The last time I spoke with John Medeski, he was at Newark Liberty International Airport terminal shortly before leaving on a flight to California for a performance at the Hangtown Music Festival. The announcement of the “The Last Waltz 40 Tour: A Celebration of the 40th Anniversary of The Last Waltz” presents a reason to have another conversation with him wherein I find out that the supremely busy keyboardist traveled coast to coast twice for gigs since our last phone call.
He admits that it’s difficult to turn down the numerous opportunities that come his way including the Last Waltz, which debuted over two nights last April during New Orleans JazzFest and returned during Warren Haynes’ annual Christmas Jam.
“Now that Medeski Martin & Wood is doing less, I have a lot of other stuff that I want to do. It’s hard when Jack DeJohnette calls me or the Last Waltz is happening…it’s like an embarrassment of riches. It’s hard to say, “No”, to these things” he said, laughing. “It’s an endless balancing act.”
JPG: What was your reaction when the producers of the Last Waltz 40 think asked you to participate? Were you excited that it was the Band or “Hmmmm, that’s interesting. This should be cool.”?
JM: I was both. I’ve been down to the Barn for a lot of the Rambles with Levon Helm and I’ve played with Amy Helm now and then. I love that music.
I play pretty much anything. I like a lot of different music. I don’t lump things into…I don’t know if it’s because of where I grew up and the music scene there at that time but I never really felt the boundaries around music that seem to be so prevalent for a lot of people. Music is music and I like music. I’ve always done a lot of different stuff. I did Broadway, jazz, classical…played everything. That’s the way it was.
There were people who came from certain places and certain scenes but they all cross-pollinated. That’s how it’s always been in New York. New York City was one of those great scenes to anonymously develop. “He does this and he does that.” There was never any of that. I’m not a victim of that mentality.
So, I was familiar with the Band’s music. They were always one of the great groups from that era. What they did is kind of the same thing. A lot of bands from that time, that’s what they were doing. They were listening to blues and other traditional music and then just by the nature of being who they were, making it their own, doing their own version of it. When they played a blues tune it became something else when the Band played a blues tune because they are, but they’re incredibly funky and soulful in their own way, obviously.
What [keyboardist] Garth Hudson did in the Band he adds this whole other element. He’s a schooled musician and brought this other thing in there. He brought in a lot of diverse things together as a musician. For me it feels good to fit into that place.
In listening to the music, I get deeper in checking out The Last Waltz. Obviously, everyone knows it’s one of the great music films of all time. So, I’m really going in and checking out what Garth is doing, which is really a blast for me.
In general I’m not a cover musician. (laughs) I’ve done a lot of that stuff as a professional musician earlier in my life. I played weddings, bar mitzvahs and country clubs. I played for people to dance. When I moved to New York and Medeski Martin & Wood took off, it was all about original music, finding what it is I have to say and saying it as opposed to regurgitating what someone else says.
Listening to Garth, I really related to his approach. He’s unquestionably one of the greatest rock keyboard players, if not the greatest of all time. When you go back and listen to what he does, it really fits in but at the same time it has this other element of freedom even while it’s refined and perfect for the song. There’s something wild about it. I relate to that a lot. So, it’s really fun. In this particular group of people coming together it’s really about that. We’re playing this music and we’re playing the arrangements but to a certain extent the way that the Band did them but everybody in the band is a strong musical personality individually. No one is imitating the original players other than we’re playing what they did but everyone expresses themselves at the same time. It’s a pretty amazing group. It’s really fun.
At this point in my life I don’t have the time to sit around and learn the stuff I want to learn. I’m either playing gigs with different people or…My musical growth at this point, and for years now, comes from whatever it is that I’m doing at that time. I played some of these songs before but this has been a great opportunity to really get into this music and learn these songs and check out Garth and what he’s doing. When I get into I have even more respect for what he did as a keyboard player. It’s kind of intangible.
He’s one of those guys. Certain musicians what they do is intangible. It’s so creative and innovative and also fully honoring these songs at the same time. That’s a really hard thing to do but it’s something I’ve always strived to do whenever I play with anybody is to do what the music calls for relative to what I’m capable of. It’s not about showing off. What does the music need? What can I add to this? What can I do to be part of this and take it to another place? I see that’s what he did.
JPG: As far as going deeper into the music, I can tell that you’re a fan but not an obsessive, which I don’t think is a requirement for the position…
JM: Honestly, I want to say this because I want to say it. There are a lot of people out there and I’ve played with certain people, and you really see it in the Grateful Dead scene that there are a lot of people who are obsessives. For me that’s not what music is about. It’s not classical music. Even in the classical music world, the great classical players have something to offer to see the music through different eyes and shed another light on it while maintaining the integrity of it.
I don’t care about all that stuff. The real core of this is what were they doing? Where were they coming from? It’s not about the notes and the exact chords and how the voice is. All that is a part of it, and it’s good to be aware of that stuff and learn that and know what it is. But, always for me with music, where is the heart of it and where does it come from? That’s what I go for and that’s what I listen for and that’s what I get into. Part of the journey to that is learning what they did to a certain extent. But, while doing that a lot of people—obsessives is a good word—they stop at the notes and the rhythms that they play. That’s all they see and that’s all they know and so you end up… For me I end up hearing this music and it’s… (sighs) why do it? I’d rather hear the original guys do it.
It’s nostalgic for people that hear that music in any form but I have issues with people that are so scholastically anal retentive about music. That’s like putting music in a coffin. The thing about this group is that it’s the opposite of that. It’s like reveling in this great music and giving it new life.
JPG: Last April, you did the two well-received Last Waltz shows in New Orleans. I was looking over the setlist and I was surprised that, speaking of Garth Hudson and having your talents on board, “Chest Fever” with “The Genetic Method” intro wasn’t played. Could that be something added on this tour?
JM: I’ll bring that up! That would be cool! (laughs)
JPG: Give you a moment to go wild. Second set, you come out alone and do “The Genetic Method” then right after the rest of the musicians come onstage you go into “Chest Fever.”
JM: We’ll see how it all develops. Because we’re going to be doing it so much we probably will add new material in as we go.
It’s a pretty strong show as is. I honestly don’t need…I think it’s because, ultimately, I’m a piano player. I’m not as old school as somebody who is in their 80s. I’m not of that generation but I’m old school enough to be 100% content and fulfilled by the accompaniment of the role. I love it. I love playing behind people. I love being a supportive musician as much as I like being upfront or solo. But, I don’t ever need to do that. It’s as much work and I get as much pleasure doing the right thing or, maybe, shifting it just enough to goose it a little or give it a kick in the ass with whoever I’m playing with. I’m really happy to do that.
That’s one of the things I always loved about John Scofield playing with Medeski Martin & Wood. The trio has a chemistry that’s its own and there’s stuff we can do when it’s just the three of us that we can’t do when anybody else is there but you throw somebody like Scofield or Nels Cline in the mix and suddenly it’s a different role. And I love comping behind be Sco or Warren or a horn player as much as I like being the featured voice. I really do. It’s just as fulfilling for me. That’s what I feel about Garth’s stuff. He’s able to do that. He’s able to support the song and at the same time be this crazy freaky unique really deep musician. That’s my goal in life.
JPG: When you did the New Orleans show Ivan Neville joined you.
JM: Yes, Ivan came up and sang and played a little.
JPG: With him being part of the tour I imagine the two of you already have things figured out. Is it even correct to say that you’re doing the Garth parts and he’s doing the Richard Manuel parts or…?
JM: Michael McDonald is doing the piano parts. With Ivan there he’ll be singing and playing and we’ll just trade around, I’m sure. Ivan is so easy. He’s such a great musician and easy to play with. I’m sure we’ll figure that out. It’ll depend on what songs. It’ll be a song-to-song thing.
JPG: Another person who is on the tour and played the previous Last Waltz shows is Bob Margolin. Did he offer any inside scoop on that Thanksgiving night playing with Muddy Waters and the Band or anything from that show that was helpful?
JM: Everything about him is helpful and insightful. He’s incredible. He has a real connection to that music. He just comes in, fires it up and brings that real spirit in.
He’s like a real musician in that way. He’s bringing in the spirit. That’s what we’re supposed to do as musicians. We’re not scholars and sit there and talk about this or that. Stories can be shared. But, for him that was one night in a lot of nights back then. They sat in on one tune. They were special guests. You’ve got to put yourself into their shoes and think about what it was for them back then and…he’s truly amazing and it’s such a treat to play with him.
Again, he’s trying to goose the fire out of everybody. It’s not about, “Don’t play that note. Don’t play this note.” It’s about put that spirit in there or else. (laughs) That’s where he’s coming from and I love that.
JPG: As for the tour, was it brought up before the New Orleans or shortly after they took place and everyone saw how successful they were?
JM: No, no, no. We did it and it went well. It grew out of doing it. It was successful on a lot of levels. The chemistry of the group…you never know when you put this kind of thing together. You can have all these ideas of these great musicians and put ‘em together but there might not be a chemistry. It may not work. And the chemistry was beyond solid. It was great. The vibe of everybody worked together well. There were no monkey wrenches in the machine. So, that is what inspired, maybe, doing it some more. They put out the feelers, “Hey, is there anybody interested in this?” And there was a lot of interest. So now, we’re also gonna be doing a tour in March. We didn’t know that when the tour in January got booked.
Everything got booked very last minute relative to how things are normally done. I was not even sure it was going to happen because of that but it came together very quickly and easily.
JPG: I’m surprised that the promoters of the tour were able to get so many of the same musicians that played the New Orleans shows because everyone has such busy schedules.
JM: Yeah. That’s a testament to how much everyone enjoyed doing it. We all really enjoyed it and it was a really good vibe.
JPG: You mentioned him earlier. Tell me how Michael McDonald fits into the mix of what are a bunch of musicians within the jamband community.
JM: If you think about it, the Band was not a jamband. That’s the key. Jamey Johnson, too.
JPG: But, I see him as having a bit more of a connection to the Band due to country and roots than what’s known from McDonald’s history with changing the Doobie Brothers sound and his time with Steely Dan.
JM: I guess that’s similar thing to what you were saying about not thinking that I would be the first guy they would think of…but who would be? Who’s a great piano player who’s got an incredible voice who can pull that stuff off? Half the thing with the Band is the harmonies. Who could do that? I can’t think of a lot of people. He’s a great choice. He’s got an incredible voice, great piano player, great musician overall. He’s also very giving as a musician and a human within the framework of the group. The ball gets passed around—who sings what song and who’s doing harmonies—and to watch how everybody works together, it’s really beautiful. Everyone is very gracious and giving, and he is the same way.
The Band they were a pop band of the time in a way in that era. Also, they were a genre-bending, genre-crossing band. Since then, we started to lump these things into categories, and they fall into a certain category. At the time they were blowing things and breaking boundaries. That’s how it makes sense to have Michael in there.
Honestly, for me it’s what does the music feel like at the end of the day? He’s amazing. He really is. When we do [Ray Charles’] “Georgia” and he sings his verse, I get chills every time.
JPG: I bring up the word “jamband” because it’s the easiest shorthand term than going with artists whose music is genre-busting, etc. etc.
JM: Right. That’s in a way the true nature of why even this whole jamband thing came up was out of this inability to categorize things. When that term first came around it was about these bands that couldn’t be lumped into categories, and now it’s a category. That’s the age old story, and a dangerous thing in terms of examining music history. That’s why Michael works. It’s part of that genre bending.
JPG: Again, thinking of jamband music as boundary-less and with him I immediately think of the hits with the Doobie Brothers and Steely Dan’s “Peg.” He’s talented and he’s capable…
JM: When you go back to the Doobie Brothers, there’s a Southern Rock element to their music. Now, with Steely Dan you’re starting to get into slicker, it’s starting to jazz up a little and studio-fy but the Doobie Brothers…to me that’s where the cross mix helps. There’s a Southern Rock element. To me the Doobie Brothers are link to the Band with Michael.
In fact, I never really thought about it. (laughs) It feels good. He’s got a great voice. The thing about the Band, those guys had great voices. Also, the idea of adding Jamey Johnson there is a twist. That powers the music in being given new life. This is where we’re not getting into imitating or trying to sound like what they did. We’re taking that music and giving it a new perspective and a new life that’s both respectful and at the same time pushing it.
JPG: Now, you guys are doing your tour but there was also a Last Waltz tribute show at AmericanFest NYC last August and other performances of the Last Waltz in years prior to that. Which brings up this, what is your view of why the Band’s music still resonates?
JM: Great songs. You can’t beat a great song. They’re great songs, and that’s it. And you get good people playing them, and it’s… great. Also, we’re looking back because there are not a lot of great songs coming out right now. (laughs) There are some. My 17 year old stepdaughter would definitely argue with that. We talk about that a lot. She’s really into music. There is stuff happening and there has been stuff happening but ...
I sound like my grandfather, “They don’t write songs like that anymore.” (laughs) That’s what he said about Cole Porter. And, it’s true. They don’t write songs like that anymore because it’s not then. Those songs are indicative of a certain time but they’re also indicative of a timeless spirit, a timeless human thing that any music has. Beethoven has something that none of this stuff has. Although we are defined to a certain extent by the period of time we live in, time is an illusion and we’re connected to all of it as human beings because it’s part of human expression. That’s why we can enjoy different music at different times for different things. Everybody has their own personal relationship with that. And I just like that the Band is great, the songs are great, the arrangements are great.
JPG: Last thing, you’re doing this tour for what may be several months or longer, but what else do you have planned for yourself in 2017?
JM: I’m about to go in the studio with Jack DeJohnette, John Scofield and Larry Grenadier. Record this project called Hudson. It’s Jack’s 75th birthday this year and he put this band together with all of us. It’s a collective band in a way. We’re going to be touring. We’re going to be making a record this week. We all live in the Hudson Valley. The band’s called Hudson. We’re doing a lot of music from people that lived here at some point or other or played at Woodstock—Joni Mitchell, Jimi Hendrix. We’re actually doing a Band tune, “Up on Cripple Creek.” We’re doing some DeJohnette and Sco tunes. It’s great. It’s really fun. We’ve been rehearsing a little bit and we’re about to go in the studio, rehearse and record. Great project.
Then, I have another project that I’ll be touring with a little this year called Mad Skillet, which has Terence Higgins, who is doing the Last Waltz tour, and Kirk Joseph, sousaphone player, both with Dirty Dozen Brass Band, and Will Bernard on guitar; an instrumental quartet. We’ll have a record coming out this year. Gonna tour with that. Still doing some DRKWAV gigs whenever I can, whenever we can all get together. We’ve got a couple of those during this year. I’m going to Europe for some solo piano stuff. Doing a bunch of stuff with John Zorn, which I always do throughout the year when I can. My year is pretty full already.
JPG: I’ve always wondered this in regards to musicians and how they can have their lives planned out from recording, promoting and touring a year or two in advance. Is it a good thing to have things set up like that or is it a bit overwhelming?
JM: Both. It’s nice to have work and it’s nice to be at the point when you’ve worked so hard to have that security of gigs. But, it’s also daunting in planning ahead, and the true creative process can’t be planned ahead. (slight laugh) That is the endless balance of trying to figure out how to keep things planned ahead but also in tune with what might be happening creatively.
Mad Skillet’s taken a long time to get off the ground because I’m so busy with so many other things. We recorded last year. The bottom line is when there’s a chemistry with a group of musicians that get together, something happens.
I am not one of those guys, I guess because I’ve had 25 years with Medeski Martin & Wood is probably why I don’t worry about…I’m not a pop musician. So, I don’t go out there to sell my records. I’m not gonna sell any records anyway. That’s not my goal. At this point a record is just a business card to get gigs for the band and a creative outlet. Hopefully, first and foremost, it’s a creative outlet and a way to create a piece of work but in terms of what we’re talking about, it’s a way to make people aware of what the band does so that you can get gigs. Then, you get out there. I don’t worry about sounding like the record. I’m fortunate to have set my life up like that. I don’t make music that people want to hear just like the record. I want to get up there as long as the energy is there and it’s happening and it’s good, then we could have a good gig.
