In praise of Gil Askey

**Spreadinglove21** · 05-13-2021, 08:25 PM

I know such producers as Ashford & Simpson, and Michael Masser, are lauded for what they brought out in Diana Ross. I think the same praise should be extended Gil Askey. He may not have been producing pop hits for her in the studio, but he did an amazing job writing arrangements and conducting for her in her live shows, both with The Supremes and solo. To say nothing of his work on Lady sings the Blues. He had a big hand in giving Diana Ross the musical cushion in order to soar as a live performer.

**nomis** · 05-13-2021, 08:53 PM

Originally Posted by Spreadinglove21

I know such producers as Ashford & Simpson, and Michael Masser, are lauded for what they brought out in Diana Ross. I think the same praise should be extended Gil Askey. He may not have been producing pop hits for her in the studio, but he did an amazing job writing arrangements and conducting for her in her live shows, both with The Supremes and solo. To say nothing of his work on Lady sings the Blues. He had a big hand in giving Diana Ross the musical cushion in order to soar as a live performer.

amen they had a wonderful wonderful rapport and by all accounts he was a very nice guy..i loved his overture of "I hear A Symphony" in the concerts..he was very loyal to Diana..his segue of the orchestration and back again on " Where do I go/ Good Morning" [[Hollywood Palace) is sheer brilliance

**1382hitsville** · 05-14-2021, 07:08 AM

Yes! Mr. Askey was crucial in the development of the live act of Ms. Ross. And they really got along, from what I've read over the years. She did not ask him for no reason to produce "Stolen Moments" in the 90's.

**PeaceNHarmony** · 05-14-2021, 08:16 AM

Agreed all around. And, coincidentally I listened to the wonderful Funny Girl ultimate set this week and re-read the booklet. As usual, impressed at what Motowners could achieve in 2 days!

**kenneth** · 05-14-2021, 11:30 AM

I agree. Mr. Askey is often overlooked but his contribution was meant for an entirely different purpose than that of the "line producers." He did the most to parlay the most stellar Motown groups from the recording studio into the performance spotlight, and had everything to do with getting the artists arrangements which were considered "suitable" for the audiences such as the Copa, Ed Sullivan and other of the "supper club circuit," which Berry Gordy so wanted to cross over too. And certainly, they were successful in that regard.

When I was young, I really didn't appreciate those efforts, I loved the "Supremes Join the Temptations" LP, which I believe Askey had a lot to do with, but "TCB" and "GIT on Broadway" were just too slick for me at the time. I had a similar reaction to the various concept albums, not just by the Supremes but also the Tempts "Mellow Mood," and Gaye's "When I'm Alone I Cry," "Hello Broadway," or the Tops' "On Broadway." Now I love those albums even more than the hits packages, probably because they're a little less familiar to me as much as the fact that they really went out of their comfort zone for that cross appeal.

Askey should certainly be recognized for the musical arranger genius that he was. The only thing I don't like that he did [[and maybe wrote?) was "Fancy Passes," to me a song as silly as Jack Jones' "Wives and Lovers," and to me, with a very similar vibe. But I guess I have to forgive him that one error!

A Gil Askey tribute comp would be a nice thing to put together and really showcase his great talent.