So, if albums don’t make money, and live music does, why make an album?

Why write a symphony? You’re not going to get any royalties for that. But, the hope is that perhaps you are going to become revered as a composer one day. The record-making is a key part of what we all do as performing artists. You can’t get away and say, I only make money playing live, so I’m only going to play live. That’s only half of the art form.

How reliant is your album’s existence on the pledge campaign?

It’s totally relying on that, whether we get the money before we do it or after we do it. We don’t care. We’ll find the money. I’m 100% sure the right people are going to find this record. The team we have in place- and the place I’m at right now creatively, performing-wise, and the network of great musicians- I don’t see anything stopping us. It’s not even an option at this point. We’re going to make it happen, and it’s going to be something special.

This model of making a record, from a business point of view, means being connected directly with your fans, your supporters. Do you like the idea of that?

As a musician these days, if you want to see yourself as being separate from your fanbase you should just quit right now. All that is left is the creative person and the fan/patron. The arbiters, the control, everything that used to be between you and the public- the labels, the private jets- that’s all a thing of the past for the most part for up and coming artists. It is a journey with us and our fans. It’s why the pledge campaign, with private executive producers and donors, is so important. That is the new normal, and I think, personally, is a great thing. It’s a pure conduit, and conversation, between you and your listeners. We’ve reached a different place, and it’s all about embracing the positives.

You are calling this making of this album, Manhattan to Memphis to Muscle Shoals. Can you touch on the importance of place, and those three specifically, in this process?

Place in music is a really rich topic. I tried to make this new record about three years ago in New York City with my band here, and it was just not working. We could not get the vibe right. I finally said, it’s not the right time. In the meantime, I got to know Scott Bomar, the producer working on this record, and he introduced me to my idols- Howard Grimes and the Hodges brothers, the rhythm section from all the Hi Records sessions. My heroes from when I was a kid are Al Green, Syl Johnson, and Otis Clay. Well, these are the guys that recorded on all of those tracks. So, we know we have to get to Memphis.

And Muscle Shoals?

This last January I went to Muscle Shoals and recorded at Fame for the first time for about eight days with Don Was for the new Gregg Allman studio record. That was a really amazing experience. I’ve also gotten to work with David Hood, the great session player from all those Muscle Shoals records. David wants to play bass (on my record), and so does Chad Gamble, who’s best known for playing drums with Jason Isbell. Using these musicians is a departure for me, but it was time to realize a childhood dream, to use these legendary rhythm sections. Frankly, it’s where it’s all from: the Delta, New Orleans, and Memphis. It’s where all the music I love began.

You have said the album is written. I’m guessing it’s the performances you are looking to capture at these studios, but are you open to creative changes based on the input of these legendary players?

Sure. Everything is on the table with me. I’m a very spontaneous person when it comes to music. I’ve been playing music professionally since I was 14 years-old. I was playing in a band with Buddy Miles when I was 15. This has been my whole life. I’ve never been calculating when it comes to music; I live and breathe it. I always say, when I was 15 I couldn’t wait to be 60. I like to be around people who have wisdom and ease with what they do, and I’m hoping these guys push me to a new and different place. I think it’s going to be something special.

Will the album stand alone, or do you see it as influencing the way you approach the material going forward when you perform it live?

That is exactly the idea. Two of my band members are coming with me: Moses Patrou and Eric Finland. Next year we are going to become a four-piece. The idea is we’re all going to get infused and learn from it.

This is a Scott Sharrard solo release? Not Brickyard Band, I’m guessing.

It’s a Scott Sharrard release. The Brickyard Band moniker is going to be retired going into 2017. This record is a straight-up solo album.

When can we expect it?

As for the release date, we’re going to be careful about that. I want to first see what’s going on with Gregg Allman, in terms of his touring and his album. He’s talking about touring in the summer. In a perfect world, he’ll release his and I’ll release mine after that. But, it’s a wait-and-see scenario.

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