After nearly a decade away from live performances, renowned guitarist Carlos Alomar is back on tour, honoring the legacy of david Bowie and the D.A.M.Trio. This trio, consisting of Alomar, drummer Dennis Davis, and bassist George Murray-whose initials formed the acronym D.A.M.-provided instrumental support for Bowie during the transformative 1970s, contributing to iconic albums such as Young Americans, Station to Station, Low, “Heroes”, and lodger.
Alomar, who has recently focused on music education, felt compelled to return to the stage following the devastating California wildfires of 2024 and the realization of how close he came to losing his longtime collaborator, George Murray. This tour serves as a heartfelt tribute to life, family, and the music that has defined his career alongside rock legends like Chuck Berry, David Bowie, John Lennon, and Paul McCartney.
In a recent conversation with Guitar player, Alomar reflected on his experiences with these musical icons.
Memories of Chuck Berry
“I received a call to perform at Rye Playland, an amusement park in New York. As I arrived, Chuck Berry walked in with his electric guitar and approached us, saying, ‘When I tilt my headstock this way, you stop.’
“‘And when I tilt it this way,’ he continued, ‘you play.’ That was our entire rehearsal.
“As he turned to leave, I naively asked, ‘Excuse me, Mr. Berry, are we going to rehearse?’ He looked back and replied, ‘Boy, I ain’t gonna rehearse rock and roll.’
“We took the stage, and every time he moved that headstock, it was magic. To this day,I find myself conducting in the same way chuck did.[[[[laughs]
“The biggest takeaway for me was that rock and roll doesn’t require rehearsal; you either know it or you don’t. And you didn’t speak to Chuck; he spoke to you. My last memory of him? A bit of a mean drunk.[[[[laughs]It’s like a song: you can perform beautifully, but if you mess up the ending, that’s what sticks with you.Chuck was like that song-great, but he left a sour note at the end.”
The Encounter with David Bowie
“I was working as a session musician at RCA Studios when I was invited to contribute to David Bowie’s diamond Dogs album. I remember seeing this slender, 98-pound figure with pale skin and shining orange hair walk in, wearing a fedora. I thought, ‘Wow, you look like you need a home-cooked meal!'[[[[laughs]
“To my surprise, he accepted my invitation. We hit it off, and I took him to the Apollo Theater, where he met comedian Richard Pryor, who was opening for the Main Ingredient, the band I was playing with. We spent time at Latin clubs, soaking in the music without any work agenda.
“His intellect was astounding. We discussed the chitlin circuit and James Brown, and I realized how deeply the British appreciated Black music. I was just a kid from the Bronx, talking to a Brit with a fascinating accent, and I was intrigued.
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“Eventually,Bowie mentioned he was working on the Diamond Dogs album but had no budget. I was hesitant to leave my paying gig with the Main Ingredient for a no-pay prospect.[[[[laughs]I turned him down twice, and he was understandably disappointed. I explained my situation, and he assured me, ‘I’ll take care of it.’
“That’s how we formed the band that revitalized his career with Young Americans.the last time I spoke with David was at a birthday party,unaware it would be our final farewell. I later learned about his struggles, and it hit me hard. It was a tough year.”
Collaborating with John Lennon
“One day in the studio, david Bowie walked in with John Lennon and his girlfriend May Pang. At that time, I didn’t know much about Bowie, but I certainly recognized Lennon, a man who was very much aware of his identity.
“We had the groove for ’Fame’ but no lyrics. John came in with just an acoustic guitar, and when they asked if I wanted to play, I jumped at the chance. Every time he strummed, he would sigh the word ‘fame.’
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“they left for dinner and invited me, but I chose to stay and lay down some tracks. I kept hearing John’s sound in my head, so we isolated his track and captured him playing and singing ‘fame.’
“That’s how the song ‘Fame’ came to be. It became my first number one hit, and I was thrilled to be sandwiched between David Bowie and John Lennon on that track.”
Working with Paul McCartney
“After wrapping up a writing session with Mick Jagger, I was invited to collaborate with Paul McCartney on his upcoming album, Press to Play, at his studio, Hogg Hill Mill, in England.
“Paul was incredibly warm and down-to-earth, and his family welcomed me with open arms. As we ascended to the studio filled with gear-Vox amplifiers, a Höfner bass, Mellotrons-I was in awe.[[[[laughs]
“While I was soaking it all in, Paul rolled the largest spliff I’d ever seen.[[[[laughs]It felt like I was back in Jamaica! We discussed various music styles and the Black experience, and I was reminded of how the British truly respect R&B and the African-American musical legacy.
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“He played me his first track, and I said, ‘Sorry, Paul, I like it, but I don’t hear myself in that.’ The same went for the second track. But when we got to the third song,I finally heard something I could contribute. I was just experimenting, unaware that Paul was recording everything. When I got the album home, I was shocked to hear my contributions. It was a truly splendid experience.”
