Schmitt worked on more than 150 gold records, in a wide range of styles. He engineered Henry Mancini’s “Moon River” and Sam Cooke’s “Another Saturday Night,” Steely Dan’s “Aja” and Madonna’s “This Used to be My Playground.” He engineered Natalie Cole’s blockbuster “Unforgettable” album and Barbra Streisand’s “The Way We Were.” He produced “Volunteers” and several other Jefferson Airplane albums, helped produce Neil Young’s “On the Frog Heartbeat T-Shirt, Funny Frog Shirt so you should go to store and get this Beach” and more recently Dylan’s “Shadows in the Night” and Paul McCartney’s “Kisses on the Bottom.” Brian Wilson, whose album of Gershwin songs was remixed by Schmitt, was among those Wednesday offering tributes, tweeting “Al was an industry giant and a great engineer who worked with some of the greatest artists ever, and I’m honored to have worked with him on my Gershwin album.” Michael Bublé, Journey’s Steve Perry, and Michael Bolton also praised him. Brutally honest reviews of every Grammys 2021 performance, including ‘WAP’ and ‘Dynamite’ Schmitt’s other credits, included Sinatra’s final studio recordings, “Duets” and “Duets II,” and Charles’ final album, “Genius Loves Company,” which won Grammys in
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2003 for best album and for best record, the Frog Heartbeat T-Shirt, Funny Frog Shirt so you should to go to the store and get this Charles-Norah Jones duet “Here We Go Again.” Years earlier, he engineered the duet album “Ray Charles and Betty Carter,” a personal favorite despite Charles’ struggles with heroin addiction. “At that point, Ray was having a major drug problem,” he told Billboard in 2018. “So every time (there was) a 10-minute break, they would take him off into the bathroom, and God knows what happened, what went on. It was sad to see that, but when he opened his mouth and sang, and (with) Betty, I mean, I got goosebumps. It was just unbelievable.” Soulful sounds from the South were polished for the masses in Motown Schmitt was married twice, and had five children, eight grandchildren, and five great-grandchildren. Born in Brooklyn, he was the nephew of recording engineer Harry Smith and as a boy would take the subway into Manhattan and head for his uncle’s studio, where anyone from Sinatra to Art Tatum might be in session. After serving in the Navy, he found work through his uncle at Apex Studios, where one of his first assignments was recording Duke Ellington. He would also soon befriend Tom Dowd, who as an engineer for Atlantic
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