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By Amy Karagiannakis
In the realm of music production, few names resonate with as much depth and diversity as Rick Jarrard. With a career spanning several decades, Jarrard has left an indelible mark on the industry, showcasing his versatility, innovation, and an unyielding passion for creating timeless melodies.
Jarrard’s journey into the world of music began in the heart of Illinois. His early exposure to a wide range of genres laid the foundation for his eclectic taste, a trait that would later become a hallmark of his production style. Jarrard formed a vocal group in college called The Lincolns that covered such artists as Harry Belafonte and The Kingston Trio. They played gigs locally and worked summers during college at a resort in Estes Park, Colorado. While at UIUC, Jarrard was a drum major in the Marching Illini, a member of the Phi Gamma Delta fraternity, Men’s Glee Club, and the First Regimental Band. Jarrard graduated from the University of Illinois School of Music in 1961 with a Bachelor of Music Education. The Lincolns had saved enough money to venture out to the West Coast to try and make a name for themselves. Upon arriving, the group landed a recording contract with Kapp Records and sang on a soundtrack for Walt Disney Presents. Jarrard eventually parted ways with the group, and they changed their name to The Wellingtons. They went on to record the theme song for Gilligan’s Island and even ended up guest starring in a second-season episode as a band called The Mosquitos. Jarrard never looked back and embarked on a career trajectory that would see him collaborate with some of the most iconic names in the business.
During this time, Rick Jarrard played back up in a band for Robert Goulet and joined a folk group in LA called The Greenwood County Singers. That group included renowned singer-song writer Van Dyke Parks who went on to collaborate with Brian Wilson and The Beach Boys. Jarrard’s foray into the industry gained momentum in the mid-1960s when he joined the team at RCA Records as a staff producer. It was here that he started making a name for himself, working on projects that ranged from rock and pop to folk. His keen ear for emerging sounds and trends quickly positioned him as a sought-after producer.
Surrealistic Pillow, released by Jefferson Airplane in 1967. Produced by Rick Jarrard.
surrealistic pillow
However, it was his collaboration with Jefferson Airplane that catapulted Jarrard into the limelight. As the producer for their groundbreaking album Surrealistic Pillow, he demonstrated an ability to capture the essence of the counterculture movement. The album’s popular singles “White Rabbit” and “Somebody to Love,” as well as the critical acclaim that followed its release in 1967, solidified Jarrard’s reputation as a producer capable of navigating the ever-evolving landscape of musical expression. Later that same year, Jarrard produced Harry Nilsson’s Aerial Ballet which included a cover of Fred Neil’s “Everybody’s Talkin’.” The song was featured in the 1969 film Midnight Cowboy and reached No. 6 on the Billboard Hot 100 chart and was inducted into the Grammy Hall of Fame in 1999.
A young up and coming Puerto Rican artist, José Feliciano, signed with RCA in 1967 – allowing Rick Jarrard to further diversify his portfolio. His collaboration with José Feliciano on the album Feliciano! earned the two a Grammy Award nomination for Album of the Year, and Jarrard a nomination for Producer of the Year, showcasing Jarrard’s adaptability across genres. That same year, José Feliciano won Best Contemporary Pop Vocal Performance for “Light My Fire” and Best New Artist of The Year (1968).
Surrealistic Pillow, released by Jefferson Airplane in 1967. Produced by Rick Jarrard.
Still image from “José Feliciano: Behind This Guitar” written and directed by Frank Licari and Helen Murphy.
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Jarrard’s work during this period underscored his commitment to artistic innovation, pushing boundaries and challenging conventional norms. In 1970, while recording a holiday album with Feliciano, Jarrard encouraged the artist to write a new Christmas song. That suggestion in the studio would lead to the creation of Feliciano’s iconic “Feliz Navidad.” This original recording of the song was inducted into the Grammy Hall of Fame in 2010. It has also been recognized by the American Society of Composers, Authors, and Publishers (ASCAP) as one of the top 25 most played Christmas songs around the world and has been on the Billboard Hot 100 Top 10 for the past two years.
Jarrard helped to assemble what would come to be called the TCB band for Elvis Presley’s 1969 comeback tour in Las Vegas and remained close friends with Elvis until his death in 1977. Rick Jarrard is also noted for discovering singer, keyboardist, and songwriter Michael McDonald in 1970 when he was playing with a band called Blue in an Illinois night club. It was Jarrard that signed McDonald with RCA and brought him to LA where he eventually would go on to become a member of Steely Dan in 1973 and then The Doobie Brothers in 1975.
Rick Jarrard eventually left RCA and worked a short time with Bell Records before launching his own production company. The subsequent decades saw Jarrard’s career take on international dimensions as he worked with artists in Europe and Asia. His global influence contributed to the evolution of music production techniques, and his dedication to nurturing emerging talent solidified his legacy as not just a producer but also a mentor. Over the course of his career, songs produced by Rick Jarrard have been used in over 230 movies, television shows, and commercials, and he received over 40 gold and platinum albums.
Still image from “José Feliciano: Behind This Guitar” written and directed by Frank Licari and Helen Murphy.
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Rick Jarrard’s impact extends beyond the recording studio. He served on the Board of Governors for the Recording Academy, was a charter member of The Latin Grammys, and owned several music companies over the years including Rick Jarrard Productions, Uncle Josh’s Song Emporium, Friday Records LLC, Friday Group Music Publishing LLC, and Friday Records Music Publishing LLC. Jarrard served on the Board of Directors for the Ovation School for the Performing Arts, a nonprofit dedicated to the education and development of talent through the performing arts. His involvement in music education reflects a commitment to passing on his knowledge to the next generation of musicians and producers. This dedication underscores Jarrard’s belief in the enduring power of music to inspire and shape lives.
Carrying on Rick Jarrard’s legacy and commitment to music education, his brother Roger Armstrong has established the Rick Jarrard Memorial Music Fund to support commercial music projects in the School of Music at Illinois. Armstrong is a fifth-generation landowner in Champaign County with a rich and treasured family history in Central Illinois. He and his partner Arna Leavitt are alumni of the College of Fine and Applied Arts at the University of Illinois and are passionate about paying their good fortune forward. Armstrong spoke fondly of his late brother, “Rick knew how to adapt and respond to an artist’s strengths and abilities.” It was that innate talent that rocketed Rick Jarrard to success in the 1960s. Roger Armstrong hopes that the Rick Jarrard Memorial Music Fund will provide the support necessary to propel future music industry leaders to notoriety. If you would like to learn more about how you can make an impact in the education of an Illinois Music student pursuing a career in the commercial music industry, contact Director of Advancement David Alllen.
As we reflect on the life and career of Rick Jarrard, it is evident that his journey has been one of constant reinvention and artistic exploration. His ability to seamlessly traverse genres, coupled with a relentless pursuit of excellence, has left an indelible mark on the world of music production. From the hallowed halls of RCA Records to international collaborations, Rick Jarrard’s career serves as a testament to the transformative power of music and the enduring legacy of a true master of production in the music industry.