Thankfully, my producer Adam Kharita did none of these. A jazz-pop singer-songwriter himself, he exclaimed something like “This is right down my alley” and later thanked me for not bringing in a banjo.
We started by recording the piano - a lovely, white, sumptuous beast that I happily would have let follow me home. I can play enough piano so that I can compose on it, but I’m not a proper pianist. This became obvious when Adam sat down to give me a few tips, making the keys sound like melted white chocolate. Nevertheless, I did my plonky piano thing and we got there.
Next step was to record the vocals, which went pretty smoothly. Voice is the instrument I’ve focussed on most in recent years, and Adam and his assistant Alex Van den Broek (from the sassy singing quartet Jazel) informed me that I seem to have a talent for mirroring my own voice. That is, singing a line, then being able to sing along with that recorded line almost identically. It's my mediocre superpower.
After vocals, I layered on some clarinet (an instrument I’ve played for decades) and some simple bass drum (an instrument I’ve never really played). Adam suggested I give it a go, and I felt mighty powerful sitting behind that drumkit. As it turns out, you need quite a bit of calf strength to play a bass drum evenly - and my right calf just ain’t up to scratch. But post-editing, it sounded great.