Chris Fryar of the Zac Brown Band:  On “The Grohl Seessions” with the song “Let It Rain,” Dave Grohl actually played drums on that one. He wanted to play drums on one of the tracks and I was more than happy to let him play. (“Let It Rain” was) the one he chose. Now that same week, the guys went and performed at the CMA Awards in Nashville. And they wanted Dave to perform with them. He said, “Well, only if I get to play drums.” And everybody just looked at me. I'm like, “I'm cool. I'll cheer you on. That would be awesome.” And so it was kind of comical in that Dave had to learn all of my parts from “Day For The Dead,” which was the song they played on CMA awards. And then I had to turn around and learn all of his drum parts from “Let It Rain” to be played out on the live tour.
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Normally I edit myself out of anything that runs on my clients' properties. This video with John Papa Gros was an exception. We agreed that the question / set-up needed to be included.
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From the archives, an interview I did with Andy Summers of The Police back in 1999. We discussed:
- His solo album "Green Chimneys: The Music of Thelonious Monk"
- Playing songs on the guitar that were created for the piano
- Internalizing the Thelonious Monk repertoire 
- Why he mixed the album twice
- Getting Sting to sing on “Round Midnight”
- Jazz guitar versus rock guitar
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Huey Lewis - "Once you have the song, how it's handled, how it wants to be recorded and produced, is an interesting thing. Because it's very easy to hear a great song in your head and then lose it while you're trying to record it. The key is to try to stay true to that song. Let the song kind of dictate how it wants to be produced and how it wants to sound."
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​Cris Cohen: You talked about how, if you know her, if you're in her circle, Patty will eventually write something about you and be brutally honest about it. Were you cool with that from moment one? Or was it odd the first time it happened to you?

Dwight Baker of The Wind and The Wave: I will say that it doesn't happen to me as much, but to be a friend of hers or her husband, who is a hell of a man, because he, his name, or his personage are in those songs a lot. I think he's had to be a pretty strong person. I think they've done some couples therapy about lyrics that she's written before. I don't know if I said that in the interview you saw, but I've said after she's presented a lyric, "Are you sure you want to sing that? You are going to have to have a real conversation with at least two people after singing that." 

And she's just like, "I can't do it any other way. This is the way I do it." 

Speak your truth.
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Cris Cohen: I read in another interview you did where you said, “I have a philosophy that every single note I play matters.” Does that ever get in the way of seeing the big picture? Because it sounds like, if you go down that road, you could get really hyper-focused and miss some of the grand scheme of things.

Mark Schulman, drummer for P!nk: That's a fantastic question. But remember what I said earlier: First and foremost, I'm there to be of service. It's funny, because people describe what it is like when you are playing on stage. It's this sort of hyper-awareness where you are totally present and foreshadowing the future, paying attention to everything you do, as well as really paying attention to what everybody else does. I am so acutely aware of everybody else. That's one of the reasons why I get the gigs that I've gotten is because of my awareness of others. So it's this hybrid of me paying attention to the nuances of what I play and paying attention to every little nuance so I can play off of everybody else and respond or change or shift or whatever needs to happen. Because I'm there to be of service first. 
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​Matt Starr, drummer for Ace Frehley and Mr Big - "I wanted the drums to sound the way I felt. When I listened to records by KISS, Cheap Trick, Aerosmith, AC/DC, and Iron Maiden, which was the first stuff I was influenced by, the drums sounded massive and super powerful."
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Professor Louie of clients Professor Louie & The Crowmatix: When we record an album, we do everything live, everyone playing at the same time. There's no recording people one at a time on this kind of work. It won't work. You might get a great record technically, but there's something special in a live recording, a communication that you try to get. And if everybody's playing to the vocal, that means all the music is wrapping around that vocal. As soon as you start over-dubbing that vocal, the music has nothing to do with that, because the guys didn't play to that vocal. So we do everything live. 
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Dave Wilson of Chatham County Line - “I think the hardest cover song for us to do was the John Lennon song ‘Watching The Wheels,’ just because it has some small idiosyncrasies. He was such a seasoned writer when he wrote that song. It sounds really easy, but it’s got these little tricks that you have to iron out if you’re going to do it faithfully.”
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Troy Luccketta of Tesla: Phil Collen, the guitarist of Def Leppard, came in to produce the 'Shock' record. We were excited about that. And we were going to really be a hands-off band. Let him make the record he wanted to make. The first thing he told me was, 'I want to be able to air drum the record.' So in other words, nothing fancy. Don't give me these freakin' paradiddles and all this cool jazz stuff you play. We sat down and listened to the tracks and we discussed. And three and a half days later we had the drum stuff. And I hadn't played (to) any of the tracks until I actually recorded them.  Because I didn't want those preconceived ideas about what I was going to do or thought I should do. I wanted to work with him.
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