músico de sesión

Durante las décadas de 1950 y 1960, los músicos de sesión solían estar activos en las escenas de grabación locales, concentradas en lugares como Los Ángeles , Nueva York , Nashville , Memphis , Detroit y Muscle Shoals . ^{[ 5 ] [ 6 ] [ 7 ]} Cada escena local tenía su círculo de músicos de sesión de primera categoría, como The Nashville A-Team , que tocó en numerosos éxitos de country y rock de la época; los dos grupos de músicos de Memphis, tanto los Memphis Boys como los músicos que acompañaron las grabaciones de Stax/Volt ; y los Funk Brothers de Detroit, que tocaron en muchas grabaciones de Motown . ^{[ 6 ]}

En ese momento, el equipo de grabación multipista, aunque común, era menos sofisticado, y las pistas instrumentales de acompañamiento a menudo se grababan "en caliente" con un conjunto tocando en vivo en el estudio. ^{[ 8 ]} Los músicos debían estar disponibles "de guardia" cuando los productores necesitaban una parte para llenar un espacio de tiempo de último minuto. ^{[ 9 ]} En la década de 1960, Los Ángeles era considerado el principal destino de grabación en los Estados Unidos; en consecuencia, los estudios estaban constantemente reservados las 24 horas del día, y el tiempo de sesión era muy solicitado y costoso. ^{[ 10 ]} Las canciones debían grabarse rápidamente en la menor cantidad de tomas posible. ^{[ 11 ]} En este entorno, los productores y ejecutivos discográficos de Los Ángeles tenían poca paciencia para los gastos innecesarios o el tiempo perdido y dependían del servicio de músicos de reserva confiables con los que se podía contar para grabar en una variedad de estilos con un mínimo de práctica o tomas, y entregar éxitos en poco tiempo. ^{[ 9 ] [ 12 ]}

• El equipo A de Nashville (Nashville, décadas de 1950 y 1960)

Músicos de estudio que grabaron durante la era del sonido de Nashville . Sus contribuciones comenzaron en la década de 1950 con artistas como Elvis Presley . El A-Team original incluía al bajista Bob Moore ; los guitarristas Grady Martin , Hank Garland , Ray Edenton y Harold Bradley ; el baterista Buddy Harman ; los pianistas Floyd Cramer y Hargus "Pig" Robbins ; el violinista Tommy Jackson ; el guitarrista de steel guitar Pete Drake ; el armonicista Charlie McCoy ; el saxofonista Boots Randolph ; y los grupos vocales The Jordanaires y The Anita Kerr Singers . Cramer, McCoy y Randolph, junto con el posterior miembro del A-Team y productor Chet Atkins , aparecerían más tarde como parte de la Million Dollar Band de Hee Haw en la década de 1980.

• The Brill Building Sound (New York City, 1960s)

A collection of musicians based at the Brill Building at 1619 Broadway and the Aldon Music Allegro Studios at 1650 Broadway. The two locations were already producing popular music in the 1940s as Tin Pan Alley had been waning; it was in the late 1950s and early 1960s that a distinct Brill Building sound began to coalesce, which backed musicians such as The Four Seasons, Neil Sedaka, Bobby Darin,^[13] and the early girl groups associated with Phil Spector, who later built upon his work at the Brill Building into his more famous Wall of Sound.^[14] Many of the Brill Building studio musicians were themselves recording artists and songwriters.

• Booker T. & the M.G.'s (Memphis, 1960s–1970s)

The house band at Stax records in Memphis during the 1960s and 1970s, playing behind Otis Redding, Eddie Floyd, Sam and Dave, Isaac Hayes, The Staple Singers, and others. M.G.'s guitarist Steve Cropper co-wrote many of Redding's hits, and the M.G.'s produced albums and hit singles such as "Green Onions" in their own right while being the house band at Stax.

• The Wrecking Crew (Los Angeles, 1960s–1970s)

Prolific, established studio musicians based in Los Angeles, among which bassist Carol Kaye stands out as one of the rare female instrumentalists. They have recorded many songs and albums since the 1960s.

• The Ron Hicklin Singers (Los Angeles, 1960s-1980s)

A vocal session group closely associated with the Wrecking Crew and appeared as backing vocalists on many of the Crew's recordings, including T.V. and movie themes and radio and television commercials.

• The Blossoms (Los Angeles, 1950s-1970s)

An all-female vocal group featuring Darlene Love, which was closely associated with the Wrecking Crew and with Phil Spector, appeared as backing vocalists on many of their recordings. From 1964 to 1966, they were featured vocalists on the weekly rock' n' roll television program Shindig!

• The Funk Brothers (Detroit, 1960s–1970s)

Session musicians who backed many Motown Records recordings from the late 1950s to the early 1970s as well as a few non-Motown recordings, notably on Jackie Wilson's "(Your Love Keeps Lifting Me) Higher and Higher".

• The Andantes (Detroit, 1960s-1970s)

An all-female trio of backing vocalists who backed many Motown Records artists from the late 1950s to the early 1970s as well as a few non-Motown artists, including Jackie Wilson, Betty Everett, and John Lee Hooker. Closely associated with the Funk Brothers.

• The Memphis Boys (Memphis, 1960s)

Session musicians who served as American Sound Studio's house band. They backed such artists as Aretha Franklin, Elvis Presley, Wilson Pickett, Joe Tex, Neil Diamond, and Dusty Springfield, among others.

• The Section (Los Angeles, 1960s–1970s)

A Los Angeles singer/songwriter scene associated with the Troubadour nightclub and Laurel Canyon in the late 1960s to mid-1970s was supported by musicians Russ Kunkel, Danny Kortchmar, Leland Sklar and Craig Doerge. This session combo, nicknamed "the Section" or "the Mafia," backed many musicians, among others: Carole King, James Taylor, Jackson Browne, Warren Zevon, Kris Kristofferson and David Crosby.

• The Muscle Shoals Rhythm Section (Memphis, 1960s)

A group comprising Barry Beckett, Roger Hawkins, David Hood, and Jimmy Johnson, also known as the Swampers, became known for the "Muscle Shoals Sound." Many of the recordings done in the Memphis area, which included Muscle Shoals, Alabama, used The Memphis Horns in their arrangements.

• MFSB (Philadelphia, 1970s)

MFSB ("Mother Father Sister Brother") was a group of soul music studio musicians based in Philadelphia at the Sigma Sound Studios; they later went on to become a name-brand instrumental group, and their best-known hit was "TSOP (The Sound of Philadelphia)," better known as the theme from Soul Train.

• Los cantantes de la ladera (años 70)

Un grupo vocal comisionado para proporcionar voces para Mayoham Music, formado por el matrimonio Al Ham y Mary Mayo (esta última también era miembro del grupo). El grupo es más conocido por sus jingles y temas de noticias de televisión. " I'd Like to Teach the World to Sing (In Perfect Harmony) ", compuesto originalmente como un jingle para Coca-Cola , se convirtió en un éxito inesperado y dio origen al nombre del grupo, ya que el comercial de Coca-Cola mostraba a cantantes en una ladera. The New Seekers tendrían un éxito aún mayor con la misma canción. Su tema de noticias más conocido fue " Move Closer to Your World ", asociado con el formato de noticias locales Action News de Capital Cities Communications .

• Orquesta Salsoul (Nueva York, décadas de 1970 y 1980)

Músicos de sesión que participaron en numerosas grabaciones de Salsoul Records entre 1974 y 1982. Bajo su propio nombre, grabaron y publicaron varios sencillos y álbumes de éxito entre 1975 y 1982.

• Compass Point All Stars (Nassau, décadas de 1970 y 1980)

Músicos de sesión que formaban parte de la banda residente de Compass Point Studios .