13 QUESTION METHOD: DUKE LEVINE
Robert "Duke" Levine was born in Worcester, Massachusetts on November 29, 1961. He cut his teeth in several popular area bands, including Landslide, the popular Crockett, and the Trailers. He later graduated from the New England Conservatory of Music, and organized his own band, the Duke Levine Group. In 1995, he joined Mary Chapin Carpenter's band and toured with her until 2001. In addition to his projects as a sideman, Duke has released three albums on Daring Records, which showcase many of his original compositions and demonstrate his talents on guitar, mandola, Omnichord, lap steel, dobro, and bass.

1. Which was the first record you bought with your own money?
I think it might have been the Stones' December's Children or maybe the first Jackson 5 record. It's hard for me to remember, because my three older brothers had cool records in the house already. I had decided, when I was about nine, that the Stones were my favorite band, so it was probably one of theirs.

2. Which was the last record you bought with your own money?
Sufjan Stevens’ Illinois.

3. What was the first solo you learned from a record — and can you still play it?
I think it was George's solo in "Let It Be". I don't know if I remember it all, but I can hear some of the licks in my head. There seemed to be a different solo on the single version, because I definitely learned the solo, but then I heard something that was, I guess, another take.

4. Which recording of your own (or as a sideman) are you most proud of, and why?
I'm actually happy about the record of mine that I'm about to finish and release. I think that, for an instrumental record, it's mostly about the music and interaction between the players and not so much about "hot licks" — not that there's anything wrong with that!. On my other records I was more aware of making a "guitar album," and part of that included making sure there was some quick pickin' and different styles. On the new one, there's a mood throughout, and it sounds like something I might want to listen to once it's done.

5. What's the difference between playing live and playing in a studio?
For me, there should be some common factors. If it involves my own instrumental stuff, there probably shouldn't be much of a difference, as I tend to go for a performance. As a session player, I have a tendency to hone a part and make sure it works with the rhythm section, like anyone would. It's good to focus like that, but it's also good to remember/imagine what your energy for playing it might be like if you were in front of an audience. Likewise, as a sideman on a live gig, it's a good idea to sometimes keep tabs on that energy and make sure you're relaxed, and not just letting the adrenaline rush of the gig get the best of you. (Of course, I did say "sometimes"). As always, it depends on the music and the people I'm playing with. I've been on sessions that were really transporting, and gigs where there was absolutely nothing happening.

6. What's the difference between a good gig and a bad gig?
Usually the best gigs, for me, happen when all the players are really listening to each other and, if you're supporting an artist, he or she has something to say. I, along with most people, tend to have my best playing experiences with my favorite musicians. There are a few I think I have a bond with, a familiarity that has developed over the years. They usually inspire me every time. Other than that, free beer is good. Free food, even better.
A bad gig is too loud, no one's listening, the sound guy insists on EQ-ing your amp so that it sounds "right" in the house, and the artist asks everyone if they could take less dough because he needs new tires on his car. (Yes, this has happened. No, I didn't feel it was up to me to provide him with a safe driving experience).

7. What's the difference between a good guitar and a bad guitar?
A good guitar inspires you to write a song, or play something you've never played before. It makes you want to play.
A bad guitar has a weird shaped headstock, it resembles sporting equipment, it has tons of output, it's not made of wood, it's made of "exotic" wood, it's made from helicopter material, it smells weird, it triggers a sampler, it is a sampler, it has someone else's name on it (other than yours, or Les or Chet or Barney or Duane), and it doesn't look good on you.

8. You play electric and acoustic. Do you approach the two differently?
Yes and no. They're different instruments, but of course there are certain things that come across great on both. I approach various electric guitars differently for the same reason. They all respond in their own way. I don't know too many players that would say they play the exact same things on a Tele as they do on a Les Paul or a Duo Jet.

9. Do you sound more like yourself on acoustic or electric?
I think, since I've spent most of my time on electric, that would be it.

10. Do you sound like yourself on other people's guitars?
I think I do sound like myself on other people's guitars. Sometimes I wish it wasn't so!

11. Which living artist (music, or other arts) would you like to collaborate with?
I'd love to play with Bobby Womack. I'd probably be a pain in the ass, asking him to do all my favorites. I don't know if he plays guitar much anymore, but, as long as you're asking, that should be part of the deal.

12. What dead artist (music, or other arts) would you like to have collaborated with?
That's a tough one, especially if I have to come up with just one. How about a few? Charlie Rich — if only to play "Feel Like Going Home" once. Charles Mingus — just for the sheer terror of it. Richard Manuel — what wouldn't you give to support that ghostly soulful voice? Mark Sandman — Mark's someone I did get to collaborate with, but just not enough before his untimely death. Howlin’ Wolf — who wouldn't want that? Rod Serling — just to score one episode of The Twilight Zone.

13. What's your latest project about?
Oops. I guess I already mentioned my latest record, but since you asked — I recorded this instrumental record live in the studio, with Paul Bryan on bass, Jay Bellerose on drums, Kevin Barry on lap steel and acoustic guitar), and Kenny White on organ. I put my amp next to the drum kit, so there was no "safety net," no room for fixes. This was a little daunting at first, but as I got more comfortable, I really enjoyed it. Also, for the first time on my records,I plugged straight in to a clean sounding amp — a Fender Vibrolux — and played with that basic sound for the whole record. There are a couple of overdubs from Kevin and Kenny, but the bulk of it is the live takes, with complete performances from everyone. For me, this was something a little different, and I feel like anything you can do as a player/artist to break out of your usual routine is good. There's a lot of space and, as I mentioned, not a lot of ripping. My mom thinks there's not enough "flashy stuff," but I am trying to convince her that maybe the next record will be "all flash." She's not convinced, and maybe even a little worried.

Web site: http://www.dukelevine.com/