In the Room with Bass Legend Leland Sklar

Name: In the Room with Bass Legend Leland Sklar
Uploaded: 2023-08-15T21:55:00.000Z
Duration: 1 h 46 min 29 s

Introduction and Catching Up

In this section, the host introduces Lee and expresses excitement about having him on the show. They discuss how they have known each other for years and talk about Lee's previous absence from a show due to being out of town.

Catching up with Lee

Lee is in town playing with Lyle.

Last year, when the host came through town, Lee was unable to attend the show.

They plan to cuddle and chat since they have already discussed everything on their ride together.

Career at This Point

In this section, Lee talks about his career at this point in his life. He reflects on how surprising it is that he is still busy at 76 years old, considering most people in the industry would have retired by now.

Reflection on Career

When starting out, the calendar seemed endless with opportunities.

Now at 76 years old, Lee never imagined he would still be so busy.

Many people in the industry retire at this point, but Lee is still going strong.

Despite COVID impacting schedules, Lee has found ways to stay productive by finishing a book and starting a YouTube channel.

Getting an endorsement from the host was a game changer for him.

Adapting During COVID

In this section, Lee discusses how he adapted during COVID when many live performances were canceled. He talks about using the time to finish projects and learn new recording techniques.

Adapting During COVID

COVID caused many scheduled events to be canceled or postponed.

Instead of sitting still, Lee used the time to finish up projects like writing a book and starting a YouTube channel.

He learned new recording techniques and started recording from home, which he had never done before.

Lee received an SSL two plus interface as a gift, allowing him to record remotely.

Despite missing the interaction of working in a studio, he enjoyed the opportunity to work on projects remotely.

Changes in the Public Eye

In this section, Lee talks about how being in the public eye changed during COVID. He discusses the uncertainty of when things would return to normal and how he adapted by finding new ways to work.

Changes in the Public Eye

The norm of being in the public eye was suddenly gone due to COVID.

There was no idea when things would return to normal.

Lee had never recorded from home before but learned how to do it with guidance from a friend.

He has since completed numerous albums using his home recording setup.

Lee now travels with his recording equipment and continues to work on projects while on the road.

Session Players' Role in Recording

In this section, Lee discusses session players' involvement in the recording process. He talks about trusting engineers for setup but also having preferences for mic placement and using both direct input and mics for more options.

Session Players' Role in Recording

Session players usually trust engineers for setup but may have preferences for mic placement.

Lee likes having as many options available as possible, so he prefers using both direct input and mics if feasible.

He brings his own DI (direct input) box with him, an old tubeworks model made by Mossman.

Sometimes there are expensive DI options available at studios that can be used if desired.

Studio Setup and Session Amps

In this section, the speaker discusses their studio setup and the choice of session amps for different projects.

Typical Session Amp

The choice of a typical session amp depends on the song being recorded.

The speaker mentions using an SVT amp for recording "Children Of The Sun" with Billy Thorpe, where they cranked up the volume to achieve a loud and powerful sound.

For other songs, such as "Jamming with Jesus" on one of Steve Lukather's albums, they used a distorted tone by cranking up the volume on a different amp.

Studio Equipment

When going to the studio, the speaker brings their main bass guitar called "Frankenstein," along with a Dingwall bass and a Euphonic Audio (EA) combo amp.

They prefer not to use headphones when recording bass and instead want to feel the vibration of the amp in the room.

However, if necessary for specific situations like acoustic guitar recordings or cue-heavy performances like Grammy shows, they may use in-ear monitors.

Live Performances and In-Ear Monitors

This section focuses on live performances and the use of in-ear monitors by musicians.

Use of In-Ear Monitors

While some band members use in-ear monitors during live performances, such as singers and James Herod (due to proximity to horn section), most musicians including Lyle rely on stage wedges for monitoring.

The trend of using in-ear monitors started around the mid-'90s when wireless technology became popular.

Grammy Shows

During events like Grammy shows, where there are multiple performances and cues, musicians may be required to wear in-ear monitors for better communication.

The MD (music director) provides cues through in-ears, indicating when to start and stop playing.

The speaker mentions performing at the pre-Grammy show, which features numerous live performances and award presentations.

Intensity of Live Performances

Live performances can be intense due to the dynamic nature of cues and changes in seating arrangements for different performers.

The speaker mentions that sometimes they may only play a few notes depending on where the person they are accompanying is seated.

Behind-the-Scenes at Grammy Shows

This section provides insights into the behind-the-scenes experience of performing at Grammy shows.

Cue-based Performances

Cheche Alara, the MD for Grammy shows, selects music pieces in advance and provides snippets or quick explanations to musicians so they know how each piece should sound.

Cues are given by counting off with "three four," indicating when to start playing and when to stop.

Musicians often have to wait for performers to reach the stage before starting or stopping their parts.

Intense Moments

Performing at Grammy shows can be intense due to the large number of music pieces rehearsed (around 80-85) and the need for precise timing based on performer locations.

The speaker mentions that cameras do not focus on musicians during these moments, but sometimes it gets crazy and laughter may ensue due to the intensity of the situation.

The transcript provided does not contain any additional information about studio techniques or other topics.

Understanding the Intensity of Music Preparation

In this section, the speaker discusses the intense process of preparing music for performances and rehearsals. They highlight the amount of reading involved and how it may appear seamless to others.

The Intensity of Music Preparation

The process involves going through a ton of material and requires a lot of reading.

Despite the intensity, they make it look seamless during performances.

People often don't realize how much effort goes into making everything sound perfect.

The perception that musicians are just having fun playing is misleading as there is a significant amount of history and preparation behind it.

The Misconception about Music Preparation

In this section, the speaker discusses how people perceive musicians' work as effortless and highlights the challenges faced in the music industry.

Misconceptions about Music Preparation

People accept that musicians effortlessly perform their songs without considering the effort put into it.

There is a misconception that playing music is just about having fun, but in reality, it involves years of practice and hard work.

Clients may not understand why they charge for longer sessions when they can complete tasks quickly due to their expertise.

A personal experience made them rethink their approach after realizing someone else got paid more for doing less work.

The Importance of Reading Charts

In this section, the speaker emphasizes the significance of reading charts in music production and explains an incident where reading skills affected payment.

Importance of Reading Charts

Reading charts plays a crucial role in making music look easy and fun during performances.

Many people underestimate how much effort goes into playing songs accurately from charts.

A personal experience highlighted how lack of reading skills affected payment when collaborating with another musician who couldn't read or write music.

The Value of Expertise and Efficiency

In this section, the speaker discusses the value of expertise and efficiency in music production and shares an anecdote about a project that required quick completion.

Value of Expertise and Efficiency

Being able to complete tasks quickly due to expertise can lead to misunderstandings regarding session duration.

An example is given where the speaker completed nine tracks in four hours, while another musician took three days for just three tracks.

The incident made the speaker reconsider their approach and realize the importance of reevaluating payment based on expertise and efficiency.

Challenges in Studio Musician Work

In this section, the speaker talks about the challenges faced by studio musicians, including adapting to various musical genres and being prepared for any type of recording session.

Challenges in Studio Musician Work

Studio musicians often face uncertainty as they may be called for different genres like reggae, polka, or shred metal.

They need to have a diverse skill set to adapt to various musical styles.

While not being experts in every genre, they should be able to deliver satisfactory performances across different styles.

Japanese anime music is mentioned as an example of intense and unexpected genres studio musicians may encounter.

Balancing Mechanics and Musicality

In this section, the speaker discusses finding a balance between focusing on mechanics during recording sessions while still maintaining musicality.

Balancing Mechanics and Musicality

Initially, during the first take or two, musicians are completely immersed in the song's zone without thinking about mechanics.

However, as more takes are done, there is a tendency to focus on technical aspects rather than fully enjoying playing the song.

Musicians sometimes get lost in mechanics instead of staying in the musical zone.

The speaker aims to be in the musical zone while still delivering technically proficient performances.

Handling Challenging Music Projects

In this section, the speaker shares an anecdote about a challenging music project and highlights the pressure and dedication required to deliver high-quality recordings.

Handling Challenging Music Projects

The speaker faced a daunting task of recording a complex chase sequence for a movie soundtrack.

The chart was several pages long, with rapid tempo changes and intricate rhythms.

Despite the pressure, they dedicated themselves to mastering the piece during lunch break while others took time off.

The ability to handle such challenges is essential for studio musicians.

Studio Musicians' Role and Pressure

In this section, the speaker discusses the role of studio musicians and emphasizes the pressure they face to deliver exceptional performances within limited time frames.

Studio Musicians' Role and Pressure

Studio musicians are not band members but professionals hired for their expertise in recording sessions.

Unlike bands who can take breaks or postpone work, studio musicians must deliver results on the same day due to budget constraints and artists' schedules.

There is a significant stress level associated with meeting these demands.

However, all musicians called for such projects are highly skilled and capable of handling the pressure effectively.

Taking Gigs and Career Pressures

In this section, the speaker discusses career pressures related to taking gigs early on in one's career and how it affects decision-making.

Taking Gigs and Career Pressures

Early in their careers, musicians often feel pressured to take any gig that comes their way due to fear of missing out on opportunities.

This pressure can lead them to accept gigs that may not align with their goals or pay fairly.

The speaker advises considering the long-term implications and value of each gig before making decisions.

The transcript ends abruptly, and there is no further content available.

The Impact of Conflict in the Music Industry

In this section, the speaker discusses the impact of conflict in the music industry and how it can lead to hiring someone else for a position.

Conflict and Hiring Decisions

Conflict in the music industry can result in hiring someone else for a position.

When there is a conflict and one person is unable to fulfill their role, they may be replaced by another individual.

The Speaker's Background and Introduction to James Taylor

This section provides background information about the speaker's involvement in the music industry and their introduction to James Taylor.

Introduction to James Taylor

The speaker was part of a band called Wolfgang in the late 60s. Their drummer had a friend named John Fishback who owned Crystal Recording Studio, where Stevie Wonder recorded his early songs.

Through their drummer, they met James Taylor, who had just returned from England. James attended their rehearsals and listened to their songs while they listened to his.

Afterward, James had just finished recording his first album and was booked to play at the Troubadour in Los Angeles. He needed a bass player, so he called Peter Asher (his manager) who recommended the speaker.

Transition into Professional Music Career

This section highlights how the speaker transitioned into a professional music career through opportunities with James Taylor and other artists.

First Professional Gigs

The speaker got involved with playing bass for James Taylor after being recommended by Peter Asher. They also worked on recording sessions for James' first album.

The speaker recalls that during one of James Taylor's shows at the Troubadour, notable musicians like Del Shannon and Brian Hyland were present. The first album the speaker got hired for was Brian Hyland's.

The speaker mentions that they suddenly went from having no studio experience to being among the first-call session musicians as The Wrecking Crew was phasing out.

Observing Professional Musicians in the Studio

This section discusses the speaker's experience of observing professional musicians in the recording studio and their eventual collaboration with them.

Watching Professional Musicians

In 1967, while being part of a band called Group Therapy, the speaker had an opportunity to observe professional musicians like Hal Blaine, Carol K, and Al Casey recording their album with The Wrecking Crew. At that time, they thought they could never do what those experienced musicians were doing.

However, a few years later, the speaker started working with those same professional musicians on various projects. They recall how surreal it felt to go from watching them through a window to collaborating with them regularly.

Career Growth and Recognition

This section highlights how the speaker's career grew and gained recognition through collaborations with Mike Post and other artists.

Collaborations with Mike Post

Mike Post started calling the speaker several years later, leading to collaborations on various TV shows starting with "The Rockford Files." This marked a turning point in their career as they became involved in multiple projects every day.

The singer-songwriter movement gained momentum during this time, and James Taylor's success played a significant role in opening doors for other singer-songwriters like the speaker.

Album Credits and Industry Recognition

This section discusses the importance of album credits and how they contributed to industry recognition for session musicians.

Album Credits and Industry Perception

Peter Asher, who was James Taylor's manager and a former musician himself, insisted on including the names of session musicians on the album jacket. This was an uncommon practice at that time but helped raise industry awareness about the contributions of session musicians.

The inclusion of session musicians' names on James Taylor's album led other record labels to consider hiring these talented individuals for their projects as well. This resulted in an increase in opportunities for session musicians like the speaker.

Balancing Recording and Touring

This section explores the speaker's preference for touring over recording and their experience as a band member.

Preference for Touring

If given a choice between recording or touring, the speaker would choose touring as they enjoy playing live shows and have a background in performing at clubs since their early days in bands.

The speaker mentions their involvement in various bands during the 60s, playing at fraternity houses, Hell's Angel trophy meetings, American Legion Christmas parties, etc., which shaped their love for live performances.

The transcript provided does not contain enough content to create additional sections without mixing topics or creating very short sections.

Balancing Touring and Studio Work

In this section, the speaker discusses how they managed to balance touring and studio work throughout their career.

Managing Studio Work during Tours

The speaker would inform producers in advance about their upcoming tours.

They would contact all the producers they normally worked with and let them know the dates they would be leaving town.

Sometimes, projects were moved up or delayed to accommodate the speaker's schedule.

By being proactive and professional, the speaker ensured that their absence did not affect their working relationships.

Professionalism in the Studio

The speaker emphasizes treating music as a profession and respecting the people they work with.

They mention observing other musicians who are not fully engaged during playback sessions, highlighting the importance of actively participating in the creative process.

The speaker always aims to give their best effort on every project they work on.

Making Suggestions in the Studio

In this section, the speaker talks about making suggestions during recording sessions and striving for excellence in every project.

Taking Initiative in Recording Sessions

The speaker shares instances where they suggested trying something different or adding another element to a recording.

They believe in giving each project their best effort and are willing to go beyond what is expected of them.

Engaging with Playback Sessions

The speaker mentions that some musicians do not actively participate during playback sessions, but they personally take an interest in listening back to recordings and making suggestions for improvement.

Collaborating with James Taylor

In this section, the speaker discusses collaborating with James Taylor and highlights his unique guitar style.

Recording Acoustic Guitar Parts with James Taylor

When playing alongside James Taylor's acoustic guitar, the speaker would record their parts simultaneously.

James Taylor sometimes recorded live vocals while playing guitar, capturing the essence of the moment.

Challenges and Nuances

The speaker mentions that collaborating with James Taylor presented challenges due to his unique guitar style and complex arrangements.

They highlight how James Taylor's style has influenced other musicians in the industry.

Navigating Home Recording

In this section, the speaker discusses the challenges of remote collaboration and highlights the benefits of being physically present in a studio setting.

Limitations of Home Recording

The speaker expresses frustration with home recording setups where they receive tracks without knowing the overall vision or plans for a project.

They mention that nuances and adjustments could have been better worked out if they had been in a studio together.

Collaborative Studio Environment

The speaker emphasizes the importance of being physically present in a studio to fully understand and contribute to a recording.

They mention how eye contact and communication among musicians can enhance the creative process.

This summary is based on selected portions of the transcript.

New Section

In this section, the speaker discusses the melodic style of James and how his playing is unique. They also talk about their approach to working on songs and the use of charts.

Melodic Style and Unique Playing

James has a distinct melodic style that sets him apart from others in terms of artistry.

He doesn't use charts or chords when playing guitar, but rather relies on his own intuition and creativity.

The speaker emphasizes that there is nobody like James when it comes to the artistry of playing.

Working on Songs and Charts

When working on songs, they would gather around James as he played guitar, and then work together to refine and perfect the music.

There were no demos for songs; they would start from scratch with James' live performance.

The speaker mentions that some artists prefer to have their songs played for them before recording, but they appreciate the spontaneity of working directly with James.

New Section

In this section, the speaker talks about different approaches to charts in studio sessions. They discuss how different producers have varying preferences for written charts or improvisation.

Different Approaches to Charts

The speaker mentions that anything can happen in studio sessions when it comes to charts.

Sometimes there are no charts at all, just a mood or idea written on graph paper.

Other times, there are fully notated Nashville number charts available.

The speaker attributes their strong reading skills to starting as a classical pianist at a young age.

Reading Skills and Opportunities

Because of their ability to read music well, they were able to get opportunities for studio work such as jingles, TV, and movie recordings.

They acknowledge that not all musicians they came up with had the same reading skills, which limited their access to certain types of work.

Some artists, like David Foster and Ron Fair, were also skilled at writing their own charts.

New Section

In this section, the speaker discusses working with artists who write their own charts. They mention specific producers like David Foster and Ron Fair who excel in both producing and chart writing.

Artists Who Write Their Own Charts

The speaker mentions working with artists like David Foster and Ron Fair who are not only producers but also talented at writing charts.

These producers would play a song and simultaneously write out string charts or other musical arrangements.

The speaker appreciates when they receive complete charts because it allows them to focus on performing rather than figuring out the music.

The Role of Producers

While many artists may not be skilled at writing their own charts, some producers have a gift for it.

The speaker enjoys seeing a complete chart where they can simply perform without having to think about the music.

Mike Post is mentioned as a producer who would provide specific instructions but also encourage adding personal touches to the performance.

New Section

In this section, the speaker talks about the changing dynamics of studio sessions due to advancements in home studios. They discuss how demos have become more polished and finished before bringing in session musicians.

Changing Dynamics of Studio Sessions

With the rise of high-quality home studios, demos have become more elaborate and finished before involving session musicians.

Instead of just basic guitar demos, artists now spend months perfecting their songs before bringing them into the studio.

This shift has led to challenges for session musicians who are expected to improve upon already polished demos.

Dealing with "Demoitis"

The speaker refers to the phenomenon of "demoitis," where artists have become so attached to their demos that they resist changes.

Artists have listened to their demos countless times and may not appreciate any alterations made during the recording process.

This can make it challenging for session musicians who are expected to bring something new or better to the table.

New Section

In this section, the speaker discusses their unique playing style and how it developed due to physical limitations. They also express their preference for expressive bass parts over technically precise ones.

Unique Playing Style

The speaker shares that they have had issues with their left hand, which has limited dexterity in two fingers.

As a result, they have developed a playing style that relies more on sliding between notes rather than using traditional fingerings.

This limitation has become their signature style and has been appreciated by producers like Mike Post.

Expressive Bass Parts

The speaker expresses a preference for bass parts that incorporate slides, glisses, and other expressive techniques.

They find technically precise bass parts to be cold and analytical, lacking the emotional depth they strive for in their playing.

Their approach is more about adding personality and "Schmutz" (grit) to the music rather than strict precision.

Due to limitations in available content from the transcript, some sections may be shorter or longer than others.

New Section

This section discusses a humorous incident involving Tommy, a musician, and highlights the importance of learning through practical experience rather than formal education.

Tommy's Mandolin Mishap

The speaker describes an incident where Tommy, a musician, was asked to play a mandolin during an orchestra session.

However, Tommy only had his acoustic guitar with him and improvised by playing it in different positions to mimic the sound of a mandolin.

The speaker reflects on how this experience taught them more about the music industry in five minutes than their entire schooling.

Inspired by Tommy's resourcefulness, the speaker modified their own instrument (a bass) with a toggle switch to impress clients with technical effects.

New Section

In this section, the speaker discusses the role of producers and engineers in the music industry and how their roles have evolved over time.

The Changing Roles of Producers and Engineers

The speaker mentions that many studios now have producer modules to involve them in the recording process.

They highlight that some producers may not possess technical skills but excel at selecting songs or assembling talented bands.

The speaker acknowledges that there are producers they've worked with who may not fully understand studio operations but have still produced great records due to their collaboration with skilled engineers.

New Section

This section explores how the roles of producers and engineers have historically changed and how studio musicians contribute to creating arrangements.

Evolution of Producer and Engineer Roles

In earlier days, there was a clear distinction between producers, engineers, and studio musicians.

However, as budgets changed, engineers started taking on producer roles while still handling engineering tasks.

The speaker mentions that studio musicians often contribute to creating arrangements based on the song's structure and their creative input.

They emphasize that each song should be treated individually rather than applying a blanket texture to the entire album.

New Section

In this section, the speaker discusses how studio musicians play a crucial role in enhancing songs through their creativity and arrangement skills.

Studio Musicians' Contribution

Studio musicians often transform skeletal songs into incredible arrangements through their creative input.

The speaker emphasizes that it is the band's collective effort that shapes the final arrangement of a song.

They highlight the importance of collaboration and how studio musicians bring life to songs during recording sessions.

The Importance of Transposing Music

In this section, the speaker discusses the importance of transposing music and how it can enhance a performance.

Transposing for Vocal Range

When working on a song, it is important to consider if the key is suitable for the vocalist's range.

If a vocalist is at the top of their range, it might be suggested to transpose the song down a half step to make it more comfortable and pleasant.

Skilled musicians can transpose on the spot, allowing for flexibility during performances.

Example with Phil Collins

During Phil Collins' tour, they were going to perform a song from Tarzan.

Just before showtime, Phil requested that they take the song down a whole step due to his vocal strain.

Despite having only five minutes to prepare, they successfully transposed the song and delivered an excellent performance.

Phil expressed admiration for their ability to adapt quickly compared to Genesis band members who would require extensive rehearsal time.

The Role of Versatile Musicians

As session musicians, they need to be ready for anything and adapt on the fly.

Unlike established band members who have defined roles, session musicians must be versatile and prepared for unexpected changes.

This unpredictability adds excitement and challenge to their job.

Collaboration with Musicians

This section highlights an anecdote about collaborating with other musicians during live performances.

Collaborating with Phil Collins

During an early morning performance on Phil Collins' tour, he requested last-minute changes due to vocal strain.

Despite limited time before showtime, they gathered together and worked on transposing a complex score in just five minutes.

The performance went smoothly, impressing Phil with their ability to adapt quickly.

Adapting Instruments for Recording Sessions

This section discusses the importance of adapting instruments for recording sessions and shares personal experiences.

Adapting Bass for Recording

During a recording session with Steve Kowalczyk, a jazz singer-pianist, they needed an upright bass sound.

As the speaker was not proficient in playing upright bass, they suggested using their Washburn ab45 bass instead.

By removing the frets and using black nylon strings, they achieved a sound that resembled an upright bass but had its own unique quality.

Collaborating with John Patitucci

For two remaining tracks that required an upright bass, the speaker called upon John Patitucci to join the recording session.

John, who lived in Los Angeles at the time, agreed to come and contributed his expertise on those tracks.

Unplanned Master Class at Berkeley

This section recounts an unexpected master class experience at Berkeley College of Music.

Impromptu Master Class

While playing a show in Boston with Judith Owen, Steve Bailey and Victor Wooten attended as guests.

They proposed setting up a master class at Berkeley College of Music the following day during their day off.

The speaker agreed despite being unprepared and faced an audience of around 200 people.

Emphasizing Project Fit over Ego

During the impromptu master class, the speaker shared their belief that project fit is more important than personal ego.

They emphasized how it is crucial to recognize when someone else may be better suited for a particular project or musical style.

To illustrate this point, one of the attendees revealed that he was the artist whose album had been discussed earlier in the talk.

The Unpredictability of the Music Business

In this section, the speaker reflects on the unpredictable nature of working in the music industry.

Embracing Uncertainty

The speaker describes the music business as a daily adventure filled with unknowns.

Each day presents new challenges and opportunities, requiring musicians to be adaptable and open-minded.

Despite the occasional dissatisfaction with personal performance, they acknowledge that others may still appreciate their work.

Contrasting Approaches

The speaker contrasts their role as versatile session musicians with established band members who have defined positions.

While acknowledging the brilliance of established musicians, they highlight the need for adaptability and readiness in their own line of work.

Timestamps are approximate and may vary slightly.

Playing with Charlie Watts and Other Drummers

In this section, the speaker talks about his experience playing with renowned drummers such as Thomas Lang, Simon Phillips, and Charlie Watts. He shares a memorable moment with Charlie Watts in the studio and reflects on the joy of playing with legendary drummers.

Playing with Charlie Watts

The speaker recalls a recording session where he played alongside Thomas Lang, Simon Phillips, and Charlie Watts.

Charlie Watts requested to be the first drummer to play because he didn't want to follow the other two talented drummers.

The speaker filmed Charlie Watts during his performance and describes him as the best hang.

While changing his drum heads, the speaker asked Charlie Watts to sign a drumhead. He signed it as "Charlie Watson" before correcting it to "Charlie Watts" and jokingly said, "just in case you forget."

The speaker expresses gratitude for having had the opportunity to play with both Charlie Watts and Ringo Starr.

Memorable Moments

The speaker reminisces about performing at Mark and Brian's Christmas show in Los Angeles every year. He mentions special moments like singing with Donald O'Connor and Mel Torme.

The speaker shares an anecdote about working with Andy Griffith on two albums and receiving voicemail messages from him regularly.

Jeff Porcaro is mentioned as one of the great drummers in Los Angeles who embodied various qualities of different drummers. The speaker expresses admiration for Jeff's energy and vitality during recording sessions.

The speaker discovers that Ed Green, another drummer he worked with, is the son of his former piano teacher.

The speaker mentions other drummers he has spent time with, including Jim Gordon and Phil Collins. He praises Phil Collins' drumming skills and emphasizes that he considers himself fortunate to have played with many talented drummers.

Appreciating Drummers and Their Unique Styles

In this section, the speaker continues to discuss the drummers he has played with and highlights their unique styles. He emphasizes the importance of being adaptable as a musician when working with different drummers.

Admiring Different Drummers

The speaker expresses gratitude for having had the opportunity to play with numerous talented drummers throughout his career.

He mentions specific drummers like Victor Indrizzo, Gregg Bissonette, and JR Robinson whom he admires for their individual styles.

The speaker acknowledges that each drummer has their own way of laying down beats on the kick and snare drums, requiring adaptability from other musicians.

He concludes by stating that playing with various drummers has been one of his greatest gifts in the music industry.

This summary covers only a portion of the transcript provided.

Schultz and the Strummer Ray Brinker

In this section, the speaker talks about discovering new musicians and the joy of working with them. They also mention their long-time collaboration with Russ Kunkel.

Discovering New Musicians

The speaker mentions being introduced to a drummer named Ray Brinker through Schultz.

After listening to a demo from Ray, the speaker immediately decides to work with him.

They express admiration for Ray's talent and have a great time working together on the road.

The speaker also mentions collaborating with another musician named Temir from Scary Pockets and being impressed by his playing.

Appreciating New Talent

Despite having long-term collaborations, like with Russ Kunkel for 53 years, the speaker still enjoys discovering new musicians.

They find it exhilarating to be exposed to someone new and it keeps them fresh in their musical journey.

The speaker emphasizes the importance of not falling into a routine and always bringing their best game when working with new musicians.

Exhilaration of Making Music

In this section, the speaker discusses their attitude towards making music and how they strive to bring their best every time they work.

Maintaining Enthusiasm

The speaker expresses their desire to never fall into a blasé routine when making music.

They enjoy walking into a room thinking that they are the weakest person there, which motivates them to give their all.

The goal is to be proud of every day spent making music and leave work feeling fulfilled.

It's important to note that these summaries are based solely on the provided transcript.