October 11, 2007
Producer/musician’s journey brings him home
Two records he produced have just been released on Verve Records: "River: The Joni Letters" by jazz great Herbie Hancock, an exploration of the songs of Joni Mitchell (who is Klein's ex-wife); and "The New Bossa Nova" by Brazilian-born singer and composer Luciana Souza (his new wife). Starbucks has just released Joni Mitchell's new album, "Shine," on which he plays, and he's been co-writing and producing a new record by Walter Becker of Steely Dan fame.
Recently, over lunch at Hal's in Venice, Klein recounted that when Verve first brought up the idea of working on "The Joni Letters" with Hancock, his reaction was "what a great way to bind together a number of different threads." The theme of weaving together his various talents and interests -- professional and personal -- is a neat way to encapsulate Klein's professional journey.
Klein grew up, he recalled, "in an area of Los Angeles that is now known for its Chinese food, Monterey Park." His parents say it had a sizeable Jewish community when they first moved there, but that was not the case when he was growing up. "By the time I was 5 or 6, there were few Jewish families and a healthy [or unhealthy] dose of anti-Semitism," he said.
Music and literature proved his salvation. They were, he says, "my escape." Initially inspired by his parents' record collection, Klein began his musical education by taking guitar lessons at a "typical suburban music store," where the teacher sometimes fell asleep during the lesson.
However, in junior high school his mother enrolled him in The Community School for the Performing Arts, an after-school music program, sponsored by USC, which allowed him to take classes in composition and music theory. At Schnurr High School he was also fortunate to have a "Mr. Holland"-type teacher in Wayne Bischoff.
"He was an incredible character and introduced me to so much music -- Charles Ives, [and] the entire history of classical music." As a result, Klein spent about three quarters of his day studying music. He also spent time outside of class going to concerts and seeing such legends as Jimi Hendrix and early performances by James Taylor and Jackson Browne.
Klein started playing in rock bands in sixth grade. He switched to bass early on. Rock, however, was only a small part of the wide swath of music that interested him. "I was a maniacal fan of Charles Ives," Klein recalled. "I got into serial composition and would listen to a lot of Schoenberg and Anton Weber."
As Klein got serious about playing bass, he also became more interested in jazz. "There were only a certain amount of challenges available to a bass player in the rock genre."
By age 17, Klein was playing professionally around Los Angeles with Latin percussionist Willie Bobo, including at places like The Comeback Inn on Abbott Kinney in Venice. "This was a great place to meet some of the most exciting musical talents, such as drummer Chester Thompson (who played with Frank Zappa and with Genesis), and jazz pianist George Cables." It was there that jazz trumpeter Freddie Hubbard heard Klein and offered him a job on the road with him. Although Klein had graduated high school early and was enrolled in Cal State LA as a music major, he took the offer.
"That was my master class," Klein said, "as Freddie was fond of pointing out."
He was living his dream as a jazz bassist and playing with his heroes, and there was a large market for rock-inflected jazz at the time -- Miles Davis had led the way, and others, including Hubbard, were experimenting and playing large concert halls.
Nonetheless, after five years with Hubbard, at times spending eight months of the year on the road, Klein had had enough. Gradually he'd become "impatient with the narrowness of that world."
He decided to work on his songwriting and do more studio work. However, being a studio musician meant playing a lot of record dates for music that he neither loved, nor even liked.
"A lot of the music didn't feel honest or inspiring," Klein recalled, "I became frustrated with that role."
Around that time, he got a call to work on a Joni Mitchell album, "Wild Things Run Fast." The album, which came out in 1982, took a year to record and carried the following credit: "Special thanks to Larry Klein for caring about and fussing over this record with me." Over the year a friendship had developed into a love affair, and they married in November 1982.
Klein began a personal and creative collaboration with Mitchell that involved producing, writing and playing on her albums, including "Dog Eat Dog," "Chalk Mark in a Rainstorm," "Night Ride Home" and "Turbulent Indigo."
So, I asked him: What was it like to write with Joni Mitchell?
"With her it was a very simple process," Klein said. "Basically, I was always writing music, and she would hear something through the wall that she liked, and she would say, 'Give me that.'"
At the same time, Klein was moving into solo producing. "I wanted to find a new way to integrate everything I knew." In 1986, he produced "The Lace," a solo album for Benjamin Orr of The Cars. Over the next decade, he also produced albums by Shawn Colvin, Holly Cole and Julia Fordham. More recently he has produced albums by Rebecca Pidgeon ("Tough on Crime") and Madeleine Peyroux ("Careless Love").
Klein describes the late 1980s and '90s as a time when he was "crop rotating" between songwriting, production and playing. The variety of assignments allowed him to be pickier about whom he played for -- and, as a result, he performed with, as he put it, "people who were my heroes." He played on the soundtrack to "Raging Bull" with Robbie Robertson, which led to playing on Robertson's solo album, as well as with Don Henley on all his solo records. He also played with Tracy Chapman, Aaron Neville, Bryan Adams and wrote songs with Bonnie Raitt and Warren Zevon.
Doing so also allowed him to learn from other producers, such as Robert John "Mutt" Lang, who has produced and/or written massive hits for AC/DC, Foreigner, The Cars, Bryan Adams, and Shania Twain (to whom Lang is married). Klein credits Lang with being "incredibly talented at making the complex sound simple."