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Only through sheer ambition did I end up playing on [Bob Dylan sessions] and the fact that I could do that is a testament to how disorganized it really was.

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Tom Wilson had produced jazz records and was a Harvard educated.
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If you’d done a good job you’d just step back and let all these different chemistries interact and let it go.
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You couldn’t help being influenced by Dylan.
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Producing Bob Dylan was pretty much a spectator sport.
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The [Bob] Dylan sessions were very disorganized, to say the least. I mean, the “Like A Rolling Stone” session I was invited by the producer to watch.
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In the, uh, ’30s and ’40s, the Brill Building was the hub of, uh, musical activity in Tin Pan Alley in New York City.
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So I would come in on the upbeat of one. I would wait until the band played the chord, and then as quickly as I could come in play the chord.
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And he was about my age, and he just, that finished off my guitar career, just like that, in one afternoon.
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The very funny thing about “Like A Rolling Stone” is it was a six minute song, there was no music to read from. And there I was playing this unfamiliar instrument.
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I don’t care, turn the organ up, and that’s really how I became an organ player.
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Musically Bob [Dylan] is a primitive. He’s not a Gershwin, or somebody that uses eloquent music terms.
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Mike Bloomfield sat down and started playing, and I went, whoa! Because I had never heard any white person play like that before.
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I started in the music business I was first introduced to 1650 Broadway, uh, which was in reality where everything happened in the ’60s.
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Finally a breath of fresh words founded in hardcore, intelligent research.
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Only through sheer ambition did I end up playing on [Bob Dylan sessions] and the fact that I could do that is a testament to how disorganized it really was.
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