David Lockeretz of Sons of the Mellow Mafia: “One thing that I come back to is the idea that art (including music) should comfort the disturbed and disturb the comfortable”
Every so often, an album sneaks up on you out of nowhere. You weren't chasing new sounds, per se, yet here they were, drifting into your life like they belonged there all along. Such was the case when I recently discovered the debut self-titled album from Massachusetts-based outfit Sons of the Mellow Mafia. An eclectic instrumental record overflowing with depth and nostalgia, it's an album I still listen to daily.
Wanting to know more about the talented collective, I was delighted when their founder, David Lockeretz, agreed to an interview! Going in-depth about assembling the band, what his goal was when creating their debut album, and some of the biggest challenges surrounding being a musician, please welcome David Lockeretz of Sons of the Mellow Mafia!
Hey David, thank you so much for taking the time to chat with us! I'm thrilled to introduce you to our ever-growing audience!
Let's kick things off with an easy one...Who are Sons of the Mellow Mafia, and how did you all find one another?
The idea for the instrumentation was to pay tribute to my dad, who was a big musical influence on me. He liked a wide variety of music and played many instruments, his favorites of which were piano, mandolin and harmonica. So, my idea was to take those three instruments and add upright bass and drums to make a quintet.
I've known some of the musicians for quite a while: I met Anthony Fesmire, who mixed and mastered the album, while we were studying at Berklee in the 1990s. Anthony and I also have an instrumental guitar/electric bass/drums trio called Outside Pedestrian, and the drummer, David Oromaner, has been playing with us for about 13 years, so he was a good fit for Sons of the Mellow Mafia, too.
A few years later, after I moved to Massachusetts, I did a few sessions with Ethan Setiawan (mandolin) and Giulio Brouzet (harmonica), which were earlier versions of some of what you hear on the album.
Once I decided to shift to recording the album remotely, I decided to bring in Scott Smith, one of Anthony's colleagues at College of the Desert in Palm Desert, CA, on piano. Scott and I had both played on Anthony's solo album Abandoned Places, which was also recorded remotely. From the start, Scott seemed to have a really good intuitive feel for my music - even though we were never in the same room recording together. In fact, as of this writing, I have not yet met Scott Smith in person.
Right, moving swiftly onto your debut self-titled album. Released last month, the eleven-track offering is an adventurous and highly inventive collection of tunes.
Was there a guiding theme tying the whole project together, or did it evolve more organically in the studio?
I've semi-jokingly referred to the music as "Yacht-Mericana." In other words, yacht-rock approached with an Americana sensibility. All of the instruments are acoustic, and even though the album was recorded digitally and remotely - not exactly a traditional way of doing things - I think the acoustic instruments give it a more down-to-earth and organic feel than the slick production often heard in yacht rock.
That said, there's a lot I love about yacht rock music. The grooves are often interesting, and bands like the Doobies, Hall and Oates, and my personal favorite, Steely Dan, often mix elements of jazz and rock together in a way that you can get into the first time you hear it, but it still stands up to a lot of listening. I might hear something new in a Steely Dan song I've been listening to for over 30 years.
That was the goal for this album - making music that is accessible the first time but also has more than meets the eye (or ear). The band's name comes from the Section, a collective of studio musicians who played on a lot of AOR and soft rock albums, and thus were nicknamed the Mellow Mafia.
Now, I’m sorry to pose such a tough question, but if you could choose one song from the record to skyrocket to the top of the charts and achieve massive success, which would it be and why?
I'd say Uncle Funny Plays With The Bass. The name of that tune came from a comment made by my nephew when he was three years old, and while some of the other tunes are a little moodier or ambient, this one has a fun energy that I like. It pays homage to several 70s pop-rock classics but hopefully feels new and fresh as well.
Who are some of the band's biggest musical influences? And, if you could collectively "steal" one song in the world and claim it as your own, what would it be and why?
In addition to the yacht rock influence, I'd say our influences come from all over the place - bluegrass, jazz, show tunes, folk, jam bands, blues, rock, metal, classical.
As for "stealing" a song, the temptation is to say something like Baby Shark or Macarena. Something that was really successful financially, because then we'd be set for life.
But one song that comes to mind for me is Mary Ellen Carter by Stan Rogers. It's a favorite of mine because it has a catchy melody and tells an inspiring story. Unfortunately, Stan Rogers died in a plane crash when he was in his 30s, but at least we still have his music, and while Mary Ellen Carter might not be a household name, it's a song appreciated and loved by everyone who knows it.
How does the band navigate the delicate balance between staying true to its artistic vision and adapting to changing trends in the music industry?
We don't. All of us have various teaching positions and gigs that take care of our financial needs, so this project, like Outside Pedestrian, is purely for my own enjoyment and fulfillment. Of course, I hope that people who listen to this music enjoy it and connect with it, but I want it to be because the feeling is genuine, not just because of slick marketing or packaging.
What aspects of being a musician do you cherish most? And on the flip side, what would you say have been some of the biggest challenges you’ve encountered?
Being able to spend time with people that I like, being able to travel to different places, and seeing audiences enjoying themselves.
The challenges are staying positive in the face of people who don't understand or appreciate what goes into putting on a good show ("Your job is fun, so why do you also have to get paid for it?") Battling through tedious stretches too, whether it's playing a song over and over again in concert or fine-tuning a recording.
I think being a truly great musician requires two things that are largely mutually exclusive: you have to retain a sense of wonder and awe while also being willing to spend hours on repetitive tasks such as practicing or loading and tearing down gear.
What, to you, is music's role in society?
It can mean many things to different people, but one thing that I come back to is the idea that art (including music) should comfort the disturbed and disturb the comfortable.
Thanks again for taking the time to talk with us David! It’s been great getting to know you better!
I have no doubt that there are many more songs up the sleeve of Sons of the Mellow Mafia, and I truly can’t wait to hear what else you all have in store!
In a broader sense, though, what do you hope for in your musical future?
Thank you! I do have some new ideas I'm working with, which will hopefully, before long, materialize in our second album.
For now, I'm seeing Sons of the Mellow Mafia mainly staying as a studio band, but given the opportunity, I'd love to perform this music live as well.
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