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The Musician's Hall Of Fame interviewed Jeff(Skunk)Baxter of Steely Dan, Doobie Brothers and Spirit fame. One topic discussed is differences in the thought process between session musicians and musicians playing live. +++ HERE +++ is the interview.

I thought this is relevant to the forum and PG Music as forum members nominate musicians they would like to make RealTracks. Perhaps a consideration should be if the nominated musician has the mindset needed to be a session musician and record RealTracks.


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Originally Posted By: eduardodsv
I thought this is relevant to the forum and PG Music as forum members nominate musicians


we do..?
I nominate Larry Carlton...

Jim, thanks for posting the interview. I will watch it asap.


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Picking studio musicians for BIAB is a very difficult thing to do.

I guess if you know exactly what you want to be played then perhaps that would make it a little less problematic.

I think we need a greater viarity of studio musicians. People who know how to play and not just famous. We have put to much dependence on Brent Mason for example. He is a wonderful guy but he does not do everything well.

I think there should be more "in the style of"

At the end of the day you get what you pay for and get good results by demanding what you want to hear. But before you can ask a high quality musician to do something you need to know at least in general terms what you want to hear.

If I ask someone to play in the style of Carlos Santana and it is not in the Doran mode, it is unlikely to sound like Carlos. Any pro studio musican would know that.

I don't need BIAB to generate cover tunes but I guess many people would like that.

There are way too many notes being played across the board and not nearly enough silence.

Just my 29 cents worth...lol

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It must be very difficult for any musician to be told to sit on a stool, wait for the red light, and then "go" with no direction, no guidance, no key, no sense of feel, "just noodle around and give us some licks". I have no idea how PG harvests those "Real Clips" as I call them when the player had no idea of what kind of feel to play. That may lend itself more toward studio guys who are tossed into the fire daily than the live music player who has the benefit of structure when his 8 bars of glory comes. That live band type has a melody he can play off of. Not so much for the guy who is told "go ahead. play." with no context. Think about how many of Mason's clips aren't even in any kind of stable, structured rhythm. Taste matters more to me than flash.

Tom Bukovac would be the guy, though I doubt he'd be either available or willing unless you REALLY paid him well. He is quickly overtaking Harold Bradley as the most recorded session guitar player in the history of Nashville session men.

Guthrie Trapp is another example of a great player who wouldn't make for good tracks. Flashes of "How many notes can I fit in here" don't necessarily make for good Real Tracks.

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Originally Posted By: eddie1261
It must be very difficult for any musician to be told to sit on a stool, wait for the red light, and then "go" with no direction, no guidance, no key, no sense of feel, "just noodle around and give us some licks".

Given that we've got User Real Tracks, I think we've got a pretty good idea of how PG Music does this.

The players are obviously given a chord chart to play to that contains all the chord changes that BiaB RealTracks needs.

And I'd be shocked if a company who's primary product generates backing tracks doesn't give them backing tracks to play along with as well.

Given that BiaB releases sets in given styles, I'd also be surprised if lead players weren't given backing tracks from the drum/bass of that style to play along with to make it more cohesive.


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I also meant how the approach people to do the tracks. A guy at Bukovac's level may tell them to get lost. Who knows.

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Our best friend, bandmate and Grammy nominated musician became a renown session musician until his untimely passing. And his biggest difficulty was being told what and when to play. Since the time he was a child music prodigy until he headed out for N’ville what he played and how he played it had always been his call.

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What I found enlightening is Jeff Baxter has played on sessions literally since he was a teenager. He has also toured with Steely Dan, The Doobie Brothers and other bands so he has seen the creative process from both sides of the vinyl needle.

Jeff said that, as a touring musician, your job is to fill the empty spaces with music. You continually fill the air with music to build excitement.

As a session musician your job is to recognize the value of unfilled spaces and not overdo it. Your focus is the producer, the artist and the song. Do what's best for the song and no more.

At the point Jeff Baxter joined the Doobies they had played live and they had recorded their music but they had never been session musicians supporting other artists and recording other people's music. He thought the band would benefit from becoming session musicians and learning the session musician mindset. So he helped arrange some gigs for the whole band to be session players.

He knew his plan worked when, after a session was finished, someone mentioned they had hit too many licks on bar 57 and he wished he could go back and overdub that bar.


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