Meet musical force who fosters ‘Idol’ worship

A: Working on “Idol,” we have the kids, and the experience varies. Some are musicians, like Taylor Hicks had his own band already, so he had experience working with a band. Kelly Pickler had never sang with a band in her life. Carrie Underwood lived on a farm, so she just sang at home walking around with the cows. As far as the musicians, I have a core rhythm section, and I change the strings and horns every week, just to spread the work around and let other musicians experience the show. Having that kind of energy around you is great, and hopefully it’s contagious to the kids. The pros get the same thing. So (I) get people like Alicia Keys and Christina Aguilera on top of their game. I can go on the awards shows with them, and they want to go on with me because they know that I’m going to raise the level. They want to bring in some heavy hitters, and I’ll bring in the best arrangers, the best musicians that are available.

Q: What is it about “Idol” that connects with so many people?

A: It’s taking an average, ordinary person and changing the course of their life. It shows that whatever you want out of your life, you can actually do it. People become entrenched in the stories, and they’re pulling for these people — it’s personal now, it’s not even about the singing. And it’s one of the few shows on television that the whole family can sit and watch. The grandmothers love it because Tony Bennett is going to be on the show, or they’re going to sing “Moon River.” So it sparks conversation with the family.

Q: With all this work, how do you unwind?

A: My wife (of 22 years, Karen) and I walk most mornings, a few miles every morning. The thing that I love to do is garden, mostly flowers and trees, cutting hedges and pulling weeds. I just love being outdoors. On weekends I unplug.

Q: What’s on your iPod?

A: Everything that I work on. In my car I listen to satellite, and I listen to pretty much jazz because I’m a jazz head. I’m a jazzer. It’s the thing I love because there are no boundaries. You can play one note a million times and approach it differently every time, and no two solos are the same. It’s cerebral for me, yet I can enjoy it. People send me demos, but I don’t listen to them. There’s only so much you can listen to. It’s like smelling perfume: How much can you smell before you’re numb?

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