....then the guitar stops. The drums keep going and then the drummer hears the guitars stop, so he stops. The bass player looks up from his fretboard and then HE stops playing. Apparently something is amiss... "Dude, umm, can you actually throw more cymbals in there?" "Sure, ok." (Stick hits) Click - Click - Click - Click .... As the song starts over again, what the drummer played on the floor tom was switched over to the hi-hat. The guitarist nods to the drummer that it sounds like what he wanted. Then the verse starts and he begins to grumble the makeshift lyrics into the microphone...

That was probably the highlight of practice on Saturday. We took one of Chris's ideas he's been working on and made it happen. Hell, even Jason was able to follow along and solidify some bass lines.

We were able to get through a few new songs this way. Introduce them at the basic level, and jam on them until the decision gets made to "...do this for this many times and then we'll do the other part for 4 times..." The really casual nature of each member of Trunk (yes, myself included in that) makes it possible for the songwriter to drive the boat when it comes to producing the song. Usually, producers sit in and say "hey, you (points at one member) try playing this and you (points at another) try playing that because (insert reason here)". Well, Chris is doing all of this. I can tell when I've played something he likes because then he'll start to groove a little more and he doesn't stop the song and suggest something else. That's when you know I've "hit gold" so to speak.

The reason I say it's strange that this works for me is that I've driven the boat in most other projects that I've played in. The last project before Trunk, I was working by myself (instrumentally) to put the songs together. Let me tell you, that's really difficult. I have much respect for geniuses like Stevie Wonder and Prince who can just kick out tune after tune on each of the instruments. One of my favorite albums in the world is "Innervisions" (Stevie Wonder), with the first track only needing a few voices to fill out the player list. Other than that, Stevie plays drums, bass, keys, harmonica, and vocals for most of it. That track, titled "Too High" has got this really great, funky swing to it that I dare most drummers to take on. Stevie's got a feel that has a saucy, upbeat flavoring to it. He's got a pretty intricate ride pattern during the verses, adding energy and pulse to the listening experience. Prince's contributions to the Purple Rain soundtrack and his writing songs for Vanity, The Time, and his own band (with The Revolution) shows that he's got much versatility.

I look up to these guys, but realized in my past work that I'm better as a collaborator. So when I'm sitting behind the kit, and hearing what Chris wants me to do, I don't object. I don't grimace. I don't get upset. And when he's got ideas about what he wants to make happen, I listen, and try to fulfill those ideas as much as possible. Hell, I'll even offer the sticks over so he can beat out something he wants to hear. He's fabricated the song in his mind. I should know, this happens to me often as well, and I respect Chris's musical sensibilities enough to trust that he's got the best interest of the song in mind.

I've heard that a lot lately. "It's all about the song." Many people take that too far, and forget that taste and flavor is needed in the song, as much as space and dynamics. I like listening to busy patterns. I also like very simple grooves (as long as it grooves). Takes a lot to make the world go 'round... really.