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The death of Nicky Hopkins at the age of 50 on September 6, 1994, the result of complications from intestinal surgery and his lifelong battle with Crohn’s Disease, came and went with little fanfare. In a manner befitting this unassuming, virtuoso pianist, only close friends and the cognisenti knew of his passing.

When I heard the news, I was struck by the irony of a world so familiar with his keyboard playing, yet largely unaware of who he was. Nicky was rock’s greatest sideman – The Beatles knew it, The Stones also, in fact anyone who was anyone in the business knew it.

I personally, first became aware of Nicky via his uncredited work on the Beatles’ single ‘Revolution,’ Lennon’s flipside to McCartney’s ‘Hey Jude.’ Here was undoubted proof of a great musician who applied economy and taste to his playing, a personality suitably attuned to the demands of the song. Another favourite Hopkins moment of mine, was Nicky’s quasi classical contribution to the Stones’ ‘She’s a rainbow,’ alongside ’2000 light years from home,’ one of two standout moments on their flawed opus “Their Satanic Majesties Request”.

Crohn’s disease, also known as Crohn syndrome and regional enteritis, is a type of inflammatory bowel disease that may affect any part of the gastrointestinal tract from mouth to anus, causing a wide variety of symptoms. It primarily causes abdominal pain, diarrhea (which may be bloody if inflammation is at its worst), vomiting (can be continuous), or weight loss, but may also cause complications outside the gastrointestinal tract such as skin rashes, arthritis, inflammation of the eye, tiredness, and lack of concentration. Many people with Crohn’s disease have symptoms for years prior to the diagnosis. The usual onset is between 15 and 30 years of age, but can occur at any age.

Nicky was reportedly accident prone as a child, which appears at odds with his his later keyboard virtuosity, and his early stomach ailments found little sympathy with his father. Barely able to eat meat, the sickly child would be offered no alternative meal, and after suffering chronic pains on route to a six week summer musical camp, the young Hopkins had his appendix unnecessarily removed; the surgeons as much in the dark as to what was ailing the boy as his father. Hopkins would retain an ematiated look throughout his all too brief life, and in view of his health problems, was a rebellious child at school.

Arguably the most prolific session musician of the 1960s and 1970s, Hopkins played with literally every British band of significance during that era, beginning with Screaming Lord Sutch And The Savages at age 16. That led Hopkins to his involvement in the seminal blues band Cyril Davies’ R&B All Stars two years later.

He was sometimes mistaken for an American. Allan McDougal, the record producer and former Kinks publicist, says: ‘Nicky could play rock ‘n’ roll piano like the Americans. He was raised on Fats Domino and Little Richard and he could play any tune that was put in front of him. He played on lots of the Kinks’ early records and with the Hollies, but never appeared on stage with them. He was often desperately ill and pitifully thin but always had a happy smile on his face.’

In short order, Hopkins’ talents brought him to the attention of The Beatles (both collectively and as individuals), the aformentioned Kinks (their song “Session Man” was allegedly inspired by his efforts), The Who, The Easybeats, Donovan, The Move, The Pretty Things and Led Zeppelin.

In 1967 he committed to joining the Jeff Beck Group, and after the band disbanded following its first two albums, Hopkins hooked up with Jon Mark, Harvey Burns, Brian Odgers and Alun Davies in the ad-hoc outfit Sweet Thursday. That group was also short-lived, leading Hopkins to devote an increasing amount of his time to The Stones.

His first album with the band was “Between the Buttons,” but he later went on to contribute to “Beggar’s Banquet” and every album after, up to and including “Tattoo You.” His most prominent contributions included the piano parts on “She’s a Rainbow,” “Sympathy for the Devil,” “Loving Cup” and “Waiting on a Friend.” He also toured with the group throughout the early 1970s.

Hopkins’ ties to The Stones were further affirmed by the role he played on the album “Jamming with Edward!,” the album’s title taken from a nickname given by Brian Jones. That handle later loaned itself to the instrumental “Edward the Mad Shirt Grinder,” which Hopkins composed for Quicksilver Messenger Service’s “Shady Grove” album during his brief tenure with that band. Hopkins later reprised the tune for his second solo album, “The Tin Man Was a Dreamer,” an all-star effort recorded during the sessions for George Harrison’s “Living in the Material World” and featuring many of the same players. Hopkins had recorded an earlier solo album, “The Revolutionary Piano of Nicky Hopkins” and would later release a third and final album, “No More Changes,” as well as a trio of soundtracks. A fourth effort, “Long Journey Home,” was never released.

Throughout the second half of his life, Hopkins was a committed scientologist, although never one to press his religious views on others. Unsurprisingly, he found happiness with wife Moira, a similar Dianetic convert.