The Studio Musicians Handbook - Rami Jaffee Interview Excerpt

Keyboard Player Rami Jaffee Interview Excerpt

One of LA’s most prolific session figures, Rami Jaffee received his break in the business playing keyboards for the platinum selling The Wallflowers. Rapidly expanding into session work, Rami’s played on recordings by diverse acts like Fall Out Boy, LeAnn Rimes, Pearl Jam, Melissa Etheridge, Keith Urban, and Ziggy Marley among many others. He’s also now an unofficial member of The Foo Fighters.

Give me some background on how you got into session work?

When I first started The Wallflowers in the early 90's, I met Benmont Tench (the keyboardist from Tom Petty & the Heartbreakers) through Jakob (Dylan - singer for The Wallflowers). Benmont took a liking to me and asked if it was okay to hand off my number when he passed on a session. Let's just say now I owe him a little something!

What do you bring with you to a session?

it really depends on what they (producer, band, artist, etc) want. I'm mainly asked to do my Hammond B-3 organ stuff, but sometimes it’s just "I need accordion on one song". Bringing clients into my studio is usually the smarter idea. That way, all the toys are at our disposal when I first hear the songs.

Is your stage rig different from your recording rig?

Most of the time. When I was in The Wallflowers, I really stayed with a select few staples; the B-3, an upright piano, and a Mellotron. Now, in the Foo’s, I use that set up but add an accordion, a Casio SK1, a Wurli (Wurlitzer electric piano) and a bunch of Memory Mans (Electro-Harmonix delay pedals). My recording rig for a studio session might consist of that gear, but might reach further into the toy box too.

What do you like in your headphone mix?

You know those fancy headphone mix stations? Yeah, they're scary. I’d like to start with where the mix is at because most of the time, it's towards the end of tracking so the mix can be rather full already. I want to hear where the song is at so I can add to it in proper proportion. Having said that, sometimes I need some more drums so I can lock in better (don’t we all?).

What do you think the defining moment for a session player is?

When you realize you're making a song better. I’m not going to say, “When you stop jerking off,” because sometimes that's just what the song needs. You just have to know, otherwise, the producer throws tomatoes at you!

What do you see that’s common with all good session musicians?

What I see is that look of "How the hell did we get so totally blessed to be part of all this?" (laughs). Really, I think we're all different, but what may link us all together is our ability to put the ego in the back pocket and play for the song in a way that heads it in the right direction... #1 on the charts!

What do you know now that you wish you knew when you were first starting out?

That’s tough to say. Maybe I'd say to stop playing so busy and to simplify parts, but recently I’ve found that sometimes you can add excitement by getting into the busy playing world. Hey, if a song has a bunch of boring playing out of respect to pop genre, it needs some wackiness. You just gotta rip some character!

Any advice for someone starting out doing session work?

Yes. Please make music better! Listen to the music! Try your hardest to read the artist and the producer! Do your best to get your point across to the engineer! Use all dialogue possible with each and every one involved! These things can make or break the charts! Don’t think, “Oh, whatever,” even if the studio atmosphere is chill. This is music that, at best, will live on way after us. Show some soul, Mama!

What do you consider your big break?

My big break in session work was mainly from Benmont Tench passing my number along to the biggest producers around. Being a player after Benmont's style, being a Grammy winner, and selling millions of albums didn’t hurt either.

If you were able to go back to those early bands that you played in, what kind of advice would you give yourself?

Oh gosh. Let's start with "What the hell is wrong with your hair??!! (laughs)" Seriously, I'd probably say, “Please listen to the band!” I swear, when you're young, your ego is so swollen that you probably barely listen to anyone.

What was your worst session?

Probably one of those where the producer is arguing with the artist about where the song should go and the argument concerns what I’m playing, and all while I'm sitting there trying to play and ignore calls from my ex-wife's lawyer! (Well, you asked!)

What was your best?

I think where I genuinely feel that I played the right thing for the song and the artist and producer feel I took it to a place they never knew existed.

What kind of sessions are the hardest for you?

Believe it or not, the kind where the singer or producer has an idea and shows me on the keyboard. Even if it's an easy part, I have a weird mental block on other people's style and not just flowing with my own instincts. It’s funny because that’s completely opposite from most players!

What do you hate about recording?

When a producer or artist is letting their life difficulties take over while they work! It’s totally understandable and I can relate because the lives of musicians and producers do have drama, but when it reflects on the attitude of the session and you’re asked to go circling around different keyboards and styles, you're going through useless motions sometimes. When I'm producing and those scary moments in someone's personal or professional life come up, I make the call right away and say “Can we try this tomorrow?” It’s a simple call really.

Author - Producer

Music and Technology Advisor