{"id":27770,"date":"2026-05-29T13:52:44","date_gmt":"2026-05-29T18:52:44","guid":{"rendered":"https:\/\/online.berklee.edu\/takenote\/?p=27770"},"modified":"2026-05-29T14:09:44","modified_gmt":"2026-05-29T19:09:44","slug":"matt-rollings-on-willie-nelson-despacito-four-decades-as-session-musician","status":"publish","type":"post","link":"https:\/\/online.berklee.edu\/takenote\/matt-rollings-on-willie-nelson-despacito-four-decades-as-session-musician\/","title":{"rendered":"Matt Rollings on Willie Nelson, \u2018Despacito,\u2019 and Four Decades as an In-Demand Session Musician"},"content":{"rendered":"\n<h2 class=\"wp-block-heading\" id=\"h-how-decades-of-work-with-music-legends-shaped-matt-rollings-approach-to-session-playing-producing-and-teaching\">How Decades of Work with Music Legends Shaped Matt Rollings\u2019 Approach to Session Playing, Producing, and Teaching<\/h2>\n\n\n\n<p>Matt Rollings has spent four decades playing keyboards on records by some of the most iconic musicians in the history of recorded music. Most of them you only need to know by their first names: Willie, Bruce, Dolly, Waylon, Reba. He has credits on more than 1,500 albums spanning rock, country, Latin, and beyond. Along the way, he has earned Grammys as a producer, played on songs with billions of streams, and built a reputation as one of Nashville&#8217;s most trusted session musicians.<\/p>\n\n\n\n<p>Yet Rollings is quick to point out that success in the studio is about more than musical ability. Whether he\u2019s replacing Bruce Springsteen\u2019s placeholder piano parts, producing Willie Nelson, or helping students find their creative voice through Berklee Online\u2019s <a href=\"https:\/\/online.berklee.edu\/courses\/piano-and-keyboard-techniques-for-session-musicians?campaign_id=7010Z000001ZkQgQAK&amp;pid=&amp;utm_source=takenote&amp;tum_medium=blog&amp;utm_campaign=bol-gen-takenote-article-link\" target=\"_blank\" rel=\"noreferrer noopener\"><em>Piano and Keyboard Techniques for Session Musicians<\/em><\/a> course, he says he believes the real skill is learning how to read the room, serve the song, and adapt to whatever the moment requires.<\/p>\n\n\n\n<p>In this Q&amp;A, he reflects on the winding path that led him from a Phoenix honky-tonk to backing an unknown Lyle Lovett in Luxembourg, from a few semesters at Berklee to decades of Nashville sessions, and ultimately back to Berklee as an instructor, where he discovered that the lessons he\u2019d spent a lifetime learning were worth sharing.<\/p>\n\n\n\n<div style=\"margin-bottom: 1.5em;\">\n    <h2 class=\"long-title\" style=\"margin-bottom: 0.1em;\"><strong>What was the first song you remember hearing? <\/strong><\/h2>\n    <p style=\"margin-top: 0; margin-bottom: 0;\"><strong>Matt Rollings:<\/strong> The first song I remember hearing? It\u2019s going to be a terrible \u201970s pop. Like something like \u201cTwo Divided by Love.\u201d I remember \u201cJoy to the World.\u201d Three Dog Night was a big part of my youth. That was the first album that my brother and I bought. I think it was called <em>Naturally<\/em> by Three Dog Night. <em>Naturally<\/em> had that hit on it, but I know I was listening to songs before then. Jim Croce was around, so \u201cBad, Bad Leroy Brown\u201d was probably on the radio. It was sort of a Carole King <em>Tapestry<\/em> era. \u201cI Feel the Earth Move\u201d and all those were in there. <\/p>\n<\/div>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Bad, Bad Leroy Brown - Jim Croce | The Midnight Special\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/ByY9WSXOR8c?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<p><\/p>\n\n\n\n<div style=\"margin-bottom: 1.5em;\">\n    <h2 class=\"long-title\" style=\"margin-bottom: 0.1em;\"><strong>How about the first song you remember learning how to play?<\/strong><\/h2>\n    <p style=\"margin-top: 0; margin-bottom: 0;\"><strong>Matt Rollings:<\/strong> I started playing the piano in 1974 when I lived in Evanston, Illinois, outside of Chicago, and the teacher they found for me was great. They taught rudiments. They taught me how to read music.\nThey taught me hand position. As soon as I was able, they had this whole library of popular songs, current songs that I could play. So certainly \u201cBad, Bad Leroy Brown\u201d was one of the first ones that I learned how to play. I\u2019m trying to think there was another one,  a Carole King song called \u201cJazzman.\u201d \n<BR><BR>\n\n<iframe loading=\"lazy\" style=\"width:100%; aspect-ratio:16\/9;\" width=\"100%\" height=\"auto\" src=\"https:\/\/www.youtube.com\/embed\/OuNSrgLV648?si=slhGTavzbl2PgCVL\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n\n<BR><BR>\nThen, that teacher introduced me to Ramsey Lewis, who was like my first jazz piano guy. Ramsey Lewis had these instrumental hits back then. One of which was \u201cHang On Sloopy,\u201d a huge hit. \u201cThe \u2018In\u2019 Crowd\u201d was maybe the first jazz song that I ever played on a piano. <\/p>\n<\/div>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Ramsey Lewis Trio - The &quot;In&quot; Crowd (1973)\" width=\"500\" height=\"375\" src=\"https:\/\/www.youtube.com\/embed\/nOO42RbEvPw?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<BR>\n<div style=\"margin-bottom: 1.5em;\">\n    <h2 class=\"long-title\" style=\"margin-bottom: 0.1em;\"><strong>\nYou talk about instrumental songs, and listening to some of your solo records, which are primarily instrumental, the titles of the songs are really interesting. On <em>The Valentine Sessions<\/em>, for instance, there\u2019s \u201cChaos, Edith\u201d which is a really evocative title.  And then \u201cGroove with a View\u201d is the first song, but then the seventh song on the album is called \u201cSong 1.\u201d \n <\/strong><\/h2>\n    <p style=\"margin-top: 0; margin-bottom: 0;\"><strong>Matt Rollings:<\/strong> The song \u201cGroove with a View\u201d on my <em>Valentine Sessions<\/em> record, I just came up with. I thought it was a clever name. It was the most sort of funky song on the record. It was very much a traditional jazz record, but that was sort of the funky one that was actually really designed as sort of a tribute to Ramsey Lewis, my first sort of jazz piano hero. \u201cSong 1\u201d is number seven on the record, but the only reason it\u2019s called \u201cSong 1\u201d, is because it\u2019s the first song that I wrote for the album, so I called it \u201cSong 1.\u201d I never came up with a better title. The other one, \u201cChaos, Edith.\u201d\nMy child Luca, who\u2019s 15 now, but maybe was 13 then, was\u2014and probably still is\u2014into Dungeons and Dragons, fantasy stuff, and video games. He came up with the title \u201cChaos Edict,\u201d\nwhich was very teenage and wasn\u2019t quite right. But then I thought, hey, how about \u201cChaos, Edith?\u201d So it came out of Luca\u2019s \u201cChaos Edict.\u201d I just didn\u2019t want to name a song with the word \u201cedict.\u201d\n\n<\/p>\n<\/div>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Matt Rollings Trio - Groove With a View (Official Video)\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/IWyG81ubO7U?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<BR>\n<div style=\"margin-bottom: 1.5em;\">\n    <h2 class=\"long-title\" style=\"margin-bottom: 0.1em;\"><strong>When you\u2019re working on solo work and you\u2019re the bandleader, how does your approach differ from when you\u2019re a session player?\n <\/strong><\/h2>\n    <p style=\"margin-top: 0; margin-bottom: 0;\"><strong>Matt Rollings:<\/strong> So being a recording artist vs. being in the band as a session player, there\u2019s a real difference in approach in that. Number one, as an artist, there\u2019s a lot more at stake, which can be a detriment. As a musician, the best things happen in the studio when I check my brain at the door and when I\u2019m able to just sink into my body and let whatever happens, happen. I think when I\u2019m recording my own songs that I\u2019ve written, there is just necessarily a different lens into the way that I want the songs to sound and I\u2019m harder on myself, for sure. It was hard making that record, <em>The Valentine Sessions<\/em>. I really wanted to do an old school jazz record, so we were all literally on top of each other. There were no headphones. The engineer, David Boucher, did an incredible job because it\u2019s really difficult to record a trio, and particularly the bass\u2014there was a bass amp, which helped\u2014but everybody had to play to each other. It was like a club gig or like old jazz records. That\u2019s how you see everybody in the same room and you\u2019re going for a performance. There was no fixing. We could cut between takes if there was a moment where it made sense, but for the most part, it\u2019s all live and it\u2019s warts and all. So I listen to that record now and I think, \u201cI wish I could do that over again,\u201d but that\u2019s part of the magic and the sort of mystery of making a record like that. It\u2019s just what happened in that moment. I\u2019m not trustworthy as a judge of my own music. I\u2019m not a good person to ask about that. Other people like it, so I\u2019m just going to trust them.\n\n<\/p>\n<\/div>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p>As a musician, the best things happen in the studio, when I check my brain at the door and when I\u2019m able to just sink into my body and let whatever happens, happen.<\/p>\n<\/blockquote>\n\n\n\n<h2 class=\"long-title\" style=\"margin-bottom: 0.1em;\"><strong>Do you have any idea of how many songs you have played on? Do you have a number in your head? I interviewed <a href=\"https:\/\/online.berklee.edu\/takenote\/bassist-nathan-east-on-playing-bass-with-clapton-beyonce-more\/\" target=\"_blank\" rel=\"noopener noreferrer\">Nathan East<\/a> once, and he estimated that he played bass on about 10,000.<\/strong><\/h2>\n    <p style=\"margin-top: 0; margin-bottom: 0;\"><strong>Matt Rollings:<\/strong> I don\u2019t know how many <em>songs<\/em> I\u2019ve played on. I\u2019ve played somewhere in the neighborhood of 1,500 records. So if there are 10 songs on a record, what does that equal? Is that 10,000 songs? I don\u2019t know, but that\u2019s the answer to that question.\n<\/p>\n<BR>\n<div style=\"margin-bottom: 1.5em;\">\n    <h2 class=\"long-title\" style=\"margin-bottom: 0.1em;\"><strong>You spoke of having regrets with some of your own recordings, but when you\u2019re listening back to songs that you\u2019ve played on, a lot of which tend to get on the radio, do you scrutinize your own parts? Do you have moments of wishing you\u2019d done things differently? <\/strong><\/h2>\n    <p style=\"margin-top: 0; margin-bottom: 0;\"><strong>Matt Rollings:<\/strong> I used to hear myself on the radio all the time, but I don\u2019t know if I even listen to the radio anymore. Not much, but every once in a while when I do, there\u2019s a cringe moment. But for the most part, I\u2019ve learned\u2014and I\u2019m way better than I used to be at knowing this!\u2014that I have no business judging what I played. Because no matter what, the minute I play something, five minutes later, I would have played it differently! Like, that\u2019s just the nature of what I do. Accepting that helps me to actually kind of love those things and love those moments. I was just in a class today where they played an old song\u2014a Lyle Lovett song that I played on from the \u201990s\u2014and there was a little part of me that was saying, \u201cWow, I really wouldn\u2019t play it that way now.\u201d But, it was many years ago, so of course I wouldn\u2019t! That\u2019s natural. So I think I\u2019m more able now to just be proud that I was a part of so much music and that so many artists trusted me with their music.\nIt\u2019s sort of like a historical document. It\u2019s not meant to be judged in relation to what I might do now. That\u2019s not even appropriate. I just can love it. I\u2019m just grateful for the career that I\u2019ve had and continue to have. To be on all those records is amazing.\n<\/p>\n<\/div>\n\n\n\n<p><strong><em><a href=\"https:\/\/online.berklee.edu\/courses\/piano-and-keyboard-techniques-for-session-musicians?campaign_id=7010Z000001ZkQgQAK&amp;pid=&amp;utm_source=takenote&amp;tum_medium=blog&amp;utm_campaign=bol-gen-takenote-article-link\" target=\"_blank\" rel=\"noreferrer noopener\">STUDY STUDIO TECHNIQUES WITH MATT ROLLINGS<\/a><\/em><\/strong><\/p>\n\n\n\n<div style=\"margin-bottom: 1.5em;\">\n    <h2 class=\"long-title\" style=\"margin-bottom: 0.1em;\"><strong>Do you ever hear a song and think, \u201cWait, did I play on that?\u201d \n <\/strong><\/h2>\n    <p style=\"margin-top: 0; margin-bottom: 0;\"><strong>Matt Rollings:<\/strong> I have had experiences where I hear a song and then I hear the piano part, and I don\u2019t remember playing on the record, but I know it\u2019s me, which is fun. I\u2019ve had that experience, and I\u2019ve also had other people text me and say, \u201cI just heard this song, is this you?\u201d And I\u2019d not recognize the song at all. Then I\u2019ll go on Apple Music or Spotify to listen and say, \u201cYup, sure enough, that\u2019s me! Now I remember.\u201d Which is less about \u201cOh, I\u2019ve done so much that I can\u2019t remember.\u201d It\u2019s more about \u201cI just don&#8217;t remember stuff because I&#8217;m getting old.\u201d [Laughs]\n<\/p>\n<\/div>\n\n<div style=\"margin-bottom: 1.5em;\">\n    <h2 class=\"long-title\" style=\"margin-bottom: 0.1em;\"><strong>Some of the artists that you\u2019ve played with are known for their piano playing in their own right. You\u2019ve played on recordings by Billy Joel. He\u2019s <em>the<\/em> Piano Man! You played on one of the only recent Bruce Springsteen albums that doesn\u2019t feature Roy Bittan. What\u2019s your mindset when you go in to play in place of somebody, or with somebody who you may have revered since the 1970s when you were learning piano?<\/strong><\/h2>\n    <p style=\"margin-top: 0; margin-bottom: 0;\"><strong>Matt Rollings:<\/strong> I\u2019ve had a couple of opportunities to play with heroes, like iconic people. I played on a Springsteen record. I played on one song for Billy Joel, which, there\u2019s a story to that. I played on an Eric Clapton record, and neither Springsteen nor Clapton were there. So I played piano on a bunch of Springsteen tracks, and the producer was in LA. I lived in LA, he hired me, and I basically replaced Bruce\u2019s piano on demos that he had done that were becoming the record. So that was a really interesting thing. I love the record. It\u2019s a really beautiful piece of work.<\/P><P>\n<BR>\n<iframe loading=\"lazy\" style=\"width:100%; aspect-ratio:16\/9;\" width=\"100%\" height=\"auto\" src=\"https:\/\/www.youtube.com\/embed\/gt84E6Lerxs?si=uDhO5N3xmHscXHsw\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<BR><BR>\nWith Clapton, when I got hired I lived in LA, and my friend Greg Leisz, the legendary steel guitar player, we were doing a session, and he said, \u201cHey, you play accordion, right?\u201d I said, \u201cYeah, ya know, I play <em>at<\/em> accordion.\u201d [Laughs] And he said, \u201cThe producers here are producing Clapton\u2019s new record. They need an accordion player. We hired this guy\u2014and I\u2019ve forgotten his name, but he was the top accordion session player in LA at the time\u2014and they tried him on this stuff, and he was literally <em>too good<\/em>. They needed a crappy accordion player. They needed a kind of dumbass accordion. [Laughs] So, I went and I played with this guy, Gabe Witcher, who\u2019s an amazing fiddle player who was in the Punch Brothers. We played these old bar tunes and we just did our thing, but Clapton wasn\u2019t there.\n<BR>\n<blockquote class=\"instagram-media\" data-instgrm-captioned data-instgrm-permalink=\"https:\/\/www.instagram.com\/reel\/DL-T4-tuMc-\/?utm_source=ig_embed&amp;utm_campaign=loading\" data-instgrm-version=\"14\" style=\" background:#FFF; border:0; border-radius:3px; box-shadow:0 0 1px 0 rgba(0,0,0,0.5),0 1px 10px 0 rgba(0,0,0,0.15); margin: 1px; max-width:540px; min-width:326px; padding:0; width:99.375%; width:-webkit-calc(100% - 2px); width:calc(100% - 2px);\"><div style=\"padding:16px;\"> <a href=\"https:\/\/www.instagram.com\/reel\/DL-T4-tuMc-\/?utm_source=ig_embed&amp;utm_campaign=loading\" style=\" background:#FFFFFF; line-height:0; padding:0 0; text-align:center; text-decoration:none; width:100%;\" target=\"_blank\"> <div style=\" display: flex; flex-direction: row; align-items: center;\"> <div style=\"background-color: #F4F4F4; border-radius: 50%; flex-grow: 0; height: 40px; margin-right: 14px; 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font-family:Arial,sans-serif; font-size:14px; font-style:normal; font-weight:550; line-height:18px;\">View this post on Instagram<\/div><\/div><div style=\"padding: 12.5% 0;\"><\/div> <div style=\"display: flex; flex-direction: row; margin-bottom: 14px; align-items: center;\"><div> <div style=\"background-color: #F4F4F4; border-radius: 50%; height: 12.5px; width: 12.5px; transform: translateX(0px) translateY(7px);\"><\/div> <div style=\"background-color: #F4F4F4; height: 12.5px; transform: rotate(-45deg) translateX(3px) translateY(1px); width: 12.5px; flex-grow: 0; margin-right: 14px; margin-left: 2px;\"><\/div> <div style=\"background-color: #F4F4F4; border-radius: 50%; height: 12.5px; width: 12.5px; transform: translateX(9px) translateY(-18px);\"><\/div><\/div><div style=\"margin-left: 8px;\"> <div style=\" background-color: #F4F4F4; border-radius: 50%; flex-grow: 0; height: 20px; width: 20px;\"><\/div> <div style=\" width: 0; height: 0; border-top: 2px solid transparent; border-left: 6px solid #f4f4f4; border-bottom: 2px solid transparent; transform: translateX(16px) translateY(-4px) rotate(30deg)\"><\/div><\/div><div style=\"margin-left: auto;\"> <div style=\" width: 0px; border-top: 8px solid #F4F4F4; border-right: 8px solid transparent; transform: translateY(16px);\"><\/div> <div style=\" background-color: #F4F4F4; flex-grow: 0; height: 12px; width: 16px; transform: translateY(-4px);\"><\/div> <div style=\" width: 0; height: 0; border-top: 8px solid #F4F4F4; border-left: 8px solid transparent; transform: translateY(-4px) translateX(8px);\"><\/div><\/div><\/div> <div style=\"display: flex; flex-direction: column; flex-grow: 1; justify-content: center; margin-bottom: 24px;\"> <div style=\" background-color: #F4F4F4; border-radius: 4px; flex-grow: 0; height: 14px; margin-bottom: 6px; width: 224px;\"><\/div> <div style=\" background-color: #F4F4F4; border-radius: 4px; flex-grow: 0; height: 14px; width: 144px;\"><\/div><\/div><\/a><p style=\" color:#c9c8cd; font-family:Arial,sans-serif; font-size:14px; line-height:17px; margin-bottom:0; margin-top:8px; overflow:hidden; padding:8px 0 7px; text-align:center; text-overflow:ellipsis; white-space:nowrap;\"><a href=\"https:\/\/www.instagram.com\/reel\/DL-T4-tuMc-\/?utm_source=ig_embed&amp;utm_campaign=loading\" style=\" color:#c9c8cd; font-family:Arial,sans-serif; font-size:14px; font-style:normal; font-weight:normal; line-height:17px; text-decoration:none;\" target=\"_blank\">A post shared by Berklee Online (@berkleeonline)<\/a><\/p><\/div><\/blockquote>\n<script async src=\"\/\/www.instagram.com\/embed.js\"><\/script>\n\n<BR>\nThe Billy Joel experience was that I was hired by a guy named Steve Lindsey. This was while Leonard Cohen was still alive. He had produced a Leonard Cohen tribute record. It might have been associated with a 60th birthday or something like that. It was in Nashville and Tony Brown, this big Nashville producer and record executive who I was very close with, was involved as a co-producer. Billy Joel was coming in to do this song, a Leonard Cohen song, but they didn\u2019t know what Billy was going to want, so they kind of hired everybody. They hired me, and also a gentleman named Steve Nathan, who\u2019s a great piano player, but also a really great organ player. He was a Muscle Shoals guy for a long time. We had full electric, acoustic bass, drums, all this stuff. So Billy shows up and we\u2019re in the old RCA studio A in Nashville. It\u2019s a beautiful big room, a classic room. I think they had a Steinway [grand piano], and I think at that point that Billy was a Steinway artist, so they had a Steinway for him. Tony said, \u201cSo, Billy, are you going to play piano?\u201d and Billy said, \u201cWell, it depends on the key. If the key is too high, I need to stand up to sing, and I won\u2019t play piano. If the key is low enough, I can sit down and play piano and sing. So let\u2019s find a key!\u201d So I sat down at the piano and we had the chart for the song. I just started playing and messing with keys, and sure enough, \u201cNope! It\u2019s too high. I\u2019ve gotta stand!\u201d And that\u2019s how I got to play piano on a Billy Joel record. [Laughs] It was purely because of the key! It\u2019s been on a bunch of records! It\u2019s been on a greatest hits record. It\u2019s a cool credit to have and he\u2019s one of my heroes. I remember the Christmas I got 52nd Street on vinyl for Christmas, and I completely wore it out. It was one of my favorite albums of all time, so I\u2019m a huge fan.\n<\/p>\n<\/div>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Billy Joel - Light As The Breeze (Audio)\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/dX53Cy7lwZc?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<p><\/p>\n\n\n\n<div style=\"margin-bottom: 1.5em;\">\n    <h2 class=\"long-title\" style=\"margin-bottom: 0.1em;\"><strong>When you\u2019re playing with people who you\u2019ve admired for a long time, are there tips you pick up from them about the way you approach your instrument or the way you think about music? Anything that\u2019s really stayed with you?\n <\/strong><\/h2>\n    <p style=\"margin-top: 0; margin-bottom: 0;\"><strong>Matt Rollings:<\/strong> I learn things about being a session musician always. Almost every session I do, there\u2019s something, some tidbit of information, sometimes it\u2019s musical. The psychological and interpersonal experience is a huge part of making music in a studio environment. I\u2019ve produced a lot of records, so as a producer, there\u2019s a version of it for that. As a session player, there\u2019s humor; there\u2019s how humor is used. I think the more work you do in the studio, your radar continually hones and gets sharper. By radar, I mean being able to read, \u201cWhat is the culture of the room?\u201d\n<BR><BR>\nIf it\u2019s someone I\u2019ve worked with a lot, I go in knowing what the culture is. If it\u2019s a group of musicians I\u2019ve worked with or a producer I\u2019ve worked with a lot, I kind of know going in, \u201cOh, this is where we can tell these kinds of jokes, and we can do this\u2026\u201d And also how much input is the right amount for the musicians to give, and I\u2019m always learning about that.<BR><BR>\n\nI\u2019m always sort of trying to grow as a person and it\u2019s a real parallel, to the extent that I have self-awareness, humility, compassion, and all those things, that translates directly into the experience of making music. I don\u2019t know that it varies depending on the artist. I can learn the biggest thing from the most unknown artist. I think one thing I learned from working with, like, sort of superstar artists is that almost to a person, they\u2019re just great people. I mean, they\u2019ve lived a different life than I have and they\u2019ve had a lot of access and privilege. But to survive and have a 30- or 40-year career at that level, there\u2019s almost always this sort of a wisdom that accompanies that. Even if I\u2019m not necessarily learning something new, it\u2019s really heartening for me. It\u2019s a great experience to be around. I didn\u2019t play for him, but I was around Dave Matthews a bit. I\u2019ve done a bunch of work with Willie: I\u2019ve produced three Willie Nelson records. It\u2019s a really great experience to demystify the fame portion of it. Then, really, you get to experience why this person <em>is<\/em> this person. It\u2019s not just about the songs they write and the way they sing.\nThere\u2019s a deep, and powerful foundational piece to it to be that kind of a person. I mean, not everybody can do that, and it eats people up. So the ones who don\u2019t get eaten up, there\u2019s some heavy Kung-Fu going on. And that\u2019s nice to be around!\n<\/p>\n<\/div>\n\n<div style=\"margin-bottom: 1.5em;\">\n    <h2 class=\"long-title\" style=\"margin-bottom: 0.1em;\"><strong>You spoke about reading the room and knowing what types of jokes to tell, etc. Does your approach to that change when you\u2019re playing in different genres? <\/strong><\/h2>\n    <p style=\"margin-top: 0; margin-bottom: 0;\"><strong>Matt Rollings:<\/strong> I\u2019ve played on so many different types of records and so many different genres. I\u2019ve played on country records, I\u2019ve played on rock records, I\u2019ve played on jazz records, and I don\u2019t think genre is really a player in the experience being different, but the artist is. What the artist\u2019s comfort level is in the studio and how much they interface with musicians. With really big artists, some of them, there\u2019s a producer who almost acts as a firewall between the artist and the musicians. I\u2019ve had that experience, which is fine. That\u2019s just what that particular experience is. So you have contact with the artist, but you\u2019re not having an intimate back-and-forth musical conversation with the artist. You\u2019re having those conversations with the producer, and sometimes there\u2019s even an arranger involved or a musical director. That\u2019s sort of the exception, but generally it would be the producer. <BR><BR>\nBut then other artists just want to be in it! They almost want to be in the band.\nArtists like Clint Black. He\u2019s a great example of somebody who is super hands-on. He is an artist who is also producing himself and playing guitar. I\u2019ve been on a Clint Black record where he goes and sits down at the drums and shows the drummer a part that he\u2019s hearing. [Laughs] So he is just one of the guys. Same with this other country guy named Steve Wariner. He\u2019s a great musician and super accessible. <BR><BR>\n\nThere is hierarchy, ultimately, because they\u2019re the boss and they have the final word, but the experience of it is very relaxed and there\u2019s a lot of feeling of equality there. But it\u2019s super case-dependent: There\u2019s every different combination and version of those factors on sessions. I\u2019ve done so many of them that I\u2019ve sort of encountered every situation, but I\u2019m sure there\u2019s something I\u2019ll encounter that hasn\u2019t happened before. \n<BR><BR>\nI think that part of what makes great session players, is that they call us chameleons, and one of those reasons is that we\u2019re able to jump from genre to genre and understand, and it\u2019s not like I\u2019m faking it. To be a really successful session musician means I have some understanding of the genre. There\u2019s vocabulary and language, but even more important than that, for me is that I need to know what this music is supposed to <em>feel<\/em> like. If I know what the music is supposed to feel like, and I have an idea of the vocabulary, I have an entry point. So that\u2019s the musical version of the chameleon thing. The other side of the chameleon thing is that great session players get along: We know how to get along with people. Everybody, really. If somebody is really tough, then that just means that this is the amount of space I have, and I need to be really attentive and I need to make sure that this person knows that they have my attention, and I wait for <em>them<\/em> to introduce any humor, if humor is a part of it. And other sessions, with people I\u2019ve worked with a long time, I can just go for it, humor-wise and sometimes that\u2019s my role in addition to piano.\n<\/p>\n<\/div>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p>Great session players get along: We know how to get along with people. Everybody, really.<\/p>\n<\/blockquote>\n\n\n\n<div style=\"margin-bottom: 1.5em;\">\n    <h2 class=\"long-title\" style=\"margin-bottom: 0.1em;\"><strong>What is your go-to joke? \n <\/strong><\/h2>\n    <p style=\"margin-top: 0; margin-bottom: 0;\"><strong>Matt Rollings:<\/strong> My go-to joke? I have a new one: There\u2019s a woman whose husband has died and they\u2019re having the wake for the husband. They\u2019re in the funeral home, and she\u2019s sitting very solitary and sadly in a chair. A gentleman very respectfully comes and sits next to her. After a moment he says, \u201cDo you mind if I say a word?\u201d\nAnd the woman says, \u201cI think that would be very nice. Thank you.\u201d\nA minute later, the man stands up and he says, \u201cPlethora.\u201d And then he sits down.\nThe woman turns to him and says \u201cThank you. That means \u2018a lot.\u2019\u201d\n<\/p>\n<\/div>\n\n<div style=\"margin-bottom: 1.5em;\">\n    <h2 class=\"long-title\" style=\"margin-bottom: 0.1em;\"><strong>[Laughter] You mentioned Willie Nelson earlier. Tell me a little bit about going from playing with him to producing him and how that changed your relationship. <\/strong><\/h2>\n    <p style=\"margin-top: 0; margin-bottom: 0;\"><strong>Matt Rollings:<\/strong> My relationship with Willie Nelson started as a musician. I think the first time I played with Willie was on a record that was produced by a man named Matt Serletic, who was a big producer in the \u201990s. It was a big record of duets. It was great! Willie is always Willie. Willie is always kind, and funny, and high, [Laughs] and just Willie. And so it was that! <BR><BR>\nThen I got to produce Willie. It was a co-production with a gentleman named Buddy Cannon, and the first co-production was for an album of Gershwin songs. It was the result of Willie being nominated for, and then receiving, the Gershwin Prize, which is a congressional honor given every year to a songwriter.\nWhen they found out Willie was going to win the Gershwin Prize, Buddy and then Willie\u2019s manager, Mark Rothbaum, had this idea to make a record of Gershwin. Buddy is a great producer, but he is very solid in the country world. That\u2019s his world. So making a song is like making a record of American Songbook songs is not really in his wheelhouse. So he called me to co-produce because he knew that I could live in both of those worlds. So I definitely got to know Willie better as a result of producing him. I got to be sort of in the trenches with him, but the experience was still the same. It wasn\u2019t a different experience, it was just more of it, of hanging with this great, super-mellow, super-positive guy who, the minute he opened his mouth to sing on one of these songs, it became a Willie Nelson song, which was spectacular to me.<BR><BR>\n\n<iframe loading=\"lazy\" style=\"width:100%; aspect-ratio:16\/9;\" width=\"100%\" height=\"auto\" src=\"https:\/\/www.youtube.com\/embed\/L5xafQXg1yI?si=oRtQuRpf-ttpb8vq\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><BR><BR>\n\nI think I actually spent the most concentrated time with Willie was when there were a handful of years I toured\u2014before the pandemic\u2014with Alison Krauss and her band, and we did a lot of touring with Willie. We were a big part of his Outlaw Festival, a month of dates with them. And so I was around him and I\u2019m good friends with Mickey Raphael, who\u2019s his harmonica player, and we both had our bikes on the road, and take bike rides every day.\nAnd Willie would always invite whoever wanted to come up onstage during his show to be a part of the gospel medley. They had headbands. You could put on a headband. [Laughs] That was the most casual everyday Willie-ing that I got to do, which was great. But again, it\u2019s always the same. It\u2019s always the same Willie, which is kind of amazing.\n\n<\/p>\n<\/div>\n\n<div style=\"margin-bottom: 1.5em;\">\n    <h2 class=\"long-title\" style=\"margin-bottom: 0.1em;\"><strong>And you continued to collaborate with Willie Nelson. You\u2019ve even won Grammys together! Tell me about that.<\/strong><\/h2>\n    <p style=\"margin-top: 0; margin-bottom: 0;\"><strong>Matt Rollings:<\/strong> With Willie, I\u2019ve co-produced three records and two of them won Grammys. The first one was the Gershwin one, <em>Summertime: Willie Nelson Sings Gershwin<\/em>. Both of them won the Best Traditional Pop Recording award. I remember when we got the nomination. Honestly, at that point, I was old enough that I felt like I probably wouldn\u2019t ever get a Grammy like that. I was like, \u201cThat ship has probably sailed,\u201d which was okay with me. Then we got a nomination! And even then, I didn\u2019t really know that if it\u2019s an \u201cof the year\u201d award, then the producers got Grammys. I didn\u2019t know that! So we got the nomination, and then the Grammys happened and my wife and I didn\u2019t have a TV at that time because we\u2019re not big TV watchers. So it\u2019s in 2017, maybe, I think, living in Nashville, and my wife\u2019s folks were in town. They love to watch TV, but they love to watch the Grammys. So the day of the Grammys, my wife and I went to Target and bought a TV. We had had a TV before so we still had cable service. We just didn\u2019t have a TV. So we got the TV hooked up. And I didn\u2019t know that they give most of the awards away at the Premiere Ceremony, which you can watch, but it\u2019s not on a network.\nYou have to go to grammy.com and stream it. We didn\u2019t do any of that stuff. Somewhere before the main ceremony started, Ed Cherney\u2014who was a legendary recording engineer who we lost a handful of years ago to cancer, but he recorded all of those Willie records brilliantly\u2014he called me on the phone out of the blue and said, \u201cHey Matt, a truck\u2019s going to show up at your house in a month or so with a nice package for you.\u201d\nThat was how he put it. And Willie had just won the Grammy and I was going to get one! So that was that experience. <BR><BR>\nThe next year, we made another record. Willie got so jazzed over winning the Grammy that he wanted to make another one. So we made one of two tributes to Sinatra records.\nSinatra was his favorite singer, and they were friends when Sinatra was alive. We made that record, which was <em>My Way<\/em>. I did all the arrangements for these records. The first one\u2014the Gershwin album\u2014had no orchestra. The second one, I did string arrangements and horn arrangements. One of the string arrangements was for a song called \u201cIt Was a Very Good Year,\u201d which is a classic. There\u2019s an amazing film of Sinatra at Capitol in the studio with Gordon Jenkins. It\u2019s an iconic arrangement. I did another arrangement: I tried to kind of make it my own. \n\nBut anyway, I got <a href=\"https:\/\/www.grammy.com\/artists\/matt-rollings\/20248\/\" target=\"_blank\" rel=\"noopener noreferrer\">a Grammy nomination myself for that year for that arrangement<\/a>. I got to go to the Grammys. I went with my wife and didn\u2019t win that award at the Premiere Ceremony, which is this big ceremony in the daytime where they give 90 percent of the Grammys. So it comes to the award for the Album\u2014Best Traditional Pop Vocal Album\u2014and I\u2019m sitting there after not having won the Best Arrangement award. Buddy Cannon\u2014my co-producer\u2014texted me, because Willie\u2019s award was coming up and he said, \u201cIf Willie wins, you\u2019ve got to go up and accept it.\u201d And I\u2019m like, \u201cWhat?\u201d\n<BR><BR>\n\nWe were up against Tony Bennett, among other people, but Tony had won that award at that point more than anybody: It was like 19 times he had won the Best Traditional Pop award. So I\u2019m thinking we\u2019re not going to win it, but maybe I\u2019ll just write a little \u201cthank you\u201d list. Sure enough, we won it!<BR><BR>\n\nI went up there and accepted the Grammy. They specifically said at the beginning of the Premiere Ceremony, \u201cIf it\u2019s not <em>your<\/em> Grammy, don\u2019t accept it.\u201d\nBut all the producers come up and accept the artists\u2019 awards. So I just followed suit. Jack Antonoff would accept for sure for somebody he produced. So I said, \u201cAlright, I\u2019ll do it.\u201d \n<BR><BR>\n<iframe loading=\"lazy\" style=\"width:100%; aspect-ratio:16\/9;\" width=\"100%\" height=\"auto\" src=\"https:\/\/www.youtube.com\/embed\/pNc71gFChOs?si=cLakkVpXgtdrKSGj\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><BR><BR>\n\nThen another funny thing happened, which was that Tony Bennett was represented by Steve Macklin Feldman, which is this amazing Canadian management company based in Vancouver. They also represented Lyle Lovett, who I\u2019ve worked a lot with. So I knew these guys. They also represent Diana Krall, who was also up for the award. I think it was a Diana and Tony duet record. I didn\u2019t know they were there and they texted me \u201cCongratulations.\u201d\nAfterwards, I\u2019m like, \u201cOh, wow! Glad I didn\u2019t know you guys were there.\u201d So two Grammys! I\u2019ll probably never get another one, but they\u2019re fun to have around.\n<\/p>\n<\/div>\n\n\n\n<p><strong><em><a href=\"https:\/\/online.berklee.edu\/courses\/piano-and-keyboard-techniques-for-session-musicians?campaign_id=7010Z000001ZkQgQAK&amp;pid=&amp;utm_source=takenote&amp;tum_medium=blog&amp;utm_campaign=bol-gen-takenote-article-link\" target=\"_blank\" rel=\"noreferrer noopener\">STUDY STUDIO TECHNIQUES WITH MATT ROLLINGS<\/a><\/em><\/strong><\/p>\n\n\n\n<div style=\"margin-bottom: 1.5em;\">\n    <h2 class=\"long-title\" style=\"margin-bottom: 0.1em;\"><strong>It\u2019s interesting how you talk about your career, and say something like \u201cI\u2019ll probably never get another one\u201d about the Grammys. But if we go back to the beginning of your professional career, within your first year or so you were working with people so iconic that they can be identified by first name only: Lyle, Waylon, Dolly \u2026 <\/strong><\/h2>\n<p style=\"margin-top: 0; margin-bottom: 0;\"><strong>Matt Rollings:<\/strong> And Conway and Loretta!<\/p>\n<\/div>\n<div style=\"margin-bottom: 1.5em;\">\n <h2 class=\"long-title\" style=\"margin-bottom: 0.1em;\"><strong>And Reba, too, right? So talk to me about that first phase of your career when you were just starting out and experiencing some of those early successes.\n <\/strong><\/h2>\n    <p style=\"margin-top: 0; margin-bottom: 0;\"><strong>Matt Rollings:<\/strong> I moved to Nashville after having been a part of Lyle Lovett\u2019s first record. That was a really good credit to have. He was really outside the box in Nashville, and there was a real buzz about him. To be associated with that music, it did nothing but help me, but still, I had to go through the ranks and I started by playing songwriting demos.\nI was in our first house, a duplex in Donelson, just kind of squeaking by. But one day I got a call. I was on the radar at MCA, and this guy named Tony Brown\u2014who had produced Lyle Lovett\u2019s first couple of records\u2014his assistant called me and she said, \u201cJohn Jarvis has food poisoning and we\u2019re cutting a Waylon record.\u201d John Jarvis was a very successful session pianist at the time. So the assistant asked, \u201cAre you available? Can you come and play?\u201d\n<BR><BR>\n\nAnd I was like, \u201cYou got it! I\u2019m there!\u201d <BR><BR>\n\nSo I went in and it was this record called <em>A Man Called Hoss<\/em>. It was Reggie Young, probably Billie Joe Walker, the drummer was either Eddie Bayers, or it could have been Larrie London, but I think it was probably Eddie Bayers. It was a heavy hitting! I was this 22-year-old who probably looked 15, coming in to play piano. That was the beginning of it, that first master session, as they call it; like master vs. a demo. So that was my first one other than Lyle. That was my first sort of independently-gotten master session.<BR><BR>\n\nAnd they just started to come in after that. It was a small enough town then that people talked about things, so my name started getting out. I remember the phone call when I lived at the same house, and this call came from a guy named Garth Fundis, who was a producer who produced a lot of those Don Williams records, and he was going to produce this guy named Keith Whitley, and he crafted a band. At that time I had been starting to play on records, so he called me and hired me to play on this Keith Whitley record, and they became sort of iconic country songs of that time. We made two records and then tragically, Keith died. He basically overdosed on alcohol. But then that same producer and studio led to most of the same band being a part of Trisha Yearwood\u2019s first record. I played on all those first big records, and that led in turn to the Chicks, but they were the Dixie Chicks then. All of those relationships and word-of-mouth just started going from there and it really didn\u2019t stop.\n<\/p>\n<\/div>\n<div style=\"margin-bottom: 1.5em;\">\n    <h2 class=\"long-title\" style=\"margin-bottom: 0.1em;\"><strong>Let\u2019s go back a little bit to when you first began playing with Lyle Lovett. That was really the entry to all of this session work and I don\u2019t think I know the proverbial origin story there.<\/strong><\/h2>\n    <p style=\"margin-top: 0; margin-bottom: 0;\"><strong>Matt Rollings:<\/strong> Oh, that\u2019s a good one. My junior year of high school in Phoenix, I got a call on the phone from a gentleman who was a little older than me named Matt McKenzie, who is a bass player I had met as a result of an exchange program my high school had. As a freshman I got to shadow this jazz program at this community college outside of Phoenix in Mesa, Mesa Community College. They had this amazing jazz program. I spent two weeks shadowing the jazz program, sitting in with the big bands, and in the lessons and the courses, and I met this guy named Matt McKenzie.\nHe called me like two years later, out of the blue, and said \u201cMatt, I play in the house band at a club called Mr. Lucky\u2019s, and our pianist is leaving. He\u2019s moving back to Texas, where he\u2019s from, and we need a pianist. Do you want to come audition?\u201d \nHe didn\u2019t tell me that Mr. Lucky\u2019s was the biggest honky-tonk in Phoenix and J. David Sloan and the Rogues, the band I was auditioning for, was the preeminent country outfit right in Phoenix.\n<BR><BR>\n<iframe loading=\"lazy\" style=\"width:100%; aspect-ratio:16\/9;\" width=\"100%\" height=\"auto\" src=\"https:\/\/www.youtube.com\/embed\/lG6Km7aSO0c?si=78DSjIQqyq4ODXGm&amp;start=1024\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><BR><BR>\n\nSo I went into my audition. I went to this prep school and went to a private school, and I came in with a pink button-down and topsiders to literally the biggest dance club in Phoenix. I sat in, I auditioned, I got the gig, and I worked there for two years. I learned how to play rhythm from this band. This band changed the course of my life. These guys, they taught me how to be in a rhythm section, which is why I\u2019ve been able to work for 40 years. But during that tenure\u2014about midway through\u2014this random guy wandered into the club, and he was scouring the Southwest, and scouring the States in general, for American talent to book for the upcoming summer\u2019s Schueberfouer in Luxembourg. It was this big carnival fair that they\u2019ve had that apparently a version of the Schueberfouer has been going on since like the 1600s. This was the contemporary version. He talked to us at Mr. Lucky\u2019s when we were on a break, and long story short, we accepted. The two gentlemen who were really the leaders of the band, they accepted. And because they accepted, I accepted. So we got this gig, and months later we got on a plane to Luxembourg and we started doing this gig.\nSo J. Dave Sloan and the Rogues, which is the band I was in, there was a band from Florida called Body and Soul, which was this kind of strange family show-band with horns and dancers and a little bit of a weird vibe, but very big production numbers. Then there was this guy who had been hired independently by somebody else to come and play the set changes.\nIt was just a guy with his acoustic guitar, and it was Lyle Lovett. He was just this Texas A&#038;M Journalism graduate who was a singer-songwriter in Texas, and he would play all around the clubs in the Houston area and in Austin. <BR><BR>\n\nWhat would happen is that we would play our set and then Lyle would play, and then Body and Soul play the set. On the set changes, nobody would pay attention because it had been this big, loud sort of party-band atmosphere. Lyle would get up and play his sort of introspective songs on the guitar and out would come the beer mugs and the shouting. So he had been given a one-way ticket by this guy to Luxembourg, and he was honestly afraid he\u2019d get fired and wasn\u2019t going to be able to get home. In the meantime, the guy that hired him had been fired, so Lyle was doing a bit of floating. In about a week, he came to us to the hotel room of the leader of our band and very graciously, hat in hand, asked if we would be willing to learn a handful of his songs and back him up for his set, so he could have a little more girth to his sets.<BR><BR>\n\nIf you\u2019re familiar with Lyle\u2019s music at all, in those songs were \u201cIf I Had a Boat,\u201d \u201cGod Will,\u201d \u201cThe Waltzing Fool.\u201d There were all these amazing songs that were a part of that first record. So we did that and then went home. By that time I had given my notice with the band, and I was going to quit so I could go to Berklee. I was going to get back on my jazz road and go to Berklee, move to New York and be Bill Evans. That was the plan, at least. So, Lyle, in the meantime, came to Phoenix and hired us for a month that summer, that last piece before I moved to Boston. He had raised money and we recorded 18 demos, but we treated them as records.\nThe elder of our band was an experienced producer, so he produced them all. So I did that and then I came here to Berklee. About a year, maybe eight months to a year into my career at Berklee, I got a phone call from Lyle, and he said, \u201cMatt, I got my publishing deal, but I also got a record deal. MCA signed me in Nashville, and they\u2019re using 10 of our demos as my first record. They\u2019re going to transfer them to digital.\u201d Because digital audio was all the rage then, multi-track digital. And Lyle said, \u201cWe want to do some overdubs. I want to fly you to Nashville to play some more piano and some of the stuff you already played on.\u201d\nSo that was the Lyle origin story. And that\u2019s also the Nashville origin story for me.\n<\/p>\n<\/div>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Lyle Lovett  - ACL Se12Ep11  1987 (incomplete)\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/li2VsaAQE9Y?start=487&#038;feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<BR>\n<div style=\"margin-bottom: 1.5em;\">\n    <h2 class=\"long-title\" style=\"margin-bottom: 0.1em;\"><strong>What do you remember about recording with Johnny Cash? The album is called\n<a href=\"https:\/\/en.wikipedia.org\/wiki\/Classic_Cash:_Hall_of_Fame_Series\" target=\"_blank\" rel=\"noopener noreferrer\"><em>Classic Cash<\/em><\/a>, and it\u2019s got <em>all<\/em> of the hits: \u201cI Walk the Line,\u201d \u201cRing of Fire,\u201d \u201cFolsom Prison Blues.\u201d I know re-recordings get a bad rap, but as a session musician, getting to play on re-recordings of classic Johnny Cash songs with the Man in Black himself must have been pretty exciting. <\/strong><\/h2>\n    <p style=\"margin-top: 0; margin-bottom: 0;\"><strong>Matt Rollings:<\/strong> I played on one Johnny Cash record, and I\u2019m sorry to say I don\u2019t remember it. \n<\/p>\n<\/div>\n<div style=\"margin-bottom: 1.5em;\">\n    <h2 class=\"long-title\" style=\"margin-bottom: 0.1em;\"><strong>You\u2019re kidding!<\/strong><\/h2>\n    <p style=\"margin-top: 0; margin-bottom: 0;\"><strong>Matt Rollings:<\/strong> It was very early in the career and it was probably a day or two of recording. I was probably terrified [Laughs] but I don\u2019t have much of a memory of that record. I honestly don\u2019t. <em>A Man Called Hoss<\/em>, I really remember! I remember Waylon, I even remember the catering. I have a real vivid recollection, but with Johnny Cash, I don\u2019t have anything. \n<\/p>\n<\/div>\n\n\n\n\n\n\n<div style=\"margin-bottom: 1.5em;\">\n    <h2 class=\"long-title\" style=\"margin-bottom: 0.1em;\"><strong>I\u2019d be remiss if I didn\u2019t ask you about your work with Luis Fonsi! <\/strong><\/h2>\n    <p style=\"margin-top: 0; margin-bottom: 0;\"><strong>Matt Rollings:<\/strong> I have played a bit for Luis Fonsi. I met some gentlemen from Miami a bunch of years ago. There was a guy named Tommy Torres, who is a big artist, but also a huge songwriter in that world. I worked for Tommy a lot in the \u201990s. At first they would fly me to Miami, and there was a studio called Criterion Studios where the Bee-Gees worked. They\u2019d take me there and I would play.\nThen as budgets shrunk, they would start <em>sending me<\/em> things. There was also a guy named Lee Levin who\u2019s a drummer, and Dan Warner, who was a great guitarist who died. They were both University of Miami graduates, and they wound up hooking up with Gloria Estefan early on. Then they became these two white guys producing all these big Latin artists. So it was Luis Fonsi, it was Ricardo Arjona\u2014who I just produced part of a record for\u2014and I can\u2019t remember all the names, but I did indeed play on \u201cDespacito,\u201d which was sort of the biggest song of the decade. I have <em>a little<\/em> regret about that. I mean, the two producers that made that record are guys that I\u2019ve known for a long time, and they would always send me files to work on stuff and I\u2019d happily do it. There was a flat rate and they always paid it and it was fine. Now I\u2019m a member of the Nashville Union, and you can do what\u2019s called a Single Song Agreement. They make it really easy on the producer and on the artist to do a Union contract because the thing about playing on a big record, if it\u2019s a Union contract, there\u2019s actually a version of a royalty that musicians get every year. There are things called Special Payments Funds, and if you play on a really big record, you get a bump like every summer. [Laughs] So I played on this song without any contract, and of course, <em>billions of streams<\/em> later, I\u2019m like, \u201cDang, I really should start using this Single Song Agreement!\u201d That was kind of a fail, but I\u2019m glad I got to be a part of it. And, if you know this little Muso.ai app that tracks musicians\u2019 credits, that gets me in the billions of streams (that make me no money!) but I can brag about. So it\u2019s pretty funny, but I did, and that was a massive hit. \n<\/p>\n<\/div>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Luis Fonsi - Despacito ft. Daddy Yankee\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/kJQP7kiw5Fk?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<BR>\n<div style=\"margin-bottom: 1.5em;\">\n    <h2 class=\"long-title\" style=\"margin-bottom: 0.1em;\"><strong>When you\u2019re in a session, whether you\u2019re producing or playing, how often do you even think \u201cThis song is going to be big!\u201d or does that not even concern you? <\/strong><\/h2>\n    <p style=\"margin-top: 0; margin-bottom: 0;\"><strong>Matt Rollings:<\/strong> When I\u2019m a part of a piece of music at the inception, whether as a player or as a producer, the idea of having a notion of it being a big song is an outdated notion. It used to be when I played on a song you just knew, like, \u201cOh man, this is going to be huge,\u201d because I would play on a song and it was guaranteed that song was going to be released as a single, and it would be promoted, the artist was really big, and had a huge audience. It was definitely going to be a hit! \n<BR><BR>\nGoing into making records now, whether as a player or a producer, my assumption is that nobody\u2019s going to hear this. [Laughs] But with a smile! Because I\u2019m happy for the work. I love making things in the studio. I mean, that is my playground. I grew up in recording studios, so I still love that. But I get bored: I can\u2019t do anything <em>always<\/em>. So I go play live, and I love doing that. But as far as making records anymore, it\u2019s a surprise to me if something really gets big. Like \u201cDespacito,\u201d usually if something gets big, it\u2019s something I know I don\u2019t have a piece of. So I\u2019m just happy that the phone still rings.\n<\/p>\n<\/div>\n\n<div style=\"margin-bottom: 1.5em;\">\n    <h2 class=\"long-title\" style=\"margin-bottom: 0.1em;\"><strong>So when doing that one, did you at least have any inclination of \u201cOh, this is something special\u201d? \n <\/strong><\/h2>\n    <p style=\"margin-top: 0; margin-bottom: 0;\"><strong>Matt Rollings:<\/strong> Doing \u201cDespacito\u201d? No, I didn\u2019t know. It was that these two producers always make great records. So it was great. Even the stems they sent me to play on, it was already like, \u201cthis is great.\u201d They\u2019re great at what they do, so it was very professional. It was very high level, as far as there was programming, there was playing, and the scratch vocal\u2014if it was a scratch\u2014was great, but I don\u2019t even think that anymore. I don\u2019t really know what\u2019s going to be a hit in that world. I\u2019ve probably played on many hits in that world that I have no idea about! [Laughs] So it\u2019s blissfully ignorant is my stance. My saying is that I\u2019m doing my best to remain irrelevant. [Laughs] That\u2019s my motto.\n<\/p>\n<\/div>\n\n<div style=\"margin-bottom: 1.5em;\">\n    <h2 class=\"long-title\" style=\"margin-bottom: 0.1em;\"><strong>Your career has blossomed from session work to production and now teaching. Do you still try to make time to play on sessions?\n <\/strong><\/h2>\n    <p style=\"margin-top: 0; margin-bottom: 0;\"><strong>Matt Rollings:<\/strong> I\u2019ve transitioned out of session playing as my main gig. I do more producing and I\u2019m also doing more teaching. I teach with Berklee Online, and I\u2019m also a visiting scholar at Berklee in Boston. I go to Boston six times a year to teach there. That\u2019s becoming more of a part of the equation. I\u2019m also making my own music and writing. It\u2019s kind of a healthy mix now. <BR><BR>\nI do get sent quite a few files, or I get asked to do quite a few remote sessions and I do some of them. This has nothing to do with ego, but more about what I feel like I can really put my heart into. The things that I say \u201cyes\u201d to, and that I play on, or things that I really feel like I have something to offer.\nWhen I was coming up and really deep in the session scene and hungry, it was always a \u201cyes.\u201d And that was appropriate. I wanted to play on as much as I could, and I did! Now it\u2019s less about that and it\u2019s more about \u201cis it a good fit?\u201d\n<\/p>\n<\/div>\n\n<div style=\"margin-bottom: 1.5em;\">\n    <h2 class=\"long-title\" style=\"margin-bottom: 0.1em;\"><strong>When did you realize that you had enough experience to teach? When did you gather enough experience? \n <\/strong><\/h2>\n    <p style=\"margin-top: 0; margin-bottom: 0;\"><strong>Matt Rollings:<\/strong> I never really set out to teach. I really thought, \u201cI feel like I\u2019m a teacher now!\u201d Berklee used to do these trips. They would come to Nashville once a year with a massive, huge group of kids.\nThey would spend a week in Nashville and have all these amazing experiences. They\u2019d have producer panels, songwriter panels, musician panels. They would stage a recording session in a studio where all the students would be able to sit at a station of an instrument that they play or  were interested in and put headphones on and watch a record being made in real time.\nSo I was a part\u2014as a session player and a producer in Nashville\u2014I was a part of so many of those, and I was good friends with <a href=\"https:\/\/online.berklee.edu\/instructors\/pat-pattison?campaign_id=7010Z000001ZkQgQAK&#038;pid=&#038;utm_source=takenote&#038;tum_medium=blog&#038;utm_campaign=bol-gen-takenote-article-link\" target=\"_blank\" rel=\"noopener noreferrer\">Pat Pattison<\/a> and <a href=\"https:\/\/online.berklee.edu\/instructors\/stephen-webber?campaign_id=7010Z000001ZkQgQAK&#038;pid=&#038;utm_source=takenote&#038;tum_medium=blog&#038;utm_campaign=bol-gen-takenote-article-link\" target=\"_blank\" rel=\"noopener noreferrer\">Stephen Webber<\/a>, both of whom were the spearheads, along with  <a href=\"https:\/\/online.berklee.edu\/instructors\/clare-mcleod?campaign_id=7010Z000001ZkQgQAK&#038;pid=&#038;utm_source=takenote&#038;tum_medium=blog&#038;utm_campaign=bol-gen-takenote-article-link\" target=\"_blank\" rel=\"noopener noreferrer\">Clare McLeod<\/a>, who is married to Pat, and they were all just the champs.\n\n<BR><BR>\nIt was an amazing experience. Eventually Pat started asking me to do solo masterclasses. The first one I did was terrifying. But I did it! I did two hours in front of a huge crowd of kids, and it was really successful. I got so much positive feedback that I started finding my voice, in that way. Then I really just started to realize and own that I know stuff! [Laughs]\nI don\u2019t know everything, and I don\u2019t know what this person or that person knows, but I know what I know, and it\u2019s valuable. I have enough experience now. I think really, there were three or four people in my life early on that taught me without ever being asked, that mentored me, and that showed me, and changed the course of my life and my career just because of their selfless desire to help.<BR><BR>\n\nI realized at a certain point that I need to do that. It\u2019s really sort of incumbent upon me to pay that back in some way. And the more I do it, the more natural it becomes. It\u2019s not about \u201cI\u2019m the teacher and you\u2019re the student.\u201d It\u2019s more like \u201cI have something to share, check this out! This is cool, do you want to try this?\u201d My approach to teaching is that I want to see the lights go on because they came on for me early on as a result of people showing me simple stuff that they just knew, but for me was earth-shaking. The experience of seeing a person\u2019s eyes light up when they get something is priceless. It\u2019s amazing.\n<\/p>\n<\/div>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p>It wasn\u2019t like learning. For me it was like remembering something, and it got inside my body in a way that\u2019s never left.<\/p>\n<\/blockquote>\n\n\n\n<div style=\"margin-bottom: 1.5em;\">\n    <h2 class=\"long-title\" style=\"margin-bottom: 0.1em;\"><strong>You mentioned that there were a few people who helped you learn music early on. Tell me more about your first experiences with music education.<\/strong><\/h2>\n    <p style=\"margin-top: 0; margin-bottom: 0;\"><strong>Matt Rollings:<\/strong> I started taking private piano lessons when I was nine, which I think was 1973 or \u201974. I was born in \u201964. Anyway, it was immediate. It was just sort of waiting for me. I remember very early on I sort of knew how to play.\nAnd then I remember\u2014which is why jazz became my love so early\u2014figuring out what it meant to swing. With the concept of swinging, it wasn\u2019t like learning. For me it was like remembering something, and it got inside my body in a way that\u2019s never left.<BR><BR>\n\nI continued to study. We moved away from Chicago. We were back in Connecticut, and I did more private lessons there. That sort of private education ended by the time I was in high school, but I was playing and I was really involved in my high school jazz band, and we did all these trips. Then I joined this band in Phoenix, and then I came to Berklee. I did five semesters, and then Lyle Lovett got a record deal and flew me to Nashville, and that was that! I moved to Nashville. [Laughs] I\u2019m a little embarrassed at the lack of education I have, but I don\u2019t think that means I haven\u2019t always been learning, because <em>I have always<\/em> been learning. There have always been teachers. Always and still are.<\/p>\n<\/div>\n\n\n\n<div style=\"margin-bottom: 1.5em;\">\n    <h2 class=\"long-title\" style=\"margin-bottom: 0.1em;\"><strong>What is the story you find yourself regaling people with the most? What are some of your wildest experiences?  <\/strong><\/h2>\n    <p style=\"margin-top: 0; margin-bottom: 0;\"><strong>Matt Rollings:<\/strong> So as far as, wild musician stories go, I\u2019m pretty boring.\nThe story of meeting Lyle is a great one, but I don\u2019t have wild stories. I wasn\u2019t the crazy throw-shit-out-of-hotel-windows guy at all, so I don\u2019t think I have crazy stories. I\u2019ve got <em>interesting<\/em> stories. But I can\u2019t tell the stories that are <em>really crazy<\/em> because people are still living! So I don\u2019t feel like it\u2019s fair to them. [Laughs]\n<\/p>\n<\/div>\n\n<div style=\"margin-bottom: 1.5em;\">\n    <h2 class=\"long-title\" style=\"margin-bottom: 0.1em;\"><strong>If you could play keys with any artist living or dead during any period of their career, who would it be? <\/strong><\/h2>\n    <p style=\"margin-top: 0; margin-bottom: 0;\"><strong>Matt Rollings:<\/strong> Wow. If I could play piano with any artist living or dead at any period in the career? That is a really interesting question that I have not pondered.\nI\u2019ve always wanted to play with James Taylor. I got one chance to play with him on a TV show.\nI mean, honestly, I\u2019ve played with so many of my wishlist people! I want to say that I\u2019d love to play with Charlie Parker, but there\u2019s a part of my brain that says \u201cYou\u2019d never be able to <em>hang<\/em> with Charlie Parker. So you can\u2019t say that one!\u201d You know? I\u2019m tempering these answers with \u201cwhat are situations where I could actually hang?\u201d I need to think about that. Ella Fitzgerald and Sarah Vaughan. I would love to have been in a room where Bill Evans was playing or while Duke Ellington was playing, not play with them, but just be in the room and listen, and be a part of the energy of that music. \n<BR><BR>\nFrank Sinatra is so known for his persona, but as a singer, he was ridiculous! He studied horn players and learned how to sing and phrase like horn players, which is amazing to me. If you listen to him, knowing that, you realize, \u201cOh, yeah, he really does.\u201d Just the masters back then! Not that there aren\u2019t masters now, but so much less is required of artists to even be professional like it used to be.\nThe price of admission just to get onstage was so much higher back then. Think about the Beatles. Oh my God. It\u2019s so clich\u00e9 to say, but there were four tracks and no autotune. Then what they were able to do in the studio and live was spectacular, you know? I think it\u2019s more that I want to be an audience member for my heroes. \n<\/p>\n<\/div>\n\n\n\n<div style=\"margin-bottom: 1.5em;\">\n    <h2 class=\"long-title\" style=\"margin-bottom: 0.1em;\"><strong>Of all the songs you&#8217;ve played on or produced, is there one that you feel like is your signature?\n <\/strong><\/h2>\n    <p style=\"margin-top: 0; margin-bottom: 0;\"><strong>Matt Rollings:<\/strong> I don\u2019t know if there\u2019s anything I would consider my signature. I think my body of work with Lyle Lovett is very indicative of me as a musician. Lyle is always so generous with musicians and really allowed me to have my voice. A song that I\u2019m very proud of being a part of is a song called \u201cStay.\u201d This is a song I wrote with a woman named Alisan Porter. She was a winner on <em>The Voice<\/em> in season 14. She won with Christina Aguilera as her coach. I wrote this song and I produced two of her records. The first one when I lived in LA, I had a young child, she had her first child, and we wrote the song \u201cStay\u201d about our kids. She sang it and she\u2019s an incredible singer and did this amazing version of it. <BR><BR>\n<iframe loading=\"lazy\" style=\"width:100%; aspect-ratio:16\/9;\" width=\"100%\" height=\"auto\" src=\"https:\/\/www.youtube.com\/embed\/2CklU__gvGU?si=NydOGn0BRG8ip6Kn\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<BR><BR>\n\nThen in 2020, I made a record called <em>Mosaic<\/em>. And <em>Mosaic<\/em> was a record of collaborations between myself and a bunch of artists that I\u2019ve been a part of their careers.\nLyle, Willie, Ramblin\u2019 Jack Elliott, the War and Treaty, when they were just kind of coming up, and Alison Krauss. So I tried to pick songs for these artists with their approval that weren\u2019t their songs, but that I thought would work for them, because the whole concept of <em>Mosaic<\/em> was sort of this mangling of my career that far. It was artists that I had been a part of their music and songs I had been a part of, or that were a part of my DNA, but then matching them in new ways and really reimagining the songs. \u201cStay\u201d was such an iconic thing for Alisan Porter, and the only other person I could imagine ever singing it was Alison Krauss.<BR><BR>\n<iframe loading=\"lazy\" style=\"width:100%; aspect-ratio:16\/9;\" width=\"100%\" height=\"auto\" src=\"https:\/\/www.youtube.com\/embed\/LgppOBtBOpA?si=ld6b4sxf4WMg6hef\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<BR><BR>\n\nSo we recorded \u201cStay\u201d with Alison Krauss and Vince Gill sang harmony. Then my friend Kris Wilkinson wrote this beautiful string arrangement and it\u2019s one of my favorite things I\u2019ve ever been a part of. I think I wouldn\u2019t change a note, which is rare! I think if you ask any musician, there\u2019s probably always one or two where they wouldn\u2019t change a note, but usually it&#8217;s like.\n\u201cYeah, I\u2019d probably do that differently.\u201d\nBut this is just such a moment. It\u2019s like a painting, almost. That comes to mind as maybe one of my all-time favorites.\n<\/p>\n\n\n<\/div>\n","protected":false},"excerpt":{"rendered":"<p>From backing an unknown Lyle Lovett in Luxembourg to producing Grammy-winning records with Willie Nelson, and playing on \u201cDespacito,\u201d Matt Rollings has seen it all. The veteran session musician, producer, and author of <a href=\"https:\/\/online.berklee.edu\/courses\/piano-and-keyboard-techniques-for-session-musicians?campaign_id=7010Z000001ZkQgQAK&#038;pid=&#038;utm_source=takenote&#038;tum_medium=blog&#038;utm_campaign=bol-gen-takenote-article-link\" target=\"_blank\" rel=\"noopener noreferrer\"><em>Piano and Keyboard Techniques for Session Musicians<\/em><\/a> reflects on four decades in the studio, unexpected career turns, and why reading the room matters.<\/p>\n","protected":false},"author":13,"featured_media":27768,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[1,35,9560],"tags":[10146,10131,169,172,10140,201,246,10150,277,10141,7327,10152,10135,9888,10130,10134,9135,8712,504,540,10148,601,10147,9460,10138,754,10132,818,10129,10153,9325,9323,10149,10145,991,10143,7021,7350,7255,10155,10137,8652,10156,8275,10154,6459,1346,10136,10144,7937,9415,10139,1503,10151,10133,9311,6220,1609,10142],"class_list":["post-27770","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-articles","category-instructor-profiles","category-spotlight","tag-alisan-porter","tag-alison-krauss","tag-berklee-college-of-music","tag-berklee-online","tag-bill-evans","tag-billy-joel","tag-bruce-springsteen","tag-buddy-cannon","tag-carole-king","tag-charlie-parker","tag-christina-aguilera","tag-clare-mcleod","tag-clint-black","tag-dave-matthews","tag-despacito","tag-diana-krall","tag-duke-ellington","tag-ella-fitzgerald","tag-eric-clapton","tag-frank-sinatra","tag-gabe-witcher","tag-grammy-awards","tag-greg-leisz","tag-james-taylor","tag-jim-croce","tag-johnny-cash","tag-keith-whitley","tag-leonard-cohen","tag-luis-fonsi","tag-luxembourg","tag-lyle-lovett","tag-matt-rollings","tag-mickey-raphael","tag-mosaic","tag-music-production","tag-my-way","tag-nashville","tag-pat-pattison","tag-phoenix","tag-piano-and-keyboard-techniques-for-session-musicians","tag-ramsey-lewis","tag-reba-mcentire","tag-record-producer","tag-sarah-vaughan","tag-schueberfouer","tag-session-musician","tag-stephen-webber","tag-steve-wariner","tag-summertime","tag-the-chicks","tag-the-voice","tag-three-dog-night","tag-tony-bennett","tag-tony-brown","tag-trisha-yearwood","tag-vince-gill","tag-waylon-jennings","tag-willie-nelson","tag-willie-nelson-sings-gershwin"],"acf":[],"yoast_head":"<!-- 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