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Steve's Blog: Solo Bass & Beyond



Review – For The Love Of Open Spaces (No Man list)

May 7th, 2008 · No Comments

“There is a new Theo Travis and Steve Lawson album “For The Love Of Open Spaces”. If you haven’t heard about Theo Travis yet, just check credits of the PT and no-man (and even Bass Communion!) albums you have and on some of them you’ll find this name. (My fave no-man contribution of TT i his flute lines on “Chelsea Cap” (All That You Are EP). )

He appears also on (I guess two) Jansen/Barbieri/Karn albums (+ Indigo Falls by Suzanne & Richard Barbieri), Anja Garbarek “Smiling And Waving”, last two or three Gong albums (what he does there is amazing), and many, many others.

I cannot say anything about Steve Lawson as I haven’t heard about him until now, all I know comes from the Internet.

For me the most important Theo Travis works are those with Dave Sturt as the incredible duo Cipher, also recently his solo album “Slow Life” and now “For the Love of Open Spaces” – just released (unexpectedly for me).

If you’ve heard “Slow Life”, just imagine those beautiful flute layers and textures with additional bass by Steve Lawson and here you are. They both recorded the album live in studio, mostly improvising, looping together their instruments: Theo – alto flute or soprano sax, Steve – bass guitar (sometimes sounding like an electric guitar, or even synthesiser). Once it’s even looped back and it still sounds great – remember it’s all made and mixed live without any overdubs. So, that’s a kind of painting – one layer on the previous ones, you don’t know when the line you’ve been concentrating on disappeared and when 5 new appeared. It’s a kind of “dynamic” ambient – it changes all the time, but so fluently and softly that it makes up something like the surface of the an ocean – floating all the time but still uniform, smooth. Start swimming.

A beautiful, reflective and deeply pathetic album, a little bit more melodious than “Slow Life” and therefore more accessible.

quote from the cover: “….hence the sound of 8 bassists and 15 saxophonists playing at once…”

yeah, or flautists…

If nothing changes, it seems that in my very “Top” of this year there may be two Theo Travis albums.

best wishes
exodus .:.”

[editors note – I’m not sure what he means by ‘pathetic’, but the reviewer is Polish, so I’m guessing it lost something in the translation!!!!]

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playing for other people

May 5th, 2008 · 1 Comment

As much as I love playing solo, collaborating with other people is a huge part of my musical life. If you’re interested in hiring me for a project, or have a collaboration to suggest, please do get in touch!

-_o_-

people I’ve played with/for – Aaron Gibson, Airstar, Alex Douglas, Alex Legg, Al Swainger, Alvin Stardust, Amy Kohn, Andre LaFosse, Andrea Hazell, Andrew Buckton, Andrew Gouche, Andrew Pask, Andy Edwards, Andy Gangadeen, Andy Hamill, Andy Thornton, Andy Williamson, Artemis, Beardyman, Ben Castle, Ben Okafor, Black Feathers, Boo Hewerdine, Briana Corrigan, Bryan Beller, Bryan Corbett, Calamateur, Carrie Melbourne, Charlie Moreno, Chris Bowater, Claudio Zanghieri, Cleveland Watkiss, Cole Moreton, Commonwealth, Corey Mwamba, Daniel Berkman, Dave Bainbridge, Davey Spillane, David and Carrie Grant, David Lyon, Deborah Jordan, Divinity, Dudley Philips, Duncan Senyatso, Elvin Jones, Emily Baker, Emre Ramazanoglu, Estelle Kokot, Filomena Campus, Fiona Clifton-Welker, Franck Vigroux, Gary Lucas, Geert Doldersum, Guy Jackson, Guy Pratt, Gwyn Jay Allen, Harry Napier, Hossam Ramsay, Howard Jones, Huw Warren, Iain Archer, Ian MacGowan, Ivan Hussey, Jason Carter, Jason Cooper, Jason Rubenstein, Jean Toussaint, Jeff Kaiser, Jem Godfrey, Jerome Cury, Jez Carr, John Lester, John Perry, Johnny Markin, Jonas Hellborg, Jon Thorne, Josh Seurkamp, Jude Simpson, Julie Lee, Julie McKee, Julie Slick, Juliet Turner, Kaffe Matthews, Kerry Getz, Kira Small, Leo Abrahams, Lobelia, Lorenzo Feliciati, Luca Formentini, Luca Sirianni, Mano Ventura, Mark Kelly, Mark Lockheart, Matthew Garrison, Matthias Grob, Michael Manring, Mike Flynn, Mike Haughton, Mike Outram, Mike Sturgis, Miriam Jones, Muriel Anderson, Murphy McCaleb, Neil Alexander, Orphy Robinson, Oteil Burbridge, Otto Fischer, Patrick Wood, Pete Fraser, Peter Chilvers, Peter Katz, Phi Yaan-Zek, Pierce Pettis, Ray Russell, Reeves Gabrels, Ric Hordinski, Richard Lewis, Rick Walker, Rise Kagona, Roger Eno, Robert Logan, Robert Mitchell, Rob Turner, Rowland Sutherland, Roy Dodds, Ruth Goller, Sammy Horner, Sanju Sahai, Sarah Masen, Seb Rochford, Shlomo, She Makes War, Sonya Kaye, Stephen Bingham, Stephenson & Samuel, Steuart Liebig, Steve Apirana, Steve Beresford, Steve Gregory, Steve Jolliffe, Steve Lockwood, Steve Noble, Steve Thompson, Steve Uccello, Stuart Ryan, Susan Enan, Tanya Donelly, Terl Bryant, Theo Travis, Thomas Leeb, Tiger Darrow, Tim Bowness, Tony Buck, Torycore, Trip Wamsley, Todd Reynolds, Tunde Jegede, Vicki Genfan, Yolanda Charles, Yvonne Lyon and more…

discography

2017 – Steve Lawson/Bryan Corbett – Beautifully Disturbed
Steve Lawson/Corey Mwamba – Surprise
Yvonne Lyon – Metanoia
Steve Lawson – Small Is Beautiful
Steve Lawson – PS, You Are Brilliant
Steve Lawson/Poppy Porter – Illuminated Loops
John Lester – Fathers And Sons
Steve Lawson/Andy Edwards – Over Time
Steve Lawson – If They Had Won
Steve Lawson/Pete Fraser – Oven Spring
Steve Lawson/Pete Fraser – Intersect
Lobelia – Love Or Something Like It
Steve Lawson – Towards A Better Question

2016 – Lawson/Edwards/Yaan-Zek – Ley Lines II
Steve Lawson – Hark/Winter
Tanya Donelly – Swan Song Series
Steve Lawson – The Surrender Of Time
Steve Lawson – Colony Collapse Disorder
Steve Lawson – Hands Music
Steve Lawson – Referendum
Steve Lawson – Well Say Hello Then…
Alberto Rigoni – Bassorama
Kiama – Sign Of Four (Bonus CD)
Steve Lawson/Phi Yaan-Zek – The Quiet After The Drums
Steve Lawson and Michael Manring – Language Is A Music

2015 – Steve Lawson – You Guys! Let’s Just Talk About Nail Varnish!
Steve Lawson, Andy Edwards, Bryan Corbett – Winter Song
Steve Lawson, Andy Edwards, Jem Godfrey – Live At Tower Of Song
Steve Lawson – A Crack Where The Light Gets In/The Way Home/Closing In
Airstar – Retrospect
Steve Lawson, Andy Edwards, Phi Yaan-Zek –
Ley Lines
Steve Lawson (with Ruth Goller) – Explore

2014 – Steve Lawson and Julie Slick – Marinate
Steve Lawson with Jon Thorne – Diversion
Steve Lawson – What The Mind Thinks, The Heart Transmits

2013 – Artemis – Triptych II (Nine For A Kiss) (bass and mastering)
Artemis – Triptych I (Eight For A Wish) (bass and mastering)
Artemis, Steve Lawson & Daniel Berkman – For Now
Black Feathers – Strangers We Meet
Steve Lawson and Daniel Berkman – FingerPainting Complete (10 albums + 2 album best of)
Steve Lawson and Daniel Berkman – Accidentally (On Purpose)

2012 – Steve Lawson and Andy Williamson – Nothing Can Prepare
Steve Lawson and Mike Outram – Invenzioni
Lawson/Alexander – Hidden Windows
Artemis – Sephyra
Steve Uccello  – Fire Times
Steve Lawson – Believe In Peace

2011 -Lobelia – Beautifully Undone (Songs I Wish I’d Written)
Steve Lawson – 11 Reasons Why 3 Is Greater Than Everything

2010 – Steve Lawson – Ten Years On – Live In London
Trip Wamsley and Steve Lawson – Infrablab
Steve Lawson and Trip Wamsley – Slow Food
Steve Lawson and Lobelia – Live So Far (featuring Todd Reynolds and Neil Alexander)

2008 -Lawson/Dodds/Wood – Numbers on Better Late records.

2007Luca Formentini; Tacet (bass and loopage on one tune), on Extreme Records.
Calamateur vs Steve Lawson; Calamateur vs Steve Lawson, on Autoclave Records.

2006Steve Lawson; Behind Every Word.
– Steve Lawson; Lessons Learned From The Fairly Aged Felines.

2005Various Artists; European Bass Day 2004 – compilation CD, featuring tracks by John Lester, Lorenzo Feliciati, Jan-Olof Strandberg and others.
Various Artists; As One (charity CD featuring one of Steve’s tracks alongside tracks by Jimmy Haslip, the Poogie Bell Band, Steve Jenkins, Mo Foster, Peter Muller, Janek Gwizdala, Stevie Williams, Lorenzo Feliciati, David Dyson, Laurence Cottle & Dean Brown, in aid of SOS Children‘s work in the aftermath of the Tsunami)

2004Steve Lawson; Grace And Gratitude.
Steve Lawson; Lessons Learned From An Aged Feline Pt II.

2003Steve Lawson; Jaco’s ‘Portrait Of Tracy‘, for Total Guitar Magazine, Bass Special.
– Steve Lawson/Theo Travis; For The Love Of Open Spaces.
– Steve Lawson/Theo Travis; It’s Not Gonna Happen.
Andrew Buckton; Rocket Ship on Blue Carpet Records.
– Chris Bowater; Still on db studios.

2002Steve Lawson; Not Dancing For Chicken.
Steve Lawson; Lessons Learned From An Aged Feline Pt 1 on Pillow Mountain
Susan Enan; Moonlight (EP)
– Commonwealth; That’s the Way It Goes (OD Hunte single remix)
– Steve Lawson/Jez Carr; Conversations.

2001Jason Carter with Ragatal, and Hossam Ramsay; Elements (Fragments Of Grace re-released with some percussion overdubs from Hossam) on ARC
Andrew Buckton; Now… But Not Yet on Bluecarpet Records.
– Pauline Wright; Come Closer (Private Release)

2000Steve Lawson; And Nothing But The Bass, Live @ The Troubadour
Andy Thornton; The Things You Never Say (CD single) on EIS
– Steve Lawson; Guitarist mag cover CD Aug 2000 (1 track – ‘The New Country’)

1999Andy Thornton; The Things You Never Say on EIS
– Chris Bowater; Heritage And Hope on Word

1998 – Various Artists; New Songs for 98 on Word
Jason Carter With Ragatal; Fragments Of Grace on ARC
– Chris Bowater; All About You on Word

1997 – Trish Morgan; Spring Harvest Live Vol 1 & 2 on ICC
– Various Artists; Together For Christmas (live) on dB Studios

1996 – Various Artists; Power Of Your Love (Grapevine Live) on ICC
Johnny Markin; See With Your Eyes on ICC
– Geert Doldersum; With All Of My Heart on Spark
– David Lyon; Precious Little Things(private recording)

1995Johnny Markin; Between Two Worlds on ICC

1994 – Chris Bowater; A New Day on ICC

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Timeline and Trivia

May 3rd, 2008 · Comments Off on Timeline and Trivia

Musical Equipment Used

Elrick Gold Series SLC 6 String fretted and fretless basses, Modulus Basses (6 string fretted and fretless and 4 string fretted), a Rick Turner 5 String Renaissance ‘Amplicoustic’ fretless bass, two Aguilar SL112 cabinets and 2 Aguilar Tonehammer 350 amp heads, A Jule Monique Preampthe Looperlative LP1 for looping, Keith McMillen SoftStep controller and Quneo controller, MODDevices MOD Duo for processing, MXR, Darkglass, and Markbass overdrive pedals, a TC Electronics HOF mini Reverb and Flashback delay, Aguilar Overdrive, Fuzz, Compressor, Octave, Chorus, Filter and Preamp pedals, MXR Reverb, Sub Octave Bass Fuzz, Bass Distortion, Bass Chorus Deluxe, Bass Envelope Filter, Bass Preamp & Bass Fuzz Deluxe, Subdecay Vitruvian Mod ring modulator, Pedal Train pedal board an E-Bow+, Latch Lake and Dunlop slides, Dunlop Super Bright strings, East-UK preamps, Evidence Audio cables, GoGo tuners, 2 Korg Mini Kaoss Pad s and a MOTU Ultralite Mk III Hybrid. And I carry my basses around in SlickBag gig-bags.

Musical History

1986 – got a bass and joined first band
1988 – broke arm, kicked out of first band, formed second band (EARS) – played first gigs
1989 – GCSE Music, Grade C
1991 – AS Level Music, failed – fine at composition, not so hot on history… :o) Somehow got into music college in Perth, Scotland. Teaching as head of bass at West Lothian Rock School.
1993 – left college, moved to Lincoln, tour with Canadian singer/songwriter Johnny Markin. Gigs all over Europe, played on three albums.
1994-96 – working as a pro in Lincoln, teaching, studio and live session work.
1996 – moved to London, more session work, including TV, Radio and theatre work, more teaching.
1997-99 – teaching at Drumtech and Basstech, West London.
1997-2000 – freelance reviewer/interviewer/columnist/gadget guru for Bassist magazine in the UK.
1999 – Toured Europe with Howard Jones. First completely solo gigs in London.
2000 – Released And Nothing But The Bass on Pillow Mountain Records. More solo gigs around England.
2001 – 2 Solo tours of California, including headlining the world’s first solo bass looping festival, and tour with Michael Manring and Rick Walker. Clinics for Ashdown Amps and Modulus Basses. Solo gigs in France.
2002 – Another tour in California, Released Conversations, duo CD with Jez Carr, on Pillow Mountain Records, 2 Major tours of UK Theatres and concert halls supporting first the 21st Century Schizoid Band then Level 42. Two shows at the London Guitar Festival. National TV and local radio appearances in the UK. Featured in the Sunday Times Culture Section. Released second completely solo CD, Not Dancing For Chicken. NDFC picked as one of the best CDs of the year by Aural Innovations
2003 – four week solo tour of California, gigs with Michael Manring and David Friesen, including the Anaheim Bass Bash, featured interview in Euphoria magazine, and review of NDFC in Bass Player (Feb issue). New recordings with Theo Travis, BJ Cole and Patrick Wood for future release. Duo gigs with Theo Travis. Gig at the barbican with orphy robinson. Recording in France with Vigroux/Cury/Rives for upcoming release. first italian solo gig and recording session in august. Duo CD with Theo TravisThe Arts Show, alongside Jenny Eclair and Barry Cryer. Acclaimed appearances at The Detroit Bass Fest and European Bass Day. Gigs in US and UK with Muriel Anderson. A second tour in England with Michael Manring in November.
2005 – another year another NAMM show, followed by a few promo gigs with Michael Manring in California. Dates with pedal steel guitarist, BJ Cole, and recording and gigs with singer Cleveland Watkiss, as well as more UK dates, the Edinburgh Festival and a trip to Italy. Started monthly music night, Recycle Collective.
2006 – back to California, NAMM again and some more dates and another day-long masterclass, Recycle Collective continues to be one of the best live music nights out in London, and features musicians such as BJ Cole, Cleveland Watkiss, Orphy Robinson, Seb Rochford, Todd Reynolds, Jason Yarde, Andy Hamill, Patrick Wood, Leo Abrahams, Julie McKee, Andrea Hazell. UK tours with Theo Travis, Muriel Anderson and Ned Evett. 4th solo album, Behind Every Word, released on Pillow Mountain Records. Recording in Italy with guitarist Luca Formentini. New duo formed with singer Julie McKee, for the Edinburgh Fringe. European tour in October, including EuroBass Day and European Bass Day, as well as an electronica festival in Italy. Behind Every Word makes a number of end of year ‘best of 2006’ lists.
2007 – guess where it started? Yay, NAMM!! Bass-Bash, two days of masterclasses, Modulus clinics and gigs both solo and with Muriel Anderson and Vicki Genfan. Much fun. First New York show too. European tour with Lobelia, including first time visit to Frankfurt Musik Messe and gigs in Italy, Spain, Germany and Denmark, 7 week tour of the US, 24 states, 7000 miles. Gigs at Greenbelt festival with Lobelia, Sarah Masen and Ric Hordinski. Recycle Collective relaunched in September. Playing on one track on Luca Formentini’s album, Tacet. First Amsterdam and Geneva gigs in November. Released live EP with Lobelia in December. Recorded improv album with Patrick Wood and Roy Dodds.
2008 – NAMM again, with Lobelia this time, playing the bass-bash and for Looperlative and Modulus. More California shows. Back to England, playing lots of ‘acoustic’ shows with Lobelia, London Solo Bass Night in March with Todd Johnson and Yolanda Charles, . Year ended with Lawson/Wood/Dodds album ‘Numbers’ released, and some LDW gig dates round London, followed by a whole string of house concert shows in England and the US with Lobelia. 2008 was also the year of social media – 10 years of running my music career online turning into a 2nd career teaching and consulting on how it all works, including Nokia flying me to Helsinki for their Open Lab, and working on the launch of Ucreative.tv at UCA in Rochester. Finished the year with a series of house concerts in the UK and the US with Lobelia..
2009 – …which continued into the new year on a trip that included a trip to NAMM, a masterclass at Duquesne University in Pittsburgh and a series of masterclasses in bass, looping and ‘social media for musicians’ in various people’s houses. But I did miss the bass-bash for the first time ever. Back to the UK for more bass masterclasses and other University-based projects around the future of the internet… look out for a new solo album at some point this year!
2010 – the first half was spent looking after our new born baby, but at the age of 6 months, we took him to the US for a 7 week, 6500 mile tour of house concerts, that took us from Brooklyn to Milwaukee, Massachusetts to Lake Charles Louisiana, via Texas, Tennessee and Ohio. Lo and I recorded a live album on the tour, featuring Todd Reynolds and Neil Alexander, and while in Louisiana I recorded TWO duo albums with Trip Wamsley, released in September. The end of the year featured a sold out London gig with Michael Manring, and speaking engagements in the UK and Berlin at grass roots music industry conferences. I also released another live album, celebrating the 10th anniversary of my debut album coming out.
2011 – first half of the year was focussed on getting my first new studio album in 5 years finished. 11 Reasons Why 3 Is Greater Than Everything was released and followed by a 2 month, 8000 mile US tour, which included shows with Julie Slick, Trip Wamsley, Tiger Darrow, Steven Guerrero, Darren Michaels, Neil Alexander, Trevor Exter and Catherine Marie Charlton. The trip also included me guest-performing at Victor Wooten’s Music-Nature Camp, teaching a bass masterclass in Virginia, and Lobelia and I being the only overseas musicians to be booked to play at the first Wild Goose festival. Oh, and  I also co-produced, mixed and mastered Lobelia’s new record, Beautifully Undone. We started selling our music on USB Stick, which has proved v. popular. A move to Birmingham in the late summer promises all kinds of new opportunities.
2012 – the year started with the release of Believe In Peace, an all-improv solo record, recorded in Minneapolis. January continued with a return visit to NAMM, 12 shows in 12 days including duo shows with Julie Slick, Michael Manring and Daniel Berkman, a recording session with Steve Uccello and a playing-and-speaking gig at Stanford uni, as well as a masterclass at LA Music Academy. The shows with Julie, Michael and Daniel were all recorded, so mixing and mastering work on those took up a lot of the following months, as well as recording for Californian singer/songwriter Artemis. May saw the relaunch of Beyond Bass Camp, and the remastering of 11 Reasons… 2012 also saw the formation of #ToryCore – a project that coupled the evil words of the Tory govt with twisted avant garde metal. One of my favourite ever musical projects.
2013 – started with NAMM and another 8 shows with Daniel Berkman, and this time Artemis joined us on vocals at every gig. It was one of the most amazing musical experiences of my life to play with them both. Which is why a large chunk of the year was taken up mixing, mastering and releasing EVERY show we’d done up to that point. All 10 of ‘em. Went out to Frankfurt to the Musikmesse, more ToryCore shows & a few more gigs with Alvin Stardust depping for his regular bassist. Started teaching at Kidderminster College, and ended the year with a lovely joint tour with one of my favourite bassists – Yolanda Charles, and with a duo show with Andy Edwards on drums.
2014 – Another NAMM trip, 11 wonderful shows with Daniel and Artemis (part of a run of 14 shows in 13 days for me!). Just before NAMM I was invited to speak at the Microsoft Social Research Symposium in NYC, which was one of the most brilliant few days of my life. The duo project with Andy Edwards expanded to become ‘Andy, Steve + 1’ and we played a couple of gigs with Julie Slick, made an album with Murphy McCaleb and gigged with Jem Godfrey and Bryan Corbett – we have further projects planned. Played a super-lovely duo show with Briana Corrigan, ex-of The Beautiful South, whose solo work I’ve been a fan of for 20 years. I released a new solo album – What The Mind Thinks, The Heart Transmits. Playing at the London Bass Guitar Show and inviting Jon Thorne to join me on my set led to the release of that as a new album – Diversion. Towards the end of the year, I launched a new subscription service via Bandcamp, with the aim of finding a useful home for the epic amounts of music that I record and want to release…
2015 – NAMM in January, of course, plus a handful of lovely house concert shows with guitar genius Thomas Leeb. Released LEY Lines with Andy Edwards and Phi Yaan-Zek, the first new thing that my subscribers got, which Phi released for everyone else. Did the London Bass Guitar Show again, and had another of my bass heroes Ruth Goller agree to play with me. That was fun. Formed a duo with Divinity Roxx – hip hop, improv, songs, stories, all rolled in. We had a week of playing and did a first gig in Kidderminster. The duo with Jon Thorne was expanded to a trio with Rob Turner, of GoGo Penguin, that band sounds amazing! In September, I release two new solo albums – my first proper solo album releases since 11 Reasons in 2011. A Crack Where The Light Gets In and The Way Home were really well recieved, and got played on Late Junction. In October, I was the cover star on Bass Guitar Magazine, almost certainly the only self-managed, self-releasing, self-everything solo bassist to ever get there without an association with any other artist. Still can’t quite believe it. The mag cover coincided with a mini-tour with Jonas Hellborg – we had a wonderful time playing in Birmingham, London and Leeds, and hope to do a bigger tour ASAP. By the end of the year, I’d released 7 albums for Subscribers, all of which I’m immensely proud of! The year ended with the recording of a second album with Phi and Andy, to be released early in 2016. The year also featured a few more Torycore gigs – a thing that gets better every time we do it, and more vital, sadly.

Current Musical Projects

Solo gigs and recording -::- Duo with Divinity -::- trio with Jon Thorne and Rob Turner -::- trio with Andy Edwards and Phi Yaan-Zek -::- performance duo with painter Poppy Porter  -::-  Torycore.

trivia

favourite artists. – these days, it’s lots of singer/songwriters, and death metal bands. So, alternately, Bruce Cockburn, Cannibal Corpse, Jonatha Brooke, Cattle Decapitation, Joni Mitchell, Job For A Cowboy, Paul Simon, Entombed, Emily Baker, White Empress, The Blue Nile, Soulfly, Nik Kershaw, Ihsahn…

Along side that, a bunch of other things – Hope & Social, Bill Frisell, D’Angelo, David Torn, Let Spin, Michael Manring, DJ Krush, Throwing Muses, Coltrane, Kristin Hersh, 70s Miles, Beauty Pill, Janet Feder, Jon Gomm, Kenny Wheeler, Trish Clowes, Divinity Roxx, Sweet Billy Pilgrim, J Dilla, De La Soul, Terje Rypdal, KT Tunstall, The Pixies, The Cure…

top 10 (or so) favourite(ish) albums

bass influences – Current favourites are Tony Levin, Ruth Goller, Michael Manring, Julie Slick and Matthew Garrison but there are literally hundreds. I suppose, in roughly chronological order, those players that have influenced me the most would be – John Taylor (Duran), Nick Beggs (Kajagoogoo/Iona), Chris Squire (Yes), Simon Gallup (The Cure), Pino Pallidino (everyone, but especially the D’Angelo stuff), Doug Pinnick (King’s X), Ewan Vernal (Deacon Blue), Steve Swallow, Abraham Laboriel, Jaco Pastorius, Scott LaFaro, Freddie Washington, Bernard Edwards (Chic), Ray Brown, Jonas Hellborg, Family Man Barratt (The Wailers), Verdine White (EW & F), Tommy Simms, Niels-Henning Orsted Pedersen, Jimmy Haslip, Danny Thompson, Eberhard Weber, Mike Rivard, Marc Johnson, Kermitt Driscoll, Mo Foster, Todd Johnson, Doug Wimbish, Yolanda Charles, Trip Wamsley, Divinity,  and loads more.

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Dark days in London town.

May 3rd, 2008 · 4 Comments

C’mon, joke’s over, Boris didn’t really win, did he?

Oh shit, yes he did. A victory for disillusionment, celebrity and the power of the protest vote. He’s not even a convincing tory.

The animosity towards Ken is startling, and he’s largely brought it on himself of late by behaving as though he was born to rule. His posturing covered over his remarkable achievements as Mayor, particularly in relation to public transport and the environment.

The only possible consolation from all this is that Ken had to flight bloody hard for just about every significant change that happened, from increases in buses and on-the-beat policing to the congestion charge. I honestly don’t think Boris cares enough to do what he’s pledged to do to reverse some of those policies. He’s a preening elitist, in the worst sense of the word, and has precious little track record as an effective politician read this article from The New Statesman for more.

What’s perhaps even worse than Boris as a reflection of the protest vote culture is that the BNP have a seat on the London Assembly. Yup, seems like all those other countries we thought were nuts for electing insane, racist hate-fueled, holocaust-denying fascists were just ahead of the game when it came to electoral fuckwittage.

Are all BNP voters fascists? No, clearly not. A lot of them are quite understandably disillusioned with a political landscape that has seen the three major parties merge, removing the old allegiances of ‘old labour’ socialism, or ‘old tory’ nationalism… Now it’s different flavours of centre right economic liberalism, and ever increasing marginalisation for those either not on the property ladder, or not willing or able to wade through the mire of spin and marketing BS to find out what else is going on underneath the heinous tabloid-fuelled political sheen…

Today’s protest voters are Thatcher’s legacy, are those who don’t remember what the far right did in the 70s/80s, who don’t realise that the BNP formed as an even further right version of the National Front, who don’t know about the BNP’s recent obvious attempts to distance themselves from the odious views of so many of their leaders and members.

Fortunately, the BNP will probably be ‘given enough rope’ by being placed on the London Assembly, that they’ll do what happened when they won 17 seats in local elections last time round… – to quote from the Mark Thomas article:

“Out of the 17 councillors, according to the anti-fascist magazine Searchlight, Luke Smith resigned from Burnley Council after attacking a man with a bottle; Maureen Stowe left the party claiming the BNP “did not care for Burnley at all”; Robin Evans, a Blackburn councillor, left too, amid claims that drug dealers and football hooligans were in his branch; and John Savage, BNP councillor in Sandwell, was so bewildered by council debates and voting that he ended up supporting a pro-asylum-seeker motion. That surely has to be a first – a BNP councillor so stupid that he couldn’t even be a proper racist. Many BNP councillors have not attended council meetings and those who have, rarely – if ever – speak there.”

It’s sad that disgruntled voters with legitimate grievances that politicians have failed to address have banded together with nu-BNP – smiling, waving, fascists – many with a violent thuggish past at odds with the spurious ‘law and order’ rhetoric of the party – to give them a space on the London Assembly… Hopefully the oxygen of publicity will just reveal them to be the cynical opportunist racists that they are…

(for reference, have a look at the Mirror’s 10 reasons not to vote BNP – just wish the red-tops would provide wiki-style citations for such things… they’re collectable, but would be nice to have them in the article.)

In the meantime, hold tight, London, it’s going to be a bumpy ride…

Tags: Rant - Politics, Spirituality, etc.

Londoners – don't forget to vote tomorrow!

April 30th, 2008 · 2 Comments

It’s the London Mayoral Elections tomorrow, and our chance to choose between the different flavours of turd on offer… As much as I think Ken has overstayed his welcome, the idea of Boris as London mayor is too horrific to consider. Not because of his affable buffoonery, but because of his horribly reactionary politics. He’s tried to rebrand himself as a Cameron-esque new Tory-Of-The-People, but it’s bollocks.

Brian Paddick just doesn’t have anything like the track record or spirit to be London Mayor, which of the serious candidates leaves Sian Berry of the Green Party – I’m pretty sure I’ll be voting Sian 1, Ken 2…

Here’s how it works – in London we have Proportional representation in this election, which means that EVERY VOTE COUNTS. This is great in terms of us feeling represented, but the downside is it means the BNP will benefit greatly from a low voter turn-out driven by the apathy towards the two main candidates.

Put simply, if you don’t vote for SOMEONE, it’s a step closer to the BNP getting onto the London Assembly. So vote. Get out and vote for the person you believe in. This is one election where voting Green actually means something in tangible terms. The Greens already have two members on the London Assembly, who have been integral to the environmental steps forward in the city. They’re looking to double that, so if you’re a green supporter, get out and help them do that.

For more on why the BNP are such a tragic option for any political situation, see hopenothate.org.uk. A lot of people are disgruntled with the way the political situation has gone in the UK of late, and the cynical opportunists at the BNP have targeted those disaffected voters with their hateful message. Don’t give them a foothold.

VOTE!

Tags: Rant - Politics, Spirituality, etc.

Interaction, Conversation, Respect: the death of broadcast marketing on the web…

April 29th, 2008 · 1 Comment

I’m just back from a visit to Internet World – a trade show/expo at Earls Court for internet business peoples. It sounded interesting, so I thought I’d head down for a look.

I guess it didn’t help that they were sharing the hall with a direct marketing expo, but the feeing that one was in the belly of mammon, in a space largely devoid of creative thought or concern for human interaction and anything other than statistical dominance in a given field was pretty overwhelming.

Actually, that’s not strictly fair. A lot of the companies there were touting content management software, e-commerce solutions (no bad thing in an of themselves) and a couple of speculative social networking start ups. But there were loads that were selling a model of internet usage that just seemed sooo archaic – the basic message still seemed to be that it’s all about emailing millions of people, getting to the top of the search engines, getting google adwords in the right place, and then whatever you’re doing online will be a success…

I suppose it’s the nature of the show that it can’t really be concerned with content, because the content could be anything from health information to porn, ethical shoe-shops to online gambling, but the total lack of any visible discussion about making the net a nicer environment in which to work and play, the focus on spreading ones marketing message by whatever means made for a pretty sickly experience (I had one bloke accost me in an aisle and ask me if I wanted to buy email addresses! WTF? So spammers now have their own stands at expos??)

Bottom line was, the expo looked for all the world like a shop front saying ‘for your business you don’t have to interact with your audience/community/end users; you just have to pay us stacks of cash to put together a slick looking site for you, virally market via BS videos and downloadable games, crass adverts and paid-for email lists, and you can get on with being scared of the web and thinking Myspace is the big news in the future of internet usage, safe in the knowledge that we’ll sell any old crap just by spamming so many people that one click in a million will yield results…’

Which is bollocks. And it’s bollocks despite it supposedly ‘working’ for a lot of people. It’s bollocks because it’s intrusive in its methodology, hopelessly inefficient in terms of the amount of hours of people’s time it wastes compared to the return (time spent filtering out unwanted email, watching endlessly forwarded viral nonsense etc.) and because it’s a distraction from what those of us who actually CARE about a) what we’re producing and b) the environment in which we live and work on line actually need to do to enhance the lives of the people who come into contact with what we do.

I’m not in the marketing business. I USE elements of marketing strategy to try and make my music – and information about my music life – available to the people who want to find it. I don’t want to have to send unwanted emails to 1,000,000 people in order to reach 600 who might like what I do. Even though those are 600 people who might otherwise not find it. Why? Because I’m sick of being one of the 1,000,000 people who get spammed with BS hundreds of times a day just on the off-chance that my address might lead to someone who’s interested in the product. That ruins the web for all of us. And I don’t really care whether the address list is pure (illegal) spam, or some kind of crappy opt-in list that’s 99.9% full of people who just forgot to click the right check box, it’s still generating way too much negative web-karma for it to be of interest to me.

I try to operate online the way a rather wise man once suggested we carry out all our human interaction; ‘treat people the way you’d like them to treat you’. I don’t want to be spammed, I don’t want my email address to be a salable commodity, I don’t want to be seen as part of a wall to throw mud at in the hope that some of it sticks.

Here’s where Social media comes into its own – I can set up an interconnected network of pages, sub-communities and widgets whereby anyone who is interested can find my music, try it, engage with it on whatever level they want to and then share it with others if they think it’s of value. I’m not throwing it at them, I’m asking them if they’re interested, and offering information about the how, what, where, and why in as many mediums as I can. I can do videos explaining my methodology, I can blog about the processes involved in the music making, I can provide widgets so people can share my music with people who visit their sites or blogs or facebook pages or whatever if they are interested, and each time it’s driven by real interaction.

There’s the scattershot stuff as well – Seth Godin posted this great piece about unfocussed web-traffic – sure it makes us feel great to have 10,000 visits a day, but in all honesty I’m much better off with the coupla hundred people who actually read my blog each time I post over and above the thousands who have found my blog over the years looking for stuff about David Beckham or Bernie Clifton. They, as Seth points out, are gone in a couple of seconds.

That’s not to say that search engine traffic is bad, or stumble upon, or even adwords or whatever. The problem comes when the purpose of your site/blog/enterprise is traffic. Where what you’re making becomes about getting people to look at it, download it, buy it.

The joy of social media is that it removes the need to obsess over ‘bigger better faster more’ – it allows us to focus on deeper, richer, more important, personal, engaging, thoughtful, nuanced creation than we ever could have if we were relying on record companies, radio, TV and newspapers to spread the word about it. In the language of barcamp, it enables us to engage in UnMarketing. To tell the story around our art, our creativity, or lives and our services, and allow an informed, liberated audience to choose whether or not they want to be a part of that, and on what level they want to be a part of it.

There are loads of ways in which internet professionals can help content providers – this isn’t a rant against web designers, CMS companies or e-commerce specialists. We just need to get our priorities right, and if art is of any importance to us, then the marketing should be there to connect with a willing, searching audience and free us up to do our art better, not force us to dumb down in order to fit some loser’s ‘projection’ of the kind of big money we could make if only we targeted our content a little more specifically ‘Steve, you could clean up in smooth jazz, if only you’d get a quartet and start grooving more….’

Keeping our sights set on that which made us want to get into art/music/creativity in the first place is vital to understanding the magic that social media can facilitate. That means keeping a tight rein on those who would seek to make your art the content that drives their business venture… Or at least being honest about that relationship and understanding it for what it is (again, before I get accused of being some kind of purist, I don’t have a problem with people who make music commercially for a living, or indeed an objection to making commercial music where people want me to do it, it’s just that it’s a WHOLE other world to making ‘me-music’, and requires a very different approach…)

So for me, the kind of marketing-driven, spammalicious devoid-of-community BS I was hearing at Internet World fails in every way that the Social Media Cafe succeeds. I’ll blog more about the SMC later, as it deserves its own post, but suffice to say as a community of webby social media lovelies, it’s provided me with more inspiration, information, connections and ideas in the upstairs room of a pub in soho than the amassed fortune spent on Internet World could have done if I’d spent all three of the days there trawling for quality…

Tags: Geek

Etiquette for soliciting press-quotes from people…

April 26th, 2008 · Comments Off on Etiquette for soliciting press-quotes from people…

I’ve been asked a few times lately to give quotes to people to use for promo purposes, so I thought it would be a good time to offer some thoughts on the process. Largely because it’s something I’ve done myself from time to time, and continue to do when the conditions are right…

Firstly, it’s worth thinking about why we do this, and what value it carries as a promotional tool. Like most promo ideas, it has nowhere near as much influence as we’d like to think, but it can provide context for people who have found our websites or press-packs via other routes, and can also be good for putting on posters and flyers. The value lies in a few different areas –

  • firstly in the quote itself; having anyone say that you’re a badass is helpful, especially if it provides some context as to how they think you’re a badass – some kind of stylistic reference, a particular skill they are into etc.
  • Secondly, there’s the association with that artist – if fans of artist [a] see that they are a fan of you, they may well be inspired to check you out. More often than not they won’t, unless artist [a] is actively promoting what you do, but a few will…
  • and Thirdly, quotes are most useful en masse – have a body of evidence from different sources provides people with a framework for understanding your place in the scheme of things.

OK, so that’s why they are useful – what of how to get them? Here’s my rules that I work by –

  • I never ask anyone for a quote who hasn’t already expressed – privately or publicly – a positive opinion about what I do. Cold-calling someone you’ve never had any contact with is not only bad manners, it’s a recipe for getting either criticism or worse, a lame half-quote that will ultimately make you look like an amateur (no one wants to read a lame quote about you, no matter who said it – you’d be better off getting one from your high-school music teacher or your mum than that).
  • I never quote anything said to me in a conversation, without getting permission in writing, and offering the person a chance to write something else instead.
  • if I’m re-quoting what someone has said about me elsewhere, I try and give context for it.
  • When asking someone who has previously liked what I do for a quote about a new product, I explicitly let them know that I’m totally fine with them not saying anything if they don’t like it, or don’t want to say anything about it.
  • My default is to expect to not get a quote. If I do, and all the conditions are right I’ll use it.
  • I never push people on it – I have a fair few musician friends who’ve expressed a liking for what I do in person, some of whom have offered to give me a quote, who I never pressure for them. They may happen in time, but if they don’t, my career isn’t built or crushed on whether or not some bassist or whatever says what I do is cool….

OK, that’s how I go about getting them, what about what I do about giving them – here’s the list:

  • If I really like what you do, I’ve probably sent you one already – I spend a large amount of my online time putting the word out about music I love. And by love I mean ‘love’, not ‘music by people who might be able to do favours or who are just mates of mine but aren’t very good’.
  • As a recommender of music, I’m building a brand, a brand that I actively protect from the accusation that I’ll give a quote to anything. So my default for people who ask is ‘no’, just because I only push things I think are fantastic. It’s like my policy for inviting people to play at Recycle Collective gigs – only my most favouritest musicians are in there. I might like what you do, but just not be into it enough to put my weight behind it (and, to be honest, a quote from me REALLY isn’t worth that much…)
  • That said, I’m very much aware that there are a growing number of people who DO buy albums that I recommend (most of my recommendations are made either here, on my forum or via my Twitter music recommendation feed, To The Left Of The Mainstream – if you find your music on TTLOTM, I REALLY like it, and am willing to put whatever reputation and credibility I may have behind it.
  • Getting a random email out of the blue asking me ‘for a quote’ that you can use, without having any idea whether I’m remotely into what you do puts me in an awkward position. I’m left with four options – I can lie and say I love it, I can give you a weedy quote that means nothing, I can email you and tell you I don’t like it, or I can ignore it and not reply. None of those are ideal, and certainly none of those are likely to get me to do what you want, even if I like what you’re doing. A little interaction first, and maybe even asking for my honest opinion privately might make more sense than a ‘hey’ gimme a quote. I’m well aware that a lot of people aren’t going to like what I do. Same goes for what you do. I may not like it. That doesn’t mean I don’t like you, and it doesn’t mean you’re rubbish, it just means it’s not my kind of thing, and would be misleading for me to be pointing people towards what you do.

In terms of measurable value, I find that the support, encouragement and advice of musician friends is infinitely more value than a public quote from them – I have an unofficial ‘council of reference’ of older experienced musicians who seem to get what I do, and are willing to offer support, advice and encouragement. Most of them haven’t ever said anything publicly about what I do, although one or two of them have got me gigs, and in one case taken a whole pile of my CDs out to Japan to get me some radio play and work on gig promo…

Of the quotes that I do have on my quotes page – all of the non-printed media ones are from people who had said either to me or elsewhere that they like what I do. I then dropped them an email thanking them for the encouragement and asked if they wouldn’t mind giving me something that I can use publicly, always with the caveat that I’m fine with it if they don’t want to.

As I said before, you put people in a tricky spot asking stuff like this, so choose your people well, and start with some normal polite human interaction before asking for a press quote… …I don’t mean to come off like a curmudgeon, and it’s always nice to get a message from someone who wants to know what I think of what they do, but spam and marketing BS definitely trigger the red flag with me.

…and if you want to know what I’m digging right now, do check out To The Left Of The Mainstream and comment on the artists there my forum…

Tags: Musing on Music · New Music Strategies · tips for musicians

Two more videos from the sessions with Dave Bainbridge

April 26th, 2008 · Comments Off on Two more videos from the sessions with Dave Bainbridge

Well, those were two of the most enjoyable days of music making I’ve had in a long time!

Here are two more videos from the recording session today – both of the same tune, the first one is of me recording bass fills between the vocal, and the second one is a bass solo on the same tune… lovely stuff. Dave writes such great progressions for this kind of thing – it’s in a similar vein to tunes like ‘Treasure’, ‘Chi-Rho’, ‘Irish Day’ etc… the big emotional melody songs that Iona did so beautifully on every album.

A lot of the rest of the day was spent working on some prog-tastic basslines. Some fast twiddly, tricky stuff, one of which would be great played with a pick, in a Trip Wamsley stylee… Going to ask Trip for some tips, methinks…

All in, a most enjoyable couple of days, playing great music with Dave – a top bloke and outstanding musician… watch this space for more news about the Open Sky project (3 gigs are booked for July…)

Tags: Music News

In the studio with Dave Bainbridge (video)

April 25th, 2008 · 1 Comment

I’m in North Lincolnshire at the moment, with Dave Bainbridge, guitarist and keyboardist with the band Iona. Iona have been a favourite band of mine for years, so when Dave contacted me via Myspace about being involved in his new project, ‘Open Sky’, I was rather excited.

Yesterday was spent mainly improvising and finding out how our relative soundworlds interact, and today I’m recording parts onto the tracks that Dave has already recorded for the Open Sky record – some ‘normal’ bass stuff, but also some strange StevieSounds, as in this video – hopefully we’ll get some more recorded later and post those too – til then, enjoy!

Tags: Music News · Musing on Music

Thoughts and Questions on Originality.

April 20th, 2008 · Comments Off on Thoughts and Questions on Originality.

Been having some fantastic conversations with creative people of late on the subject of originality. It’s a subject that seems to lead to wildly different comments and responses from creative people, but rather too often seems to become deified or fetishised to the detriment of the resultant art.

With solo bass being such a niche musical pursuit, I often end up with people thinking that what I do is ‘completely original’, in that listeners outside of the solo bass/looping/etc. cognoscenti have probably never heard anyone doing anything quite like what I’m doing before. It would be very easy for me to claim that I came up with the whole idea and convince people – at least in the moment – that I’m some kind of pioneer in a way that I’m not.

But, it’s also worth noting that some of what I do has been described as ‘pioneering’ and even folks within the ‘scenes’ from which I draw most of my influence have recognised bits of it as being in some way ‘original’.

So what is one to do with that? In both situations the result is that the people involved have another level on which to engage with what I do, but it’s one that holds precious little ‘real’ value.

The first question that comes from this is a) ‘how many records have you ever bought just because the artist was flagged up as ‘original’?’ – and part b) of that question is: of those, how many did you stick with just because it was ‘original’?

The answer to the first bit is probably – if you’re an early adopter and enthusiast like me – ‘a few’. There are a few things I’ve checked out (though these days more via downloads/myspace etc.) that I’ve being pointed to because the persons approach to music making was in some way novel. However, it’s the second half that concerns us – Long term engagement with an artist’s output is based on quality, value and integrity, not gimmick.

This is something that we’re all too aware of when it comes to the marketing aspect of what we do – trying to rebrand dogturds as caviar isn’t going to make people enjoy the taste of dogturds – but originality is trickier because it’s a) less easy to quantify and b) it feels like an artistic consideration first and not a marketing gimmick.

So, here’s the question that will help you to gauge your own reaction to concepts of originality – if everyone in the world did things the way you do, would what you do still have value? In otherwords, when your schtick ceases to be a schtick and just becomes a creative model like ‘being in a band’ or ‘taking photographs’, what is the innate value in the way your story informs the output?

For me, it becomes this – if all the world were solo bassists, would my music as a solo bassist still be worth anything? Or, to frame it in now, ‘what’s the value of what I do to an audience saturated with looped solo bassists?’ This last question is a key one when it comes to putting on ‘branded’ gigs – if I put on a solo bass night, does it water down my brand to the detriment of people’s perception of how ‘original’ I am, or does it just remove the ‘originality/novelty’ element from how they engage with it, and cut to the storytelling?

The reality for me is, as I’ve been telling my students for years, it’s way more important to be ‘good’ than it is to be ‘original’ – a whole load of the willfully obscure experiments that one can end up with when looking for a ‘new sound’ are things that other people have tried and dismissed before inflicting them on an audience.

Influence seems to be the dirty word in so many discussions about originality. The equation seems to go thusly –

Being original is key to my success, therefor I mustn’t experience anyone else’s art that may shape what I do in an overt way because if I hear them, I’ll want to sound like them, and that will ruin my USP (unique selling point), and I’ll be finished as an artist. So as a result, I’ll live my life in seclusion from talented people operating in the same field as me.

This, dear bloglings, is what’s known in the trade as UTTER BOLLOCKS. I’ve seen a few people’s musical paths really messed up due to their phobia of influence. I’ve seen people torture themselves when another band came up with a title similar to the one they wanted for their next album! It’s crippling creatively, but more than that it bears no relation at all to how we relate to art on any non-superficial level.

So from my observation of my own and other people’s reactions to these questions, here are a few thoughts on the creative process as it relates to originality and influence:

  • We are all aggregators: or as Bono put it (possibly quoting someone else) ‘Every artist is a cannibal’. Very very little in the development and progress of human existence has appeared in an intellectual vacuum. Our progress on a macro and micro level is way more often than not evolutionary rather than eureka-moment-driven. We take in our observations of what’s going on around us, filter them through eachother, through the world as we see it, through a complex-but-contained set of experiences and ever-growing opinions and tastes, and decide what to do, what to create, how to create, how to tell our story. Those Eureka moments that do happen are too random to be factorable in steering our creative path. What influences we choose to subject ourselves to is something we’re very much in control of.
  • Influence is influence, whether the influence is from within your own discipline or outside: If I stopped listening to all music, I’d still be shaped in my music making by politics, art, comedy, love, life, illness, nature etc… Everything I do as a musician is shaped by influences, millions of them. Influences won’t negatively impact my art, only unhealthy obsessions will.
  • The problem isn’t influence/no influence, it’s self-awareness or the lack-thereof: People who make great music in isolation won’t suddenly start making crap derivative music if they open themselves up to influence, and likewise people who are so unable to figure out what they want that they just ape someone else’s process to the point of plagarism aren’t suddenly going to discover their creative focus by not listening to their main influences. The problem with obsession is bigger and more fundamental than whether or not your music sounds like another band.
  • Influence is like a diet – it’s the mixture and balance that keeps us healthy: Obsession is not a healthy state to be in. Like eating only potato, or drinking nothing but tea, listening to one artist is going to mess you up. I have for a long time viewed my music listening as a diet, and as such cherish my music listening time like a meal. I avoid junk-food, and crave sumptuous filling meals that meet my dietary requirements. I don’t like eating the same thing day after day, and definitely enjoy the effects of seasonal variation.
  • Style is a medium, not a message – how you say something IS important. Vitally so. But talking shit with a soothing voice is still talking shit.
  • Speaking someone else’s language doesn’t make you think like them, it just makes you able to communicate with the same people they communicate with – this blog doesn’t come across as derivative just because it’s in English. None of us trawl the interwebs looking for ‘new languages’ just because they’re new. Language is there to communicate ideas.
  • Storytelling is an artform that exploits shared history and narrative form: If you’re telling your story through music, things that are familiar have a different resonance from things that are completley alien to both artist and listener. This is one of the reasons why so many creative musicians still find so much to stay within the confines of ‘blues’ – despite the restrictions of the form, there’s still so much great original music that’s coming out that is blues-based and blues-influenced. The language, imagery and resonance of the blues still provides a channel for so many people’s unique stories.
  • the quest to be original might actively prevent you from soundtracking your world: If I attempted to do away with my influences, most of the stuff that makes my music important to me would vanish; the melodic forms, the chord progressions derived from folk, pop and jazz idioms, the phrasing that I’ve absorbed from Joni Mitchell, Bill Frisell or Michael Manring, the bass techniques that I’ve nicked from Trip Wamsley or Victor Wooten. What makes me sound like me is the combination of everything that goes into my music. I throw it all into the mixing pot, and out comes my music. I practice to learn more about how to channel the feelings and emotions that those independent influences bring out in me, and look to find the right amount and blend of ingredients to make me feel the way the combination of all of them makes me feel.

So, where does all this leave me? Well, right now, I’m working on a new album, or at least, I’m getting ideas together to start working on a new album. Some of that involves working out what’s physically possible with the Looperlative, but a lot of it is working out what I want to say and how best to say it. So I’m putting myself on a fairly strict diet. A diet that will contain a whole range of music that generates the kind of response in me that I want from my own music. I’ll be listening to a lot of The Blue Nile, Joni Mitchell, Eric Roche, Rosie Thomas, Theo Travis, Alan Pasqua, Nels Cline, Bill Frisell, and then a whole bunch of extreme stuff in as many directions as I can to help me push back the walls that define the stylistic parameters of what I’ve done up until now.

And how I deal with notions of Originality and their value or otherwise impacts every minute of my practice time – do I get frustrated when I play something and it reminds me of some other musician, or do I use that as a model for saying something in their language? Do I get fixated with listening to other solo bassists because I am one, or do I realise that solo bass is in the grand scheme of things nothing to do with whether my music is any good or not, and look at developing the component parts of my musical narrative via influences that are best at those bits – for example, looking to singers for melodic influence, pianists for harmony, and classical guitarists for phrasing and shaping chord/melody ideas?

The end result of this is whether or not you hear those influences, the music is 100% me. It might be a different angle on me that hasn’t come out in other ways before. It might be me as expressed through the playing of other musicians on music that I’ve written for them, but it will be a combination of all the various influences that make me want to do what I do, and will at the same time be both entirely derivative and completely original.

Tags: bass ideas · Musing on Music · tips for musicians