Fortunately, as we all know, it's impossible for anybody but Jimmy Smith to really sound like Jimmy Smith.
Besides, I'm fairly incompetent. I can't play that fast.
What a good session musician does is listen to the song, to the artist, and to the other players. That way you can help bring out the song and help the artist express what they want to express. It's never about you stepping out and showing you can play something fancy.
You can go crazy and play solos in the right place, and that's great because it can intensify and bring an emotional lift. But the thing is you don't want to get in the way of the song.
I did enjoy Nashville a lot of the time, because I made really good friends who were really good songwriters, and they would be a joy to hang out with.
I think that with Bob Dylan around, we're living in an era where we have Whitman presenting new work, we have Dickens presenting new work, we have Yeats and Shakespeare presenting new work. It's that level.
If you call attention to yourself at the expense of the song, that's the cardinal sin.
We started with Denny Cordell, and he was a great record producer. He knew exactly how to take a band that knew absolutely nothing, and guide you without trying to tell you what to do.
I try to find little things that you can do to move the song along and things that serve the song.
I think I drift toward sad love songs.
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