I mean, in the course of an evening, people will take a solo here and there, but generally it's all about the rhythm of that music. Dealing with the rhythm with everything. That's essentially at least my concept of what that group is. ↗
Everything we did, we did live - and then Bobby took it home and chopped it up and edited it. Which is pretty much what they did with every jazz record you've ever heard. ↗
I certainly hope my music is in no way, shape or form influenced by anything that would be known as a jam band. If it is, then I'm going to do something else. ↗
It's just a way of trying to get to a third thing that's not particular to any quote-unquote genre. It's been great for me; it's really opened me up and gotten me to use that part of my imagination. It's very scary in a lot of ways, and just as exciting. ↗
Now, when we first started, I would be playing something good and then feel like I wasn't doing the right thing and launch into some idiotic cliche. Luckily for me, Bobby was patient. ↗
That's the thing that we said about the horn before: it's a focus issue. It's like a singer versus a drummer. If a drummer's playing a drum beat, and a singer starts singing, what do you think the audience is going to do? ↗
Ultimately, at the end of it, it's just trying to get into that space where you feel like you're hitting the right thing and you're making music. And it feels intuitive rather than being counterintuitive. ↗