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Q: I was
wondering if you have ever heard any of Steve Hackett's work? I read
an interview with him where he spoke about his love of Bach and
Segovia so their influences seem all encompassing. - from Pete
A: I have
heard Steve's solo albums and they are really good.
Q: In your
session work (most notably with Sting), I appreciate that fact that
the your guitar parts always seem to compliment the lyric or verse.
Although sometimes quite subtle, the method in which your voicings
weave in and out of the songs remind me quite a lot of Lindsey
Buckingham. Does your feel that your classical reference point has
contributed to your ability to express or restrain your session guitar
work (as you always seem to 'play for the song')? - from Chad
A: Thanks
for this. Lindsay Buckingham is one of the most creative song
accompanists on guitar. His parts always sound perfect to me. I am
flattered you should put me in the same paragraph as him. Yes I do in
some way model my approach on his, but there are also many others.
Classical playing has been of some help, mainly with technique which I
sometimes use on electric and visa versa. But my main instrument is
musicianship. I like to be true to the song and complement it as much
as it deserves, if not more. Having some classical background and
listening to people like Lindsay Buckingham helps make this possible.
Q: What
did you think of everything that was happening to you at the time you
first played with Sting and how did it change you? - from Kevin
A: Playing
with Sting on on my first arena tour is something I shall never
forget. It felt like I had won the lottery. But this feeling has never
gone away and I still get as excited now as I did then.
Q: You're
good friends with Pino Palladino... just wondering what you think of
his latest project playing with the John Mayer Trio. - from Kevin
A: Pino is
a fantastic musician. John Mayer is an awesome guitarist and I think
Pino, Steve Jordan and John make the perfect trio.
Q: I am 19
year old guitarist just beginning to get into session work and I was
wondering how you negotiate pay with producers/artists etc. Do you
charge by hour? Also if this isn't a too much of a personal question
how do you work out your wages with sting? i.e. does he pay you per
tour, gig, hour in studio, royalties etc. Hopefully you will reply to
this. - from Steve
A: The
best way to deal with session rates is to start off by charging the
union rate. Usually, depending on which country you live in, sessions
are in three hour blocks. As you get more experienced then you can
charge whatever you think you are worth which is what I have been
doing since I felt I could warrant charging what I believe is right.
This is how I have dealt with artists for many years now including
Sting. Word of advice: Don't charge more than you think you can
deliver. There is nothing worse than asking for a lot and then not
delivering. The producer won't ask you back. Just go easy at first.
Q: I was
wondering if you had any special ways of dealing with the long
rehearsal or studio (or live) sessions. I often find myself being worn
out after a while, especially in a noisy environment. It would be
great to hear your thoughts on this. - from Halli
A: Good
question. I do get worn out in rehearsals, particularly if we are
wearing headphones (sometimes we do this when we are all in the same
room to block out the volume of the drums). My ears get very tired and
it can be frustrating. But the best way to rehearse is to know when
it's time for a break. Every two hours we take a short break and we
break for lunch and dinner. It is also important to under-play when we
are rehearsing and just play really simply. This gives the other
musicians an indication of where you are coming from. They don't need
to be impressed. They need support and so do I.
Q: What is
the secret to make it as a successful guitarist, apart from obviously
knowing how to play, which I personally think I do! - from Will
A: Being a
session touring guitarist is a tricky one. Firstly, before you can
call yourself the above you must have some grasp on most styles of
playing even if you are not particularly inspired by them. For
instance, I am known to not be into country music but I do have an
understanding of its nature and can 'fake' it in a studio scenario
because I have been asked to on a few occasions. Secondly, your main
clients are producers, not necessarily artists. A producer will call a
guitarist who he are she feels can do the job best. If you are not on
that producers phone book as the number on player he will go to the
next one. If you are the next one, and he asks you to play some Bossa
Nova guitar over a Ska backing with a Japanese artist singing who
thinks he's Elton John and you say 'I don't know what you mean' or
'No, I can't', then the producer will never ask you back. If you say
'Sure thing, I know what to do' and do it successfully you will be
number one on his/her list.
The truth is you have to be very flexible. If a producer rings up and
asks you to play on the new Girls Aloud single and you say 'No, I
don't do that kind of thing' you will never hear from him again. Being
a session guitarist is a bit like being a mercenary. If you do the
session successfully, that producer might invite you to play on his
next 'serious' project. If you do that project successfully, and
everybody hears your riff on the radio and likes it you will be known
as 'the man' and every producer will want you. Thirdly, if you are new
and want to get recognised, TAKE EVERYTHING THAT COMES YOUR WAY. You
are not in a position to choose. Sometimes it means doing things for
free. You never know who you might meet there.
Finally, if a producer has invited you to a project, you don't need to
show off or try and prove yourself because you're already there.
Guitarists are notorious for this. I was like that until I learnt to
KEEP IT SIMPLE. Try and play parts that compliment the song and that
anyone could play. You have the last laugh because you played it and
other guitarists will be wondering why it wasn't them.
Oh, and be
nice!
Q: I was
just looking over my 'Phil Collins...Hits' CD and realized you played
on 'Something Happened On The Way to Heaven'!! My Dad and I went to
see Phil here in Buffalo on his 'First Farewell Tour' on Sept. 12. My
dad took me to the show for my 28th Birthday. My questions are : What
is it like working with Phil? Does he improvise in the studio
sometimes? I emailed Phil's long time engineer Nick Davis and asked
him if he thought Phil would actually stop touring. He said yes, I'm
sad but realize Phil's had a great thirty-plus year career. I was
thrilled to be at his last gig in Buffalo. - From Steve
A: It was
a great experience for me working with Phil Collins. When I arrived at
the studio the songs were in bare form, i.e. just drum machine, basic
keyboards and vocal ideas. This meant I had the freedom to express
myself with nothing much else. I believe he is an improviser in the
studio but he also has a very clear vision as to how he wants a song
to end up. I have found that most of the artists I have worked with
who are successful work in this way. Being in a studio is a very
creative environment if you allow it to be. He does and I am sure will
continue doing. I can't imagine Phil not touring again. If I were a
gambler I would say he'll be back. Many musicians and artists have
retired only to come back again. I don't think artists should announce
their retirement from touring because it's kind of like telling the
world you've quit smoking only to start again. The best way I think is
to just do it.
Q: I'm no
musician, but am curious to know how one would actually employ you as
a session guitarist. Do you still do session work? When do you get the
time? - from Elina
A: Of
course I still enjoy doing it. When I get off tour I usually have
three problems. First, that people still think I am away, second that
people think I might be too big headed to consider their project and
third that it might be too expensive. Only one of them is true (lol).
Sometimes I do sessions while on tour and people can always find me
through my accountant. She is the contact.
Q: As you
are so busy and in demand as a musician, who do people go to when they
can't get hold of you to record with them? Who do you see as your main
competitor? - From Elina
A: Michael
Landau, Gus Isidore, Robbie McIntoch. There are many who I admire.
Actually we all know each other and there is mutual respect all round.
Q: You
join Kaori Muraji on four of the tracks on her latest album. Were you
actually there with her, or was it the kind of Pavarotti thing, where
parts are added later with studio technology? - from Colin
A: Kaori
and I recorded these tracks 100% live. No overdubs or drop-ins. Some
minor editing but it's REAL.
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