Christmas Notes from Elton John’s Legendary Musicians

Kathy Babylon
Born in Los Angeles, USA · Close collaborator with Elton John’s musical circle

Kathy Babylon was born into a musical family and began as a studio singer at age 12. She has performed with The Carpenters, Frank Sinatra, Joe Sample, Nigel Olson, and on Disney projects. She was married to Guy Babylon, Elton John’s longtime keyboardist and arranger, and remains close to him and his band. Kathy continues to collaborate on music projects and musicals, including works with Holly Doubet and John Vester (This Is NOT A Drill The Musical). Kathy is also a proud mother and grandmother.

Merry Xmas from the Babylons! Kathy Babylon

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Adam Chester
Born in the USA · Pianist and stand-in for Elton John

Adam Chester is a powerhouse pianist and vocalist who serves as Elton John’s official band stand-in, affectionately known as the “Surrogate Elton.” He has performed at rehearsals and select live events, including Elton’s final U.S. Dodger Stadium concert in 2022, Glastonbury Festival 2023, and the 2024 Gershwin Prize ceremony. Chester arranges and conducts choral performances for Elton’s productions. He has collaborated with artists such as Joni Mitchell, Brandi Carlile, Garth Brooks, and Miley Cyrus. Adam began his musical journey at age four and studied at USC’s Thornton School of Music. He continues to perform regularly in Los Angeles and for private events nationwide.

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Kudisan Kai
Born in the USA · Former backing vocalist for Elton John

Kudisan Kai is an accomplished singer who has performed as a backing vocalist for Elton John, Chaka Khan, Anita Baker, Natalie Cole, Jeffrey Osborne, and others. She is currently a session singer for film and television. Kai was a former associate professor at Berklee College of Music and is the author of Memoirs of a Back Up Diva. She hosts her own podcast, Backstories On Kai-Fi, and released a single, Step Into The Light. Kai also runs Vocal Music Evolution, an online forum for singers, vocal contractors, and coaches.

Sending love and good wishes to to everyone on EltonJohnAllSongList as Christmas fast approaches 🍾🍾❤️🍷🎄🎄 I see your light ✨✨✨✨

Kudisan Kai

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Shirley Lewis
Born in London, UK · Backing vocalist for Elton John

Shirley Lewis is a British vocalist known for her work as a backing singer for Elton John and other musical greats, including George Michael and Stevie Wonder. Her voice can be heard on some of George Michael’s biggest hits, including Father Figure and Freedom. Lewis toured with Elton John during his 1985–86 World Tour, including the Australian shows with the Melbourne Symphony Orchestra. She took part in the seven-day The George Michael Singers UK tour in March–April 2025, helping to keep his music alive for fans. Lewis has extensive experience as a studio and stage performer.

Happy Christmas and blessings for the New Year to all The Elton John AllSongs list 🎄 blog 🎄 Shirley Lewis

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Charlie Morgan
Born in the UK · Drummer for Elton John

In 1985, Charlie Morgan’s drumming work with Nik Kershaw attracted the attention of Elton John, who invited him to play on the Ice on Fire album. Later that year, Morgan joined Elton John on stage at Live Aid, beginning a thirteen-year period of recording and touring together. He became a core member of Elton’s band throughout the late 1980s and 1990s. Beyond Elton John, Morgan has worked with artists such as Kate Bush, Paul McCartney, Tina Turner, Cher, and The Moody Blues. He is also the owner of Manicdrums Productions.

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Caleb Quaye
Born in London, UK · Original lead guitarist for Elton John

Starting in 1969, Caleb Quaye played guitar supporting Elton John at live concerts around the London area, in line-ups that later became the nucleus of Hookfoot. This live work continued until Elton formed his original touring band in spring 1970 with Dee Murray and Nigel Olsson. Quaye is best known as Elton John’s original lead guitarist, having played on much of his early recorded work. Beyond Elton John, he built a major career as a session guitarist and producer, collaborating with artists such as Harry Nilsson, The Beach Boys, Joan Baez, Dusty Springfield, Liza Minnelli, Pete Townshend, and Hall & Oates. He remains a highly respected figure in British rock history.

Thank you all for the love and warmth you continue to share — it truly means the world to me. I’m excited to share that my documentary, Louder Than Rock : The Director’s Cut will be released at the end of January, and I hope the music continues to bring you peace, light, and joy.

Caleb Quaye

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Richie Zito
Born in Los Angeles, USA · Guitarist and collaborator with Elton John

Richie Zito is a guitarist, songwriter, composer, and record producer with a career spanning more than 50 years. He has contributed as a session musician to recordings by numerous artists, including Elton John, Neil Sedaka, Diana Ross, Leo Sayer, and Art Garfunkel. Zito has also produced charting singles and worked as a composer for projects such as the 1986 anime film Project A-Ko. He was named Billboard’s Producer of the Year in 1990. Known for his versatile production and guitar work, Zito remains active in music and studio projects today.

Wishing Everyone a Safe, Healthy& Happy Holidays!!!! Richie Zito

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Beyond the Curtains: The Musicians Who Helped Elton John Tell His Story

Half a century has passed since Captain Fantastic and the Brown Dirt Cowboy first arrived, bringing a story of friendship, struggle, and music. When Elton John performed “Curtains” during the 2005 concerts, the big screens behind him filled with names — friends, musicians, collaborators who are no longer with us. Those glowing names weren’t just a tribute; they were a living reminder of the souls who shared his journey, whose music still resonates even in their absence. From that spirit comes this remembrance: a tribute to the musicians who gave shape to two of the most personal works in Elton and Bernie’s career — Captain Fantastic and the Brown Dirt Cowboy (1975) and its natural continuation, The Captain and the Kid (2006). Among all those who played their part, some have passed on, yet their touch remains in every chord, every breath between verses, every lingering echo of “And we’re still standing.”

In 1975, Elton John and Bernie Taupin released Captain Fantastic and the Brown Dirt Cowboy, an album unlike anything they had done before — and, in many ways, unlike anything rock had seen. It was not a collection of singles, but an autobiography set to music. Every lyric and chord was woven from memory, struggle, and triumph. Behind that deeply personal story stood a band that understood Elton’s heart better than anyone else ever could: Elton John on piano and vocals, Davey Johnstone on guitars, Dee Murray on bass, Nigel Olsson on drums, and Ray Cooper on percussion. Together, they had built a chemistry so rare it felt telepathic — the kind of unity that can only grow through years of touring, laughter, exhaustion, and shared discovery. Guiding them all was producer Gus Dudgeon, Elton’s trusted studio architect, whose sense of space and dynamics allowed the music to breathe like a living thing. Orchestral arrangements on “Tell Me When the Whistle Blows” were handled by Gene Page, whose elegant touch added cinematic depth to the album’s sound. Behind the console, Dave Hentschel brought precision and texture, shaping the sonic landscape with an ear finely tuned to Elton’s storytelling.

Today, some of those names belong to history, but their music still vibrates through every groove of the record.

Dee Murray (1946–1992), whose melodic bass lines were as emotional as they were technical, was the quiet anchor of the band, the pulse beneath Elton’s voice. His inventive playing defined the rhythm of Elton’s early work, shaping the character of the songs and leaving a lasting influence on every live performance he graced. He joined Elton John’s band in 1970, making his recorded debut on Tumbleweed Connection. After a hiatus following the band's dissolution in 1975, Murray reunited with Elton in the early 1980s, contributing to albums from Jump Up! (1982) to Breaking Hearts (1984), with his final studio appearance on Reg Strikes Back (1988) providing backing vocals.

Gene Page (1930–1998), arranger and conductor, whose sophisticated orchestrations enriched Elton’s music during the Captain Fantastic era and beyond — including the lush strings of "Philadelphia Freedom." Known for his work with legends from Marvin Gaye to Barry White, Page brought a soulful depth and orchestral precision that perfectly matched Elton’s melodic sensibility, adding a new emotional layer to his sound. His arrangements combined elegance and emotion, giving Elton’s songs a cinematic sweep and a resonance that balanced grandeur with intimacy. Though his direct collaborations with Elton were limited, his orchestral voice continues to resonate through the recordings he touched.

Gus Dudgeon (1942–2002), who produced nearly every classic Elton John album from Your Song to Goodbye Yellow Brick Road, remains a guiding hand through the music. His production choices gave Elton’s songs their cinematic scope, balancing orchestration, dynamics, and vocal clarity in a way that shaped the artist’s signature sound. Dudgeon’s collaboration with Elton began with the self-titled Elton John (1970) and continued through Blue Moves (1976), marking the end of their partnership until it was briefly rekindled for Leather Jackets (1986). Gus became such an integral part of the creative recording process that Elton considered him to be one of the band.

Three decades later, The Captain and the Kid arrived — not as a nostalgic retelling, but as a continuation of the journey. Where Captain Fantastic had captured youth, struggle, and ambition, The Captain and the Kid reflected maturity, endurance, and perspective. The dirt cowboy had grown older, but the fire still burned.

By 2006, the Elton John Band had evolved, yet its spirit remained intact. Elton, Davey Johnstone, and Nigel Olsson were still there — the original heartbeat, still standing shoulder to shoulder. But around them had gathered a new generation of extraordinary musicians who carried the same devotion to the craft: Guy Babylon, on keyboards and orchestral arrangements, and Bob Birch, on bass and harmonies, became essential parts of Elton’s sound from the 1990s onward. Their musicianship bridged eras — Guy’s intricate keyboard layers brought symphonic depth, while Bob’s steady, soulful bass anchored the modern Elton band with grace and humility. The Captain and the Kid ends as it began — with gratitude, with reflection, and with a sense of wonder at the journey itself. For fans who had followed since the first Captain Fantastic, it felt like closing a circle. For the musicians who played on it, it was a celebration of friendship, creativity, and endurance — a reminder that the magic never truly disappears, it just changes hands.

Among the new generation of musicians, two are no longer with us:

Guy Babylon (1956–2009), keyboards and orchestral arrangements, whose touch added shimmering depth to the songs. Guy’s arrangements expanded the sonic palette of Elton’s modern recordings, giving both studio and live performances a rich, orchestral texture that elevated every emotion. He made his debut with Elton on Sleeping with the Past (1989) and remained a central part of the band through The Captain and the Kid (2006), contributing to both the studio albums and the live performances that defined Elton’s modern sound.

Bob Birch (1956–2012), bass and harmonies, whose steady tone anchored the modern Elton sound. Bob’s warm, reliable playing provided continuity across decades, holding the band together and ensuring that Elton’s music retained its rhythmical and harmonic integrity. He joined Elton's band in 1992, making his debut during The One tour, and remained with him until 2012, leaving a lasting imprint on the sound of both studio albums and live performances, his bass lines resonating in every note Elton played.

Decades may separate them, but the bond between these musicians — those still with us and those who have gone — remains unbroken. Their notes still echo whenever Elton sits at the piano and begins to play.

Fifty years after Captain Fantastic and the Brown Dirt Cowboy first told its tale of friendship and survival, the story still feels alive. When the curtain falls now, we remember not only the Captain and the Kid, but those who helped them fly and are no longer with us. Their names — Dee, Gene, Gus, Guy, Bob — are no longer just credits on an album sleeve. They are part of the song itself.

Every time “Curtains” swells toward its final chorus, you can almost see them there: standing in the golden light, smiling, listening, playing one last time. As the lights dim and the names fade from the screen, what remains is the sound — the music that carries their memory forward.

This article is written for them — the ones we have lost, yet whose music still plays on, softly, behind the curtains.

From The Spotlight to Paris: Kudisan Kai’s Artistic Evolution

It’s been a privilege to follow the journey of Natalie Jackson, known to many as Kudisan Kai, over the years. We first connected more than a decade ago, when she was already leaving her mark as a powerful backing vocalist and collaborator with some of music’s greatest names. Later, in 2014, we caught up again as she began carving out her path as Kudisan Kai, stepping into the spotlight as a solo artist, composer, and storyteller. Now, almost ten years later, we reconnect once more. So much has happened since those early conversations: new projects, new stories, and new perspectives. Kudisan Kai’s career has always been defined by passion, resilience, and versatility—whether singing alongside Elton John or Chaka Khan, teaching the next generation of musicians at Berklee College of Music, or sharing her own truth in her book Memoirs of a Back Up Diva.

Now I find you… in Paris!!! A city known for its history, art, and music. How did fate lead you here, and how has living in this luminous city influenced you, both personally and artistically? 

You know, it’s really funny. After returning to Los Angeles in 2014, from teaching at Berklee College of Music in Boston, MA, I thought I would be in LA doing recording sessions and solo projects forever. But, after all of the challenges, specifically, yet another SAG/AFTRA union strike, I decided to dive into other areas of my life that I had passion for. That would be wine. I have always wanted to open a restaurant which included a performance venue. I attached this ‘for-profit’ restaurant concept to a non-profit project I founded called, Transcend Cradle (aka TCLC). It’s a cooperative living/lifestyle community that reacclimates homeless people back into society in an empowering, healthy way through free housing, spa/wellness, and mental health services. As part of learning about the restaurant industry, I decided to study wine. So, I completed my WSET Level 1Wine Certification in 2024. Then, I figured, why not study wine at the source? So, I closed my eyes and took a chance at going Europe. Initially, Dijon, France was my first destination to study at the Burgundy School of Business. But, I flew to Paris first to await word on a wine scholarship and ascertain finances and living quarters in Dijon. I already knew from my travels that European lifestyle suited my spirit. However, I found peace in Paris. Of course, fate stepped in and connected me to some musicians I had actually worked with on a film in the US (an animated film entitled Rugrats: The Movie). I ended up singing, writing music for this friend’s record project, and doing a private gig with Bernard Fowler ( bgv for The Rolling Stones). Who knew?

And how has your creative perspective changed since moving to this city? 

At this point, creatively, I think I can probably do just about anything I want to do. I believe anyone can. The days of feeling you need to be in LA or NYC or London to really make it in the music industry are dwindling. You can do recording sessions for producers from anywhere in the world and just email them the tracks. There are still sessions in those cities, but they are fewer as the years go on. I really want to get into writing music for film and television. I’ve connected with a couple of music supervisors here in Paris. There’s a great probability I will be singing the tracks I write, so my voice will be heard and that’s exciting. The only thing that has changed is that I’m no longer touring on the road as a back up singer. However, I stopped looking in that direction in 2016. It was time to do something different.

Looking back, you’ve collaborated with incredible artists like Elton John, Chaka Khan, and Beck. I’m curious—what have been the most revealing experiences from these collaborations? 

I am always amazed and grateful for my precious time spent working with Chaka and Elton. I learned more from them than any of the other people I ever toured with. You know, their birthdays are two days apart 😉 I realized their impressions through my teaching experience at Berklee. I could see in ‘real time’ how I approached singing and performing on all stages, arenas, and stadiums, watching and hearing my students regurgitate what I would teach them, confirming the validity of what those icons taught me. What can I say, I learned from the best. They both LOVE what they do and are secure in themselves as artists. They don’t second guess. Brilliant at what they do and they know it. And yes, they are both extremely witty, hilarious, quite intelligent, probably having a high IQ.

As you’ve grown as an artist, how would you describe the evolution of your sound from your early days as a backing vocalist to the music you create today? 

It took me a long time to realize my insecurities and to be confident in my singing voice. For many years, I spent time trying to be the best I could be at whatever people wanted. I wanted to do my best job at whatever the genre, whatever the sound I was asked to make. I worked hard and think I did rise to the occasion. I give all thanks to a narcissistic mother for this. It was all about feel I needed to be perfect and making her happy. I realize now that I missed out on a lot of fun and just enjoying singing. I appreciate and accept my sound which is rooted in classical training. It colors my tone. Also, I recognize that being raised in Memphis, TN influenced me as a soul/funk singer. I love myself as a human now more than ever, so I sing with a new level of trust and freedom, and vulnerability, and self-love. The backing vocalist jobs allowed me the space and time to sing EVERYTHING. So, I know what feels good in my voice. I know what vocal qualities I have and how to exploit them. I’m ok with me vocally. I am happy and I really enjoy singing songs I am emotionally connected to ♥ 

Your songs, such as “Transcend” and “Portrait,” explore very personal and profound themes. Can you tell me about your creative process when working on pieces with such powerful messages? 

Whew! Now that’s a loaded question! That time and those two songs which are from my EP Transcend, were written after my divorce. They are filled to the top with angst, despair, sadness, tinged with a few teaspoons of determination. At the time, I wanted to really sing more in my alternative rock genre, I was still teaching at Berklee and wanted to find a way towards solo performing. I felt a bit suffocated with it all. I feel that the energy that was felt from hearing me sing at that point, might have been interpreted as unsettling. Sometimes, that can work because it can be palpable. Sometimes, it can come off as freeing but unfocused. I don’t know. You would have to ask a listener. My process simply is to be honest. Good, bad, or indifferent, that’s honestly where my head was at the time. Hey, it was the truth.

You also have a strong classical background. How do you bring those elements into your contemporary style while still maintaining your unique musical identity? 

For a long time, once I decided that alternative rock was my genre, my passion, I was upset that I could not find my ‘natural’ voice. I feared the vocal training had destroyed it. What could I do? I had been classically trained since the age of 10. What I came to realize was, the training had created a color/texture/ buttery quality to my tone which affected everything I sang. THAT quality became my DNA. That quality is what shaped and formed my brand of alternative rock. All I had to do was to be honest in my intentions and just allow my personal experiences to speak through my instrument. That’s it. So, now I am grateful for my training. It is part of the shaping of my unique musical identity. I accept it.

Shifting a bit, as a former professor at Berklee College of Music, what lessons do you consider essential for emerging musicians today? 

Be a master at whatever you do. Once you figure out your passion, learn it, know it inside out and around. Live and breathe it so that when you get up in front of people to express your story through your instrument, you can be 100% open and vulnerable as you channel/perform. That’s where the magic is. That’s what the audience want to experience. The magic.

And looking at the broader picture, as an educator and artist with a solid classical foundation and experience in diverse genres, how do you view the current musical landscape, especially with new trends like reggaeton dominating young audiences’ tastes? 

I love the beat. I love the groove. It’s popular music. It’s an escape. I don’t know exactly what they are saying. I hope it’s positive. Popular music has always had its place in every society. People need a release. People need something to escape to. The world is going through a traumatic change right now, so today’s pop music can be a welcome break. What’s also happening is that this world of decadence and obsession with material things is coming to a boiling point. I feel it’s about to end. Money can’t make you happy. Even with all of the hate that infiltrates social media, I feel it is a sign of people feeling unheard and in total fear of the changes that are happening on the planet, so they are lashing out. It’s incredible to watch. However, I am a believer that love will always win in the end. The pendulum is swinging far, far to one ugly, murderous, hateful side, but hey. This only creates an incredible momentum in the other direction. As artists who write and perform the music that will tell that story? It will be heard. Society will need to hear it. Society will beg for it to be heard.

Throughout your career, you have been an advocate for African American women in rock. How do you see the evolution of this movement, and what steps still need to be taken to solidify it?

I think we are finally over placing a color on every freaking thing. Thank God for the racial mixing and yes, I contributed to that ♥. My daughter is bi-racial. I did get caught up in that conversation and felt a need to be heard as a black woman who knows the history of the music and wanted to be a recognized part of it. People in the US are so racially separated. At this point in life, I see people as all being the same. We are spiritual beings in a fat suit. Period. If you still want to acknowledge different, then we are all members of one race. The human race. The people who are fighting to maintain separation are wasting their breath. Their killing, fighting, and hurting others because they are different, will only wreak havoc on themselves.

Your book, Memoirs of a Back Up Diva, offers a very intimate look at your career. Which parts of your story do you consider most significant or important to share? 

I started out writing it as a guide on how I got started in the music business. Everyone at Berklee College would ask me that question. It turned out to basically be a ‘day in the life of a singer’, which I thought my experience was unique and not so extraordinary at the same time. What it became, was a story of how I was trying to re-invent my career in a new music world order with the challenges of homelessness. It became a story of resilience even in the face of still working as a back up singer on f ilm, television, and on the road (at that time, I was with Chaka Khan). I think finding the strength, the resilience from day to day, became the most significant part. The stories of being on the road became entertaining. The resilience in the face of homelessness became the lesson.

Is there an anecdote or reflection, however small, that you find particularly meaningful in your artistic journey? 

I’m still on the journey. It never goes away and I never give up. It takes a different shape and goes down a different path each moment, each day. I took acting lessons during COVID and continued them later. I started painting abstract watercolors a few years ago and have sold a few. I’m amazed at how my artistic journey expands. It’s like a box of chocolates. You never know what you’re going to get ☺

Looking ahead, what projects are you currently working on? Is there a new direction or collaboration that excites you? 

My last collaboration was a Christmas duet with the Goo Goo Dolls a couple of Christmas’s ago. No other collaborations right now. I am hoping to get the call to write for a film at some point. I did get asked by someone in the US to do some writing for a tv series, but that’s still in the works. I am still hoping to get my WSET Level 2 Wine certification. I’m awaiting word on exactly where I will do it now. I have decided not to go to Dijon. I may do it here in Paris or I may do it in the South of France. I’ve been considering moving there. I really miss the ocean. I’ve been writing music in what people are calling alternative indie (Teddy Swims, Yebba, Shaed, Moses Sumney). I’m thinking my solo work will probably come out of writing and performing this genre on film/tv. I’m writing a second book now, which should be the ‘epilogue’ to my previous book (Memoirs Of A Back Up Diva) now that my life has found its happy ending here in Europe. Finally, I am promoting my online vocal performance masterclass right now called, In The Spotlight: Vocal Performance Mastery. It’s on Patreon now. It’s for professional singers who are ready establish their brand to secure their audience via masterful performances.

And finally, what advice would you give to young artists who want to follow in your footsteps and make their mark in the music industry today? 

Follow your heart/passion/bliss. Do what FEELS GOOD. The world will seek and find you. Be ready.

Through this conversation, we gain insight not only into Natalie “Kudisan” Kai’s artistic journey but also into her vision of resilience, education, and life itself. From Paris, surrounded by memories of historic collaborations and new creative ventures, she leaves us with a clear message: passion, perseverance, and authenticity are what truly define an artist — no matter how the musical landscape shifts or which trends come and go. To dive deeper into her journey, readers can discover her memoir Memoirs Of a Back Up Diva or join her vocal training program In the Spotlight: Vocal Performance Mastery. We sincerely thank Kudisan for your time and generosity in sharing your journey, and I wish you continued success and inspiration in all your creative endeavors.

Pictures Courtesy Of Kudisan Kai

The Unfinished Interview With A Genious Man: Paul Buckmaster

It was in 2009 when I first got in touch with Paul Buckmaster. Back then, I was publishing in this blogsite, AllSongsList, the interview with the idols series. Former and current musicians were guests on the blogsite, dedicating a week or a weekend to them. For one of those sessions, I could remember it was about the most famous trio of backing vocalists Elton ever had, I asked Buckmaster to send me some words to Mortonette Jenkins (now Stephens). To be honest, I thought it would be no answer in reply, but I was wrong. Kindly and friendly, he sent me those beautiful words about her: "I hope you will forgive the brevity of this reply, as I’m in hard deadline workmode, but I’m delighted to offer these thoughts about Mortonette: It is one of the sweet and beautiful blessings in my life to have met, and gotten to know Mortonette Jenkins, not only as a supremely talented, experienced, and professionally competent vocalist, who has been endowed by heaven with a most richly beautiful singing voice, but as one of my dearest and special friends. Mortonette has also been somewhat of a spiritual guide for me, a friendly help, who, because of her commitment to truth, beauty, and intelligence, has and continues to be one of those friends who helps us on life’s path, to a deeper understanding and experience of freedom and precious liberty. There’s a line from one of Sting’s songs with which I cannot but agree: If you love someone, set them free ... But then, on the other hand, what sweeter bonds can there be than true friendship, or true love ... Or better still, that transcending devotion to the cultivation of a redeeming good will, for all mankind? In short, I love Mortonette!". He was so pleased with the end result, and we began to chat. He was particularly interested about an article I made about him, and send me "some inaccuracies in the biography, and some omissions in the discography and filmography". We did it. And after that, I asked him about doing an interview with him, and for my surprising, he accepted: "Miquel, I’ve been to your site (below) and it’s great.  Love it. Will try to find time to complete interview. Pb". 

So, unbelievable, but I had Paul Buckmaster ready to answer my interview. I remember at the beginning, when I first thought about who I would love to interview, in the top of my wish list was him. Paul Buckmaster for me is the greatest arranger modern music has ever given. And without doubt, Elton's and Bernie's songs are embellished by his touches: "Elton John", "Tumbleweed Connection", "Friends", "Madman Across The Water", "Don't Shoot Me! I'm Only The Piano Player", "Blue Moves", "A Single Man",  "Made In England" and "Songs From The West Coast", a wide collection of masterpieces has his credits as arranger, conductor, composer, cello soloist, orchestral arrangements, horn and brass arrangements. There were a lot of questions in mind to ask him, couldn't miss that chance. So I began to work on it, exchanging thoughts with him, until we completed the questionnaire.

That was in march 2009. Paul was very busy these days and was so hard to find a place and a moment to do that so: "My work-schedule continues to be very full right now, but I would much like to do the interview. It would be great if you can email your questions, and I will find time to type in my answers". That was so understandable, and honestly it took time to cover the first part of the interview. Thanks to his efforts, Paul sent the first row of answers, on Christmas 2011, as a kind of gift: "I’ve just spent the last three hours adding to the interview; my answers are in depth and quite detailed — they’ll be useful for when I publish my memoirs haha!". Always kind, always gentle, we get in touch so many more times. Unfortunetely, he did not finished the interview, he died on November 7, 2017. I was very upset about his death. The ones that you considered idols they should not die. Well, in fact, they don't die, his music still alives and surpassed them. But I had this unfinished interview on my hands, and I thought that I had to put that out someday, as Paul wanted and asked. To be honest, I always thought that maybe sometime we could have time to finishing, but then again no. Paul gave me his permission to put that out, so, why not.

In my regards, his wishings when I had my baby Júlia, his christmas wishes, his friendly words, ... he was a very special person. Some questions won't be answered anymore: his thoughts about young Elton, the Elton John and Madman sessions, the Reggie little moments, Bernie and Gus Dudgeon, Elton's sound, Friends soundtrack, outtakes like "America", "Hell" and "Finger tips", his collaborations with artists like Rolling Stones or David Bowie or Taylor Swift, and his contributions to films like 12 Monkeys, Midnight Crossing or The Spy Who Loved Me. So, in his beautiful memory, this is what we did...

The Unfinished Interview, by Jack Rabbit:

You showed natural music aptitude at an early age, taking up the cello at four years old, winning prizes for your musicianship at six... When did you decide to became a professional musician?

I guess I knew was always going to be a musician; there was never a “moment” in which I “decided” to “become” a musician

You won a scholarship at age eleven to the Royal Academy Of Music, London, precisely like young Elton, more or less, in the same period. What do you remember of your school days? Did you meet Elton in the academy; do you remember anything about him, then?

The information in the above question is inaccurate, Miquel; unfortunately, there are a number of sites out there which have published a lot of inaccuracies. My mother — who was born and raised in Naples, Italy, and who studied music and graduated in piano there at the Conservatory of San Pietro a Majella — was my first music teacher, and when I was ten years old, she brought me to Naples for a three-month trial period attending Maestro Guglielmo La Volpe’s cello class.  At the end of that period, we returned to London, and a week later my mother received a letter from the principal of the Conservatorio stating that I had been accepted for a four-year Italian State scholarship.

For the next four years, 1958-1962, I traveled alone and lived in Naples for eight months of each year (October-June), at a students’ hostel, and attended classes at the Conservatorio.  My principal class was cello, with music theory classes with Maestro Ernesto Arnese, and piano classes with Maestro Sergio Fiorentino.  I was also obliged to attend classes in Italian language and literature, history and geography.  The rest of the time in England was spent catching up with my London high-school courses; all was OK, except I could never catch up in maths ...

(During my period at Naples, I “discovered” Jazz, and over the following years became an avid fan ...)

Upon my return to England in 1962, I was obliged to complete my high-school course, and graduated in June 1963.  It this point, it was determined, between me and my parents, that it would be more economically feasible for me to apply for a scholarship at the Royal Academy Of Music, London, which I did, and consequently, auditioned, was accepted, obtained a state scholarship, and began, in September 1963, my full-time four-year period there as a cello student, first with Professor Muriel Taylor, and later with Professor Vivian Joseph.  I also attended harmony classes with Prof. Hugh Marchant.  I never imagined that I would work as an arranger or a composer, thus, did not attend any composition or orchestration classes.

During those four years, I continued to develop my interest in Jazz, and began to discover that I could understand modern music better, and thus became a fan of much that had developed “Post-Vienna” ...

But my abiding passion had always been the music of the late high renaissance, and that of the first classicists J.S. Bach and his contemporaries (Handel, Telemann, Vivaldi, Corelli, et al — but especially Bach!), and as a result, I was very fortunate to play in several excellent semi-pro chamber orchestras specializing in this music.  These orchestras never comprised more than twenty members, and more usually around sixteen.  Playing this music, in such small groups, was one of the deepest joys of my life.

In June 1967 I graduated from the RAM with a Performer’s Diploma, and over the next three months applied to audition with several “baroque” chamber groups.  The first reply I received was an invitation to travel to Tours, France, to audition with a small group based in a chateau in that area, and the day after I received the letter of invitation, took my first flight to Paris (in an Air France Caravelle), then train to Tours, where I was met by the secretary of the orchestra, and driven to the chateau, where I spent the next two days playing for the principal players and management.

Unfortunately, I did not fulfil their requirements, but later, I speculated briefly how my life would have developed had I joined that ensemble!

What was your first job in music? You began playing on bands like “Third Ear Band”, “Suntreader” and “Nucleus” , which music did you featured with those groups?

My first paid gig was while I was a student at the Conservatorio San Pietro a Majella, Napoli, Italy, in June 1961.  I was engaged to play in a twenty-one-piece chamber group, plus sixteen-voice choir, on the occasion of a wedding in the Basilica at Pompeii.  We played all the liturgical music, that is, the Solemn Nuptial High Mass, which was mostly music by Giovanni P. da Palestrina, Tomas L. de Victoria, and after the Mass, we played at the reception, mostly love-madrigals and dance-movements by composers of the same period.  It was really very beautiful to be able to play that music.

Later, during my studentship at the RAM, I played in several semi-pro chamber orchestras, which was great fun, or should I say, of deep joy ... That’s fun, but on a transcendental level.

While I was at the RAM, during my first year there, 1963, I auditioned to play piano, Hohner Pianet, and Farfisa Compact in a five-piece R&B/rock group, which was based in West London. It was called “U.S. Five”, partly on account of that we were playing a lot of U.S Air Force bases!  I answered an ad in Melody Maker, the weekly Jazz and pop newspaper, and was accepted, and played with them for the next two years.  The interesting thing is, that I was able to convince the authorities at the RAM to hire us to play at the New Students’ Ball, October 1963, which we did, making us the first rock’n’roll band to ever play in that venerable institution.

I left them nearly two years later, to spend more time focussed on the chamber-group work I was doing, and introduced the band to my fellow-student and friend the brilliant pianist/organist, and now, composer, J. Peter Robinson, who very competently took over the position of keyboardist in U.S. Five!

It wasn’t until after I’d graduated with my LRAM diploma and left the Academy, in late 1967, that a series of “chance” events and meetings eventually led to my working in the field of “rock”.  I didn’t “choose” rock; you could easily say that “rock” “chose” me!

No, it was a series of apparently chance encounters, and necessity, which led me to start working as an arranger for pop and rock artists, and others.

(...)

In the loving memory of an unforgettable man and a finest musician, Paul Buckmaster, with all of my Love

Official Website

Please use the link below to send thoughts and memories of Paul and his work, if you would like to be included on his memorial page

Unforgettable People (LII): Martin Tillman

"On the show, a very special guest. From Zurich, Switzerland. On cello, an incredible musician... Mr. Martin Tillman!!!" Elton proudly said on the 60th Anniversary special concert. Davey Johnstone explained he met Tillman "working on a movie score (An Everlasting Piece movie, by Barry Levinson) with Hans Zimmer in 2000, I used him (Martin) on Elton's 60th at MSG, on Nigel Olsson's solo japanese album that I produced with Guy Babylon" while adding "He is a dear friend and amazing musician". No discussion. In fact, this talented musician is considered the creator of a revolutionary sound by extending the traditional boundaries of the cello. He has also established himself in the motion picture and recording world as one of the most sought after talents of experimental acoustic and electric cello. Tillman, also has credits on "Peachtree Road", Elton's 2004 self produced album.

"To be asked to be a special musical guest for his 60ties birthday was incredible. Madison gardens was an unforgettable moment" reminds Tillman. Sure it was. Since arriving in US in 1988, he developed his studies with the internationally celebrated cellist, Lynn Harrell, receiving his Masters Degree in Performance from the University of Southern California, in 1989. Harrell, for the ones doesn't know, is one of the world's finest cellists, a live legend at the Aspen Music Festival, where he has spent his summers performing and teaching for nearly 50 years. He is also the recipient of numerous awards including the Piatigorsky Award, and the Ford Foundation Concert Artists' Award. "He was the best teacher with the the most amazing sound!" added Tillman.

In his career, Tillman has collaborated with other rellevant and well known musicians related to Elton: James Newton-Howard and Hans Zimmer. Precisely, about his skills, Zimmer explained the challenge, for the soundtrack "The Dark Knight", to represent The Joker character by an only single note played on the cello: "You know within one note that it’s him. I really wanted to do the whole thing just with one note". Only one could get it: Martin Tillman, the one "who’s studied his whole life to make a gorgeous sound out of the cello". This is one of the most fruitful collaborations started when he recorded with Hans Zimmer on the Tony Scott movie The Fan. Since then, Tillman has been given the chance to compose and perform for scores such as the last three Batman movies, Total Recall, Bullet to the Head, The Oscars 2012, Life in a Day, Cowboys and Aliens, Angels and Demons, Prince of Persia, Pirates of the Caribbean 1-4, Black Hawk Down, Da Vinci code, The Pledge, Everlasting Piece, Mission Impossible 2, Hannibal, The Ring parts one and two… the list is endless.

"Martin Tillman is quite simply the most gifted musician I have ever had the privileged to record with. In our recordings his extraordinary performances elevated my music I only heard in my dreams..." explained to AllSongsList the greatest Michael Hoppe when he was asked to collaborate on the Weekend.  Tillman performed cello solos on The Poet, composed by Michael Hoppe, and Afterglow composed and performed by Michael Hoppe, Tim Wheater, plus Tillman. "Martin is in a class by himself" concludes. Also Adam Chester agreed to collaborate on the weekend, explaining: "He's a joy to work with. We've done some composing in the studio for a movie that didn't come to be. But the music we wrote is very special and I hope to find a home for it one day", and adds near this: "Well, If I may paraphrase a lyric from a song by America, "No Oz never did give nothing to Mar-tin man, that he didn't, didn't already have." Martin is a not only a whiz at playing cello. He's a beautiful soul who's cello merely manifests what he feels inside. Does that make sense? Corny, I'm sure, but I love that guy. I love Eva too!" The wonderful Eva Tillman, apart from being Martin's wife, helps on the website and social networks.

Tillman has been invited to perform with many renowned recording artists including, apart from Elton John, Sting, T Bone Burnett, Alison Krauss, Elvis Costello, Beck, BB King, Air Supply and Tracy Chapman, among many others. Asking about Elton, he says: "I had several chances to meet him (Elton). In the studio recording strings .... I believe it was in Hollywood. I am surprised at his incredible power on stage ..... unstoppable". Oh, and if you had to choose one of Elton's songs, what do you said? My favourite Elton's track? "Levon".

Davey Johnstone, Elton's guitarrist and musical director, remarks "Martin is a phenomenal player and a very spiritual guy" while explaining they met each other "We had lunch in Malibu a few weeks ago and he gave me a few CDs of Superhuman. It's rocking!". Tillman has been focusing his creative energy on his own compositions and recording projects, and the result is his last cd, Superhuman, dedicated to Eva "to the love of my life". Previous albums by Martin Tillman were Eastern Twin (Rounders) and Cinematic Volunteer composed and produced by Martin Tillman and Tom Vedvik. His previous solo Cd was a very well received solo cello/piano album “A Year in Zurich” in where he both performs cello and piano.

Currently, he is planning some fun shows next year, in Europe, with the Superhuman Band, 30 cellos, and a multimedia show with a ballerina and a breakdancer. Other formats of the show are available with just a five piece rock band, with the inclusion of beautiful soul voices and dancers or solo with a DJ, for all kind of venues. Entertainment is guaranteed.

More info:

official website www.martintillmanmusic.com
on twitter @martincello
on instagram martin_tillman
on facebook martintillmanmusic

Special agreement to Adam Chester and Michael Hoppe who agreed to collaborate on the weekend. Yours are very touchful words for a genious we all love. Thanks for being here (Miquel)

Credits:
Photo by Dennis Mukai
Also:http://www.kcrw.com/music/shows/morning-becomes-eclectic/hans-zimmer-and-james-newton-howard