Bob Dylan's not a hype and a haircut: he's the real thing.
I loved Mal Evans holding one note down on You Won't See Me from Rubber Soul.
Working with Waylon Jennings and Willie Nelson takes you up another level.
I think I drift toward sad love songs.
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.
Whoever hired me might've just heard 'Refugee.' Well, I'm not the secret to 'Refugee.' The secret to 'Refugee' is the song. But if somebody really good calls me up to play on something because they like the way I played on 'Refugee,' then I wind up playing on another really good song.
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.
I got to play on a couple of records with the Rolling Stones, and that was really special to me.
Fortunately, as we all know, it's impossible for anybody but Jimmy Smith to really sound like Jimmy Smith.
I loved working with Bob Dylan.
Tom would bring in songs, Mike would engineer, and we recorded about 30 songs.
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.
Besides, I'm fairly incompetent. I can't play that fast.
I think we've always been better live.
I try to find little things that you can do to move the song along and things that serve the song.
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