How much is Carol Kaye worth? - Wondering how wealthy & rich is Carol Kaye? Or maybe you\u2019re just curious about Carol Kaye's age, body measurements, height, weight, hair color, eye color, bra & waist size, bio, wiki, wealth and salary?\n\n\n\n\n\n Carol Kaye is a US session musician, bassist and guitarist. He was present in historical sessions as "La Bamba" by Ritchie Valens, River Deep - Mountain High produced by Phil Spector with the sound wall technique (wall of sound) for Ike & amp; Tina Turner, "Good Vibrations" by The Beach Boys and the theme of the movie Mission Impossible. It is estimated that he played bass in more than 10 000 sessions. \n \n\nCarol_Kaye's Biography \n His parents Clyde and Dot Smith were professional musicians. At 13 years after school he worked cleaning apartments and taking care of children because his family was poor. A salesman sold him a steel guitar for 10 USD. He learned to read music and transcribe it to paper. It took 3 months of classes with Horace Hatchett, who was Howard Roberts' teacher. In 1949 Horace Hatchett hired her to teach classes with him, and at the age of 14 she was making money touring and teaching music. So he put food on the table and helped his mother. \n At the age of 19 and 20 he toured with a big band, he married a bass player from a big band with whom he toured for a year and a half. Then he returned home to take care of his daughter. He had a second child and got divorced. Between 1956 and 1963 he began to play jazz and bebop in black nightclubs in Los \u00c2ngeles. I also had another job for the day. In 1957 he was offered work on the recording of a Sam Cooke record and another of Ritchie Valens. He paid very well and won in the 3 hours of recording one more album than he earned in a week.To continue doing studio work he had to stop playing jazz in the clubs. The study work seemed much simpler than what he did when playing jazz. He married a second time and had his third child. He divorced again. \n In 1963 he was called by Capitol Records to a recording session where the bassist had failed. Carol used the Fender Precision of the studio, and at that moment he began his unstoppable career as a bassist, playing not only in the recording of records, but also recording soundtracks for television and film and advertising spots. Instead of making recordings with the guitar and the bass, he focused only on the bass so as not to have to carry several studio instruments. \n In the years of the 1950s and 1960s there were no women in the percussion sections and very few in the rhythm section. She was a thin blonde woman with blue eyes. She did not pay attention to prejudices and was dedicated to doing what they asked her to earn money and to support her family. \n Sonny and Cher called her to do an accompaniment on her song The Beat Goes On. The bass had to play only a boring chord but Carol Kaye composed other chords for the bass line and the song became a great success. \n At that time Carol worked for producers such as Phil Spector, Michel LeGrand, Quincy Jones, Elmer Bernstein, Lalo Schifrin, David Rose, Dave Grusin, Ernie Freeman, Hugo Montenegro, Leonard Rosenman, John Williams or Alfred and Lionel. Newman, among many others. \n He was part of The Wrecking Crew, a group of studio musicians who played anonymously (they did not appear in credits) since the 1960s for the most successful groups, including Hal Blaine on drums, Carol Kaye on bass, Larry Knechtel on keyboards, Glen Travis Campbell on guitar, Leon Russell on piano, Jim Gordon on drums and Chuck Berghofer on bass. \n Carol Kaye played a jazz session in a Southern California prison and Phil Spector approached him and asked if he would play for a record. She accepted and started playing electric guitar and bass guitar in songs like You Lost Your Lovin 'Feelin'. Phil Spector was young and bright and had become rich very young. I visited the psychiatrist and was a perfectionist. He invented new recording techniques and was the first to use headphones and speakers in the studio. Carol Kaye recalled that she once made them play 33 shots of a melody for 3 hours. With other artists they made half an album in 3 hours. Carol Kaye played the bass in River Deep - Mountain High produced by Phil Spector with the sound wall technique (wall of sound) for Ike & amp; Tina Turner. \n He worked for Brian Wilson of The Beach Boys in Help me Rhonda, Good Vibrations, California Girls and others, \n In a work for Mel Torme he performed an improvisation on the bass that was taken to the record and was Mel Torme's greatest success. \n The label Motown had a branch in Hollywood in which Carol was one of the 9 bassists who worked from 1963 to 1969. \n In the recording of The Way We Were by Barbra Streisand they made him repeat 33 times his bass taking. \n In 1969 he wrote the first of his more than 30 didactic books, How To Play The Electric Bass, where Kaye claims for himself the responsibility of having changed forever the name by which the new instrument was known, because until then everything the world was referring to him, simply, as Fender Bass. \n Since then, her prolific career as a session musician and as the author of numerous didactic methods for electric bass has not stopped until today. \n In some years he won more than the president of the United States. But not being recognized in the credits then she did not receive royalties from many of her works. \n\n\n\n\n\nCarol Kaye Net Worth - $6 Million\n\n\n\n\n\nMore Facts about Carol Kaye\nWhole NameCarol KayeAKA(s)Carol Kaye, Kaye, CarolBorn\/WhereEverett, Washington, USABornMarch 24, 1935Astrological signAries\n\nThe Carol Kaye's statistics like age, body measurements, height, weight, bio, wiki, net worth posted above have been gathered from a lot of credible websites and online sources. But, there are a few factors that will affect the statistics, so, the above figures may not be 100% accurate.