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Hi, my name is Cory Wong. This is my podcast. I'm going to talk to your favorite artists as they discuss their personal tricks of the trade, never-before-heard stories, and the proper response when Sinatra wants to peep your master tapes.

Wong Notes

This go around, Cory Wong is joined by Pino Palladino and Blake Mills. Palladino, a Grammy-winning bassist, has collaborated with everyone from Erykah Badu and Keith Richards to John Mayer and the late, great D’Angelo. Mills’ resumé includes work with Bob Dylan, Fiona Apple, and Joni Mitchell. The duo has been around the block. 

Wong probes all corners of their creative processes, from the purpose of the music they make, to dealing with “unnatural” elements of the creative process, to layering parts on a record, to different approaches to melody. As you read, Palladino and Mills have worked with some of the greatest musicians and writers of the past century. They’ve got a lot of wisdom to share.

Tune in to learn from some of the best in the biz.

Get 30% off your first year of DistroKid by going here: http://distrokid.com/vip/corywong

Visit Blake Mills: https://www.blakemillsonline.com/

Visit Pino Palladino: https://pinopalladinoblakemills.komi.io/

Hit us up: wongnotes@premierguitar.com

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Produced by Jason Shadrick and Cory Wong

Presented by DistroKid

Blake Mills and Pino Palladino

Welcome back for a special episode of Wong Notes! If you couldn’t make it to Cory’s Syncopated Summer Camp, this one’s for you: It features Wong and his Flyers bandmates—Nate Smith on drums, Joe Dart on bass, and Mark Lettieri on guitar—in a live masterclass recording from this summer, as they jam and break down an original composition.

The group starts off with a rowdy rip through the tune (which, apparently, didn’t go so well when they played it in Italy) before slowing down its constituent parts and highlighting Lettieri’s thoughtful arrangements. Each member of the band takes a turn explaining their approach to jamming and improvising—and how to know when trouble is coming. (For Smith, it’s when one player tries to “force an agenda.”)

The most important instrument for a successful jam and songwriting session? Your ears: It all comes back to listening. So listen in and learn with the best on this exclusive instalment.

Recorded LIVE at the Syncopated Summer Camp presented by Dreamcatcher Events: http://dreamcatcher-events.com

Listen to the full episode here: https://bit.ly/WongNotes

Get 30% off your first year of DistroKid by going here: http://distrokid.com/vip/corywong

Hit us up: wongnotes@premierguitar.com

Visit Cory: https://www.corywongmusic.com

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Twitter: https://twitter.com/wongnotespod

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The Fearless Flyers: Flight School is in Session!

On this episode, James Bay joins Cory Wong from backstage at the 9:30 Club in Washington, D.C. (It takes Wong all of 10 seconds to recognize and name the green room.) Bay is still supporting his fourth full-length record, Changes All the Time, and Wong picked up on a different guitar approach on the new album. Bay walks him through how his playing matched the collection’s title.

Bay also reveals the first solo he learned to play (or, rather, failed to learn to play; it’s a Bon Jovi hit), and how Jack White’s philosophy of struggle against his instrument has shaped Bay’s relationship to his own guitars. As bandleaders, Wong and Bay both have plenty of experience hiring players to join them in studio and on the road, so what do they look for when selecting colleagues? Tune in to find out.

It wouldn’t be a chat with a Minnesotan guitarist without some Prince talk, so stick around to learn the appropriate etiquette for covering The Artist when touring his home state.

Listen to the full episode here: https://bit.ly/WongNotes

Get 30% off your first year of DistroKid by going here: http://distrokid.com/vip/corywong

Visit James Bay: https://www.jamesbay.com

Hit us up: wongnotes@premierguitar.com

Visit Cory: https://www.corywongmusic.com

Visit Premier Guitar: http://premierguitar.com

Twitter: https://twitter.com/wongnotespod

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Produced by Jason Shadrick and Cory Wong

Presented...

James Bay on Failed Solos, Onstage Adrenaline, and How to Hire a Band

Sound the alarms, tell your neighbors, hire a banner plane: Wong Notes is back. Cory Wong’s beloved podcast returns after a healthy break, and this exciting comeback episode features Wong in conversation with Goose’s Rick Mitarotonda.

The Connecticut rock band’s guitarist and vocalist talks through the band’s origins and position in the jam-band and broader music scenes, and Wong and Mitarotonda debate an ancient, critical question: Can jam bands actually write great songs?

The duo talk through their philosophies on recording, staying sharp on your instrument, all-star moments and standout players in the jam community, and feeling misunderstood as an artist. Like a good jam set, there are plenty of rich tangents, fascinating rabbit holes, and unexpected insights, so tune in and keep your ears open.

Get 30% off your first year of DistroKid by going here: http://distrokid.com/vip/corywong

Visit Goose: https://www.goosetheband.com/

Hit us up: wongnotes@premierguitar.com

Visit Cory: https://www.corywongmusic.com

Visit Premier Guitar: http://premierguitar.com

Twitter: https://twitter.com/wongnotespod

IG: https://www.instagram.com/wongnotespod

Produced by Jason Shadrick and Cory Wong

Presented by DistroKid

Goose's Rick Mitarotonda: Can Jambands Write Great Songs? Yes!

Welcome back for a special season finale of Wong Notes! 

We’ve saved one of the best for last: Brad Paisley.The celebrated shredder and seasoned fisherman joins host Cory Wong for one of this season’s most interesting episodes. Paisley talks his earliest guitar-playing influences, which came from his grandfather’s love of country music, and his first days in Nashville—as a student at Belmont University, studying the music industry. 

The behind-the-curtain knowledge he picked up at Belmont made him a good match for industry suits trying to force bad contracts on him.

Wong and Paisley swap notes on fishing and a mutual love of Phish—Paisley envies the jam-band scene, which he thinks has more leeway in live contexts than country. And with a new signature Fender Telecaster hitting the market in a rare blue paisley finish, Paisley discusses his iconic namesake pattern—which some might describe as “hippie puke”—and its surprising origin with Elvis’ guitarist James Burton.

Plus, hear how Paisley assembled his rig over the years, the state of shredding on mainstream radio, when it might be good to hallucinogenic drugs in a set, and the only negative thing about country-music audiences.

Get 30% off your first year of DistroKid by going here: http://distrokid.com/vip/corywong

Visit Brad Paisley: https://www.bradpaisley.com/

Hit us up: wongnotes@premierguitar.com

Visit Cory: https://www.corywongmusic.com

Visit Premier Guitar: http://premierguitar.com

IG: https://www.instagram.com/wongnotespod

Produced by Jason Shadrick and Cory Wong

Additional Editing by Shawn Persinger

Presented by DistroKid

Brad Paisley on Fish, Phish, and the Origins of the "Lost" Paisley Guitar

Legendary shredder Joe Satriani was the first ever guest on Wong Notes, so it makes sense that he’s the first returning sit-in with Cory Wong. Satch is busy as ever, juggling enough projects to make a normal guitarist’s head spin. But Satriani’s not a normal guitarist.

He teases a new song with Sammy Hagar, plus delves into the intricacies of Eddie Van Halen’s playing and why he can’t quite replicate it—every guitarist has their strengths and deficiencies, claims Satch. And believe it or not, Satriani didn’t figure standing in front of huge crowds to be one of his strengths when he was younger. Fate figured otherwise.

Satriani goes deep on one of his favorite tools, the Sustainiac pickup, and talks about how it’s defined his playing—just like his trademark sunglasses, even in dark rooms. (“Stupid idea, right?” he jokes.)And young guitarists, listen up: Satriani has some wise words on the importance of rigorous practice while you’re budding on the instrument. The big takeaway? Learn. The. Notes.

Listen to the full episode here: https://bit.ly/WongNotes

Get 30% off your first year of DistroKid by going here: http://distrokid.com/vip/corywong

Visit Joe Satriani: https://www.satriani.com/

Hit us up: wongnotes@premierguitar.com

Visit Cory: https://www.corywongmusic.com

Visit Premier Guitar: http://premierguitar.com

IG: https://www.instagram.com/wongnotespod

Produced by Jason Shadrick and Cory Wong

Additional Editing by Shawn Persinger

Presented by DistroKid

Joe Satriani is Back!

Grace Bowers just released her debut record, 2024’s Wine on Venus, with her band the Hodge Podge, but she’s already one the most well-known young guitarists in America. On this episode of Wong Notes, Bowers talks through the ups, downs, and detours of her whirlwind career.

Bowers started out livestreaming performances on Reddit at age 13, and came into the public eye as a performer on social media, so she’s well acquainted with the limits and benefits of being an “Instagram guitarist.” She and Cory talk about session work in Nashville (Bowers loathes it), her live performance rig, and Eddie Hazel’s influence.

Bowers plugs the importance of networking as a young musician: If you want gigs, you gotta go to gigs, and make acquaintances. But none of that elbow-rubbing will matter unless you’re solid on you’re instrument. “No one’s gonna hire you if you’re ass,” says Bowers. “Practice is important.”

Tune in to learn why Bowers is ready to move on from Wine on Venus, her takes on Nashville versus California, and why she hates “the blues-rock label.”

Get 30% off your first year of DistroKid by going here: http://distrokid.com/vip/corywong

Visit Grace Bowers: https://www.gracebowers.com/

Hit us up: wongnotes@premierguitar.com

Visit Cory: https://www.corywongmusic.com

Visit Premier Guitar: http://premierguitar.com

IG: https://www.instagram.com/wongnotespod

Produced by Jason Shadrick and Cory Wong

Additional Editing by Shawn Persinger

Presented by DistroKid

Don’t Call Grace Bowers a Blues-Rock Guitarist

You might not know Greg Koch, but we’ll bet your favorite guitarist does. In 2012, Fender called the Wisconsin blues-guitar phenom one of the top 10 best unsung guitarists, and in 2020, Guitar World listed Koch among the 15 best guitar teachers. He’s been inducted into the Wisconsin Area Music Industry Hall of Fame. Koch is a bonafide midwest guitar god.

He joins Cory Wong on this round of Wong Notes for this meeting of the Middle-America minds, where the duo open with analysis of music culture in Wisconsin and Minnesota—Koch taught at Saint Paul’s now-shuttered McNally Smith College of Music, which Wong attended. Koch and Wong zero in on the blues roots of most modern music and talk through soloing theories: It can be as easy or as hard as you want it to be, but Koch shares that he likes to “paint himself into a corner,” then get out of it.

Koch and Wong swap notes on the pressures of studio performance versus the live realm, and how to move on from mistakes made onstage in front of audiences. Plus, Koch has created scores of guitar education materials, including for Hal Leonard. Tune in to find out what makes a good guitar course, how to write a guitar book, Koch’s audio tips for crystalline live-stream sessions, and why he still prefers tube amps: “I like to crank that sh*t up!”

Visit Greg Koch: https://www.gregkoch.com/

Get 30% off your first year of DistroKid by going here: http://distrokid.com/vip/corywong

Hit us up: wongnotes@premierguitar.com

Visit Cory: https://www.corywongmusic.com

Visit Premier Guitar: http://premierguitar.com

Twitter: https://twitter.com/wongnotespod

IG: https://www.instagram.com/wongnotespod

Produced by Jason Shadrick and Cory Wong

Additional Editing by Shawn Persinger

Presented by...

“Crank That Sh*t Up!” Greg Koch on Teaching, Mistakes, Modeling, and Modern Blues

Mike Stern has been around the block. The jazz-guitar virtuoso earned his stripes through the ’70s and ’80s in New York’s jazz scene, playing 6-string with drummer Billy Cobham before tapping in with artists like Miles Davis and Jaco Pastorius—even at a time when guitar wasn’t necessarily a cornerstone piece of a jazz outfit. In this episode of Wong Notes, Stern fills Cory Wong in on the ups and downs of 50 years spent in one of the most complex and underappreciated music genres.

Stern made the leap to New York from Boston when Davis invited him to join his band (back when jazz was the pop music of the day, notes Stern), but it was a rocky ride—Stern says he and many other musicians were “bottoming out” from addiction, until a friend went sober and convinced them to give sobriety a try. Stern talks about Miles’ hidden love for the guitar, and how he succeeded in fitting into non-guitar environments.

Wong and Stern touch on the decline of arts spaces and cultures in America (thanks, Stern says, to misallocated funding), playing gigs where the band outnumbers the audience members, the benefits of running the same rig in every room, and how to pick the right pick—for Stern, that involves a bit of wig glue. Tune in to get the details, and be sure to check out our 2018 Rig Rundown with Stern, too.

Get 30% off your first year of DistroKid by going here: http://distrokid.com/vip/corywong

Visit Mike Stern: https://www.mikestern.org/

Hit us up: wongnotes@premierguitar.com

Visit Cory: https://www.corywongmusic.com

Visit Premier Guitar: http://premierguitar.com

Twitter: https://twitter.com/wongnotespod

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The Journey of Jazz Guitarist Mike Stern

Bluegrass music is bigger than a genre. It’s become an entire world of ideas and feelings in the popular American imagination. And musician Jerry Douglas has been a key part of its celebration and revival over the past 30 years. “It's an old form of music that came from people in the south playing on the porch and became this juggernaut of a genre,” says Douglas. “It’s a character. It's a physical music.”

Douglas has racked up an impressive cabinet of accolades, including Grammies, American Music Association Awards, and International Bluegrass Music Association Awards. He’s been dubbed the CMA Awards’ Musician of the Year three times, and played with everyone from Allison Krauss and Elvis Costello to Bela Fleck and John Fogerty. He’s an encyclopedic guide to contemporary American roots music, and on this episode of Wong Notes, he walks Cory Wong through the most important moments in his 50-year career.

Tune in to hear Douglas’ assessment of bluegrass’ demanding nature (“Honestly, there's not so many genres nowadays that require as much technical facility as something like bluegrass”), what’s required of roots players (“Get it right, get it fast, make it hook”), and why the O Brother, Where Are Thou? soundtrack connected with so many listeners. Wondering how to get involved with session work? Douglas says there’s no one-size-fits-all answer, and what worked for him might not work today. The key is to be dynamic—and know when to keep your mouth shut.

There are plenty of gems in this interview, like Douglas’ thoughts on what makes a good solo, but the most significant might be Douglas’ big takeaway from decades of sitting in on communal roots-music sessions. “We can play in all genres,” says Douglas. “We just have to listen.”

Get 30% off your first year of DistroKid by going here: http://distrokid.com/vip/corywong

Visit Jerry Douglas: https://jerrydouglas.com/

Hit us up: wongnotes@premierguitar.com

Visit Cory: https://www.corywongmusic.com

Visit Premier Guitar: http://premierguitar.com

Twitter: https://twitter.com/wongnotespod

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Blake Mills and Pino Palladino

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