What type of music reflects pure Americana? It’s hard to beat the blues, or jazzy blues. Guitarist Robben Ford has carved out a career dedicated to celebrating the best of music which is truly American. His latest, Nashville, is as fresh an homage to the sounds and grit of the famous city as anything else out there. Possibly even more impressive are his collaborations with Larry Carlton as well as last year’s Bringing it Back Home. It’s this type of intimate, cozy and yet tasty collection of virtuosity that goes down so easy, but takes a lifetime to perfect.
One of the founding members of the famed Yellowjackets, he is still one of the most sought-after studio musicians, used for his artistic selection of notes as well as his voice which has worn amazingly well after all these years.
We caught up with Robben who has been, as usual, touring around with his funky and tight working band…
You first got into the alto sax. What got you first into music, and why did you change from the alto to the guitar?
I have always loved and wanted to play music. Music was my best friend. I had an experience at age ten, seeing a thirteen year old play an alto sax solo in a junior high band. I knew that was what I wanted to do. I was with my mother and told her so on the spot. She got me a horn and I started taking lessons. But the guitar, which I fooled around on ultimately became my natural choice as I excelled on it quickly, while the saxophone was always a bit of a physical challenge.
What initially clicked with you and the guitar, blues and Bloomfield?
Mike Bloomfield was a revelation on the electric guitar and became my hero. He gave me my direction which I’ve never strayed far from.
What did you learn about music and life from playing and touring with Charles Musselwhite and Jimmy Witherspoon?
It was a hard knocks period. The gift was playing with authentic blues artists. There was always the potential to play music at a high level.
How did you link up with Tom Scott and the LA Express. Why do you think they got so popular, and became everyone’s choice for a supporting band?
The pianist when I joined the band was Roger Kellaway who had seen me play at a guitar festival at the Hollywood Bowl, and the bassist had heard me with Witherspoon. They recommended me to Tom and he called. We met and next day I jammed with the band in a recording studio. They were all great musicians and cool people. Even Joni showed up. Talk about a goddess. They invited me to play and I couldn’t refuse. The band members were all first call studio musicians so they played on countless artists records, hence their popularity. They opened a lot of doors for me.
Any good Joni Mitchell or George Harrison stories you’d like to share? What was your impression of them.? Any good talks on music with them?
I spent a lot more time with Joni than George. George was very generous with me, even had a guitar made for me as a Christmas present. Joni too was very cool. Stayed at her house in LA a few times while I lived in Colorado where she visited me and my first wife on one occasion. I told her I had someone I knew she would want to work with once she heard him and I played her “Portrait of Tracy” from Jaco Pastorious’ first album. Sure enough, she tracked him down and that was that. Even Jaco gave me credit for their connection. Proud moment.
What was the impetus in forming the Yellowjackets? Where you surprised by their popularity?
Russell Ferrante and I had an agreement that when I got a record deal he would join me in LA. He was true to his word and we started looking for players. I met Jimmy Haslip thru my room mate at the time and Jim and I hit it off immediately. We tried several drummers but were really waiting for Ricky Lawson to finish up with Al Jarreau. Once he joined us we cut my first solo record. After that my manager thought to get a deal for the group independent of me in which I would be a guest. It worked and the band signed with Warner Bros. They are still a great band and deserve all of their success.
How was touring with Miles Davis?!? Did you ever play on stage with him?
You can’t tour with Miles without playing on stage with him, right?
He was challenging. But once you stood your own ground with him it became a great experience. I felt that I had a genuine relationship with him and that he liked and respected me. That in itself was very confidence building. I left him feeling very good about myself. And he told me if I ever wanted to return that the door was wide open. Really beautiful, man.
How did the two albums with Larry Carlton come about? You guys seem like such kindred spirits with guitars. Is it the genre or the person that makes playing compatible?
Larry invited me to join him four some shows in Japan that were to be recorded and released. I of course said yes and that began a two and a half year period of touring, off and on. There is a lot of mutual respect between us and it shows on stage. We’re playing some shows together again in October which we are both looking forward to.
You seem to be going back to roots with your last few releases, most notably Bringing and Nashville. Any reason behind this? You also like the B3! Are you doing a series of “basics” or is this all just spontaneous?
I do whatever is “up” for me musically. In fact, I begin recording again September first for a release planned for March of next year. This will be a very different recording from the last two and I’m excited about it. The writing is really coming to another level, I feel. The B3 has been working for me lately and will be apart of the next record. B3 has always been a strong instrument in blues and R+B.
It’s rare to have a trombone (Barry Green) in a band like yours. Why’d you pick this instrument?
I’ve always liked trombone and finally it fit my music with the Bringing It Back Home CD. Nashville was meant to continue the thread and Barry was recommended by my co producer Rick Wheeler. Great player, Barry.
Your voice still sounds great! Do you do anything special to keep it in shape?
I have had to work hard at my voice and continue to do so. Splitting one’s attention between two instruments is very difficult and, frankly, I wouldn’t recommend it. Good teachers are important and hard to find. I recommend Gary Catona for voice in Los Angeles.
You also have a cheerful and polite attitude on stage and in person. Is that your upbringing, or do you have some philosophical or religious background that keeps you motivated and centered?
It is a privilege to be able to perform your art in front of people. The audience is so important to the outcome of a show and they often have no idea how true that is. I’m not always polite and have even been rude at times, not proud of it. But you always start positive because, again, it’s a privilege to be there. I go out there to give 100%, as do all of the people I work with. We always hope it turns into a shared experience.
What future projects do you forsee?
I honestly never know what will happen next, but, I would like to produce records and I enjoy the writing process. I hope to establish a stronger connection to the scene in Nashville which has already begun. Nashville is currently the center of the American Musical universe. Great place to be right now, in case anyone was wondering.
Eager to please during an interview, on stage, or on record, Robben Ford reflects a work ethic and attitude that is an inspiration to many an artist. He has put out a consistently excellent catalogue of albums, and every show I’ve witnessed has been nothing less than first class. I’ve brought many previously uninitiated friends to see him perform, and not one has left a concert less than an enthusiastic fan. How many artists can make that claim. Aging like a fine red wine, Ford still has a better idea.