Thoughts and memories on the passing of Doug Riley.

Anyone who knows me well has at some point been pin holed and lectured on my feelings about Doug Riley.  It usually goes something like this: "Well, that cat can play, but for my money there is no better, well-rounded musician in the WORLD than Doug Riley."  "Whoa," is the usual reply."What about Oscar Peterson, Billy Preston, Jimmy Smith, Richard Tee, Bill Payne, Chuck Leavel, Matt Rollins, Leon Russell, etc .... or Glen Gould?"

My reply: It's not that Oscar may swing harder, or Billy may lay down some gospel as well, or that Jimmy can walk a jazz left hand as fast as Doug, but Doug could do all that and more. I have never heard anyone as versatile, well versed, and immersed in so many styles as Doug. He didn't just play a style - he owned it!  You believed when he was playing 'bop,' for instance, that it was all he ever played. Yet when you heard him wail on R&B and Blues, you never heard a tinge of Bop. He could play stride piano with a lope that only comes from playing it your whole life, yet turn around and play organ like he was raised in a southern Baptist choir. All styles covered. Whether show piano with Michael Burgess or Rock keys with Bob Seger ... always just right and always so musical.

And THAT is the point. Piano and organ! Tell me anyone else who is as fluid and versatile on both, to the point that you could never tell whether he was a pianist who played organ or an organist playing piano. He had mastered both. This is what made Doug so very special and unique. Doug was a master of his craft and all us musicians (especially the brotherhood of keyboard players) knew it.

On our record 2B3 The Toronto Sessions, all the organists were at the height of their abilities.  And at that level one cannot talk about whether Denis Keldie is 'better' than Michael Fonfara, because they just play differently and their own personalities shine through. But ask any of them, and they would tell you that Doc was a whole different deal and in a class all of his own.

Bill Payne (of Little Feat) after running through 'All About My Girl' with Doug pulled me aside and said, "Who is that guy?" After a brief explanation including that he had played with Ray Charles and Bob Seger, Bill said: "Bob Seger used to tell me about a guy from Toronto who played like a M.F.er. So this is him? Hmm .... I'd better turn it up a notch or he is going to walk all over me." "You got that right." I replied.

Doug was one of those rare and gifted musicians who could turn a score into music the first read through. Listen to 'Steel Onions' with Michael Fonfara (no slouch himself). What you hear is the third run through, second take. First run through to check for any chart mistakes and the roadmap. The second run through was slower at my request, but did not find a groove. Doug suggested trying it a little faster. (You listened to Doug's suggestions. ) The second take was
music. Magic. It is as if he had played the song for years. And he had only seen it 15 minutes before!!  A classic performance. I felt sorry for Fonf because he had to follow Doug's solo .... not an enviable position. But he answered with a great solo himself.

Doug and I were by no means close friends, but when i asked him to participate in 2B3 on spec, without hesitation he said," I'll be there, count me in." This from the busiest session musician in the country.

What you may not know about Doug Riley, if you had not had the pleasure of meeting him, was his warmth, honesty and gentle nature. He was a true gentleman. With his quiet calm he was a rock, and he anchored every session and performance he was on. When Doug kicked off a tune, it already had a heavy groove before it got to you. All you had to do was get on board for the ride.

From 1968 on, I idolized Doug Riley. He was my idol, from a time before T.V. shows devalued that word. Doug, along with Oscar Peterson and Glenn Gould gave this kid from Ottawa the inspiration to believe that a Canadian could aspire to be the best in the world, and carve out a career in music. Oscar is a giant and Glenn was an eccentric genius but Doug was most like me, and is whom I really aspired to. He was the master craftsman and had eclectic tastes.

So you can imagine how much it meant to me years later when I was the musical director for my first big live TV awards show. Doug and Salome Bey were to close off the show with a rollicking gospel number. I had written, arranged and conducted the whole show and at the end through the chaos of backstage, Doug made a point of searching me out and said, "I thought you did a great job tonight. I've done these things before, and I know how hectic they can be, but you did a great job." Coming from Doug, that meant the world to me. Yet he was famous for offering quiet, yet sincere encouragement and was famously unassuming about his own abilities and accomplishments. (I once played a CD launch for Debbie Fleming and Doug had played on the CD. I had dutifully learned his parts and reproduced them. Doug came to the CD launch and sat down in front of the piano. When I met him for the first time after the set, he commented on how much he liked my playing. I said, "Doug, I'm just playing your parts back to you." He laughed and said, "Well, I stole them all from Ray Charles in the first place, so they are yours now".)

The memory of Doug that I will hold in my heart is the last time Dominic Troiano played at the Orbit Room in T.O. Dominic was in a lot of pain and would die within months. He was weak but determined to play. The place was packed ... we were shoulder to shoulder ... mostly musicians. Doug gave Dominic the performance of his life that night and you could see how Dominic's spirits were lifted. Doug was on FIRE! All the keyboard players in the audience (and I could count ten from where i stood), could only look at each other and shake their heads in disbelief. It was that good. That goddamned, unbelievably, freaking good. The master was on that night and we all could just go hang up our organ shoes. Dominic was initially tentative but it was obvious from the start that Doug had come to play, and wasn't going to 'take it easy' on the sick guy. Every breathtaking organ solo energized Dominic and he began to stand taller and soon adopted the famous Troiano stance and attitude. By the end of the first set Donnie was answering in kind. It was a remarkable example of the power of music. and a beautiful gift that Doug gave his old friend and us all, that night. I will never forget it.

I considered Doug as a brother in arms. As one who has also lifted, struggled with, coerced and cajoled Hammond B3s (450lbs) and tried to keep 30 year old Leslies spinning, all my life, I feel we Hammond players have a special kinship and have shared the same 'love of our lives'.

Doug Riley is a national institution, a national treasure. His loss is devastating to the Toronto and Canadian music scene. He has single- handedly produced, arranged, recorded and written on more LP's, CD's, TV and radio shows, jingles and concerts than anybody in Canada, ever. His output was astounding, and his energy was unsurpassed. Ask the thousands who have benefited from his wonderful musicianship and his gentle nature.

You can't ask me. My world has changed, and I can't yet imagine it without Doug. Without his many words of encouragement that always meant the world to me. But most of all for the lifetime of musical bliss I was witness to. To catch Doug live was an awe-inspiring experience.

The bar has been set. I can't imagine anyone raising it. Certainly no one with your gentle style, grace, integrity and soul.

You used your gifts well, Doug. Thank You. Thank you from the bottom of my heart. I miss you today here in the rain on this dreary Newfoundland beach and I feel I should do something in remembrance of you. Something small but ubiquitous ... a dedication ... a promise.

Yes. 

I will think of you every time I turn on a Hammond and hear that starter motor kick in, the vibrations in my fingers ... the beast awakened.

Goodbye, my brother.

Lance Anderson - pianist/organist - Orillia, ON - Anderson/Sloski