Studded with guest appearances – from avant-garde saxophonist Sam Gendel and jazz drummer Chris Dave, among others – Notes With Attachments foregrounds the sound that made Palladino’s name: the none-more-80s sprrroing of the fretless bass put through a chorus pedal. “For 40 years I’ve thought about it, but I’ve never really had an idea how I could do it.” “We hit it off and the next thing you know, he’s saying to me ‘Have you thought about a solo album?’ Well, I’ve thought about it, obviously,” he laughs. He and Mills, who has produced for Fiona Apple and Laura Marling, met while working on a John Legend album. ![]() Which makes it all the more surprising that he’s releasing an album on which he shares billing with Blake Mills: Notes With Attachments, a fascinating, head-turning collection of experimental instrumentals that sits somewhere between jazz, global music and ambient. He’s drily funny and self-deprecating – he says his default setting when working with a new artist is “do not fucking spoil it” – but doesn’t seem terribly frustrated by life in the background. This is presumably how Palladino likes it. When another fabled bass player, Pink Floyd’s Guy Pratt, got married, he opened his groom’s speech with the words: “I’m only here today because Pino couldn’t make it.”Ĭardiff’s finest … Palladino in 1985. Indeed, his versatility and omnipresence is a running joke within the music industry. They’re the biggest names in a startlingly diverse back catalogue of collaborations: Palladino’s playing is the thread that links Perfume Genius with Phil Collins, Harry Styles with Chris de Burgh, and Nine Inch Nails with De La Soul. He played on not one but two of the biggest selling albums of the 21st century: Adele’s 21 and Ed Sheeran’s Divide, as well as with Rod Stewart, Elton John, Bryan Ferry, Simon and Garfunkel and Keith Richards. It’s hard not to blanche when you consider the sheer number of records that have been sold featuring his work. It’s a remark in keeping with the astonishing career of one of the most celebrated bass players in the world. “You know, there was a time when I was featured in all sorts of musicians’ magazines, and then I just thought to myself, ‘Move over, there’s people out there that actually need the publicity.’ Not to blow smoke up my own arse,” he adds hurriedly, “but really I just didn’t want to see or hear from myself.” “Very reticent,” he nods during a Zoom call, his accent speaking noticeably louder of his childhood in Cardiff than his current home in LA. ![]() B y his own admission, Pino Palladino is not a man much accustomed to giving interviews.
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