the Unseen Strings: Greg Leisz’s Extraordinary Musical Journey

Greg Leisz may not label himself as a session musician, yet his extensive experience in the ⁣industry is nothing short of remarkable.‌ His collaborations span a diverse ​array of artists, including Matthew⁢ Sweet, Smashing Pumpkins, Eric Clapton, John Mayer, Jackson Browne, Bruce ⁢Springsteen, and Daft Punk,‍ among countless others.

Reflecting on his early aspirations,​ he shares, “I was ‍always curious about how the names I saw on records connected to the music itself. ​However, the idea of playing on those records felt like ⁤a distant fantasy.”

The Path to Prominence

What led to his frequent appearances on artists’ contact lists? “It took years of hard work​ and encouragement from fellow musicians and producers to build my self-confidence and earn their trust,” he explains.

leisz ⁤emphasizes the importance of live performance as⁢ a training ground. “Playing in group settings has always been my best teacher. It honed‍ my ability to listen and respond instinctively⁤ to other musicians in real-time.”

At 76, he ‍shows no ⁢signs of slowing down. ‍”Session work has become very intuitive for me,” he notes. “Even when I’m adding layers to a track ‍after it’s been recorded, I strive to create a sound that feels organic, as if I were part of ‌the original recording.”

Living⁤ the Dream

Despite his impressive accomplishments, Leisz still feels a sense of disbelief about his career. “Not long ago, I found myself playing guitar for Aaron Neville at ‍Electric Lady Studios⁤ in New York, sitting next to Keith Richards, who was co-producing‍ the album. Just‌ two musicians sharing a moment with their guitars-what could be better?”

Early Beginnings

Did you ⁤ever envision becoming a session⁤ musician? “Not at all! I picked up the guitar in 1962,‌ teaching myself from folk songbooks. Back then, the musicians on the albums I loved often went uncredited, though I do recall seeing some names on early ’60s folk records by artists like Judy Collins,” ​he reminisces.

In 1966, he was struck by a credit ‍for Van Dyke Parks on⁣ the Byrds’ Fifth Dimension album, which was notable ‌for its time, ‍as it was uncommon for bands to acknowledge other​ musicians in their liner notes.

From Garage bands to Recording ​Studios

Leisz’s journey into session work began in the self-taught garage band scene of the ’60s. As he played alongside more skilled musicians and explored various ⁣musical genres, he gradually found​ himself ⁤in ‍recording ⁤sessions by the mid-1970s. “I essentially stumbled into session work,” he admits.

Gear and Influences

His toolkit has‍ evolved⁢ from the basic setup he had in the ’60s,which consisted of ⁤one acoustic guitar,one electric guitar,and an amplifier. Over time, he expanded his collection to include a variety of instruments. He taught himself to play dobro, lap steel, and pedal steel, along with some mandolin and banjo, and even dabbled ⁤in bass.

If he had ​to choose a favorite guitar,it would be the 1964 Stratocaster that was stolen from him in the 1980s. “I doubt ​I’ll ever see it again-though if anyone comes across serial number L35655, black refinished,⁤ please return it!” he jokes. “For ⁣now, I’ll stick with my ’64 Fender Jazzmaster and my ⁤’62 Gibson ES-330. It’s impossible to pick⁢ just one!”

Collaborations with Icons

Leisz’s first encounter with⁣ Matthew Sweet occurred in 1985 at a New York City club where he was performing. Four years later, he returned to contribute ⁤to Sweet’s acclaimed ‌album, Girlfriend, where he played a low lap steel on the title track and added pedal steel to several others. “What made that album unique was its ‌complete absence of reverb, combined with Matthew’s catchy melodies and the intense guitar work of Richard Lloyd and Robert Quine,” he explains.

His collaboration ⁣with k.d. lang began in 1988 when she ⁤needed a steel guitar ⁣player for her television appearances in Los Angeles. This led to his involvement in her‌ album Absolute Torch and Twang, recorded in ⁣Vancouver with her band, The Reclines. ⁤over the next 18 years, ⁢he​ played on most‍ of her albums, cherishing the experience of being her accompanist.

Notable Projects in the ’90s

In the ’90s, Leisz contributed to the Smashing pumpkins’ iconic album Mellon Collie and the Infinite Sadness and worked with ‍James Iha​ on his solo project, Let It Come Down. “I played on James’s track Take ‌Me Down, which was the only song⁣ he wrote and sang on that album,” he recalls.

connections with Other Artists

His long-standing relationship with Lucinda Williams began in the 1980s, as they⁢ frequented the same clubs in⁤ Los Angeles. He played on several‍ of her ​albums, including Down Where‍ the Spirit Meets the Bone and The ⁤Ghosts of Highway 20, and appreciates her knack for selecting ‌the right musicians ​for her projects.

Leisz’s collaboration with Eric Clapton started through producer Doyle bramhall,who invited him to record on Clapton’s album Old Sock. “Touring with Eric was an incredible experience. He’s a phenomenal singer and a true ⁢gentleman,” he shares.

His work with John Mayer began when he contributed to a couple of tracks on Mayer’s Heavier Things album. “John is very focused and knows⁤ exactly what he wants, while also allowing room for⁢ creativity,” he ‌notes.

Unexpected Collaborations

Leisz’s work with Daft Punk​ and Avenged Sevenfold may seem unconventional, but both bands sought his unique sound. “Daft Punk wanted ​a ’70s vibe,while Avenged Sevenfold⁤ aimed to incorporate a hint of country into their music,” he explains,adding that he even played banjo during those sessions.

Looking Ahead

With a rich history and a steady⁢ stream of projects, does Leisz ​have plans to retire? “Not yet! ⁢Over the past 15 years, I’ve had the privilege ⁤of collaborating with many talented ⁤artists. however, I find it hard to​ label myself strictly as a ‘session’ musician,”⁤ he reflects. “The connections I’ve made and the music I’ve created frequently‍ enough come from unexpected places.”

Advice for Aspiring‍ Musicians

For those looking to follow in his‌ footsteps, Leisz advises, “Don’t rely on luck like I did! Seek out quality music education, find mentors, and master your instruments. Explore every​ genre you can, but don’t ⁣expect to stumble into opportunities as I​ did.”