Patrick Leonard's, It All Comes Down to Mood: A Journey Through the Mind of The Genius Behind Many of Music's Biggest Names! 

Explore the brilliance of Writer, Pianist & Composer Patrick Leonard's latest album, It All Comes Down to Mood: A Journey Through the Mind of the Genius Behind Many of Music's Biggest Names! 

INTERVIEW BY: GINA SEDMAN, WRITER/JOURNALIST & HEAD EDITOR 

Engaging with Patrick Leonard during our interview was nothing short of inspiring. His remarkable talent and steadfast dedication to his art shone through in every conversation we had. Leonard's knack for effortlessly moving between genres and his constant reinvention highlight his commitment and innovative spirit. His love for music is only rivaled by his humility and authentic excitement for what he does. Our discussion served as a powerful reminder of the exceptional talent that propels the music industry and his unyielding quest for artistic greatness. 

Patrick Leonard, a musical chameleon, has traversed decades and genres with his versatile career. His knack for reinvention has left an indelible mark on the music world, particularly through his influential partnership with Madonna. From the electrifying beats of “True Blue” to the introspective tones of“Ray of Light”, Leonard's fingerprints are all over some of her most groundbreaking albums. His influence extends beyond studio work; his keyboard prowess and musical direction were pivotal during “Live Aid” and the “Who's That Girl” World Tour in the mid to late 80’s. 

But Leonard's talents extend far beyond the realm of Madonna. His collaborative spirit has brought him together with an eclectic array of artists, including the likes of Elton John, Michael Jackson, and Leonard Cohen. Leonard's versatility shone through in his work with Pink Floyd, Rod Stewart, and Fleetwood Mac, among many others. 

Leonard has teamed up in the art-pop sphere with notable names such as Kevin Gilbert in Toy Matinee and Richard Page in Third Matinee, creating unique sounds that have captivated audiences. His creative genius isn't confined to music alone—he's also made significant contributions to film and stage compositions. 

Leonard's work with Leonard Cohen is particularly noteworthy. His role as co-writer and producer on Cohen's “Old Ideas", “Popular Problems”, and “You Want It Darker” yielded powerful results, including the track "Nevermind," which became the theme song for HBO's “True Detective Season 2.” 

Even Cohen hailed Leonard's compositional skills as extraordinary, calling him a remarkable talent. 

On the solo front, Leonard has continued to innovate. He launched his instrumental album Rivers in 1997 under his own label, "Unitone Recordings." He recently unveiled his 2024 album “It All Comes Down to Mood” with Ruudy  6 Recordings, showcasing his ever-evolving artistry and cementing his reputation as a boundary-pushing musician. I had the pleasure of speaking with the musical genius about his new project. Here's what he shared. 

Hi, Patrick, how are you today?  I'm ok. How are you?   

I'm wonderful! Thank you for asking. Oh wow! Look at your studio. It's amazing! Yeah, I live in it.   

You didn't tell me I was going to have a full-on concert today, but I'm here for it. I've been practicing.   

Oh, awesome. What are you practicing? I wrote these songs, so I have to perform them now. I have to make versions of these songs where I can both play and sing. Recording is so much different from performing.  

Yes, it is. Well, Patrick, it is an honor to be here with you today to interview you. Thank you.   

My pleasure. Thank you so much for your time. I appreciate this, and I'm grateful to have you here to speak with me and all our readers. I'm so excited to talk about your music, so let's do that. Yes. 

So, Patrick, I'd like to start by asking where you were born and where you are currently located. I'm from the Upper Peninsula of Michigan, essentially in the middle of the wilderness. I'm currently in the middle of Connecticut, on a lot of land in the forest, living in the woods. 

It seems like a lovely and serene spot to call home. Nestled within that forest, you're creating enchanting melodies. I'm curious: what inspired you to finally launch your own album after collaborating with so many artists over the years? You know, I really do need to figure out a good answer to this question because it's probably the most obvious one of all. I think the best way to put it is that it's not a lack of options, but rather a diminished desire to collaborate. I spent a number of years working exclusively with Leonard Cohen, doing nothing else during that time. When Leonard passed away, someone asked me, "What are you going to do now?" My response was, "As far as collaboration goes, I'm fairly certain Leonard was the last house on the block." And I truly feel that way.  

It took me some time to come to terms with the reality that the only way I would feel truly satisfied now is by doing things myself. That's where I'm at. I was working on a couple of projects—important ones by any standard—but I walked away from both. Not because they weren't beautiful or the artists weren't amazing, because they absolutely were, but because I think that part of me that used to negotiate during collaborations just doesn't want to negotiate anymore. Maybe it'll resurface at some point, but for now, that part of me is at rest. I hadn't really thought about it in those terms before, but it makes sense to me now.   

Certainly! As someone who thrives on creativity, I often distinguish between those who create and those who simply observe. The thoughts that swirl in a creative mind are often worlds apart from what the average person thinks. We have a tendency to explore our ideas and emotions deeply, and I'm about to do just that. Let's take a moment to reflect on the moment you discovered your passion for music. What was the catalyst? Did a performance on television catch your eye, or was it a family member who inspired you with their musical talent? What ignited that first spark of love for music? Yeah, I mean, there are family pictures of me in diapers sitting at the piano. I started learning little songs when I was three, with my sister teaching me. By the time I was in first grade, I was the accompanist for the school variety show—at the age of six or so. So, I don’t really know what it was, other than the fact that I’ve always had music in my life. I recently wrote something where I mentioned that I can’t remember a time when I didn’t play the piano. 

It’s always been a part of me. From a very young age, I found that coming up with my own ideas and making my own little noises was more interesting to me than playing other people’s music. That’s when I realized I wasn’t going to be one of those musicians who learn and perform other people’s songs. I’ve always done my own thing. 

The first songs I learned came from a musical family. My sister Mary was a very talented pianist who could sight-read anything. When The Sound of Music came out, she got a music book from the film. So, the first songs I learned were from that book, including “Climb Every Mountain.” That was in 1959, which means I was three. It’s funny because who leaves a three-year-old at the piano? But there you go. 

Thank you for sharing your childhood music memories with me, Patrick. Now, is there a song you’ve heard that made you think, “Wow, I want to master this,” but you haven’t quite nailed it yet? Is there one particular song that stands out for you? Yeah, there is. It goes back to when I was an early teenager. When I was a kid, when The Beatles came out, I learned their songs because I loved Them. And, of course, who didn’t? I was a little young, but my sister wasn’t, so The Beatles were always playing in the house. I felt compelled to learn those harmonies and melodies. 

But when I was a teenager, and progressive rock bands started showing up, I wanted to be a hotshot keyboard player. There was a band called Emerson, Lake & Palmer, and the keyboard player was Keith Emerson. They had an album called Tarkus. 

Tarkus was a concept record, so the whole album was kind of one long song, or at least one side song if I remember correctly. Tarkus was ferociously difficult to play, and I think I spent my 14th or 15th year on the planet learning it. I learned a couple of other things from Keith Emerson as well, but after Tarkus, I wasn’t really interested in learning more. But I felt compelled to master Tarkus. All the prog nerds out there will know what I’m talking about. If you can play Tarkus, you’ve got some serious skills, right? 

That's awesome—to be able to face a challenging song head-on and just go for it! Good for you! Who would you say is one of your favorite musicians? I don't know if there's just one musician who covers everything for me, but if I had to pick one, I'd say Keith Jarrett is my favorite musician of all time. In my opinion, he might be the greatest musician of the last 100 years. At least from my perspective, and I know people view music from different angles. But for me, he embodies that "something special" more than anyone else I’ve ever seen. So, that’s an easy answer for me. 

That's wonderful. Let’s talk about your new music. Your latest release, It All Comes Down to Mood, has a very unique title. I’d love to hear how you’d describe it in your own words. Well, it's a good story. The record started out with one title, then another, and when we finished and were working on the cover, it was called When It Comes to Giants. There’s a Part 1 and Part 2 to that title. The idea behind When It Comes to Giants was exploring the concept of “Is it ever enough?” The line in the song goes, "When it comes to giants, what's big enough for you?"—which is really about the idea that it’s enough, but it’s never enough. It has to be bigger, whatever "it" is. 

We spent a long time working with the Storm Studios team on the cover, going through sketch after sketch, but it just wasn’t quite working. Then Dan Abbott, the brilliant artist I was collaborating with, sent me a sketch he had done casually while sitting in a café. It wasn’t intended to be for the album, just something he drew over coffee. But when I saw it, I thought, “This is the cover.” 

One of the lyrics on the album is "When it all comes down to mood." It’s not actually a song title, just a lyric. I wrote back to Dan and suggested, “What if we use this picture and call the album It All Comes Down to Mood?” He replied, “Now we’re getting somewhere.” And from there, it just evolved. 

The story behind It All Comes Down to Mood goes back to Leonard Cohen. The first time I met Leonard, we were sitting in a little café in L.A. having tuna sandwiches, and he looked at me and said, “You know what it’s all about?” I asked him, “What?” Here’s a man who spent years in a Zen monastery, the real deal, and he said, “It all comes down to mood.” It was one of the first things he ever said to me. 

There’s a song on the album called “At the End of the Day,” which is basically a collection of Leonard-isms. That line—“It all comes down to mood”—stuck with me because I think he’s right. It’s as simple as this: good mood, good life; bad mood, bad life. So that’s where the title came from. Leonard didn’t say it in that exact context, but it really encapsulates what he meant when he talked about life. 

Thank you for sharing the story behind the album’s name and the endearing story about your beloved friend, Leonard. I’m sure he would be so proud to see all that you’re accomplishing and how your talent is blossoming. Now, Patrick, how did you choose the musicians for this particular album? Well, after years of producing records, I’ve found that when you’re producing for a solo artist who doesn’t have a band, you have the luxury of casting the best players for each group of songs. You can pick one set of musicians for one group of songs and a completely different set for another. That mentality definitely influenced my choices here. 

I chose the musicians I thought were the best fit for each song. There’s some overlap, and some musicians were brought in for specific tracks. It’s a long process, but it’s about knowing that a particular guitar player has the right vibe for a song, that it comes naturally to them. After years of doing this, you develop a clear sense of who fits where. For example, on the song “Hat and Coat,” Wendy Melvoin is the only guitarist I could imagine playing those rhythm parts. It just wouldn’t have worked with anyone else. 

Absolutely, I completely understand. What do you want listeners to feel when they listen to It All Comes Down to Mood? What kind of emotion or experience are you hoping to evoke with this project? I believe the record has a lot of movement and variation. I wrote many songs to narrow it down to these 16 tracks, and the final selection was partly determined as we got closer to the deadline. From the beginning, I was intentional about grouping the songs into 19 or 20-minute sides. Initially, I thought it would be two or four sides, but it's all pieced together now.  

The idea is that you put on side one, listen through it, then get up, flip it over, and listen to side two. Afterward, you can take a break—maybe go to the bathroom, grab a drink—and then come back to put on the second disc and repeat the process. I did my best to create an experience that offers a sense of movement and a journey. Whether I succeeded or not, only time will tell. People might say, "Are you nuts? You didn't even come close to that," or "Nice job."  

I'm all for people expressing their uniqueness in their art. In the music industry today, it seems like many are just looking for the next version of someone else. It's become very business-oriented, and while I understand that business is a part of the industry, I believe that one of the major components is your own uniqueness and what you bring to the table. When you look at art, you see all these different pictures on the wall, each painted differently. That's who the artist is.  

I believe music is akin to a unique work of art that reflects your personal touch. It's truly exhilarating to be able to declare, "This is my inspiration," and just play, releasing it into the world for anyone who wishes to experience it. Art enthusiasts will undoubtedly cherish the rich tapestry of creative expression. Over the years, we've all seen trends come and go in different directions. Personally, I don't listen to other people's music, and I haven't really done so since I was a kid. Occasionally, something might catch my interest for a little while, but for the most part, I avoid it. There are a couple of reasons for this: I don't want to absorb other people's ideas, and I find that the core elements of music—harmony, rhythm, melody—are enough to explore. If I ever feel like my music is becoming boring, I'll search for something beyond what I already know to open up new possibilities. Whether it's a new harmony, rhythm, or compositional structure, if you want to discover something you've never heard before, you won't find it on pop radio. No offense, but there's nothing there that will show you anything new.  

At least, not for me. I'm not boasting—if something doesn't expand my current knowledge, it doesn't interest me. That's no offense to anyone; it's just that I don't need to hear it again. I think it's just the way my mind works, wanting to do something new each time I sit down to create. I'm sure I repeat myself a lot, but to some extent, it's my own vocabulary that I'm speaking. It's influenced by all the rock music I grew up with and the lyricists I admired, those who made me think, "Now that's writing." They set a bar that I strive to reach.  

That makes perfect sense to me. It's like talking on the phone with the door open—there's too much noise, so you close the door to focus on the conversation. If there's too much noise, you can't concentrate on what's important at the moment. It makes all the sense in the world to drown out the noise so that you can find out who you are, what you love to create, and what moves you. If something moves you deeply and you understand why, you can create something that will move others—not everyone, but those of like mind and heart. And I don't think we're all that different, really. 

Absolutely. Are you planning on doing any live performances or promoting the album locally? Are you joining any tours, or what are your future plans regarding your music career? Right now, it's mainly about getting the album out there and seeing how it's received. There are definitely plans for some shows, and I think there are a couple of TV appearances lined up to talk about the album and showcase it a bit. I'm also working on putting together a group of musicians who can perform consistently. By "consistently," I mean finding time to play together since this isn't a full-time band. If you book a gig, everyone needs to be available and meet the standard we're aiming for. I'm working on that, and I would love to have a good reason to tour for a couple of months if there's a demand. 

Yes. If there's interest, and if the album resonates with people, it will translate well to live performances because it's built on that concept. The music is rooted in what I grew up with, and I always used to say that albums were just something to hold you over until you could see the band live again. 

Right. So, if this album reaches that point and I put something together for live performances, I believe all the dramatic twists and storylines that I imagine in my mind will come to life on stage. That's what a live show is about creating an experience where you say, "No, no, it's going here. See the lights getting brighter? See the moon crossing the sky?" 

Absolutely. Where can people find your new project? You mentioned it's going to be available on vinyl. Yes, vinyl will be the primary format available for purchase. The rest will be on the standard streaming platforms. There's no immediate plan to produce CDs, but we'll see how they're received. If there's a demand, we'll consider making them. 

Wonderful. Lastly, you've been in the industry for quite some time. What advice would you give to independent artists trying to make a career in music based on your experience? Any words of wisdom? I have some thoughts—maybe not wisdom, but they come from experience. My work stood out because I didn't care what others were doing. I never have, and I never will. It's just how I'm wired. In an era dominated by social media, which I don't fully engage with because it's too distracting, I think protecting your uniqueness is crucial. Don't just maintain it until you get noticed and then follow trends to gain popularity or more followers. If you're focused on creating something distinct, stay true to that, even if it means fewer likes or followers. But if that's your goal, then go for it. 

Yes. Ironically, I wasn't trying to make money, hit records, or anything like that. I was just trying to improve and find opportunities to better what I do. You need to be bold enough to see yourself as unique, and that's my advice. Oh, and maybe invest in AI stocks—buy as much as you can afford. 

Well said, Patrick. I want to thank you again for your time. I really admire what you do, and I pray that God continues to bless the work of your hands according to His will for your life. May He bless your family, keep you safe on your travels, and inspire you with beautiful melodies that come to life on your keyboard. I'm proud of every milestone and achievement you've made. You're incredibly talented, and I'm honored to speak with someone who creates beautiful music and has a beautiful heart. Thank you. You're very generous, and I appreciate that very much. 

It's my pleasure. Thank you so much. Thank you. Take care. 

You too, Bye. Bye. 

 https://patrickleonardmusic.com/

www.leonardyowell.com 

End of Interview