Tal Wilkenfeld: preference

Transcript context

…Yeah. You said that this is something that surprised you about recording with Prince is that he would just, so much of it would be take one. So quick, it would just move so quickly. Yeah. Well, with that particular album that we made together, it’s called Welcome to America. He called me up and asked me, he said, I want to make a band with you. I’m really inspired by what you’re doing with Jeff Beck. I want to make a trio. Do you like the drum rolls of Jack DeJohnette, was like his first question to me. I’m like, well, yeah, who doesn’t. Who doesn’t like Jack DeJohnette, one of the greatest of all time? And he’s like, well, sounds like, because we had a discussion about drumming, sounds like you’re particular about drummers. So why don’t you find us the drummer and I’ll trust you to find the drummer. You can audition some people. Send me some recordings, maybe your two favorites, and I’ll pick out of the two or something. So I did that. Went on a journey, found a couple of guys. He picked the one. We went in and he basically just would be like okay, so the A section’s going to go like this, and then the B section, I think we’re going to go to G, and then the bridge, I might go to B flat, but maybe I’ll hold off and da, da, da. Okay, let’s go 1, 2, 3, 4. And then we recorded it to tape. There was no punch. He did not want me to punch anything. There was one song called Same Page, Different Book. And he talked through it just like he did. And then he had me soloing between each phrase like little fills. I didn’t know that that was going to come up. And he loved that. He loved to have me on the edge of my seat falling off the cliff. That was my first real falling off a cliff moment from somebody else holding me at the edge of the cliff. You know what I mean? Now I just do it on my own because it’s so fun and it makes sense. It’s the best thing for the music. When you say punch the tape is that when you actually record it.…

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