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Kenny Passarelli (born October 28, 1949) is an American bass guitarist. Passarelli was a founding member of the Joe Walsh-led band Barnstorm, co-writing the hit "Rocky Mountain Way". He later served as a contract player for a number of other acts, appearing in both session and live work.
12. Aug. 2019 · published 12 August 2019. The CSN and Stephen Stills bassist reflects. Kenny Passarelli is a bass veteran, having supplied the low end for artists such as Stephen Stills, Elton John and Yusuf Islam over the last five decades. Here he recalls a particularly pivotal moment with Crosby, Stills, Nash & Young...
- Bass Guitar Magazine
Known as one of classic rock’s most sought after bass players, Kenny Passarelli’s bass performances have been recorded on iconic rock and roll albums released by six different rock and roll acts who have been inducted into the Rock And Roll Hall Of Fame in Cleveland, Ohio.
- Brian Kachejian
- “Rocky Mountain Way” – from Joe Walsh’s The Smoker You Drink, The Player You Get
- “A Life of Illusion” – from Joe Walsh’s There Goes The Neighborhood
- “In The Way” – from Stephen Stills’ Stills
- “Black Queen” – from Stephen Stills’ Stephen Stills Live
- “Yell Help / Wednesday Night / Ugly” – from Elton John’s Rock of The Westies
- “Chameleon” – from Elton John’s Blue Moves
- “Sorry Seems to Be The Hardest Word” – from Elton John’s Blue Moves
- “Sara Smile” – from Hall and Oates’s Livetime
- “I Don’T Want to Lose You” – from Hall and Oates’s Along The Red Ledge
- “Sweet Home Chicago” – from Freddie King’s Freddie King
(iTunes | Amazon MP3) It’s really a Joe Walsh song. We were credited because Joe loved my bass part. Really, it’s the three of us. Rocke Grace didn’t play on that record. Rocke was hired on as a keyboard player because, on the two records, Joe Walsh and Joe Vitale played keyboard. They needed someone to play the parts live. Walsh, I think just out ...
(iTunes | Amazon MP3) My father loved Mariachi music, so I was listening subliminally and hearing harmonies. People say, “Geez, ‘Life of Illusion’ is kind of a Latino bass line,” and when you put trumpets on there it’s a Mariachi style. That’s probably from the influence of my father’s love for Mexican music. At a very young age, I was exposed to j...
(iTunes | Amazon MP3) Stephen had another bassist on other tracks… maybe Lee Sklar, because Russ Kunkel was on drums. Stephen said, “I can’t get the bass part to this one song.” We were in Miami, and I said, “Let me try it.” So I used his bass, a ’61 Precision. I remember Paul Anka was there. It was a morning session in Criteria, and Stephen loved ...
(Youtube) When I worked with Stephen then, I was playing his fretted ’61 bass. I think the summer tour I did with him, he allowed me to use my fretless, but at the Auditorium Theatre, that’s a ’61 Precision bass. It was an incredible group. Donny Dacus on guitar, Russ Kunkel on drums, Jerry Aiello on B3, Joe Lala on percussion. It was killer and a ...
(iTunes | Amazon MP3) On Rock of the Westies, I came with a fretless bass. That’s what I’d been playing, and that’s what I felt I’d been hired for. We were cutting live, so after a few takes, I came out of the studio and [producer] Gus Dudgeon called me into the control room like a principal from school. He said, “I just couldn’t get a sound for yo...
(iTunes | Amazon MP3) I feel this might be one of my best performances in terms of playing all the styles I was influenced by, whether it was Jamerson or other people I was listening to. It all came together on that song. I heard it right after it was composed. It was before Rock of the Westies, but Elton didn’t use it until Blue Moves. We cut that...
(iTunes | Amazon MP3) This again is the Alembic bass and me standing [next to Elton] with just the two of us, and maybe [drummer Roger Pope] played a little time. There are several tracks on that album that are just Elton and myself and Roger. As I stood next to him to learn the song, then he went away from the root I made sure I knew those parts s...
(iTunes | Amazon MP3) That’s a fretless Oasis bass on that. We did two nights there, I think. I remember the stress of knowing we were recording. I don’t remember playing so much but listening back I remember how electric it was. It was funky. We did a little reggae kind of breakdown in there. There were 10,000 people there, and the audience was re...
(iTunes | Amazon MP3) When I was done with the Alembic, we had done the Livetime record and I switched to the Oasis fretless. The scale was different from the P-bass and it was a little hard to keep in tune. John and I were cruising around the Valley and found it in a music store. It was a ’61 Jazz. I overdubbed some of those top runs. At that poin...
(iTunes | Amazon MP3) Before the Hall and Oates record, I lucked out while I was still with RSO and overdubbed bass for Freddie King on the song “Sweet Home Chicago.” He was already deceased. The producer, Bill Oates, said, “Listen, I’ve got a track here. Clapton is on it and a few other people, but there’s no bass. It was done in England. Can you ...
10. Jan. 2024 · Features. “Tommy Bolin said, ‘Joe Walsh quit the James Gang. He wants to start a new band, and I told him you’re the guy’”: Kenny Passarelli has played with rock royalty, but it’s his recordings with Bolin that would “blow you away” – if he could let you hear them. By Andrew Daly. published 10 January 2024.
28. Aug. 2010 · Kenny Passarelli, a 60-year-old Denver native, talks to 5280 about his career as a bass player for Elton John, Joe Walsh, Hall & Oates, and other rock stars. He shares his passion for music, his challenges, and his return to Denver after years of touring the world.
Kenny Passarelli: Die Idee, den großen Plattenvertrag zu unterschreiben und die daraus resultierenden Vorteile zu haben, ist ein frommer Wunsch. Die Gelegenheit, ein Interview mit Kenny Passarelli, einem Musiker, der nicht nur Rockgeschichte geschrieben hat, durfte sich RockTimes natürlich nicht entgehen lassen.
