Today, as I was recording and editing drums for “Gruss Loops Volume II”, I thought about how much more interesting it would be (for both me and my subscribers) to collaborate with another artist during the creation process. Scrolling through the massive Rolodex of musicians in my head, one name immediately jumped out as the perfect partner in crime: Bob Reynolds.
Bob is one of my best friends and one of the greatest saxophonists (and composers) I’ve ever had the pleasure to play with. Based in Los Angeles, Bob is an accomplished musician who keeps a busy schedule in both the jazz and pop worlds. He recently finished up a two year long world tour with another one of my old friends, John Mayer, and has also performed and/or recorded with Nellie McKay, Brian Blade, Tom Harrell and a host of others.
Bob and I spoke on the phone for almost an hour, brainstorming of all the possible ways we could collaborate in a method which would be intriguing to subscribers as well as push our personal creative boundaries. After some deep thought and a heated game of rock-paper-scissors (I don’t advise trying to play this over the phone), here’s what we ultimately decided to do:
If you happen to be following me via Twitter, then you already know that today’s loop was at the mercy of God… err radio programmers. See, I decided to play a game of sorts. I declared that I’d base my loop off of whatever song was playing on the radio when I started my car. It’s sort of like playing Russian Roulette… without the guns and bullets.
It could have been ugly. Knowing my wife drove the car last, the dial could have been left anywhere. I expected the worst. Some Creed. Perhaps some Carrie Underwood. You just never know. I guess that’s the excitement.
I’d be lying if I said I didn’t like this song. Actually, I own the album. Produced by The Neptunes and Timabland, it’s a surprisingly funky and soulful debut record for someone who used to look like this.
For this loop, I decided to slow things down just a bit and leave a little more space. The tuning and production is very similar, with lots of high pitched, ringy snare drum and a dash of heavily compressed room sound mixed in.