerge victorious.
Happy and Artie Traum: Part of my musical upbringing and part of my history. Met them in Washington Square, of course. Artie's a natural. His soloing and all around guitar playing sounded magnificent. My first band, probably around 1959, the Lane County Bachelors, included Artie and Eric Nagler. We did about half a dozen gigs. In 1975, when I lived in Woodstock, I recorded my first instructional tape with Homespun, Happy and his wife Jane's company. Since then, I've made six Blues piano videos, a couple of books, and downloads. Happy's a guitar player who can do it all. His finger and flat picking always sounds flawless, and he's a truly great teacher.
Bill Perry: I played with Bill for about three years at the end of the last century. Such a wonderful guitar player, singer, and songwriter. When he did Jimi songs, they just felt right. Sometimes, performing for example Little Wing or Watchtower, it took me back. But, Bill's more than a Jimi clone. He played impeccable Blues and his own very fun songs. And his vocals sounded so good. Great singer. Great guitar player. And a great hang. So much fun! RIP.
Arthur Neilson: Currently, my favorite guitar player! Plays with Shemekia Copeland and as part of the house band at Big Ed's Blues Jam. I use him whenever he's available. Always a pleasure to work with.
Of course, I've worked with many others. To name a few: Tim Harden, Byther Smith, Cash McCall, and Bobby Kyle.
RZ: What guitars, strings, keys, and amplifiers do you currently use?
DBC: I currently own a Taylor acoustic, model 812. An unusually nice guitar, I put a Fishman pickup in it. My electric guitar's a reissued 1952 Fender telecaster that I picked up in 1990. Another very fine guitar and set up by Arthur Neilson. For strings, I use whatever's available. My current amplifier's a Roland cube.
My keyboard's a Yamaha P125 with an 88 key, touch sensitive keyboard, and a realistic piano sound. I run it through a Yamaha powered speaker. I'm a proud Yamaha Artist!
RZ: Do you teach private lessons?
DBC: Yes. I teach both piano and guitar, although I've instructed some bass students and even other instruments for people who wanted to learn how to solo -- sax, violin, etc. Some of my students went on to enjoy careers of their own -- Dave Keyes, Peter Cincotti. Currently, during the Pandemic, I teach on Zoom. I'm happy to accept a few more students!
RZ: How has the Covid-19 Pandemic affected you?
DBC: 2020's run roughshod on everyone. I've worked only one gig since March. I play in Big Ed Sullivan's Blues Jam every Monday at the Red Lion in NYC. They shut down in March, although I hear the Red Lion's still open. We all hope and pray we get back together in 2021.
I wood shed a lot on both piano and guitar. Write, draw, and stay in. Cook a lot and enjoy eating what I cook. Chant.
I practice Buddhism with the SGI, a worldwide peace movement. We believe that if we're able to take responsibility for our lives and our own happiness, World Peace will naturally occur. We chant the mantra, "Nam Myoho Renge Kyo." It's a huge organization, with over 12,000 members in 192 countries and territories. I've practiced since 1985, and I have to say, it's the best thing I've ever done! It enhances the rest of my life.
RZ: What's on your horizon?
DBC: Ah, the horizon... I just completed my newest recording, a six song EP I hope to put out very soon. In the meantime, if you want to hear a sample, go to YouTube and search for "David Bennett Cohen Hot Chocolate." I will also shortly reissue another EP with material that I recorded in about 1984 but never released. I expect to return to my regular piano position at the Big Ed's Monday night Jam. Still teaching, of course. And in general, trying to make a positive difference through my music and my every day activities.
RZ: How do you see the future of the music business?
DBC: It's not good now. It still hasn't quite found itself. Back in the day, people like John Hammond, Clive Davis, the Solomon brothers, they really loved the music! All only about the music. And even though ended up very rich, they still followed the ideal of music first. I don't see that in today's music business. Now everything's different. With hundreds of independent "record" companies, they can't supply tour support, assuming touring returns, or any financial assistance to the artist. Basically, you supply the finished product and they promote it, primarily online. Plus the fact that the royalty rate changed dramatically, with million selling artists now only making pennies while the CEO's of the "record companies" make much more. So, I hope it will eventually find itself.
The rest of the industry also continues to change. So many clubs and venues closed. There's a sense of greed in the general business community and the music biz seems no different. All I can say's that I remain hopeful. The youth of today need to go out and fix this, or at least adjust to it.
RZ: What advice do you give up-and-coming musicians?
DBC: Practice! Perfect your technique. Listen to music that moves you. Really listen! Don't get discouraged. Follow a few rules if you're serious about it. Don't turn down work. Develop good reflexes. Maintain a thick skin. And, probably most important, piss before you go on stage!
RZ: Describe your most special and/or unusual gig.
DBC: Got to say the 1967 Monterey Pop International Festival turned out my best gig ever. Put on by musicians for musicians! That's not to diminish the fans and all the hippies that gathered and reinforced our community. But, if you played at the festival, you really found it so amazing! It included a large and comfortable backstage area, partly open to the elements. All wood beams and a fireplace and closed circuit TV so you could watch the acts onstage. You could mingle with Mama Cass, Buddy Miles, Jimi Hendrix, David Crosby, Jerry Garcia, and all the bands. Ravi Shankar. Simon and Garfunkel. Owsley. Booths all over the grounds selling all kinds of hippie paraphernalia. Quite the gathering of the tribes and a real end of innocence for the San Francisco bands. A truly momentous happening!
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