jerry wexler in 1979
He was the producer and record mogul who first coined the term “rhythm and blues.” But as a true soul music stylist, Jerry Wexler needed no words. Admittedly, one might think he did, considering he was once a journalist. But as a defining force in bringing soul music to mainstream America, Wexler spoke volumes upon volumes, primarily as a producer, without opening his mouth or playing a note on a record.
Wexler died yesterday the age of 91.
As co-chieftain of Atlantic Records during its 50s and 60s heyday, he helped establish – and, in several cases, re-establish – the music of Aretha Franklin, Ray Charles, Wilson Pickett, Solomon Burke, Booker T. and MGs and many others. He went on to work both sides of the color barrier, whether it was with Dusty Springfield on her fabled 1969 album Dusty in Memphis or with such New Orleans pioneers as Professor Longhair and Dr. John.
And then there was this curious footnote to a work life surrounded by soul music: Wexler is credited for signing a then-unknown Led Zeppelin to Atlantic in 1968.
For an extraordinarily insightful look at Wexler’s remarkable rock and soul life, keep an eye out Tom Thurman’s documentary Immaculate Funk, which has aired many times on KET. But for a big spicy slab of Wexler’s intellect at work, check out Franklin’s Live at Fillmore West.
The 1971 album is remarkable not only because it presents the Queen of Soul at one of the artistic apexes of her career (when her soul-savvy music began to echo the social restlessness of the early ‘70s); or because it highlights an extraordinary band led by the late, great soul sax man King Curtis; or because it sports a still-thrilling cameo by Charles on Spirit in the Dark.
No, Fillmore West works Wexler skillfully captures an event, the soul sound of a moment. He was masterful at piecing together artful R&B, layer by layer, in the recording studio. But Fillmore West was a masterwork. It chronicled more that creation of art. It presents for posterity, the eruption of a soul volcano.
I am a native Kentuckian and freelance journalist who has been writing about contemporary music for the Lexington Herald-Leader since 1980. I have not a lick of honest musical talent myself, just a pair of appreciative ears for jazz, folk, blues, bluegrass, Americana, soul, Celtic, Cajun, chamber, worldbeat, nearly every form of rock 'n' roll imaginable and, when pressed, the occasional tango and polka.