I wrote this testimonial for Eric Clemenzi. Aside from being a master of the guitar, Eric is a pal of mine from way back.
Eric Clemenzi
When I began my studies at Berklee College of Music, one of my instructors said, “You’ll learn a lot from us, but you’ll learn even more from your classmates.” That proved true, and today, when I think of that quote, I think of Eric Clemenzi.
Eric lived down the hall from me, and I considered him a friend the first time we met. I enjoyed our conversations, we had similar tastes in music, and we both spent innumerable hours in practice rooms. And although neither of us identified with the scene, we were both straight edge: no drugs and not a drop of alcohol—just music. That was what mattered, and nothing would get in the way. Fifteen years later, none of that has changed.
Those are the similarities. One major difference was that Eric was about a thousand times the musician I was. It’s not a contest, I know, but it’s true. I was a fairly sturdy drummer; Eric was an extraterrestrial guitarist. The guy was from somewhere else. Fifteen years later … yeah, same story.
The Interstellar Wombat of Justice
Fortunately, I’ve managed to trick Eric into making music with me. I’ve worked with him on a number of projects over the years, and they have all been amazing experiences. We lock ourselves in basements, rehearsal rooms, and recording studios, and the mania begins. Day becomes night. Night becomes a jelly doughnut. The jelly doughnut of night becomes the Interstellar Wombat of Justice, running a soup-can telephone line directly into my consciousness, whispering, always whispering, telling me what to write.
Ahem.
Eventually I emerge, unaware of the date, unsure of my name, and very much in need of a burrito. I am at least certain we’ve created something I’ll be proud to play for anyone.
It is a joy to record with Eric, to be part of such consummate musicianship. He’s an inspired writer and his solos have been known to cause cerebral maceration. But he’s also a great listener and a sensitive accompanist. He can conduct a group with a glance and a nod. In our original projects, I have tried to come up with ideas Eric couldn’t pull off. I haven’t found one yet. It’s not just that he knows his instrument; it’s that he understands the inner workings of music. Whatever the material, he seems to have the entire score committed to memory.
I have long been in awe of Eric’s musical ideas and his technical facility, but what I admire even more is his work ethic. He’s always developing something new, and I love that. I saw his pursuit of mastery at eighteen, and I see it today.
I’ve learned a lot from Eric over the last fifteen years. I’d like to think he’s learned something from me too, but I can’t imagine what. Not many people get to meet their favorite guitarist. I get to make records with mine.
T. G. LaFredo session drummer contributor, Modern Drummer magazine Berklee College of Music, 1997–1998