![]() I’ve got my ’61 Fender Jazz and I love the lightness of it, the smoothness of the neck. I get more joy picking up my bass and holding it in my hands than I ever have in my life, you know. I know the feeling of what I’m going to play, and I know the feeling that I’m yearning for, but I’m gonna trust my fingers and my nervous system and my brain and my relationship with God to come through. “I like to not know what I’m going to play. ![]() How much of the bass is arranged and how much is improvised in the moment? ![]() I know the feeling of what I’m going to play, and I know the feeling that I’m yearning for I like to not know what I’m going to play. I trust all the things that have come through me.” They’re constantly guiding me, and I trust them. “When the opportunity comes to play, after a lifetime of playing, I have all these reference points and all these feelings, which are part of who I am, that make me up. I’m just feeling the music and feeling what works, and as long as I stay focused and diligent as a musician, and I play a lot, and I pay attention and I’m humble, I’m continuing to learn. Every song is different than the next, every call is different than the next. More often than not on this record, I’m all over the place. “I get out of the way and let the thing flow. (Image credit: JONATHAN NACKSTRAND/AFP via Getty Images) “It can be a supportive thing, or it can be a hypnotic, repetitive thing which creates that meditative feeling of hypnosis that we all want in music, you know what I mean? Whether I’m talking about fucking Discharge or Slayer or Erik Satie or everything in between, it’s that human feeling that we want, the connectedness of humanity, that we feel when we hear great music.” I feel like we have a lot of great rhythms and chords and melodies and I just want to flow through it, man. However I can serve the chords, the melody, the rhythm and the harmony, I’m going to be loose and free and let it flow. “I can unleash it however it needs to go – like when it needs to be violent rapids, or when it needs to be a calm, still pool. With the basslines and the way I want to play them, I want to live my life in a way that allows me to open myself up enough for this cosmic, spiritual river to flow through me. I think about playing bass – particularly as it relates to the Red Hot Chili Peppers – as like a river. “I think that’s just where we’re at, collectively, and where I’m at. There’s tons of room for you to move around on this album – it’s a real bass playground in that sense. It’s there, and it’s clear, and it’s simple, and it’s easy.” It’s just a matter of the language spoken organically, you know – and we have that with John in spades. “It’s just different sets of reference points, and different ways of looking at what the project is. It was like that with Josh too, who is a beautiful musician, and not only a beautiful musician but a great person – someone who is kind and thoughtful and generous and supportive, musically and otherwise. “It’s like that with the four of us, not just me and John. We were both yearning for the same thing to happen, and when the thing happens, we’re both completely conscious that it’s happening. You know, John was gone for 10 years, and the first second that we started jamming together again, it was just like talking. I assume that when you play with John Frusciante, it’s like putting on a pair of comfortable old sneakers, or am I way off? We were both yearning for the same thing to happen ![]() John was gone for 10 years, and the first second that we started jamming together again, it was just like talking. He makes his comments and then we record it.” “We sit in a rehearsal room for months on end, writing, jamming, laughing, arguing, and at a certain point, the shit has been honed and nurtured, so we go in and put it on tape and play it for Rick. We like to record live to tape, with all of us playing together in a room, looking at each other playing, feeling each other playing, like we’ve always done it. Did you record Unlimited Love the old-school way – together in the studio?
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