Working alongside David Bowie on “This Is Not America” remains an unforgettable chapter in my career. The song originated as the main theme for the film score of “The Falcon and the Snowman.” After an inspiring trip to Mexico City, observing Sean Penn and Timothy Hutton during filming, the melody and structure of the piece came to me quite swiftly.
Later, during the score’s recording sessions in London, film director John Schlesinger proposed a collaboration with David Bowie. The idea was to create a vocal version of the song for the movie’s end credits. David Bowie attended a screening, and I had the privilege of sitting near him as he watched “The Falcon and the Snowman” for the first time. He was intensely focused, a yellow legal pad on his lap, constantly writing. By the film’s end, he had generated an impressive list of around 30 potential song titles, each reflecting his brilliant mind at work. One title, “This Is Not America,” resonated deeply, directly inspired by a line from the movie itself.
David Bowie took the instrumental track with him, and a month later, the core members of my band and I journeyed to Montreux, Switzerland, to join him at his studio. He had already transformed my demo, adding a driving drum machine rhythm while preserving the original form and core melody. Crucially, Bowie layered his own distinctive vocal melody over the “A” section, crafting lyrics that were both haunting and deeply evocative. In my view, David Bowie’s lyrical contribution elevated “This Is Not America” into a powerful and enduring protest anthem, showcasing the depth of David Bowie songs.
Witnessing David Bowie record his vocals was an experience I hold sacred. His performance was nothing short of masterful. It evoked the same awe I’ve felt in the presence of jazz legends, musicians who possess an unparalleled presence that infuses every note. Bowie worked with incredible speed and precision. When he inquired if any of us could contribute background vocals, and we confessed our limitations, he took on the task himself. He effortlessly layered multiple vocal parts, seemingly morphing into different characters with each take, adding rich textures and harmonies that are hallmarks of David Bowie songs.
Throughout our collaboration, David Bowie was consistently kind, generous, and remarkably down-to-earth, a stark contrast to some of his more flamboyant public images. My strongest impression was his unwavering professionalism. He was deeply committed to creating an exceptional song, focused on delivering a powerful vocal performance and capturing the essence of the track with spontaneity and efficiency.
It comes as no surprise that David Bowie’s final recordings featured some of New York’s finest contemporary musicians, including the phenomenal Donny McCaslin. During our time together, Bowie revealed a genuine appreciation and deep knowledge of contemporary music, particularly admiring saxophone players. He possessed a broad and inspiring perspective on music and art, making him an exceptional collaborator and a true icon. I feel immensely fortunate to have had the opportunity to work alongside him and contribute to the legacy of David Bowie songs.
