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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: Just
wondering what amps you used on the Mark Hollis solo album? - from
Danny
A: No
amps, just acoustic guitar.
Q: When
you set down to new music in the studios, what various forms of music
do you encounter (i.e. tab, chord/number charts, sheet music) and what
are you most comfortable with? Is there an agency through which your
sessions are set up and how many studio dates do you actually play
through the year? - from Joel
A: When
people hire me in the studio they usually leave me to my own devices,
i.e. no tabs or charts; just the way I want to interpret it. There are
plenty great guitarists who could take the other work which involves
reading and more direction. However I am honed in these skills,
perhaps not fluently but good enough. I had to start somewhere. When I
am off the road a suppose I do about four or five sessions a month.
Q: Do you
have a system for remembering all your guitar 'parts' for each song
you play/have played whether it's your solo work or Sting's songs? Is
it just memory, feel, a certain lyric that triggers something? Do you
document/score any of your guitar parts? - from David
A: It's a
strange thing memory. I mostly have a kind of photographic memory with
music. Once I have played it once it is a matter of recalling the
piece or idea and then just going for it. I have an in balance with
memory i.e.: I can remember music but often forget day to day things
that most people find elementary.
Q: When
you record tracks for artists do you get a preliminary mix of the
songs to take home after you are done working, or do you have to wait
for the finished product? - from Michael
A: Once I
am done recording for an artist I just leave the studio and let them
handle the mix or my place in it. I don't need to hear it. It's funny
because sometimes the next time I hear it is on the radio and I might
have forgotten all about the session and the song. I listen and think
'that guy is copying my style!' only to discover that it was indeed
me. The bad side to that is that sometimes I think the guitar part
could be better only to discover it was me.
Q: I am a
master's student in guitar studying both classical and jazz. I admire
the fact that you play all styles. I pride myself in that as well. My
question is I would love to do what you do: perform as a solo act,
perform as a guitarist , and write as well. How does one go about that
process of doing what you do in the Biz. I guess what I am saying is
how do you break into the biz? - from Jaime
A: The
best way to break into the 'biz' is to make yourself available in just
about every capacity imaginable. From teaching, to gigging, to going
to courses (great for meeting people) to sessioning for friends,
artists, bands or artists that need a favour (one can learn a lot in
these situations) to just asking advice (like you are) or even asking
for gigs or sessions which can take a lot of nerve. The question is,
can you back it up with your playing. If a producer asks you to play
country licks over a funk beat can you do it. If he asks you to play
in a bossa nova style over pop can you do that etc etc. I hope this is
of some help.
Q: I've
been trying to break my way into the world of becoming a session/tour
musician. I was just wondering how you made your way up the ladder to
work with the likes of Sting and other amazing artists. Any advice? -
from Sarah
A: What
worked for me was to be as adept as possible in as many styles as I
could think of. Producers want you to be able to do it all. That's
when I started working more and more and the word got around that I
was the guy who could play any style. Not necessarily really well, but
well enough to support a song. Also, it is important to keep it
simple. What makes a song work is usually very simple. Just by being
there at a session you have already proved yourself as a player so
there is no need to show off.
Q: Can you
tell me what it's like to work with Julia Fordham? I love her music
and she's such a lovely person. And tell me about Aadesh? I heard
yourself, Hugh Padgham and Julia Fordham have collaborated in some way
with this project? - from Darren
A: Julia
was a joy to work with. She has a haunting voice that lends itself
well to my style of playing. I love accompanying her. I don't know
when the Aadesh thing will come out but I will be sure to let the
website know when it does.
Q: I have
a short question for you: I just bought Craig David's CD 'Slicker Then
Your Average' and heard the song 'Rise and Fall' with Sting. I was
wondering did you play guitar live on Rise or did Craig use a sample
of Sting's song? If you did play live, how was Craig to work with? -
from Steve
A: That is
indeed taken from 'Shape of my Heart'. Frazer (Craig's guitarist)
re-performed the part, and very well I might add. I did work with
Craig for a live version of that song and he is a true gentleman.
Q: I know
you played a lot on Phil Collins' '...But Seriously' album, as did his
regular guitarist, Daryl Steurmer. On the tracks which feature both of
you, were you in the studio at the same time? Did you get to play
together? How much leeway did they give you in terms of the guitar
parts? Did you ever get a chance to jam together? - from Kirk
A: I also
like Darryl's playing. Unfortunately we weren't in the studio at the
same time. I had total control over my parts as Phil was checking me
out to see if I would be the right guy for the job. What you hear is
that process. It was a career changing session for me because it gave
me self belief.
Q: How did
you get the gig playing with Phil Collins? Daryl Stuermer being his
main guitarist for years I had not noticed that there was a different
player on the album. - From Pat
A: I got
the Phil Collins gig through Hugh Padgham having done a session with
him. I asked for the gig and he told Phil who gave me a chance. It
worked well. I like Darryl.
Q: You
have played with some of my biggest influences in the drumming world.
How and what are the differences you see between Vinnie and Manu in
style, feel and approach to Sting's music? I think they're both great
players, however I do hear the difference at time. I would like your
opinion as a musician who has played with them. I as a drummer strive
to be versatile. - From Pat
A: Vinnie
is the drummer's drummer with his incredible technique. Manu is an
artist on the drums and never plays any two bars the same way. They
are both at the top of their game. Now we have Keith Carlock who is
another amazing talent.
Q: I
noticed that someone called Dominic Miller played on the DC Talk album
'Supernatural' and I wondered if it was you, and if so, which tracks you
played on, if you can remember. There’s a nylon part on 'My Friend (So
Long)' that sounded like it could have been you, but I might be wrong…
- From Paul
A: I
actually co-wrote the song and did all the parts.
Q: I've
found that over time, I've been listening to a lot of groups who have
had you playing with them. In particular, there's a song called 'Man' by
Level 42. I have a burned copy, so I'm guessing, but I believe it's
you on guitar? - From Jason
A: I did
indeed play on that track by Level 42. I never went on tour with them
though.
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