Petaluma producer put his spin on famed tunes

Jim Stern, who was one of the major forces in the creation of Berkeley-based Fantasy Records, has been living and working as a recording engineer and producer in Petaluma since 1978.|

Who is the one constant in a musical equation that includes everything from soulful rock icon Van Morrison to improvisational jazz piano titan McCoy Tyner? Who is equally at home creating the perfect sound for artists ranging from Latin/jazz legend Flora Purim to deep funk originator, Johnny “Guitar” Watson?

There’s only one man who fits the bill: Petaluman Jim Stern. Stern, who was one of the major forces in the creation of Berkeley-based Fantasy Records, has been living and working as a recording engineer and producer in Petaluma since 1978.

In a column of this brevity, I can’t even begin to list his credentials, but Stern has manned the helm for an incredibly wide array of artists, with a short list that includes The Greg Kihn Band, Sammy Hagar, Taxxi, Rodney Franklin, April Wine, Sonny Rollins, Tom Coster, Freddie Hubbard, Cannonball Adderly, Jeffrey Osborne, Shooting Star, Cal Tjader, and Steve Douglas. And it’s Stern’s ability to fearlessly hop from genre to genre that separates him from the pack. Most of the time, producers and engineers become comfortable with a single style of music. Stern’s reputation, however, has been built on his versatility.

Sheldon Bermont: What advice would you give to anyone venturing forth to pursue a career as a music producer or a recording engineer?

Jim Stern: “Rely on your ears, not the technical tools of the trade and follow your heart. Pay attention to every detail. You should consider your work as art and yourself as an artist.”

SB: There’s a story that Miles Davis’ band members came to him at one point and complained bitterly when they found out the sound engineer was being paid more than they were. Miles was quick to tell them that there were 40 musicians dying to take their place, but the sound engineer was responsible for the total product being experienced by the audience. To Miles, it was clear that the sound man was the most important member of the band. What’s your take on that?

JS: “It’s true. Van Morrison came to me once and said, ‘Jim, you’re not charging me enough. You need to reevaluate yourself. You’re far more valuable than you realize.’ Van allowed me to insert my personality and my choices into his music.”

SB: You were originally a rhythm and blues drummer, working in Oakland. I know you went to school for engineering, but tell us how a nightclub drummer becomes a recognized recording engineer/music producer.

JS: “I was never planning on a career as a recording engineer. Saul Zantz, the owner of Fantasy Records, made that decision for me. In 1968, I was asked to be the house drummer for the label. Gradually, producers started to regularly request my services on their recording projects. And, it was just a logical step.”

SB: You built a strong reputation on being able to obtain what they call a “warm room sound.” And, I know that no matter what the genre, music sounds best when a certain breathing, human, visceral tone is achieved. Aside from learning the art of microphone placement, how were you able to achieve that sought-after sound Fantasy became known for?

JS: “There were four studios on the premises, A, B, C, and D. Studio D took three years out of my life to design and create and we cut our first tracks in 1980. The music industry trade magazine, Billboard, voted Studio D “Best Recording Studio in the World” in 2000.”

SB: Give me your take on Petaluma’s music scene.

JS: “Petaluma was considered kind of the ‘hinterlands’ for a long time. From the ‘60s all the way through the ‘90s, Petaluma was a tough sell for nightclubs. They would open and close in short order. The town just wasn’t ready. Now, it’s really blossomed and in the last 10 years or so, we’re starting to draw professionals to the community who are living and working here while producing projects world-wide.”

Jim Stern has some excellent stories to tell about the Bay Area music scene and all the characters he’s seen and worked side by side with. He’s been told by friends that they’d make a great book, so he’s been gradually writing them down, episode by episode. There’s no publishing deal on the table yet, but it would make a great read. Stay tuned.

(Sheldon Bermont is a longtime Petaluma musician. He can be reached by email at smb@sbermont writer.com.)

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