(C) Variety
Phil Upchurch, the revered guitarist whose sophisticated touch and technical mastery defined the sound of 1970s soul and jazz, has passed away at the age of 84. Upchurch, whose extensive session work included contributions to hit albums by Michael Jackson and Chaka Khan, died in Los Angeles on November 23, according to a report by The New York Times on December 13 (local time). The cause of death has not been disclosed.
Upchurch, known for blending a jazz foundation with deep emotional expression and dazzling technique, is widely considered one of the two dominant figures—alongside David T. Walker—of the era's soul-jazz guitar scene. His influence stretched across genres, cementing his status not just as a prominent solo artist but, perhaps even more notably, as one of the most in-demand session musicians of his time.
A Thousand Recordings and Timeless Influence
The Chicago native’s unparalleled career saw him contribute to over a thousand albums, traversing the landscapes of blues, jazz, pop, and rock. His collaborators read like a history of modern music, including Bob Dylan, Curtis Mayfield, Muddy Waters, and Herbie Hancock.
His guitar work became instantly iconic on seminal tracks that helped shape the sound of the disco and R&B eras. Upchurch notably delivered a distinct, refined "cutting" style of rhythm guitar on the 'King of Pop' Michael Jackson's 1979 track "Working Day and Night" and on Chaka Khan's 1978 disco smash "I'm Every Woman." These performances set a new standard for aspiring rhythm guitarists. Furthermore, he was a key contributor to fellow jazz guitar icon George Benson's global hit album, Breezin'.
From Chicago Blues to Jazz-Funk
Born in Chicago in 1941, Upchurch was a self-taught musician who began his professional career at the young age of 16. His earliest substantial work was as a house guitarist for the legendary Chess Records, a bedrock of the Chicago blues scene, where he participated in countless blues recordings. As the 1960s drew to a close, he transitioned into the burgeoning world of jazz-funk, frequently collaborating with artists like the great organist Jimmy Smith.
Throughout his life, Upchurch consistently defined himself as a jazz musician, yet he deliberately maintained a distance from the traditional confines of bebop. Crucially, he never strayed far from the blues, which he considered his musical root. This connection to the blues was not just stylistic but deeply philosophical.
In a past interview, Upchurch articulated the essential role of the blues in his artistry, stating: "If you don't delve into the blues, you have a hole in your soul." This sentiment perfectly encapsulates the spiritual depth and soulful grounding that made Phil Upchurch's guitar playing—and his legacy—so enduring and profound.
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