Tommy Bolin

This is from Russell Bizzett, Tommy Bolin and John Bartle’s best bud from 11 years old on in Sioux City…

“Had many great musical moments with Valoche. Playing at The 7-11 Club, Fox, Jazzy Pauline, Funk n Punch, Blue Plate Special, Jan Park Band. The irrepressible John Bartle. Guitarist extraordinaire. My friend growing up on the Westside. I will carry the memories and take it with me. May he rest in peace.”

John Bartle has transitioned to a better dimension. Rest easy John - you were gifted - you were special.
Here he is with Johnnie Bolin one of his all-time best friends and Russell Bizzett, who he was a lifelong musical mate with as he was with Tommy Bolin and performing live in recent years.

John Bartle passed away yesterday. It’s a sad day for all knew John and l come on

John Bartle passed yesterday. Rest easy John! Here is Michael Drumm co founder of the Tommy Bolin Arhives John Bartle, Bobby Berge and Johnnie Bolin together in February 2024 at Casa Bolin on Court Street in Sioux City
This was a really fun night. Michael sat there listening to these three great musicians sharing stories about Tommy Bolin and their own musical histories. Johnnie passed that September leaving Bobby and Michael as the survivors. Life is short - Love those close to you.

Jan Hammer on Jeff Beck’s Tommy Bolin revelation:
Jeff Beck
“Jeff and I were inspiring each other for many years. We met in Switzerland. I was there with Mahavishnu Orchestra and Jeff was there with Beck, Bogert & Appice, and it happened to also be Jeff’s birthday.

“And it was really interesting that we had so much in common; people think I was much more of a jazz player, but I liked rock and rhythm and blues, and Jeff was really intrigued and we talked about possibilities of working together on something.

“It wasn’t until a year or more later that we ended up recording on “Wired.” There was no need to develop anything; it was all organic, and we just clicked right away. He came over and I had picked up his instruments at the airport, and when he opened the guitar case, it was empty. His guitar got stolen. In my studio we had a nice little Strat, probably early ’70s, blond wood, for anybody to use, so Jeff picked it up and played it on ‘Blue Wind’ — it wasn’t even his guitar.

Tommy Bolin
“He was a revelation. He was one of the people who can actually play amazingly, without any effort. He was really not working at it, and it just came out totally naturally.”

“I met him through Jeremy Steig, the flute player. We went to the studio once with Tommy and Billy Cobham, and then I ended up playing on his album [1975’s “Teaser”].

It was funny: we were supposed to start and the studio was all set up, and Narada Michael Walden was late because he was stuck in traffic. The drums were all miked up, so I said, ‘All right, let me have a go,’ and I ended up playing drums on the album as well, which was great fun.

Look at what just came in 👉 the brand new Rhino Records release of James Gang with Tommy Bolin “Miami” with multiple versions on this Blu-ray compatible disc. I haven’t had a chance to listen to it yet and I don’t know if I’ll be able to access the full quadraphonic based on my home theater sound bar but we’re gonna give it a shot. This is the most exciting new Tommy development in quite some time and it’s officially released and anybody can buy it directly from rhino records as I did.

THE REAL STORY: This is the renowned Cherokee Sound in LA, we’re Tommy Bolin tracked Private Eyes in Studio B. Dennis MacKay in his oral history with me said he always wondered why such an important rock album was recorded in the tiny much cheaper studio B. Perhaps the answer was that the advance dollars went to Barry Fey directly and he had a major role in deciding how to spend that money or in this case how to not spend it!
Released in September 1976, Private Eyes stands as a brilliant, versatile showcase of Tommy Bolin’s immense musicality and a fascinating contrast to his debut solo record, Teaser. While Teaser heavily leaned into jazz-fusion instrumentals and served as a wide-open guitar showcase, Private Eyes delivered a more direct, song-oriented rock approach while still effortlessly weaving through funk, blues, acoustic balladry, and soulful grooves.
The album features standout cuts that highlight his incredible depth as a writer and player:
"Post Toastee": The undisputed epic of the album. Clocking in at over nine minutes, this track builds from a gritty, fuzzed-out opening riff into a multi-movement guitar masterclass, backed by powerful lyrics reflecting the heavy realities of hs life in Los Angeles. He couldn’t trust anybody.
"Shake the Devil": A driving cut that brilliantly pairs heavy rock momentum with punchy horn arrangements and biting self-examination.
Acoustic and Mellow Textures: Tracks like the flamenco-touched "Gypsy Soul," the gentle "Hello, Again" (co-written with Jeff Cook), and the soulful, slide-laden "Sweet Burgundy" prove just how diverse his compositional palette was beyond straight-ahead hard rock.
How It Was Recorded
Following the split of Deep Purple and the inability to fully tour behind Teaser due to his commitments with the band, Bolin dove straight back into the studio. Private Eyes was recorded swiftly in June 1976 primarily at Cherokee Studios in Los Angeles, with mixing taking place at Trident Studios in London.
Production: The album was co-produced by Tommy Bolin and Dennis MacKay, with engineering handled by Tom "Col. Tubby" La Tondre and Stephen W. Tayler.
The Band: Much of the record was laid down by the core lineup of the touring Tommy Bolin Band, featuring Reggie McBride on bass and vocals, Mark Stein on keyboards and vocals, and Bobby Berge on drums and percussion.
Guest Contributors: The sessions also welcomed a stellar roster of guest musicians, including percussionist Bobbye Hall, saxophonist/vocalist Norma Jean Bell, and powerhouse drummer Carmine Appice, who stepped in behind the kit for "Someday We'll Bring Our Love Home". String arrangements were handled by Del Newman, adding lush cinematic textures to tracks like "Hello, Again".
Ultimately, Private Eyes captures a fiercely talented artist stretching his creative boundaries at breakneck speed, leaving behind a vital final statement of a true guitar icon.

WHAT IF???  TELLING AN UNREAL STORY!
What if the English music press was completely in love with the fact that Tommy had replaced Ritchie in 1975??
Of course they weren’t! ! But What if….

Here’s the “it never actually happened” interview referenced on the cover of The NME!

It's late 1975. Deep Purple has just released Come Taste the Band, introducing the new guitar prodigy replacing Ritchie Blackmore—to the world. In a hotel room in London, near the BBC studios, a few days after the record's release. The buzz is everywhere.
Date: November 1975
Location: A Savoy Hotel suite, London
Interviewer: NME music journalist (we’ll call him "Alan")
Tommy Bolin, looking impossibly young is lounging on a velvet sofa, picking idly at a sunburst Fender Stratocaster that isn't plugged in. Empty coffee cups and a half-empty bottle of Southern Comfort are on the table. He offers a grin.)
Alan: So, Tommy. You've got the biggest gig in rock and roll. How’s the view from the eye of the hurricane?
Tommy Bolin: (Chuckles) Man, it’s… it’s just music. That’s how I gotta look at it, otherwise, this whole thing would eat me alive. But yeah, it’s intense. I’d be lying if I said I didn’t feel the weight of it sometimes. The legacy is huge.
Alan: "Huge" is an understatement. You're replacing Ritchie Blackmore in Deep Purple. That’s like replacing the Pope.
Tommy Bolin: (Pauses, his grin fading into a more thoughtful expression) I know. I was a fan, too. Ritchie is an incredible player. I have nothing but respect for what he did with this band. But when I was asked to join, I didn’t think, "Oh, god, how do I copy Ritchie?" I thought, "Okay, how do I be Tommy Bolin in Deep Purple?"
Alan: And how is that? The new album, Come Taste the Band, sounds different. It’s funkier, more soulful. It's not quite Burn or Machine Head.
Tommy Bolin: That’s exactly what we were going for. Me, Glenn [Hughes, bass/vocals], and David [Coverdale, vocals]… we come from a different place than Jon [Lord, keys] and Ian [Paice, drums]. We love that hard rock power, but we also love R&B, soul, even a bit of jazz fusion. That’s my background, you know? Growing up in Sioux City, playing in Zephyr, then the James Gang. I brought my flavor to the jam.
Alan: You were pretty much given carte blanche, weren't you?
Tommy Bolin: They gave me the freedom to just be myself. Glenn and Ian are the most solid rhythm section in the world. They'd lock in, and I’d just fly over the top. It was incredibly liberating. We wrote a lot of this record in the studio, just jamming. Songs like "Gettin' Tighter" or "Dealer"… they came from pure feel. Glenn’s bass and my guitar, we just started weaving these funky lines, and it worked.
Alan: Was it difficult to integrate into such a well-established band? A lot of personalities.
Tommy Bolin: Honestly? It was surprisingly natural. The first time we played together in L.A., it just clicked. There was an immediate chemistry. Sure, we have different tastes, but that’s what makes it exciting. We push each other. I might throw in a weird chord, and Jon will take it somewhere classical. It’s a collision of worlds, but it’s a beautiful collision.
Alan: What about the fans? Deep Purple fans are notoriously loyal—and protective. Are you worried about how they'll react to this new, funkier sound and, frankly, a new guitar player?
Tommy Bolin: (He takes a long draw from his cigarette, exhaling thoughtfully) I’m not gonna lie, I’ve thought about it. Some fans, the purists, they might not get it right away. And that’s their right. I understand. They love the old Purple. But music has to move forward. We couldn't just keep making the same record over and over. We’re evolving.
I feel like this lineup, this version of Purple, is something new and vital. We're not trying to be a nostalgia act. We’re a brand new band with a legendary name. And I think when they hear the record, when they see us live, they’re going to get it. They’re going to hear the energy. We’re bringing something fresh to the table.
Alan: Speaking of live, you’ve got a massive tour coming up. You ready for the road with this machine?
Tommy Bolin: (His eyes light up) Man, I was born for the road. That's where you really make the music come alive. Playing "Smoke on the Water" or "Highway Star" live with these guys... that's going to be a trip. And the new stuff? "Love Child," "Dealer," they're going to be absolute monsters on stage. I’m ready to melt some faces.
Alan: One final question, Tommy. Do you feel the pressure of being the "new guy"?
Tommy Bolin: There’s pressure, sure. But it’s the good kind of pressure. The kind that makes you play better. I’m not trying to fill Ritchie’s shoes. I’m wearing my own. And they're gonna take this band to some new places. Just wait and see.
(Tommy smiles, takes another sip of Southern Comfort, and picks up his guitar again, this time playing a quick, incredibly melodic run up the fretboard before the tape recorder cuts off.)