I could watch Lyle Brewer just mess around on guitar for days and days. The dude has such a varied skill set across genres and styles that you simply cannot get bored of watching and listening to him. I’ve spent hours on his YouTube channel trying to absorb some tiny semblance of what he plays so damn well. Well, lucky for you, and me, and everyone else with a soul and likes great guitar music he has a new record coming out. I got the chance to talk to Brewer about the record, playing with friends, and all sorts of other stuff. Check it out and check him out at Atwoods on June 4th for the release…also pretty much every Saturday at Atwoods as well.

(Photo by Joan Hathaway)

RLR: So, your playing is steeped in many traditions of instrumental guitar music. You broach on everything from jazz and blues to rock n’ roll and country. Where does this collection of songs come from and what influenced the sound of these songs? Whats different for you this time around?

LB: This time around it’s much more about the songwriting than the guitar playing. On my last two albums I’ve played country and jazz standards.  I was trying to find my voice within those songs and try to follow in the footsteps of the great guitar players who did the same; Chet Atkins, Joe Pass, Danny Gatton etc.  On this album however, I wanted to find my own voice in my songs.  I took the summer and fall of 2014 to write songs everyday and I would try to work them into our weekly gigs at Atwood’s Tavern. We also started playing as a trio rather than a quartet at the same time.  I found it very helpful as it took away the second soloist (Jason Cohen, Sonny Barbato, etc) as it forced to me to write more material.  I love playing with both of those guys but in order for the songs to come I had to take away the crutch of another soloist.  The sound of the songs was pretty straightforward.  I use one guitar when we play live and I don’t use effects pedals very much.  When we recorded I took a similar approach.  Everything was cut live with the exception of a few overdubs and for the most part I used my live rig, a Gretsch Country Gentleman and a Fender Princeton.  It was important to me to attempt to make a cohesive album.  As a sideman I’m often required to get different sounds.  I might use 6 different guitars, a few amplifiers and a multitude of pedals on an artist’s album.  With my own music I try to do the opposite.  Rather than play a Telecaster on the country song and a hollowbody on the jazz song, I tried to keep the tones relatively the same.  A lot of great music has been inspiring me lately, “Heigh Ho” by Blake Mills, “Either/Or” by Elliott Smith, “Beneath The Blue” by Duke Levine, “The Fall Apartment” by Brad Barr, “ anything by Ry Cooder, Bach, Ella Fitzgerald, and “Charlie Parker with Strings”.

RLR: You play with so many different folks, adding so much to their art and songs. How is “Lyle Brewer the Front Man” different from “Lyle Brewer the guitarist for X songwriter”? Do you find the dynamics to be much different, or is it just all for the love of playing exciting music on guitar?

LB: That’s a really good question. With being a frontman and being a sideman the end goal for me is the same and that is to make compelling music. In general, there’s a tremendous amount of communication that has to happen in order for music to work.  As a frontman you have to make it very obvious to your band mates the particular shape and feeling of a song.  When it’s your own music, your band is looking to you for information, they need the vibe of the song to be really clear so they can compliment it appropriately.  I’ve learned that from playing with so many different artists over the years.  I think the best sidemen will let an artist lead them, not in the sense of actually telling the what they play but rather informing them of what they should play by their performance.  There’s more ground to cover when leading your own group for sure.  The melody, harmony and solos are all on me and Jef Charland, so we both have to be on point.  If I’m backing someone up I have a little more freedom as to what and when I play.  In general I just try to get the message of the song across.  Sometimes that comes from up playing an energetic solo, sometimes that comes from not playing anything at all.  First and foremost I want to serve the song whether be it by Dietrich Strause, Dennis Brennan, Kimon Kirk, Cole Porter or one of mine.  It’s all just music to me.

(video courtesy of Jed Gottlieb‘s ‘Guestlisted Guitar’)

RLR: Was there anything about the recording process you adopting this time around that you felt added to the mood a bit more and gave you the voice you were really aiming to let loose? Particularly amps or effects that you have found really define your overall sound as a guitar player?

LB: Absolutely.  I hired Kimon Kirk to produce.  He was involved every step of the way, from fleshing out song ideas months in advance to pre-production to gear decisions to arrangements.  I have tremendous respect for Kimon as a musician and a producer.  He really has a grasp of what makes a great album.  Having him involved made it a really unique experience for me.  All of my other albums have been recorded in one or two days.  It’s always been a “let the chips fall where they may” attitude for me.  I felt that this material however deserved more attention to detail. It took us over 6 months to release because of overdubs, a vocal piece sang by Kristin Slipp (Cuddle Magic), solo pieces, mixing, mastering etc.  Kimon has a lot of patience and is really methodical when he works and it was great to have not only an experienced producer on hand but a friend who knows me really well musically.

RLR: Do you have plans for producing at all in the future. I feel like with an ear like yours, as vastly experienced and varied as it is, it would be extremely beneficial for bands or artists to have in the mix.

LB: I would love to produce in the future!  I thoroughly enjoy being in the studio and wish I could record more.  It’s really just a matter of artists being able to afford recording.  All four of my albums have been crowd sourced and I would not be putting out nearly as much material if it weren’t for Kickstarter.  You really want someone who can see the best in an artist.  Kimon did that for me for sure and I’m really grateful.  If there are any artists out there looking for a producer, please keep me in mind.  Or better yet you could just call Kimon Kirk!

RLR: Also, when are you going to get a guitar in that kid of yours hands? Ha-ha

LB: My son does play drums a little bit. (Pots and pans)  He’s got a good voice too!  It’s a little too early to tell if he’ll be into playing music but he likes to listen to it.  He plays my guitars sometimes and he has his own thumbpick but there’s no rush on the music thing.  If he wants to play it’ll be available but I would never push him to do it or anything.  He’s a great kid and I just want him to be happy. (after this interview Lyle followed up to let us know that Elliot had been singing into his Big Red Twang Award-it’s a mini golden microphone trophy)

Lyle’s release show for his self-titled new record is at Atwood’s on June 4th. Check the old Facebook for all the details: https://www.facebook.com/events/1594775897428708/ and get tickets now! http://www.brownpapertickets.com/event/1587092