The Evolution of Chicago: Peter Cetera’s journey from Local Talent to Rock Icon
Originating from the city’s public transport system,the Chicago Transit Authority-later simply known as Chicago-emerged in 1968 as a dynamic group of seven musicians. They were known for their innovative blend of jazz-infused rock and meticulously crafted pop hits.
It was their pop sensibilities that propelled them to chart success, with iconic tracks such as Saturday in the Park, 25 or 6 to 4, Does Anybody Really Know What Time It Is?, and Color My World quickly capturing the public’s attention.
Peter Cetera’s vibrant basslines and melodic explorations on the upper frets left a lasting impact on his contemporaries and inspired a new generation of bassists, including the renowned Will Lee, who has played with The Late Show and numerous New York sessions.
“Peter had a style rooted in R&B, characterized by impeccable taste and tone, along with a McCartney-esque flair,” lee shared with Bass Player. ”He added a layer of polish to Chicago’s sound,enriching the vocal harmonies and creating a beautiful sonic landscape. I often find myself channeling his influence in my own playing.”
Early Musical Influences and Beginnings
Growing up in Chicago’s Morgan Park neighborhood, Cetera witnessed the evolution of radio from the Hit Parade to the rock & roll sounds of legends like Little Richard, Buddy Holly, and Ritchie Valens. At the age of 11, after failing to persuade his parents to buy him a guitar, he began taking accordion lessons instead.
His musical journey took a pivotal turn when older friends introduced him to a local teen nightclub. “I walked in and saw a band called the Rebel Rockers performing,” Cetera recalled in a December 2007 interview with Bass Player. “The guitarist and bassist were rocking on their amps, and I thought it was the coolest thing ever-I was hooked.”
Eventually, he joined the Exceptions, a band that gained recognition as one of the best sound-alike groups in the Chicago area.They honed their craft by performing on the chitlin’ circuit,opening for acts like the dells and signing with tollie Records,a subsidiary of Chess.
Transition to Chicago Transit Authority
In December 1967,the Exceptions were scheduled to perform at the opening of a new club,where they were pitted against a band called the Big Thing. This six-piece horn ensemble was looking for a singing bassist, and Cetera seized the opportunity.
In 1968, the Big Thing rebranded as Chicago Transit authority, relocated to los Angeles, and signed with Columbia Records. “We realized we couldn’t break into the Chicago scene because radio wouldn’t play you unless you were already famous, but you couldn’t get famous without radio play!”
“Our manager, Jimmy Guercio, who was a producer at CBS, moved us to L.A. It was an unbelievable time; Jimmy secured us regular gigs at the whiskey-A-Go-Go,” Cetera reminisced.
memorable Encounters and Musical Growth
“One night, Jimi Hendrix came in, and word spread quickly. After our set, he knocked on our dressing room door and said, ‘You guys are amazing! I want you to tour with me,’ which we did. The same happened with Janis Joplin,” Cetera recalled.
Learning the Bass
Reflecting on his early bass experience, Cetera humorously shared, “I got my Danelectro Short Horn bass and asked someone how to tune it. They told me it was tuned like the first four strings of a guitar. So, I did just that.”
“When I started playing, it didn’t sound very bassy.A few weeks later,a local bassist sat in with us and exclaimed,’What the hell?!’ He quickly tuned it correctly,and I had to relearn everything-thankfully,the neck didn’t snap!”
He later upgraded to a Fender Precision bass paired with an Ampeg B-15 flip-top,marking a significant improvement in sound quality. However, he humorously admitted to developing a bad habit of fingering some notes on the E string over the neck with his left thumb.
Influences and Musical Development
His early influences included the guitarist in his band, who taught him Bo Diddley and Jimmy Reed songs. Transitioning from guitar to bass, he initially played with a pick. However, as R&B and soul evolved, and with Motown dominating the airwaves, he realized he needed to adapt his technique.
“I didn’t know who James Jamerson was, but once I heard his bass lines, I knew I had to start playing with my fingers. My Girl solidified that for me; I would anchor my thumb on the P-Bass thumbrest and alternate my index and middle fingers, while keeping a pick handy for switching styles,” he explained.
Experiencing live performances by James Brown and other artists on the chitlin’ circuit further shaped his approach and technique.
Finding His Voice with Chicago
Transitioning from the Exceptions to what would become Chicago was a transformative period for Cetera. “The Beatles changed everything. I realized I was playing music from a different era and didn’t have my own voice yet. The Beatles showed that it was possible to create music that resonated with my generation. Paul McCartney’s basslines were pure genius; it felt like he was playing an entirely different instrument,” he reflected.
To fit the Chicago sound, he initially bought a ’64 Hofner bass, but it lacked the depth he desired. He soon acquired a ’63 P-Bass, which he had painted in a paisley design.While he admired rock bassists like Jack Bruce and John Entwistle, it was Jamerson and McCartney, along with Andy Fraser of Free, whose unique styles resonated with him the most.
Crafting Bass Lines in Chicago
In Chicago,Cetera aimed to create melodic bass lines.”McCartney was a huge influence, and I tried to think outside the box, especially for upper-register parts. My R&B roots and Jamerson’s influence were always in my mind, so maintaining a strong groove was essential,” he noted.
“The songwriting process varied; Bobby’s songs were fun and melodic, allowing for creative freedom. Terry had a more defined vision, while Jimmy was very specific about what he wanted. Though, I always aimed for melody when the song allowed it. The only song that was given to us note-for-note was Colour My World.
Balancing Vocals and Bass
When it came to singing while playing, Cetera approached it as two separate tasks. “I didn’t conceptualize singing and playing together because the bass parts were crucial and constant.My first experience singing and playing for Chicago was Questions 67 and 68, which was quite high. I remember getting nervous and missing notes one night at the Fillmore East because leonard Bernstein was in the audience!”
He found that the key to mastering both parts was to learn them separately and then gradually combine them, section by section. “the more you perform a song, the more comfortable you become, allowing you to loosen up and expand on both parts,” he advised.
Studio Challenges and Growth
Initially, the band faced challenges when transitioning to the studio. “We were an incredible live band, but we lacked studio experience. When we entered Columbia Studios in New York City, the pressure was intense,” he admitted.
“We had limited time, so we decided to record live. However,we soon realized we needed to do it in segments: rhythm section first,then horns,and finally vocals.Back then, we couldn’t punch in, so if someone made a mistake, we had to start over,” he explained.
This was notably frustrating for Cetera, who thrived in live settings. “We would do up to 50 takes! If we reached take 49 and someone made a mistake, we had to go back to the beginning,” he lamented. ”It improved over time, but I never felt entirely comfortable in the studio, where every note is scrutinized. Even our live Carnegie Hall album had a studio-like feel; the best portrayal of us live was a bootleg from a show in Japan.”
