John Mailander’s Improvisational Forecast Says ‘Let The World In’

Whether or not you know it, you’ve likely heard John Mailander music. Chances are he’s even worked with one (or some) of your favorite artists, from Bruce Hornsby to Billy Strings, Noah Kahan, Joy Williams, Lucy Dacus, Molly Tuttle, and many more.

No disrespect to his work with the Noisemakers (who he’s toured with since 2018), or Strings’ GRAMMY-winning album Home, or any other projects, but it’s Mailander’s original works where his musical wizardry glows brightest. On his latest effort, Let the World In, his abilities are stronger than ever as he combines the influences from everyone he’s worked with into an adventure of orchestral bliss guided by trance-like, open-ended jazzy jams.

Helping Mailander to paint these soundscapes across nine tracks and 35 total minutes of run-time are his longtime band members in Forecast – Ethan Jodziewicz, Chris Lippincott, Mark Raudabaugh, Jake Stargel, David Williford – who he first started playing with during a Nashville residency at Dee’s Country Cocktail Lounge in 2019 to celebrate the release of his debut album of the same name. Through eight instrumental tracks (and a cover of Nick Drake’s “Road”) they send listeners on an introspective journey throughout Let the World In that brings the jazz leaning work of Hornsby and jam-fueled tendencies of Phish together, showing just how far he and Forecast have grown and evolved since first coming together.

“The first record was a blueprint, the second was settling into and discovering who we are, and this record is the most confident statement of who we are,” Mailander tells BGS. “Harmonies, colors, melodic themes, it can all be tied back to the first record in some way.”

Mailander spoke to us ahead of the album’s release about how all of his prior collaborative experiences set the stage for Let the World In to shine, writing on the piano, reality checks from recording, song sequencing, and more.

From your work with Billy Strings and Bruce Hornsby to your own music, you’ve always had a very collaborative way about you and this new record is no exception. What are your thoughts on the significance that played in the process of bringing this album to life?

John Mailander: Collaboration and improvisation are some of the most beautiful parts of being a musician. I love working with the widest variety of artists that I can. It’s a great way to become closer on a human level with the people you’re working with.

Initially, when I was starting this Forecast project, I envisioned it as more of a collective of musicians where we could all bring our own original tunes to the table and improvise freely. However, over time it’s formed into a more regular lineup with the six of us, allowing for the group to grow together as a unit.

Is the album title, Let the World In, meant to be a nod to that collaborative nature and outside influences that loom so large on the project?

Absolutely. The title has a lot of different angles to it. I hesitate to say everything it means to me because I don’t want to put it into too much of a box – I want to leave room for the listener to imagine what it means for them as well. It’s a follow-up to the last record [Look Closer] that we made in isolation during the pandemic.

While that record was very introspective, this new one is much more expansive, because of the world opening up more now and having this constant flood of information coming at us from all directions. It’s an overwhelming time to be alive, so this album feels like a companion piece to the last one, almost like the other side of the coin.

The title track also features the “Let the World In Sound Freedom Expressionists” – Hannah Delynn, Maya de Vitry, Gibb Droll, Ella Korth, Lindsay Lou, and Royal Masat. What was your intention with recruiting them for that one track, and what do you feel they brought to it that it may not have had otherwise?

They are a collection of very dear friends in Nashville who have been there for me in my personal life through a lot. It felt really important to me to credit these friends on the record in some way. That manifested into this collection of sound bites from each of them including poetry, sound effects, singing, and field recordings, which I put together into the sound collage you hear in the track. I love knowing that all of their voices are in there. I hope with each listen you can tune into different elements of it and hear new things.

In terms of outside influences on the record, I know Bruce Hornsby played a big role. What tricks and lessons from him did you implement into these songs?

Bruce is one of my greatest teachers. He’s been really encouraging over the past few years to pursue this project, grow into a band leader, and becoming more confident on the piano. I’m very rudimentary, but I’ve become obsessed with learning the piano recently, in large part thanks to Bruce and watching him play it so much. Everything on this record – except for the cover, “Road,” and the improvisational tracks – were ones I wrote on the piano, which was a huge change in direction for me.

I’ve also tried to incorporate elements of how he leads a band, like having dueling conversational solos rather than individual ones or weaving in and out of and finishing each other’s lines, into what we do with the Forecast as well.

Process-wise, how did the construction of these songs on the piano differ from when you’re composing on fiddle?

Going back to the title of this record, the piano gave it a wider scope compositionally for me, because I was thinking a lot more about bass lines and counter melodies and other things that as a fiddle player aren’t as prevalent. With the fiddle I think much more melodically – it’s kind of the top voice – which makes it harder for me to compose that way because even though it’s my primary instrument it’s hard to get a full picture with it. On the piano it felt more like writing for an entire ensemble rather than just writing a melody in chords.

You ended up knocking out the recording for this album during four consecutive days last year. What was it like doing it all rapid-fire like that compared to the more conventional, slow and steady approach?

It was intense, and we even recorded more than just what made it on the record. A lot of the work in post [production], for me, has been crafting everything we recorded into something that tells a story, which would’ve been tough to do across multiple sessions with the band over time, given that they’re all touring musicians as well. It felt good getting together with everyone from basically 10 to 6 every day and working our butts off as much as we could. It was the most concentrated and focused time we’ve ever had together as a band, as well as a reality check about things in the band we needed to work on.

It’s like putting a microscope on everything because we’ve been playing live at Dee’s every month for a few years, but now we’re in this hyper-focused environment where we can hear and analyze every minor detail. It opened up a lot of rabbit holes that I ended up going down later, but I think we really grew as a band through the process of making it this way.

You mentioned the time being a reality check for what you needed to work on as a band. What were some of those things?

It was like putting a microscope on how the particular instrumentation and individual voices on our instruments really blend and work together, revealing sonic and dynamic things that worked or not. It revealed some habits we’d gotten into through playing live that we discovered didn’t always translate to a record. The sessions were an awesome and intensive way to grow as a unit.

You’ve produced all of the Forecast records thus far. Is that something you plan to continue doing in the future?

Actually, the next record we do I’d like to have another producer. I love producing, but I’m realizing that for my own music I’d like to get another perspective in the room next time we do it. It’s really tough taking on both of those roles, but I’m really proud of what we did and grateful for producing it again this time around.

One of my favorite elements of the record is how well the songs flow from one into another – if listened through in order it presents almost as one long, 35-minute track. Tell me about sequencing this record and the importance for listeners to digest the full project from start to finish?

I’ve always been a nerd about sequencing records. I think it’s a really important part of the experience of listening to music. With this one I put a lot more attention into connecting the tracks. Some of them blend into one another, which is something that my mastering engineer Wayne Pooley – who I know through the Bruce Hornsby world – and I spent countless time laboring over the microseconds between every track to make sure each one hits you in a very intentional way.

Only one track on the album has lyrics – your cover of Nick Drake’s “Road.” Why’d you choose it, and what do you feel it contributes to the overall narrative you’re striving to present on the record?

[Nick’s] been a huge inspiration for years. Even as more of an instrumentalist I’ve always been drawn to his writing. But in terms of that song, I’ve known it for a while and love the entire record it’s on, Pink Man. About a year and a half ago – just before work on Let the World In began – I brought the song to the band. Nick Drake’s version is around two minutes long, but I thought it would be cool to use the song as a tool with our band to improvise and jam like we do at our live shows. We did just that by stretching it out to over nine minutes long. Lyrically it fits with the themes on the rest of the record, but it’s not heavy-handed either. It’s still open to interpretation, which is what I really value in it.

Initially I thought about having a guest vocalist on it, because on our last record we had a couple guest singers. But as we got closer and closer to the studio sessions I realized that it was important for me to sing this one myself, and I’m really proud with how it turned out.

If you could collaborate or have a jam session with any musician past or present, who would it be?

My hero, Trey Anastasio. It would be a dream to play or collaborate with him someday.

What has music, specifically when it comes to the creation process for Let the World In, taught you about yourself?

It’s allowed me to connect with my bandmates on a deeper level than I know how to do any other way. Through that I’m able to tap into those energies that exist between us as people, which is a type of connection I practice and strive to achieve every day.

Photo Credit: Michael Weintrob