In December of 2021, my co-worker Trent at Depot Lawncare told me he was taking some time off to spend a week with his songwriter buddy Scott Morris in the studio making an album. Trent played drums on the project, and he asked me if I would like to add some keys. We worked out a “bro rate” for the sessions, and I visited the studio three times. The first visit was just to meet the rest of the band, the producer, and the engineer. Also, they all wanted me to try out the acoustic piano and determine if it needed tuning. It didn’t.

On my two return visits, the band had already cut the basic tracks, and I was overdubbing the piano and Hammond organ. I kept bringing my saxophone and a bag of tricks (harmonicas and percussion) to the studio and suggesting adding some of that, but I wound up sticking to the keyboards exclusively.

Trent used my tambourine and chimes on a couple of songs, so I was glad I brought my stuff. The little bell sounds from the chimes on Between Me, the Moon and You add a gorgeous, shimmering touch.

If you listen to the piano on this album, it feels sparse, tasteful, and restrained. Part of that was the final edits, so I can’t take all the credit for the tasteful use of space. I kept thinking there are so many piano players I know who are more adept than I am, but then I realized perhaps those players might have overplayed. Maybe I was the perfect cat for the job. I know the band was pleased with what I added.

Why am I writing an article about these particular sessions? It’s because it’s a novelty for me to be the piano player and not the harmonica player or the horn player. Also, I think there is something special about these songs, and I think they deserve more of an audience. I was thinking that if I write this post, then at least my sister will listen to it, and that is one more person.