As a piano accompanist for this long thing with so many words, how do you keep your part interesting? How do you keep yourself engaged for such a long track?In our jazz world, we just lost a dear soul, Chick Corea. I was reading some of his advice that he had typed out for somebody, and one of the things that he said was, “Play so that others sound good as well.” It’s such a beautiful sentiment. Take your ego out of the picture and be there for the song, and be as selfless as you can, and listen and react to what you hear. By reacting, it doesn’t mean you have to play anything. It might mean you play nothing, and then you come in with something.That’s the only way it’s ever worked for me. In my teaching of other musicians, I really stress, don’t listen to yourself. Don’t worry about the notes that you’re playing. It’s okay to hear what you sound like, but in the context of the song and in the context of the band that’s there. You need to be able to not play, as well as play, because that’s what creates the magic.In a recent interview, Fiona Apple said she also played piano on that track. I gather she wasn’t at your session, but when you are listening to it, can you pick out who is doing what, knowing what you played?Yes, I can. Benmont’s on the left, Alan’s on the right, Fiona’s in the middle. It’s like the early days of stereo. It’s a really cool collaboration. She sounded beautiful too.Bringing it all full circle, in your recent sessions with him, is there any acknowledgment of your history in 1978? Are you talking about it at all?No, we don’t. Perhaps if we were to hang out or go back on the road, that stuff would come up, but no. I keep things pretty much in the present tense and just let him know how much I appreciate him and how much I love him and how grateful I am.
Songwriting and Production
