The legendary Dave Mason comes to Brixton

Imagine being at a party with Jimi Hendrix. Then imagine being at a party and hanging out with your friend Jimi Hendrix. Someone throws on a fresh copy of Bob Dylan’s new album “John Wesley Harding,” and upon hearing “All Along the Watch Tower” your friend Jimi says, “Man, I’ve got to record this!” Imagine right then and there, you and your friend Jimi split from the party to go record the most mammoth and recognizable version of the song, together.

Dave Mason doesn’t have to imagine these things, he remembers them. As a founding member of Traffic in the mid-late 60s, capable producer, and in-demand musician, Mason has traversed the halls of rock n’ roll fame alongside some of the biggest names in history.

His tenure with Rock and Roll Hall of Fame inductees Traffic would be enough on its own (appearing on the same roster as Steve Winwood, Jim Capaldi, and Chris Wood); but Mason is found present in countless other astounding instances… on The Jimi Hendrix Experience’s “Electric Lady Land,” George Harrison’s “All Things Must Pass,” Paul McCartney’s “Listen To What The Man Said,” and Rolling Stones’ “Beggars Banquet”…

“I’m playing on ‘Street Fighting Man,’” says Mason. “Some of the drums, and that weird horn at the end.”

His legacy also reveals collaborations with Cass Elliot, Eric Clapton, Delaney and Bonnie, Michael Jackson… and at one point he was a formal member of Fleetwood Mac. In 1968, he produced Family’s debut album “Music In a Doll’s House,” also contributing the track “Never Like This.” In 1969, he produced and contributed greatly to Gordon Jackson’s only album “Thinking Back” (which in some circles is loosely referred to as “The lost Traffic album,” for it’s Traffic-esque sound and the presence of all founding Traffic members).

“I’d like to get a copy of that album myself,” he says.

While the artist’s collaborative works are daunting enough to make any musician either want to give up and turn it in right now – or pursue the dream ever harder – it’s actually Mason’s solo career and commercial successes that he is most widely known for (other than his eternal Traffic hit “Feelin’ Alright,” covered by Joe Cocker to great success in 1969). In an interview with Steve Winwood from Mojo Magazine, Winwood recalled Mason’s directive influence during the Traffic days, saying, “We all tended to write together, but Dave [Mason] would come in with a complete song that he was going to sing and tell us all what he expected us to play. No discussion, like we were his backing group.”

Mason imprinted the charts with his solo hits. “Just For You,” “Only You Know and I Know,” “Shouldn’t Have Taken More Than You Gave,” during the early 70s; “We Just Disagree,” “Let It Go, Let It Flow,” in the late 70s. Albums continued to flow throughout the 80s, a stint with Fleetwood Mac in the 90s, and even an album stretching into the 2000s – “26 Letters – 12 Notes” from 2008.

Picking on the lexicon of his memories, spanning nearly four decades of rock n’ roll fame, I took the risk of asking Mason what’s been the best part of the whole ride. Inundated with too many highlights to sort through, his sage-like response was quite comforting.

“Hopefully it hasn’t happened yet,” he said. “Maybe saved the best for last.”

Having become a professional musician at the ripe age of 16, and still feelin’ alright enough to perform at 65, it’s vastly encouraging to hear one of rock’s most beloved icons looking forward to the better years of artistic output. In the end, it is and always was about the music.

“I’m just happy that I still can perform,” says Mason. “As in, really happy that people still come out after all these years. Being able to perform and play is great, getting there is not so great.” He laughs. “I’m grateful I’m still able to do it.”

Hopefully he won’t have too much trouble or run into traffic on his way to the South Bay, where the legend will be performing at Brixton on Redondo Beach pier, this Saturday Dec 3. I get the feeling he won’t… When asked what’s in store for the future, Mason bluntly and promisingly states: “Rock ’til I drop, I suppose.”