In the space of 10 years between 1967-77, singer-songwriter Bert Sommer released four studio albums, collaborated with the Left Banke and the Vagrants with Mountain’s Leslie West, performed in the first stage musical of Hair, appeared at Woodstock, and was part of Kaptain Kool and the Kongs on TV’s The Krofft Supershow for one season.
Sommer also continued to write, record, and perform music until his untimely death in 1990 at the age of 41. He was a phenomenally talented charismatic singer and songwriter, and was gone way too soon. I had the rare pleasure of talking with his son Jesse Bert Sommer for a Something Else! Sitdown focusing on father’s music and career.
STEVE ELLIOTT: Jesse, what do you think of Rhino Records finally releasing Bert Sommer’s complete live performance as part of the Woodstock: Back to the Garden box set? About damned time, huh?
JESSE BERT SOMMER: It is a bittersweet accomplishment. To finally have the music and recognition be accessible to both new and old generations is great. My father not being around to enjoy it is not. In addition, the level of fame some rose to because of Woodstock and their inclusion in the film would have been a game changer for my father, and all his opportunities, fame, finances, offspring and his mark on music history. Who knows how far he may have reached if these songs had been included and enjoyed for the last half century? Nonetheless, I am glad it has been included by Rhino finally, and for all the efforts put forth by Andy Zax in the genesis of the true complete box set.
STEVE ELLIOTT: What’s even more remarkable is that it was Bert’s first live performance as a solo artist. Talk about a trial by fire, by going on as the third act on that first day of the Woodstock festival – and, equally, being an unknown performer who won over that huge crowd with his spectacular performance.
JESSE BERT SOMMER: My father was part of two defining counter-culture hippie, war-time, end-of-decade, youth-driven movements that endure still today. Hair and Woodstock. As your debut and as an introduction to the public, to be front and center to an audience of half a million would certainly be a challenge. Amazingly, he performed like a seasoned pro. Sharing the stage that historic day were two of his greatest supporters – Ira and Maxine Stone, both in the Bert Sommer band at Woodstock. They continue to perform live today.
STEVE ELLIOTT: Bert Sommer must’ve left some music behind, and there has to be a sympathetic label out there for his music. Would you like to see a career-wide box set issued with of all of your father’s released catalog, plus any unreleased music and live performances that he may have recorded before and after his last major label album in 1977? What kind of archive do you have?
JESSE BERT SOMMER: I would love to see a full compilation of all his music put together at once. From his folksy and and angelic light-rock voice to his raspy hard rock later sound. It would be great to capture all the different feelings and growth in one place. Fortunately, I have a lot of music that was recorded and not released – lots of tapes of live performances, studio cuts, experimental and covers, as well as a plethora of original written songs and recordings that are unreleased. There is still a lot to offer.
STEVE ELLIOTT: What can you tell me about Bert’s time with the Left Banke, and also his involvement with Leslie West’s pre-Mountain band the Vagrants, also in 1967?
JESSE BERT SOMMER: Bert was involved with several groups in early recordings and song arrangement. Either he wrote or co-wrote the actual songs, and/or sang and recorded them. The Cherry People, Childe Harold, the Left Banke and the Vagrants are the four that stand out. Performing and writing with Michael Brown and the Left Banke was a good combination, and led to a long friendship. Working with both Larry and Leslie West was a great blend and helped launch Mountain later on. A name Bert titled Leslie due to his size and presence: “Mountain of a man.”
STEVE ELLIOTT: How did your father become involved with the first stage production of Hair in 1968, and what did he think of that experience>
JESSE BERT SOMMER: Hair was the brainchild of Jerome Ragni and James Rado. My father performed both at the Aquarius Theater in California and in New York, alternating the roles of Woof and Claude. Hair was perfect for my father. After all, he already looked and lived the part. His head of hair was used for the cover of the original show program. He was also part of the cast that stood upfront on the cover of Esquire magazine to promote the show. Performing and auditioning on the streets and small clubs of New York City, he soon was on the Hair creators’ radar. Standing at six-foot-four with a head of hair like a lion, having an energetic personality and a strong voice, he wore handmade hippie gear anyway – so, he was a shoo-in. My father loved being part of Hair, and what it meant to the audience and youth of that moment in time. He was fond of the creators, and much of the cast i.e.; Jennifer Warnes, Ben Vereen, Shelly Plimpton, and Keith Carradine.
STEVE ELLIOTT: Jesse, I’d like to turn our focus to Bert’s four albums, and what you and your father thoughts were on of each of them.
JESSE BERT SOMMER: There was a level of pride and experience devoted to each album. To see and hear his own words thoughts and feelings gave him great satisfaction. As to be expected, there were always things he wished he had added to, corrected, and even omitted entirely. I believe overall he was satisfied with each body of work. Being human, he would tend to be his own worst critic. I know he planned on releasing a lot more material while he was alive. Maybe I can help him accomplish that. Most of us dream of reaching for the stars. I think my father looks down upon us from them.
STEVE ELLIOTT: There were so many great songs on 1969’s The Road to Travel that it’s hard for me to pick a favorite. “And When It’s Over,” with its soaring magnificent vocals, really is a stand-out performance and song by Bert. The passionate “Jennifer” is another classic song that stays with you long after you’ve heard it. The moody folk-rock title track sounds autobiographical to me.
JESSE BERT SOMMER: His first album was a superior collection of songs. For a freshman run, many of these songs sound great today and even then were gearing up for Woodstock. “Jennifer” has been viewed several million times on YouTube, and is loved. “And When It’s Over” is great. I agree that “The Road to Travel” is semi-autobiographical.
STEVE ELLIOTT: Was Eleuthera, which released 1970’s Inside Bert Sommer, the then-new independent label founded by Artie Kornfeld? It seemed like a label perfectly suited for Bert’s music. That album included Bert’s superb version of Simon and Garfunkel’s “America” – a very special performance and an inspired choice. Wasn’t “We’re All Playing In the Same Band” a national or regional Top 40 hit? “Smile,” also from Inside Bert Sommer, also seemed like the perfect Top 40 hit single.
JESSE BERT SOMMER: Inside is an excellent blend of songs. The cover of “America” stands out. “We’re All Playing In the Same Band” is a classic anti-war peace movement song that could be included in many films. Both songs spent time on Billboard’s Top 100 song list. “Smile” is the real feel good song that was received well at Woodstock live. Artie Kornfield had created his label with Bert in mind. He named it Eleuthera after one of the farthest islands he came to love in the Bahamas. He was a great supporter of Bert, and loves his music to this day.
STEVE ELLIOTT: For his next album, 1971’s Bert Sommer, Bert chose a couple of covers of well-known songs like the Rascals’ “People Got to Be Free” and John Horton’s “Battle of New Orleans,” with a whole different feel to both of them. A breezy, upbeat folk sound comes to mind.
JESSE BERT SOMMER: This album has a fantastic gatefold cover with art psychedelic pop graphics that’s framable. “The Battle of New Orleans” stands out. “She Knows Me Better” and “People Will Come Together” are excellent. “Magic Elixir” is an interesting song. This third album is on Buddha Records, and was promoted in many ways including a coloring book of the label’s other artists, as well.”
STEVE ELLIOTT: What are your thoughts on 1977’s Capitol-released Bert Sommer, his second self-titled album? Do you agree with Bert, who was disappointed by the middle-of-the-road direction selected by producer Ron Dante or the new label? Bert’s singing and performance are as solid as always, but it seems to me that they smoothed out any of the rough edges that he would’ve had on his own. That’s what made Bert Sommer the unique artist he was, yet the album took a Barry Manilow-like pop-ballad approach. Despite that observation, “Someone Like Me” feels like a very revealing personal song to me – and a possible hit single that wouldn’t have sounded out of place on mid-’70s Top 40 radio.
JESSE BERT SOMMER: The 1977 album had a lot of potential for pop radio and air time. With a Manilow-sounding production, it was more sophisticated and had an adult spin on his music. It felt overproduced, with back-up singers, but it was probably correct for the time. Lots of catchy hooks and lyrics. I liked many songs: “Destiny,” “Never Go Back” and “When You Feel It” are good. “Sail Tonight” and “She’s a Woman,” as well. A lot of very talented musicians collaborated on this album, including David Letterman’s Paul Schaffer and legendary session guitarist Hugh McCracken. With Ron Dante producing, it had the feel of a good Vegas show or a Streisand duet. Not necessarily a bad thing. It would’ve seen a lot more success if it had been pushed harder by the label, and Bert himself had promoted it aggressively. Instead, Billy Joel got the attention.
STEVE ELLIOTT: What are your favorite songs that your father recorded?
JESSE BERT SOMMER: There are a lot of songs not released that I love. Some were planned for the fifth album that was partially recorded but not completed. “Heart of the City,” “She’s Gone,” “Would You Rather be Here,” “Heat of the Night,” “All My Life.” Also “Smile,” “We’re All Playing In the Same Band,” “A Note That Read,” “Grand Pianist,” “Battle of New Orleans,” “Stuck Inside the Maze,” “When You Feel It,” “Destiny,” “America.” There are many.
STEVE ELLIOTT: Do you sing and perform music of your own?
JESSE BERT SOMMER: I wrote songs often and sang for a bit before college, but never pursued it. I have not written in a while. I still sing decently in the shower and at karaoke. [Laughs.]
STEVE ELLIOTT: Did your father ever write a song with you or your mother in mind?
JESSE BERT SOMMER: There may be lyrics and suggestions with many songs. “The People Will Come Together” mentions me, his son. “She’s a Woman” and “Stuck Inside the Maze” seem to refer to my mother as points of reference, if not emotions.
STEVE ELLIOTT: What did your father think of his time singing, acting, and performing with Kaptain Kool and the Kongs on on the first season of the Saturday morning kids show The Krofft Supershow in 1976-77?
JESSE BERT SOMMER: It was a paycheck and gathered more contacts for my father, but playing a stumbling goof was not his best moment. That being said, he found Michael Lembeck [Kaptain Kool] to be a friend and had fun being silly and partying in L.A. He lived in a great place and shared in all the spoils of the time with albums under his belt and a TV show. For a 20-something year-old tall, good-looking guy, that went a long way. He was on a lunchbox and other toys, and he did specials with the famous. It was a strange time he did not regret.
STEVE ELLIOTT: What can you tell me about his post-1977 years, where I understand at some point he relocated to Albany, N.Y. to continue his music? Bert reportedly recorded with lead guitarist Eddie Angel, who is now in the instrumental band Los Straitjackets.
JESSE BERT SOMMER: Albany, N.Y. became home to my father, and he found himself to be a small local celebrity. This gave him a sense of accomplishment and he sang live at shows, bars, venues, schools, restaurants, and concerts for many years. He had a lot of friends and always kept writing. Here is where he jammed with Johnny Rabb, another influential musician and friend. Bert and Eddie Angel were close, and they performed well together. As a group, the Fabulous Newports were regulars on the circuit. The years leading up to his death were filled with conflict, love, sorrow, disappointment, friends, and music. All strong components of writing material and old habits.
STEVE ELLIOTT: Watching a 1985 television interview on YouTube which Bert did for Sarge Blotto’s Hot Seat Show, I loved Bert’s lovable New York City charm and the sense of humor that he expressed in discussing his career. A real character! It’s the only Bert Sommer interview I know of.
JESSE BERT SOMMER: The Sarge Blotto interview was an entertaining peek inside the personality and presence that made Bert so memorable and loved. His “New Yawk” accent and voice impressions were part of the charm. He incorporated this into moments between live songs, and they were the true nature of the man with the mic. First and foremost, he was a songwriter and singer. A comedian, life of the party, and friend followed next. There are other audio recorded interviews, but not many that were on video.
STEVE ELLIOTT: Not to be disrespectful of your father, but he seems to be the Rodney Dangerfield of rock in that no matter what he did, he didn’t always receive the respect, recognition, and success that he so much deserved. What are your thoughts on this, and do you think that after all of these years, Bert Summer is finally starting to get some respect for his excellent music and performances? What would you like people to take away from and remember your father for?
JESSE BERT SOMMER: It is hard to say exactly what happened and for what reason, but there definitely was not a lot of effort in including him in the film, the books, recorded sound and even the Woodstock plaque in Bethel. I feel that efforts are being made 50 years later – and some were even before now – to share his music and experience with both new and old generations. As a life lesson, it is important to know that eventually things have a way of straightening themselves out. But, in his case, it is hard earned, dragged out, and although it has finally started, is moving slowly. Bad luck? Maybe. Left to the fates? Possibly.
To be on top for a moment and have such possibility before you and then have it ripped away could leave someone lost, unfulfilled and frustrated. It would only feed bad habits, depression, and future choices. Woodstock was the beginning of a legacy that was never fulfilled. He has a lot of fans and supporters that are on his side who want to see the music out there and be heard. There are musicians all around the world that have experienced the hills and valleys, high notes and pitfalls of the music industry delivered with brute force and no mercy. These people do not just understand and can relate, but would love to see one of their own finally get their day. Everyone loves the comeback kid and root for the underdog. It’s in our nature. What’s happening now with his music is a great start, but we have a long way to go.
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