When you make a purchase through links in our articles, Future and its distribution partners may earn a commission.
Source: Getty Images
Leland Sklar is one of the most recorded musicians in the history of popular music. For over 30 years, he was a sought-after session bassist, and artists who could benefit from his melodic yet reliable style include James Taylor, Linda Ronstadt, Jackson Browne, Phil Collins, Billy Cobham, Lee Ritenour, Barbra Streisand, Hall & Oates, and many others.
Sklar has reportedly played on over 2,500 albums—not a bad result for someone who says, "I never intended to be a studio musician"—and still works with a huge number of artists.
«I’m amazed that I get to do so many different things,” Sklar said. Bass Player magazine in 2014. "Everywhere I turn, I'm playing with a whole new group of people. I'm incredibly lucky, and I wouldn't give that up for anything.".
Sklar was born in Milwaukee in 1947; when he was four, his family moved to Los Angeles. At the age of five, he began learning piano after watching Liberace's variety show on television and subsequently won the Outstanding Musician of the Year award at the Hollywood Bowl.
Upon entering high school, Sklar found the music program too overcrowded with pianists and switched to the double bass.
«"I fell in love with the very essence of the bass. I loved its timbre and its potential for musical anonymity. The bass is a background instrument, but it's so important that music without it is very superficial.".
Sklar's preference for tempo and timbre over speed and virtuosity has resulted in a distinctive bass sound that is almost instantly recognizable to the ear.
«"Content must come first—becoming a technical monster is all well and good, but if you can't come up with a single good bass line, it's useless. Anything that improves your playing or allows you to express yourself in different ways is good, but I often hear musicians who have sacrificed musical content for technique.".
Source: Getty Images
Which bass players have inspired or influenced you?
Paul McCartney, Jack Bruce, Bob Mosley from Moby Grape, Tim Bogert from Vanilla Fudge, Larry Graham—those were the guys I liked.
I was influenced by the whole 60s music scene; I went to see Cold Blood, Sons of Champlin, Tower of Power, Chicago; all those guys were just monsters! I also really liked the old Elton John records with Dee Murray.
What types of activities did you practice when you first started?
I enjoyed playing along with records the most: The Beatles, James Brown, The Righteous Brothers. I'd pick up 33⅓ rpm albums, learn the chords, and then play them at 45. Once I'd mastered that tempo, I'd go back to 33⅓—and the music would take on a lot of space. That's how I mostly practiced.
Do you remember your first studio session?
The first serious invitation to record was from Brian Hyland; he was the same guy who recorded «"Itsy Bitsy Teenie Weenie Yellow Polka Dot Bikini"» . Del Shannon was the producer. It was around 1970. Other than that, I don't remember anything; I was absolutely thrilled with the whole thing. Before that, I'd recorded demos with a band called Wolfgang.
How did you meet James Taylor?
When I was in Wolfgang's band, James often came to our rehearsals. One day he played us some of his songs, and we performed a version «Country Road» in the style of Led Zeppelin (which Taylor later recorded on the album Sweet Baby James) . Later he called me and asked if I would like to perform with him at a concert.
Your bass lines on Taylor's early recordings sound almost like solo bass. How did you develop this style?
It wasn't a conscious effort. There were no pre-written parts, so I just did what I did. James's songs are so lyrical and their structure so clearly defined that the bass lines were almost ready; it was just a matter of finding something else to do. He allowed me to express myself the way I wanted, especially in the early work. It's amazing how much I got away with!
Are there any activities that were particularly memorable or creative?
Recording an album Spectrum with Billy Cobham was a memorable experience. We basically did one take of each song; we did it in two days.
And I'm still a little amazed when I record with someone I've only heard of. I recorded an album with Barbra Streisand called «"Butterfly"» with an 80-piece orchestra. I put on my headphones and heard this powerful voice and the sound of a huge orchestra—it was incredible to hear so much music at once.
Of course, there were some great moments working with James, especially during the recording of the album. Flag , which is one of my favorite albums of his.
Album Running on Empty I liked the Jackson Browne album because it was truly a live album; Jackson didn't overdo the overdubs. Same with Phil Collins' album.’ Serious Hits… Live . It's essentially a recording of the performance itself, with all the mistakes. I like it because it's human.
How did you end up working for Phil Collins?
In 1981, Phil called me and asked me to go on my first solo tour. I agreed, but explained that it depended on whether it would conflict with James, who was my priority.
As it turned out, James actually had a tour planned, so I couldn't go, but I asked Phil to keep me in mind in the future. We later collaborated on Lee Ritenour's album; it was our first show together.
In 1984, Phil called again and asked if I could take part in the recording of the album. No Jacket Required , so I set aside time for this and the subsequent tour.
If there's one downside, it's that he doesn't play drums very often in his live performances. I love his energy, his approach, and his pop sensibility—he understands the genre and utilizes it to great effect.
Phil also works harder than anyone I've ever seen: long days of rehearsals before tours, meticulous sound checks every night, and countless interviews. He's incredibly dedicated to his career.
What do you look for in a drummer?
I look for drummers who feel the center of the rhythm in the same place I do. I'm not exactly sure where it is, but I can tell when the drummer and I feel it in the same place.
I like drummers who come up with great fills and give it their all at every stage—they're the most fun to be with and they tend to be the most creative. Drums can do more to set the mood of a song than anything else.
Source: Getty Images
How do you record your bass guitar?
It depends on the engineer, but I'd say 90 percent of the time the sound goes straight into the mixing desk. If it's something more rock-oriented, I prefer to use an amp; my bass is so clean that it's nice to be able to add a little distortion. I always ask that they don't compress or limit me to the limit—I want to take care of the dynamics myself.
Have you ever been asked to edit your part of a speech?
Of course, that happens all the time. I always tell people to let me know if they want me to do or not do something. Nothing I've ever done is set in stone. When you work with singer-songwriters, they have to be happy. I make an album and move on, but an artist has to live with that for a long time.
Do you get nervous before performances and concerts?
Before a performance, I'm nervous; before a concert, I'm excited. There's a huge difference. When I'm on tour, I know the music well, so it's more of a feeling of excitement. Before performances, I often have no idea what I'm going to do, and that makes me nervous.
Do you have any tips for beginner players?
The most important thing is to enjoy music as much as possible. I can't be too optimistic about the business side of things because of all the computers and equipment, but I wouldn't want that to discourage anyone from making music.
I would also advise a young musician to play in a band rather than work in the studio; there simply isn't as much work available now as there used to be. Ultimately, though, playing music is the best thing in the world.