Renowned session guitarist Dann Huff, whose illustrious ’80s resume includes work with artists like George Benson, Whitney Houston, Barbra Streisand, Whitesnake, and Johnny Van Zant, recently opened up about one of the most memorable – and intimidating – moments of his career: his first recording session with Michael Jackson.
In a conversation with Vertex Effects, Huff recalled joining the studio team to record I Just Can’t Stop Loving You – the first single from Jackson’s Bad album and a duet with singer Siedah Garrett. Huff was tasked with laying down guitar parts for the track, which was produced by none other than Quincy Jones and engineered by the legendary Bruce Swedien.
“The first emotion, the first thought, was just abject fear,” Huff admitted. “Pick your poison – Michael Jackson, or Quincy Jones, or Bruce Swedien… I was old enough to know that I was in the deep waters.”
The studio lineup was star-studded. Joining Huff were top-tier musicians including bassist Nathan East, drummer Ndugu Chancler, and percussionist Paulinho da Costa. Though the sheer prestige of the team added to Huff’s initial anxiety, he noted that the experience ultimately boiled down to the same principles as any other session.
“It was the same as any other session – once you take that mystique and legendary status of all these people that were there,” Huff explained.
When it came to crafting his contribution, Huff focused not on stealing the spotlight, but on supporting the song in subtle and effective ways.
“You hear the song and the object is… not to stay out of the way, but to find small – you can call them hooks – compositions that compliment the song, [and] elevate the song,” he said.
According to Huff, this philosophy is what defines a great studio guitarist. Rather than chasing flashy solos or standout moments, a seasoned session player zeros in on memorable details that enhance the overall track.
“You find out what you can do with your instrument that’s going to contribute to that,” Huff continued. “If you want to talk about the art of being a studio player, that is really what it’s about. It’s [why] you get hired. You have longevity because of the consistency of bringing those elements to a song.”
Instead of relying on “tone colors” or “fast and flashy licks,” Huff emphasized the importance of subtle, catchy motifs – what he called “little earworms” – that subtly embed themselves in the listener’s memory.
“Without it [the hook], it wouldn’t have the same bounce or same content,” he noted. “So on the Michael Jackson session, what I was listening for were little openings that I could insert some of these things. I did a lot of that thing where you volume chords, [and] whammy them a little bit.”
Huff also shared how producers during that synth-heavy era would often enhance guitar tones by routing them through synth effects for extra sonic sparkle.
“It would put that little extra sheen on top, and [so, it was all about] finding little hooks that would compliment that,” he said.
This wasn’t the first time Huff had spoken with Vertex Effects about his experiences with iconic artists. In a previous interview, he recounted working with Michael Bolton – who, according to Huff, was “meticulous” in the studio – and recalled the energy of recording Man! I Feel Like a Woman! with producer Mutt Lange and Shania Twain in 1997.
Still, even among all those high-caliber collaborations, that first session with Michael Jackson stands out in Huff’s memory – not just for the legends involved, but for the intensity and artistry it demanded.
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