Summer 1959. The concert under the stars in the Wellfleet, Massachusetts, town parking lot was over. Pete Seeger was packing up his banjo as I approached him gingerly—I was 6 years old. I stuck out the notepad I'd been careful to bring. "Can I have your autograph?"

Towering over me, six-three to my three-eight, Seeger said in exasperation, if not outright coldness, "I don't give autographs. I'm not some goddamned star."

Terrified, I stood my ground.

Sometimes it's good to step outside your comfort zone. In fact, I relish new and novel experiences. It's a major reason I enjoy attending hi-fi shows and events: for the chance to see and hear new things—new hi-fi equipment, especially equipment that's groundbreaking or unusual.

My wife saw me putting on my new LP of Joni Mitchell's great For the Roses album and said: "Oh, our breakup album!" Never mind the confusing details—we're obviously still (or again) together—that's how intense the bonds are for many people with Joni's music: We people of a certain age set the clock of our lives by her recordings.

Tyler Chester was headed south on the I-5 to San Diego, where he would join indie-rock eminence Andrew Bird's road band for a brief tour. Touring is an activity Los Angeles–based Chester pursues with decreasing frequency, he told me in a recent phone chat. After years as a busy sideman and recording-session musician—he is equally proficient on bass, guitar, and keyboards—Chester finds himself spending less and less time as a player and more as a producer.