Mentorship

I am standing on the edge of the cliff the entire night, and if I mess something up, mess it up, what even is a mistake? But if I do a little clunker or whatever it is, it's like, so what? I wouldn't have played half the stuff that I'm playing if I wasn't constantly standing on the edge of the cliff, like wild. Why stand at the edge of the cliff?

There's a legendary video of you playing with Jeff Beck. We're actually watching it in the background now. So for people who don't know, Jeff is one of the greatest guitarists ever. So you're playing with him at the 2007 Crossroads Festival, and people should definitely watch that video. You were killing it on the bass. Look at that face. Were you scared? What was that experience like? Were you nervous? You don't look nervous. Confident? Yeah, I wasn't nervous. I think that you can get an adrenaline rush before a stage, which is natural, but I think as soon as you bring fear to a bandstand, you're limiting yourself. You're walling yourself off from everyone else. If you're afraid, what is there to be afraid of? You must be afraid of making a mistake, and therefore you're coming at it as a perfectionist and you can't come at music that way, or it's not going to be as expansive and vulnerable and true.

Joke went way too far. You talked about confidence somewhere. I don't remember where. So I want to ask you about how much confidence it takes to be up there. You said something that Anthony Jackson told you as encouragement, line that I really like. That quote, "On your worst day, you're still a bad motherfucker." That's actually a Steve Gadd quote. And Steve used to tell that to Anthony because Anthony used to get real depressed if he did a wrong thing or not perfect thing. And Steve Gadd used to say this to Anthony Jackson. And then Anthony was my first bass mentor or just mentor in general.

You said that Leonard Cohen is a songwriting inspiration of yours. I saw you perform his song Chelsea Hotel, brilliantly on the internet. It's about, for people who don't know his love affair with Janet Joplin. How does that song make you feel? Great. I love that song.

You said you sometimes watch classic movies to inspire your songwriting, and you mentioned watching Taxi Driver. I love that movie. And I think you mentioned that you wrote a love song based on that movie. So Travis Bickle, for people who don't know, is a taxi driver and he's deeply lonely. What do you think about that kind of loneliness? I think that loneliness is a product of feeling separate from the world, and separate from others. And that the less you experience that separation, the less you'll feel lonely.

Okay. Well, to be continued. Since I think I heard you say that you wrote a love song after Taxi Driver, what kind of love songs do you write more of? You're a songwriter first, for people who don't know. They might think you're primarily a bassist. But they're wrong.

Okay. You picked up the guitar when you were 14, let's go back. And one interesting thing that just jumped out at me is you said you learned how to practice in your head, because you only had 30 minutes. Your parents would only let you practice for 30 minutes. I read somewhere that Coltrane did the same. Not the practice part, but he was able to play instruments in his head as a way to think through different lines, different musical thoughts, that kind of stuff. Maybe, can you tell the story of that? Yeah. I just grew up in an environment that was focused on academia. And I fell in love with guitar, and really just wanted the focus to be that. My limit was 30 minutes a day for, I don't even remember how many times a week. Might've been every day, five days a week, whatever.

Bass and bass? Okay, well, one is a fish. At least I pronounced it correctly. That's good. It's all about the bass.

I've heard of him. I've recently learned of him. He's a YouTuber and a bass player. He's amazing.

Yeah. You can do a totally disciplined, I can go into a session and... Okay, my favorite thing about going into a session with musicians that I adore is that we don't hear the demo because if you hear a demo, you're hearing what the producer or songwriter have already imagined that every instrument is playing. And then it's like well, I've already heard what you want. Now my mind, part of my mind, is focused on what I already know you want and what the destination is going to be. Why did you bring me in here? I want to not hear it. I just want you to sit at a piano and sing the song, I want to hear the chords and the lyric or sit with an acoustic guitar, play it, and then let's all go in the room. And then take one, I would say 80% of the time, take one has the most gold and there might be a mistake or two or someone forgot to go to the B section and you might want to punch that in so that you're hitting the right chord. But all the magic is in that take. And then sometimes it happens where it's like you go, it's like we're rehearsing and take 1, 2, 3, 4, 5, and then you're thinking about it too much and then you go and you have a dinner and you come back and the next take one after dinner is the one. It's usually after there's some sort of a break, but obviously there's exceptions to that rule. Sometimes it's take two, or three.

You make it sing. Let me ask you about... Just come back to Hendrix, because you said that you had three CDs, Jimi Hendrix, Herbie Hancock and Rage Against the Machine. First of all, a great combination. I'm a big Rage fan. It's so funny, because when I listen to some of the music that I create, my solo music, I'm like, "I could see how this is a combination of Herbie Hancock, Rage Against the Machine and Jimi Hendrix." I hear the influences. It's funny.

Thanks. You're very Zen. Can I ask you about Bruce Springsteen?

Well, I was wondering if you would do me the honor of playing a song. Do you want a suffering song or a suffering song?

[inaudible 01:44:18] Try turning it to 11.