Seven and Seven with Patrick Yandall
In this “Seven and Seven” spotlight, guitarist Patrick Yandall takes us through his musical journey, blending early influences with his evolving sound. Through seven conventional and seven out-of-the-box questions, he shares insights into his creative process and resilience in a shifting music landscape. Patrick’s responses reveal not only his passion and perseverance but also the deeper emotional connection that fuels his art, making his story one of creativity, hope, and dedication.
The Conventional
Your music blends jazz, blues, and rock in such a smooth way. How do you decide which elements to bring together when you’re creating a new track?
I usually start with an idea that often comes from practicing. I try to devote an hour or two to practice daily. I started playing music in Michigan when I was very young. Club dates began when I was a freshman in high school. The music popular then was a mix of R&B, rock, funk, and jazz—Stevie Wonder, AWB, Motown, Steely Dan, Zeppelin, Yes, Earl Klugh, George Benson, Jeff Lorber, and Pat Metheny. All that music creeps into how I compose, and musical ideas from those influences shape the ideas and guitar work that go into my songs.
You’ve been a part of the music scene for many years. How has your approach to guitar playing evolved since you started, and what drives you to keep innovating?
I came to jazz guitar through the back door. I had become popular in Michigan as a young cat who could play a lot of different styles of music on guitar. My older brothers became fans of Contemporary Jazz, and they took me to a few concerts like Roy Ayers and Angela Bofill. But the concert that changed my life was Jeff Lorber, featuring a sax player, Kenny Gorelick, who later became Kenny G. The use of funk and jazz struck a huge chord with me and shaped my musical path. I started trying to fuse my guitar compositions and melody lines with funk and jazz. I moved to San Diego in the early ’80s, where I was introduced to Carl Evans Jr., a keyboardist with a group called Fattburger. He became a mentor, and I occasionally performed with him. Once I heard them, I knew I wanted to form a group in that style.
Could you tell us a bit about the inspiration behind your latest album? What message or feeling did you want to convey to your listeners?
The title track is a vocal number featuring a very close family friend, Rachael Dickenson, on vocals. She is a NICU nurse in Chicago. I had heard her sing on some other projects and thought she would be great on this title track. She wrote the lyrics. The track—and the whole album—was meant to comfort people and take them to a place where just the music matters, and not all the hate and bickering in the world. I try to create music that strikes the listener in that way every time.
You’re known for your distinctive guitar tone. What gear and techniques do you use to craft your signature sound?
Like everything, it is constantly evolving. I am endorsed by a company called Custom Tones Inc., who is responsible for my overdriven, bluesy tones. The head of the company and creator of the Ethos Overdrive was a NASA engineer, and I use this in the studio for my session work as a constant fixture for shaping my sound. For clean guitar tone, I usually go for a “Chuck Loeb/Larry Carlton” vibe, both of whom I’ve met over the years and are just the coolest cats you’ll ever meet. I am also a Seymour Duncan Pickups artist, and they’re on all my guitars. Sadly, we lost Chuck a while ago. He was incredible and a very humble cat.
The music industry has changed a lot with the rise of digital platforms and streaming. How have you adapted to these changes, and what’s your take on how musicians can thrive in this new era?
I’m still figuring it out. I have music in a few films and TV shows, but streaming has made it very hard on musicians like myself. Hopefully, the billionaires at Spotify will change their abuse of our art. I’m trying to book live shows as much as possible, but this genre is hard to sell unless you get in with a booking agency involved in events. Session work has also helped. People come to me for guitar work on their projects, and I lay them down at my studio, which I have done for many years and love doing.
Outside of music, what are some of your passions or hobbies? How do they influence your creativity, if at all?
I love to hike, and San Diego is just a beautiful place to do it. I was a tennis player and still play occasionally. But pickleball has begun its magic on me, and I enjoy it very much.
You’ve worked with a lot of talented musicians over the years. Can you share a favorite collaboration story and what you learned from that experience?
I was signed to a New York label, Apria, in 2004. The first album I put out for them, From the Ashes, had two of my heroes on it: Randy Brecker and Will Lee. Also, one of the top session drummers and then Spyro Gyra member, Joel Rosenblatt. We recorded a lot of it at Tony Bennett’s Studio, and his son Dae was the engineer. They were all so accommodating and just the nicest cats to be around. I have found that no matter how big in music you get—and these guys are up there—just being a good person makes things much easier.
Out-of-the-Box
If your guitar could tell the story of your life, what would its most dramatic chapter be?
Some of the dark times when work was scarce, and you wonder what alternatives there are. I think a lot of musicians go through this—I still do. I just keep pushing. One thing Carl Evans Jr. told me was that the people in the music business aren’t always the people you can trust. Don’t expect to be treated well by those who run jazz and smooth jazz festivals, events, and venues, even in your hometown of San Diego. And believe me, he was right.
Imagine you could have a jam session with any musician from the past or future. Who would you choose, and what kind of music would you create together?
Grover Washington Jr., one of my favorite musicians ever. I think we could put together some phat jazz-funk sax/guitar songs.
Your latest album feels like a journey. If it were the soundtrack to a movie, what would the movie be about, and what emotions would it evoke?
It would be about someone who took the time, effort, and belief in someone and put it into action. “You Will Be Alright.”
What’s the strangest or most unexpected source of inspiration you’ve ever used to write a song, and how did it influence the final track?
My 2004 release From the Ashes. I was living in Scripps Ranch when we had the fires in the early 2000s. The fires were just a few blocks away, and we were forced to evacuate. That event was scary, and the thought of us not getting out was terrifying. It definitely influenced the music on that project, with a few tracks that reflect that.
You’ve performed in a lot of unique places—if you could play a concert on another planet, what would the setlist be, and how do you think it would resonate with an alien audience?
I think I would take my favorite side cats with me, perform my favorites from my 28 albums, and hope they feel the music just like they do here. Maybe they would experience the music on a deeper level.
Some fans say your music is perfect for meditation, while others use it for motivation. If you could design an experience for listeners—anything from a meditation retreat to a high-energy adventure—how would your music guide them through it?
I always think of music in visual terms. There are so many beautiful scenic areas in this world, and I can always picture my music accompanying those places, especially areas like Kauai. I think a visitor guide video with my music would be perfect.
If you could transform your guitar playing into a visual art form, what would it look like on canvas, and how would it represent your journey as an artist?
It would look like a heart with a face that had expressions reflecting the music coming out of it—the sadness, pain, grief, happiness, joy, and even the recognition of mistakes that keep the music real and adventurous. Like the world, music is not perfect. Nothing is. That’s why music is my world, and it will always be my first love.
Patrick Yandall isn’t just a guitarist—he’s a storyteller, weaving jazz, blues, and rock into something beyond sound. His music captures the highs and lows of life, blurring the lines between reality and imagination. Whether jamming with legends or playing for alien audiences in his mind, Yandall’s creativity knows no bounds. He delivers more than melodies—he creates an immersive experience that connects, inspires, and pushes the limits of what music can be.
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