Biography
A flautist operating at the intersection of pop and jazz, Tim Weisberg has issued numerous solo recordings while handling session duties for the Monkees, the Carpenters, Dave Mason, Kim Carnes, and David Benoit and has also joined forces with Herbie Hancock. Nevertheless, the late Dan Fogelberg supplied his greatest commercial breakthrough and widest public visibility, most notably through their inaugural joint effort, Twin Sons of Different Mothers (1978).
Born in Hollywood, California in 1943, Weisberg arrived at his instrument through a chain of chance events. In seventh grade he intended to play drums in the school band, yet assignments were distributed alphabetically; by the time his turn arrived, every obvious choice had been claimed, leaving only the bassoon and flute. He selected the latter because it appeared simpler to master and carry. A capable instructor combined with his quick ability to produce a pleasing tone convinced him to continue, and his greater affinity for soul and R&B—rather than the prevailing surf sound—proved advantageous once soul expanded its sonic palette in the mid-1960s to encompass flute. The instrument further served as a substitute for his self-acknowledged vocal limitations. To gain technical command he first studied classical repertoire before shifting toward jazz and soul, all the while supporting himself with pop engagements.
By the late 1960s he had secured sufficient recognition in Los Angeles to obtain studio work, beginning with the Monkees’ The Monkees Present (1969). At that period the flute remained uncommon in mainstream popular music. Herbie Mann and Hubert Laws were attracting crossover audiences in jazz, Jeremy Steig was cultivating an East Coast following through jazz-rock fusion, Ian Anderson was drawing attention in Britain with his distinctive folk-blues-rock approach, and Mel Collins was earning cult status via King Crimson, yet beyond Ray Thomas of the Moody Blues—who regularly charted highly—flute exposure stayed limited. Weisberg also performed alongside Paul Horn, and his growing profile enabled a self-titled debut album in 1971. That record opened with an arrangement of the Moody Blues’ “Nights in White Satin” scored for jazz-pop ensemble. Signed to A&M Records, whose roster suited his smooth, mellow style, he began attracting an audience comparable to that of the slightly younger Michael Franks among college and serious high-school listeners. The concurrent rise in flute popularity, fueled by virtuosos such as Jean-Pierre Rampal and James Galway together with younger players like Ransom Wilson, further aided his progress, while additional credits—including work on the Carpenters’ A Song for You (1972)—bolstered his reputation. In 1974 he appeared on both Don Kirshner’s Rock Concert and The Midnight Special. Mid-decade found him collaborating with smooth-jazz keyboardist David Benoit. The year 1977 opened new opportunities: his composition “A Hard Way to Go” was featured in Woody Allen’s Oscar-winning film Annie Hall, and he contributed to “Give Me Some Time” on Dan Fogelberg’s Nether Lands. That encounter produced the 1978 album Twin Sons of Different Mothers, a cohesive concept record that nevertheless yielded strong individual tracks and revived the Hollies’ “Tell Me to My Face.” The release became a late-1970s radio staple, generated the hit single “Power of Gold,” and attained gold and subsequent platinum certification. Capitalizing on the heightened profile, A&M released The Best of Tim Weisberg: Smile! (1979).
Although the Fogelberg partnership remained Weisberg’s top-selling project, television appearances, further session work, and additional solo albums sustained his career. A second joint album, No Resemblance Whatsoever, appeared in 1995 yet sold less briskly; their association concluded contentiously when Weisberg filed suit against Fogelberg. At the outset of the twenty-first century he returned to prominence through a collaboration with Herbie Hancock on Day Dreams (2002). Beyond jazz and pop contexts, Weisberg has also recorded with new-age artist David Arkenstone.
Born in Hollywood, California in 1943, Weisberg arrived at his instrument through a chain of chance events. In seventh grade he intended to play drums in the school band, yet assignments were distributed alphabetically; by the time his turn arrived, every obvious choice had been claimed, leaving only the bassoon and flute. He selected the latter because it appeared simpler to master and carry. A capable instructor combined with his quick ability to produce a pleasing tone convinced him to continue, and his greater affinity for soul and R&B—rather than the prevailing surf sound—proved advantageous once soul expanded its sonic palette in the mid-1960s to encompass flute. The instrument further served as a substitute for his self-acknowledged vocal limitations. To gain technical command he first studied classical repertoire before shifting toward jazz and soul, all the while supporting himself with pop engagements.
By the late 1960s he had secured sufficient recognition in Los Angeles to obtain studio work, beginning with the Monkees’ The Monkees Present (1969). At that period the flute remained uncommon in mainstream popular music. Herbie Mann and Hubert Laws were attracting crossover audiences in jazz, Jeremy Steig was cultivating an East Coast following through jazz-rock fusion, Ian Anderson was drawing attention in Britain with his distinctive folk-blues-rock approach, and Mel Collins was earning cult status via King Crimson, yet beyond Ray Thomas of the Moody Blues—who regularly charted highly—flute exposure stayed limited. Weisberg also performed alongside Paul Horn, and his growing profile enabled a self-titled debut album in 1971. That record opened with an arrangement of the Moody Blues’ “Nights in White Satin” scored for jazz-pop ensemble. Signed to A&M Records, whose roster suited his smooth, mellow style, he began attracting an audience comparable to that of the slightly younger Michael Franks among college and serious high-school listeners. The concurrent rise in flute popularity, fueled by virtuosos such as Jean-Pierre Rampal and James Galway together with younger players like Ransom Wilson, further aided his progress, while additional credits—including work on the Carpenters’ A Song for You (1972)—bolstered his reputation. In 1974 he appeared on both Don Kirshner’s Rock Concert and The Midnight Special. Mid-decade found him collaborating with smooth-jazz keyboardist David Benoit. The year 1977 opened new opportunities: his composition “A Hard Way to Go” was featured in Woody Allen’s Oscar-winning film Annie Hall, and he contributed to “Give Me Some Time” on Dan Fogelberg’s Nether Lands. That encounter produced the 1978 album Twin Sons of Different Mothers, a cohesive concept record that nevertheless yielded strong individual tracks and revived the Hollies’ “Tell Me to My Face.” The release became a late-1970s radio staple, generated the hit single “Power of Gold,” and attained gold and subsequent platinum certification. Capitalizing on the heightened profile, A&M released The Best of Tim Weisberg: Smile! (1979).
Although the Fogelberg partnership remained Weisberg’s top-selling project, television appearances, further session work, and additional solo albums sustained his career. A second joint album, No Resemblance Whatsoever, appeared in 1995 yet sold less briskly; their association concluded contentiously when Weisberg filed suit against Fogelberg. At the outset of the twenty-first century he returned to prominence through a collaboration with Herbie Hancock on Day Dreams (2002). Beyond jazz and pop contexts, Weisberg has also recorded with new-age artist David Arkenstone.
Albums
Live
