I decided to transcribe it and write out the transcription in perfect bass-clef notation in pencil on staff paper, just to show him I could read and write music.Īgain, I asked Hoover to deliver it to Ryuichi, telling him I really wanted this gig. One had a particularly hard cello part in the middle. I bought six of his older CDs, and listened to them all day. I had to do more to prove I really wanted this gig. I only slept a few hours, but woke up with the feeling like that wasn’t enough. In the morning, as Hoover was waking up to go into the studio, I gave him his tape back, but also a 2nd tape of the whole album, now with my guitar, for him to give to Ryuichi. I stayed up all night writing guitar parts for his album, recording them in my home studio, then mixing together his album - now with my guitar - back into a new master. Hoover gave me a tape of the new (unreleased) Heartbeat album, but told me he needed it back in the morning. I was already a fan, since I loved his album “Beauty”, and thought this would be a dream gig. Hoover came home around midnight, and told me the big news. Ryuichi said, “But what does he look like?” Hoover said, “My roommate is a great guitarist.” Manu Katché on drums and Victor Bailey on bass. Ryuichi mentioned to Hoover that he was looking for a guitarist for his next tour of Japan. Ryuichi Sakamoto was there recording his new album “Heartbeat”. My roommate, Hoover Li, was an assistant engineer at a huge recording studio in midtown. I had a little home studio, and was doing some random gigs around town.
#DON LETTS RYUICHI SAKAMOTO B2 UNIT PROFESSIONAL#
In 1991 I was 22 years old, and had moved to New York City to be a professional musician. Articles: How I became Ryuichi Sakamoto’s guitarist
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