In the '50'sĪnd '60's we didn't have anything like a digital delay. Guys who could create a piece of equipment that I needed. I had a studio available to me for thirty years. Were in any way comparable to the studios today?Ī. Do you think that the studios that you had been working in early on We have a small tribute to him from author Catherine Rankovic. Iara Lee conducted this interview for the film MODULATIONS- cinema for the ear in September of 1997 at his home in NYC.Ģ008 update: Teo Macero died on February 19th. Hordes of engineers and studio mavens would later take up his charge in this area but none of it would have meant anything without his pioneering work to proceed it. Especially with Miles in the '70's and late '60's, he turned the studio into his own workshop, editting and reshapping Miles' groundbreaking music.
It wasn't just the fact that Macero did such a wide range of work that's earned him his legend. Later, he would work his magic with the Lounge Lizards, Vernon Reid and Robert Palmer among many others. Starting out a saxophonist himself and recording with Charlie Mingus, he went on to do a broad range of studio work that included Duke Ellington, Count Basie, Tony Bennett, Johnny Mathis, Thelonious Monk, Simon and Garfunkel, Ella Fitzgerald, Glenn Miller and Lionel Hampton.
This is of course justified but sells short all of the other work that he's done. Working as a producer for more than three decades, Teo Macero is probably best known for his work with Miles Davis. Photo by Catherine Rankovic Interview by Iara Lee
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