In the ‘70s Schmitt produced the great first Hot Tuna album (the punch was spiked with LSD at the club where the record was recorded, and everyone got dosed), co-produced two classic platinum Jackson Browne albums: For Everyman (with “Take It Easy” and “Redneck Friend”), and Late For the Sky (with “Fountain Of Sorrow” and “For a Dancer”), in addition to a series of albums with Al Jarreau: We Got By, Glow, Look To the Rainbow: Live In Europe (Schmitt’s favorite Jarreau), and All Fly Home. He also co-produced (with Young and David Briggs) Neil Young’s quirky On the Beach.
Schmitt struck Grammy treasure again in ‘82 for engineering Toto IV (an album that sounded great but said very little), and he primarily concentrated on engineering throughout the decade, working with heavy hitters of every uniform: Michael Franks, Larry Carlton, Kenny Rogers, Kenny G, George Benson, Ruben Blades, Dr. John, and on and on.
In the ‘90s, forever young and busier than ever, Schmitt has balanced engineering with production. He has engineered for Frank Sinatra, Bob James, Shirley Horn, Michael Bolton, Diana Ross, Milt Jackson, Barbra Streisand, Diana Krall, Jon Secada, Carly Simon, Celine Dion, Brandy, and picked up two more Grammys: for Natalie Cole’s Unforgettable in ‘91, and Quincy Jones’ Q's Jook Joint in ‘96. He has also produced for Joe Sample, Diane Schuur, and Tony Darren.
Unlike others who pine for the past, Schmitt embraces modern technology. “All of this technology allows you to go back in and tune a vocal, or punch in a part, or rearrange things after the fact, and makes the recording process more creative than it used to be.” Schmitt was elected into the engineer’s Hall of Fame in ‘97; he has now produced, engineered, or mixed over 150 gold and platinum albums. His place in history is secure.
Article comments
1 - Eric Olsen
poor Al, ignored even as he is recognized!