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Eric Gale
Born in Bedford–Stuyvesant, Brooklyn, New York to an American mother and British father. Interracial marriages weren't accepted at that time but Eric's father always managed to keep him safe. He had two younger brothers, whom were a decade younger than him. Growing up, Eric spent his holidays visiting family in the UK, which allowed him to look at the world through a different perspective. He was fluent in Spanish, German, and French. [1].[1]
Gale started playing the guitar at age 12.[1] He attended private all-boys Catholic boarding schools, he was exceptionally skilled at math which resulted in him skipping junior high school. During high school, he frequently visited John Coltrane's home after school and sat in on jam sessions, which inspired Gale's readily recognizable style. Eric mentioned how John Coltrane's wife would provide after school snacks and that he was grateful for them .[2][2] Gale received his Masters in chemistry at Niagara University.[1] Eric and the late Mario Cuomo Senior were dorm room mates and mentioned being the school pranksters. Eric played football there as well and played against other private Universities which he said he enjoyed. Later on in his school career, Gale was pursued by Frank Sinatra to work on the hit song "My Way", as mentioned in Frank Sinatra's autobiography (on Amazon). Gale made a fateful decision to pursue a musical career full-time instead of getting his Ph.D. in Chemistry which did not sit well with his mother at all.
A close friend of Gale, Roberta Flack, asked Gale to work with her on the Killing Me Softly album.[3] He had just finished recording his Negril album with the Wailers Band, along with Peter Tosh on vocals, in Kingston, Jamaica. He flew out to Montego Bay, Jamaica, to clear his mind and reconnect with nature, then was able to finish an album in Kingston with his friends who understood politics and injustice. This was mentioned in the Aston "Familyman" Barrett's autobiography. After that, Flack called Gale and begged him to come back home to New York to help her with the Killing Me Softly album. Gale was reluctant so she flew the band members to him instead. After some persuading, they ended up returning to the United States. The album was a hit.
Gale often worked as a session musician, recording with musicians such as Bobby Lewis, Bobby Timmons, George Benson, Joe Cocker, King Curtis, The Drifters, The Flamingos, Ashford & Simpson, Lena Horne, Illinois Jacquet, Billy Joel, Quincy Jones, Herbie Mann, David "Fathead" Newman, Patti Austin, Mongo Santamaria, Paul Simon, Nina Simone, Jimmy Smith, Clark Terry, and Jackie Wilson.[4] In the 1970s he became a studio guitarist for CTI Records, recording with Bob James, Stanley Turrentine, and Grover Washington Jr., and was a member of the R&B band Stuff and Fania All-Stars[5] His first of many albums as a solo act was released by Kudu.[5]
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Johnny Hammond: Breakout
![Read "Breakout" reviewed by Jim Santella](https://s3.amazonaws.com/allaboutjazz/coverart/large/368b6cf85b08a12b28134c89927e013f.jpg)
by Jim Santella
The CTI jazz catalog holds many surprises. This one features a strong 8-piece band led by organist Johnny Hammond (1933-1997), who was known earlier as Johnny Hammond" Smith. Recorded in 1971, the album emphasized swinging mood music with a flair for popular sounds. It marked a turning point in the career of Grover Washington, Jr. He, Hank Crawford and Eric Gale are all over the place, alongside Hammond's B-3. It’s a party. A previously unissued track, recorded shortly after the ...
read moreJohnny Hammond: Breakout
![Read "Breakout" reviewed by David Rickert](https://s3.amazonaws.com/allaboutjazz/coverart/large/368b6cf85b08a12b28134c89927e013f.jpg)
by David Rickert
A prime example of the CTI label’s indulgence in the commercial possibilities of jazz, Breakout gave Johnny Hammond the opportunity to escape from the long shadow cast by Jimmy Smith. Sticking with the Hammond B-3, by this time a bit old-fashioned as many had become enchanted with the Fender Rhodes, Hammond and his band contribute an album’s worth of soul jazz workouts. By this time, rock tunes had become the new would-be standards and Hammond proves that such unlikely candidates ...
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