I scored a film many years ago that was disappointing because even though the director said she admired the music I make, once we started she was very micro-managing. Not much freedom to improvise. She was from Los Angeles and told me I should play Largo. Eventually I did, three times in the 90s. It seemed the important place in Los Angeles to play that might get you somewhere higher up the songwriter ladder. One time, after the show, a waiter told me Elliot Smith had been watching my whole set by himself from the bar, but I never met him. The next time I played there Ben Folds was also hanging by the bar alone, introduced himself at the end of the night and offered to help me pack up my gear. That was a cool move. I did the same with Sunny Murray at the BamBoo club. Offered to help carry his hardware after the show, after the coloured lights became fluorescent and ritual yelling of last call was complete. The BamBoo was awesome in its difference from the stale rock vibes elsewhere. The upstairs dressing room felt like an incomplete film set, unfinished walls and secret storage and a definite dressing room with a door that sealed. Often, when I was in orbit of Largo and musicians from those scenes, I heard about Jon Brion’s reputation. He blew minds with his improvisational pop skills. Never made it to those famous Largo shows but did hear his awesome film scores like Punch Drunk Love, Magnolia and Eternal Sunshine of the Spotless Mind. I doubt people get that kind of music from standing over someone’s shoulder backseat driving.<\/p>\n","protected":false},"excerpt":{"rendered":"
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