The Alchemy of Household

Adam Levy on Collaboration, Space, and the Stories a Guitar Can Tell

Recorded in a house-turned-studio in the quiet hills of Tehachapi, California, Household is a testament to the magic that happens when the right musicians gather in the right space. Produced by Chris Bruce (known for his work with Lizz Wright, Meshell Ndegeocello) who also played guitar and featuring Josh Johnson (saxophone, keys), Alan Hampton (bass), and Griffin Goldsmith (drums), the album balances spontaneity and intention, where Levy’s lyrical guitar lines weave through textures both intimate and expansive.

In this interview, Levy pulls back the curtain on the making of Household: how a borrowed Telecaster and a vintage amp shaped its sound, why a last-minute duet became the perfect closer, and how years of playing with icons like Norah Jones and Tracy Chapman inform his approach to melody as conversation.

Most of all, Household is about presence—the kind of music that only happens when you’re really listening. So come inside. The door’s open.

What was the initial spark for Household? Where does the title Household come from?

I’ve known producer/guitarist Chris Bruce for about 10 years. I’ve always marveled at his inventive approach to making music. We collaborated remotely on a few pieces during the pandemic. He asked me to send him any little melodic ideas I was working on. Each time I did, he sent me back something incredible! I was sending him spare sketches, and he added so much atmosphere and movement. Our Household collaboration began there.

The album title came from the fact that we recorded this music in a house — about two hours north of Los Angeles. Tibet Hill Studios was the home of engineer Lynne Earls. The Household was the last record she made there. She has since moved back to L.A.

Your previous album Spry was a trio record, but Household has a totally different sound and vibe. Did a particular moment, place, or piece of music inspire the album’s direction?

I am very proud of Spry, but I didn’t want to record a sequel.

You worked with producer Chris Bruce on this album. How did his influence shape the sound of Household compared to your past self-produced work?

His spirit is in the fabric of all of this music. Some of the tunes were co-written by the two of us. Chris wrote a few on his own, and I did too. He also helped me choose the recording engineer, and suggested that we bring multi-instrumentalist Josh Johnson on to the session.

The band (Josh Johnson, Alan Hampton, Griffin Goldsmith, Chris Bruce) brings a distinct chemistry and sound to the album. How did you choose these musicians, and what did they add that surprised you?

Josh Johnson was suggested by Chris Bruce. I had heard Josh play several times before, with Jeff Parker’s group. What can I say? He’s a musical marvel. His short solo on “Lula Mae” is one of my favorite moments on the whole album.

Griffin and I met several years ago at an informal jam session in L.A. I’ve been looking for an opportunity for us to play together again. He has a great feel, and really gets to the blood and bones of each song.

Alan and I played a trio gig with Griffin two years ago. I’d heard him before then, but it was the first time we had really played together. I love the buoyancy of his playing, and the woodiness of his sound — even when he plays electric bass.

Chris Bruce is one of my favorite guitarists! His rhythm playing adds depth and dimension to every tune, and I love the way he uses effects pedals. I don’t think he considers himself a jazz-oriented player, but he really transcends style.

You recorded at Tibet Hill Studios in Tehachapi, California. Did the location influence the album’s mood or recording process?

I don’t think being in Tehachapi influenced the album in any particular way. But being a bit removed from the hustle and bustle of Los Angeles probably affected our mood. It was important to me to get us all out of town.

The album has such a cohesive, live-band energy—did you track most of these tunes together in the room, or build them up with overdubs? How did that choice shape the feel of the record?

I’m glad it feels that way! Mostly live, with just a few overdubs. We weren’t all in one room together. We set up in different rooms throughout the house.

Many of the tracks are instrumental yet feel deeply emotional, almost vocal in their phrasing. How do you approach melody to make the guitar “sing” without words?

I think about the mood I’m trying to convey. I also listen to what the other musicians are playing, and I listen to myself, too.

I’ve been an instrumentalist for most of my life. I started singing and writing lyrics about 20 years ago, after I’d already been playing guitar for a long time. Becoming a singer and a lyricist has helped me appreciate those aspects of music — even when they’re not explicitly there.

Your phrasing on this album feels especially lyrical. Do you think of guitar lines as “conversations” or “stories” when you play?
Yes! That’s my intention, exactly.

How did you approach the recording of the album guitar-wise? Did you choose any special guitar, what was your main amp choice?
I’ve been borrowing an old Fender Telecaster from my friend Leni Stern. It’s so fantastic. It sings! For this album, I played her Tele through a Gibson Discoverer amp from the early 1960s. I used that combination throughout the album, along with a few effects pedals. For the acoustic songs (“Plants”, “Magdalena”, and “Two”) I played my Collings DS2H.

You’ve played with so many incredible artists (Norah Jones, Tracy Chapman, Lizz Wright). Did any collaborations outside this project indirectly influence Household?

I worked with Chris Bruce on Lizz Wright’s Shadow album a few years ago, which Chris produced. I loved working with him in the studio then, because he has such a warm energy and is a fantastic guitarist. I knew that having Chris onboard would take my music into some fresh spaces, while still letting me play to my strengths.

“Two” closes the album as a raw, intimate duet. Why did you choose to end Household this way?

The duet was Chris Bruce’s idea. Josh and I didn’t have any preconceived plan. We just played — in one live take. Josh and I were in different rooms, listening to each other through headphones.

I don’t think it was originally intended to be the album’s closer, but when Chris and I were sequencing the tunes, “Two” felt like the right mood to end on.

After many solo albums, how do you keep your solo work fresh while staying true to your voice? Has your relationship with the guitar changed over time?

Playing with different musicians, from album to album, keeps me in a fresh frame of mind. And I’m always looking for inspiration — from other musicians, visual artists, poets, filmmakers. But whatever inspirations I’m drawing from at any time, it’s all filtered through my own ears and hands. Like they say: Wherever you go, there you are.

I think I’m playing guitar in ways that are less complicated these days. I’m feeling less burdened by all the things I’ve studied over the years. I want to follow my heart, and follow where the music leads, and connect with my fellow musicians and listeners. That’s what drives me, more than anything else.

If you could whisper one thing to listeners before they press play on Household, what would it be?

You’re part of this household too. We’ve been waiting for you.

Photos: Adam Levy’s archive. | Read the entire album review here.