Keith Gemmell, born on February 15, 1948, in Hackney, London, carved out a unique niche in the world of saxophone playing, influencing the genres of jazz, rock, and blues throughout his life. As a versatile musician, Gemmell’s career spanned decades, and he became best known for his work with the art rock band Audience, as well as his significant contributions as a musical arranger, composer, and author. His legacy is one that resonates with musicians and saxophone enthusiasts alike, celebrated for both his technical prowess and creative innovation.
Early Life and Musical Influences
Gemmell’s musical journey began at the tender age of 13 when he picked up the recorder, but his destiny as a saxophonist was sealed after he was captivated by the sounds of Acker Bilk’s “Stranger on the Shore.” Bilk’s emotive clarinet work ignited Gemmell’s passion for woodwind instruments, leading him to take up the clarinet before eventually transitioning to the saxophone.
Gemmell was deeply influenced by the British trad jazz bands of his youth, with icons like Acker Bilk, Kenny Ball, and Chris Barber shaping his early musical tastes. However, his direction shifted as he grew older, with the emergence of rhythm and blues bands like Georgie Fame and the Blue Flames, Sounds Incorporated, and The Mar-Keys. These bands inspired him to pursue the saxophone with vigor, and by the age of 17, Gemmell had turned professional, joining The Noblemen, a Bognor Regis-based band.
His time with The Noblemen was formative, involving extensive tours across Europe, performing in clubs, U.S. military bases, and notable venues like the Piper Club in Rome. This exposure not only honed his skills but also broadened his musical perspective, laying the foundation for his future endeavors in the music industry.
The Rise of Audience
In 1969, Gemmell joined the band that would define much of his career—Audience. The band had an unconventional lineup for the time, including Gemmell’s tenor sax, which often doubled on clarinet and flute, alongside electric acoustic guitar, drums, and bass. Notably, Audience did not have a traditional lead guitarist; instead, Gemmell’s saxophone took on a pivotal role in the band’s sound, often utilizing echo loops and a wah-wah pedal to create effects typically associated with electric guitars.
Audience’s innovative sound quickly gained attention, leading to a series of successful albums including Audience (1969), Friend’s Friend’s Friend (1970), The House on the Hill (1971), and Lunch (1972). These albums, particularly The House on the Hill, are still celebrated for their inventive blend of progressive rock, jazz, and blues elements, with Gemmell’s saxophone work often at the forefront.
Post-Audience Ventures: Sammy, Stackridge, and the Roy Young Band
After Audience disbanded in 1972, Gemmell continued to explore new musical landscapes. He briefly joined the band Sammy, formed by Mick Underwood, which produced one album under the guidance of Ian Gillan of Deep Purple fame. Although Sammy’s lifespan was short-lived, it allowed Gemmell to further experiment with his sound and composition techniques.
Following Sammy’s dissolution, Gemmell joined the Roy Young Band, where he had the opportunity to perform alongside Eddie Thornton, a trumpet player he had long admired from his teenage years. This collaboration opened doors to the vibrant reggae scene of the 1970s, where Gemmell played with Jamaican trombonist Rico Rodriguez and participated in numerous reggae sessions. These experiences enriched his versatility as a musician, exposing him to different styles and rhythms that would influence his later works.
Gemmell’s next significant venture was with the band Stackridge, known for their quirky, eclectic music that blended elements of rock, folk, and classical music. Gemmell’s saxophone and clarinet contributions were integral to albums like Extravaganza (1974), Pinafore Days (1974, U.S. release only), and Mr. Mick (1976). His time with Stackridge solidified his reputation as a creative force capable of transcending traditional genre boundaries.
Transition to a Freelance Career
After the breakup of Stackridge in 1976, Gemmell shifted gears, stepping away from the rock band scene to focus on refining his skills as a clarinetist under the tutelage of Professor Richard Addison, the principal clarinetist with the Royal Philharmonic Orchestra. This period of intense study marked a turning point in Gemmell’s career, leading him to take on a variety of roles as a freelance musician.
In the following years, Gemmell became a sought-after session musician, playing with big bands, working on film soundtracks, and teaching. He also became deeply involved in music preparation, working closely with film composer John Altman. This collaboration sparked Gemmell’s interest in composing and arranging music, setting the stage for his later work as a music technology writer and educator.
The Pasadena Roof Orchestra and Beyond
In 1983, Gemmell joined the Pasadena Roof Orchestra (PRO), taking up the 2nd alto sax and clarinet chair. The orchestra, known for its dedication to preserving the sound of 1920s and 1930s jazz, provided Gemmell with a platform to delve deeper into the world of jazz and swing. He remained with the PRO for 14 years, during which time he also wrote numerous arrangements for the orchestra, further establishing himself as a prolific composer and arranger.
Gemmell’s time with the PRO was marked by extensive touring, recording sessions, and television appearances, all of which reinforced his reputation as a versatile and accomplished musician. However, by the late 1990s, Gemmell began to shift his focus towards writing and composing full-time.
Writing, Teaching, and the Digital Age
As the digital revolution transformed the music industry, Gemmell adapted by embracing music technology. He became a respected author and educator, writing several books on music production software, including Cubase Tips & Tricks, GarageBand Tips and Tricks, and Making Music on the Apple Mac. These publications not only reflected his deep understanding of music technology but also his desire to share that knowledge with others.
In addition to his books, Gemmell contributed regularly to Music Tech Magazine, where he wrote articles on various aspects of music production and recording. His writing was characterized by its clarity and practicality, making complex concepts accessible to musicians and producers at all levels.
Reformation of Audience and Final Years
In 2004, more than three decades after their initial breakup, Audience reformed, with Gemmell once again playing a central role. The band resumed touring and recording, releasing the album Alive & Kickin’ & Screamin’ & Shoutin’ in 2006. This revival allowed Gemmell to reconnect with his roots while also bringing his career full circle.
Gemmell continued to perform and write until 2013 when Audience disbanded for the final time. His later years were marked by a battle with tongue cancer, a struggle that ultimately claimed his life on July 24, 2016, at the age of 68.
Legacy and Impact
Keith Gemmell’s legacy as a saxophonist, composer, and author is one of innovation and dedication. Throughout his career, he pushed the boundaries of what could be achieved with the saxophone, whether in the context of a rock band, a jazz orchestra, or as a solo performer. His work with Audience remains a touchstone in the world of progressive rock, while his contributions to the Pasadena Roof Orchestra helped preserve the rich tradition of early jazz.
Beyond his performances, Gemmell’s writings have left a lasting impact on the world of music technology. His books and articles continue to guide musicians and producers navigating the ever-evolving landscape of digital music production.
For those who wish to explore his work further, Gemmell’s discography, including albums with Audience, Sammy, Stackridge, and the Pasadena Roof Orchestra, is available on various music platforms. His books on music technology can be found through major retailers and remain valuable resources for aspiring musicians and producers.
References
- “Farewell Keith Gemmell”, The Afterword, 26 July 2016. Retrieved 26 July 2016. Available at: http://theafterword.co.uk/farewell-keith-gemmell/
- “Audience Fansite, Interview with Audience Sax man Keith Gemmell”. Audiencefansite.co.uk. Retrieved 14 April 2010. Available at: http://audiencefansite.co.uk/keith-gemmell/
- Music Tech Magazine Archives: http://www.musictech.net
Keith Gemmell’s story is one of artistic exploration and innovation, leaving behind a rich legacy that continues to inspire saxophonists and musicians around the world. His life’s work is a testament to the power of music to transcend boundaries and touch the lives of people across generations.