“I’ve played with all of the best musicians in New Orleans, and the city has so much soul. I’m close to a lot of people there … I have a couple friends who lost homes. The music keeps everything together.”

How did Motherlode come together?

It all started in ’93 with this jam night in San Diego. Every Monday night, all the San Diego musicians — Cheme Gastelum, Robert Walter, Chris Stillwell, Zac Najor, those guys — we would all get together and just jam on funk songs. We were actually punk rockers at the time, believe it or not, but we started getting interested in funk and groove songs. We had a get-together last year, and someone had the idea that we should bring back Motherlode. Originally we had Zac Najor on drums, but he’s been busy lately, so we’re having Adam Dietch fill in for a while.

What is different about playing with Motherlode in comparison to what you do with Karl Denson’s Tiny Universe?

Everyone is on equal footing because we have no set band leader. Everyone gets equal time and gets a chance to bring something to the table. It’s a freer context, loose and fun. We play similar music in that we’re both playing funk and groove jazz, but the band dynamic sets it apart.

Since you are all playing in several different touring acts, how do you guys keep the groove tight?

We get together the day before the show, when everyone flies in, and practice a bit. We’re all really familiar with each other, so that makes it easier. We wrote a bunch of new songs last year. Everyone put a couple songs on a CD that gets passed around and everyone learns the songs.

How did you get started playing the guitar?

My parents weren’t musicians, but they played a bunch of jazz records around me. I was listening to Wes Montgomery, George Benson, classic rock, pretty much everything since I was in a crib. When I was 3 years old, I asked for a guitar, and by the time I was 8, I got one.

Being in a band that plays all over the nation, and knowing as many musicians as you do, how has Hurricane Katrina affected you?

It was a pretty heavy blow. I’ve spent a lot of time in New Orleans — we played the last six Jazz Fests; Halloween shows; we play there all the time. I’ve played with all of the best musicians in New Orleans, and the city has so much soul. The music really means a lot in its history. I’m close to a lot of people there, and I’ve touched base with them recently. I have a couple friends who lost homes. The music keeps everything together.

Out of all the musicians you have played with, who was your favorite to share the stage with?

James Brown. We played with him and Dave Matthews Band in Madison Square Garden on New Year’s Eve — it was an awesome show. I was on tour with Karl Denson’s Tiny Universe and Dave Matthews Band, and Dave came in and asked if I wanted to play guitar with James Brown. I played on “Sex Machine” — James even gave me the first solo. He screamed, “Guitar!” It was an amazing moment. There was confetti everywhere.

What is your favorite venue to play at?

I would probably say The Fillmore in San Francisco.

What do you look to create on your solo record?

I have such a diverse array of influences, I like to hone in on those and make something that people can enjoy and appreciate. There is everything from funk and jazz to rock ‘n’ roll on there. I really just want to stay true to my roots.

To hear Jordan’s music, check out www.brianjordan.net

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