Earl Van Dyke
 

A veteran of the late '50s and early '60s Chitlin' Circuit, Earl migrated to Motown in late 1962 after having toured with Aretha Franklin and Lloyd ("Mr. Personality") Price. Within no time, the musical sophistication and aggressive keyboard style he brought with him made Earl an integral part of "The Motown Sound." Hitsville's Steinway often had to be reconditioned after Earl played on a session because of the passion and force with which he attacked the keys.

Arrangers and producers looked upon him as a hub through which they could convey their ideas to Hitsville's studio musicians. Motown's management viewed him as the unofficial bandleader because - apart from his talent as a keyboardist - he always knew where to find the Funk Brothers and get them into the studio. This was no small feat when trying to control James Jamerson, Benny Benjamin and some of the Funk Brothers' other more "colorful" personalities. When Motown's "Golden Era"ended in Detroit, Earl hooked up with Freda ("Band Of Gold")

Payne and toured the worldwith her throughout the remaining years of the 1970s before returning home to teach music in the Detroit public school system.

Born: Detroit, MI in the early 1930s (died 1992)

Nicknames: Chunk Of Funk, Ookie, Big Funk

Musical Influences: Tommy Flanagan, Hank Jones, Barry Harris

Instruments Played: : Steinway grand piano, Hammond B-3 organ, Wurlitzer electric piano, Fender Rhodes, toy piano

Greatest Performances: "Ain't Too Proud To Beg," "My Guy," "For Once In My Life"

Earl Van Dyke or “Uncle Earl” as Carol Dae called him, worked with her every night and taught her what an octave was.

They were going to go on stage and she stopped to ask him for a key to a song they were going to play without rehearsal.

She hummed the intro and he said to her “Baby, what octave are you in?’  She then asked him “ what is an octave?’ 

Then it came to her, it had to be part of the range that she was singing in.  He shook his head and showed her middle “C”.

Earl taught her something new every time she worked with him.  When it came to choosing proper keys,  Earl said, “Here, try this,” and it fit like a glove.  Then they proceeded to go on stage. 

This happened every night until she had new and perfectly fitting keys to sing all of  her songs in.  She remembered them and now that Earl has left this world, when she sings the songs that he gave her keys for, it makes her remember who she is and how far she has come with the help and guidance of such a great Musician. 

Earl recommended Carol for many jobs in the city of Detroit.  He would call her up and say, “Go over there Baby and get this job”. 

One job was at the London Chop House , where she wound up working with the Alex Kallao Trio for six years every Monday night. 

Earl is part of Carol's performances and musical heritage. 

I love you “Uncle Earl” thank you for being there for me and for sharing your music with me. 

-Carol Dae
 

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