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Steve's Blog: Solo Bass & Beyond



The Illusion Of ‘Genre’

August 8th, 2009 · 24 Comments

John Goldsby just tweeted a link to this article from the Wall Street Journal. It’s all about the falling audiences for jazz. A whole load of demographic stuff about who’s going to see jazz, and who now isn’t going to see jazz.

The problem with this is that any artist worth a listen doesn’t do ‘jazz gigs’. They play their own unique music. They play ‘John Goldsby music’, or ‘Miles Davis music’ or ‘Pat Metheny music’ or indeed ‘Steve Lawson music.

The ‘style’ might be jazz, but the intention, ideas and the 20/30/40/50 years of life experience that lead them to make the music they make are unrepeatable. [Read more →]

Tags: New Music Strategies · tips for musicians

Review – solo gig, St Luke's London (Misfit City)

May 7th, 2008 · No Comments

“Drawn by the call of bass, I’m chilling here – it’s cold inside the nave of this small church tucked away by Holloway Prison. Were he American, Steve Lawson would be filling Stateside theatres on the progressive-instrumental circuit. But he’s British, and aiming at a gap in the market that the industry’s done its best to squeeze shut (or suffocate with endless minor variations on “Tubular Bells”). And, consequently, he has to plan and implement his own events from the ground up and in out-of-the-way places.

At least St Lukes is a fine place tonight. Flickering tea-lights, sofas and chairs, lovely acoustics and clean tall white walls to carry the visual multi-media provided by the Sparks collective. Long shots of bus travel and busy campuses fill one wall, a cartoon tribute to Lawson’s trippy bass guitar music along another, and TV screens frame inert men lolling in armchairs. Negative homilies manifest quietly on walls – “Once bitten, unlikely to trust anyone ever again”; “Failure is inevitable, therefore I will never even try to begin anything”. Jolly animations of dancing subway signs and jostling cells inhabit one corner. From another a muted, indistinct babble of voices seeps out of three detuned radios to wind around our chair legs. Once again, I find myself part of an installation (tonight, Matthew, I’m the saggy off-colour bit up near the front).

By all appearances, Steve Lawson’s pretty much marked for bass guitar playing. He looks like a frighteningly convincing young Geddy Lee from a Rush tribute band, and he sounds much like Michael Manring – the clusters of ringing-bell harmonics, the use of E-Bow sustainer and the glutinous pining tone of his six-string fretless. But he’s very much his own musician, and one capable of taking on any of the American virtuosi on equal terms. A live shot of Steve Lawson (photo by Edward Eldon) His playing has elements of other remarkable bassists (Victor Wooten’s bubbling folk-song lines, the inevitable Pastorius, Eberhard Weber, the aforementioned Manring, plus every now and again a moment of cyclic Stuart Hamm tap-and-hold). His improvised melodies, though – allied to the upside/downside/back-to-front timbral inventions and the multi-layered looping fed through his small garrison of effects pedals – make for an assertive and individual new voice.

Lawson’s milieu is a translucent psychoactive landscape of sound that tugs at old memories of water, of night, of the hypnotic rapture of nature; as close to the ethereal electronic/acoustic embrace of Cipher or BJ Cole’s Transparent Music as it is to the inevitable Frippertronics. As he duets with himself on soprano-calling E-bowed lines, plucks crisp sophisticated little riffs, or feeds in a ribbon of backward-processed Chinese Opera or Turkish trumpet tones (which he’s quietly played and tweaked only moments before), it’s both captivating and enveloping. He makes unnerving harmonised passages of scrunched sound like a passing swarm of disgruntled operatic bats. Or manufactures and introduces his own complex thump of trance-techno beats on the spot, mixing them in carefully to evolve a questioning jazz solo into a dance-music leap. All part of a weave of rich underwater reverb and freeflowing textures (or, as the man himself puts it, “weird stuff”) which molds itself to the warming air in the church.

There’s always a sense of audience in this guy’s playing; always a feel for melody and placement, and – incredibly, for a loop gig – no straying into pretentious or tedious noodling. The continually morphing but almost hummable “Drifting”, in particular, seems to last for most of the evening, yet never once feels dull or overstretched. Everything is considered carefully as it’s played – you can see him thinking, nose wrinkled and fingers hovering – and if the improvising is slow, laid-back and eminently accessible, it’s also consistently inspired and knows where to move to. There’s humour here too – the string-click that turns into an amplified lipsmack, or the way Steve spends half a minute constructing a fresh set of rhythm, harmony, melody and texture loops almost from scratch to make a perfectly harmonised melodious group arrangement… and then casually strolls to the toilet for a few minutes, leaving a squad of virtual-bassists to calmly play on without him. Had you been looking down, you’d’ve have missed his absence entirely. A honeycombed version of an old standard (“Blue Moon” – warm, graceful and far from blue cheesiness) connects back to traditional jazziness, but Steve Lawson’s very much a modern player: a full-on ear-bather in love with the luxury of de-e-e-e-p sounds, but suspicious of waste, thank God.

For the second half, Lawson brings on Harry Napier (on elegantly melodic cello) and Mark Lloyd (on compact percussion rig), pulls himself out of the ultramarine and the innerspatial, and plonks himself down into a more mannered realm. Specifically, New Chamber Music: that tidy, definition-elusive, very white stream of fusion, factoring in classical, jazz and folk idioms, and best illustrated by Napier’s correct and serene improvisations over a little loop of Bach. Half of the mighty loop rig is switched off, to be replaced by group approaches and music overlapping into aspects of Windham Hill (the muso cleanliness of The Montreux Band) or ECM (the more melodious, commercial side of Oregon or Paul Winter). And as the trio course through versions of Pat Metheny/Charlie Haden’s “Spiritual” (written by Charlie’s son Josh, indie people – he of the noir-ish, string-laden Spain) and Bill Frisell’s “That Was Then”, you can tell that their spiritual home’s the panelled confines of the QEH or Carnegie rather than the Jazz Cafe or a proggie hangout. It sometimes edges too far in a polite direction, but for slow-cooking group playing it’s tough to fault.

In a less intimate setting, Andy Thornton would’ve looked like this… After this, former Big Sur songwriter Andy Thornton – over in the coffee lounge, in low light – is a fine comedown, and no let-down either. A camply mellow presence with a nice line in dry wit, working with strong roadstepping acoustic guitar and a voice that pitches a little lopsided but hits the emotional target dead on, his is the necessary music to complement the wordlessness of Lawson and co. Songs with soft sides and late wisdom about love and ageing, performed in a number of personas from the petulant (“She Won’t Talk To Me” – “once you say you love them, then you’re shown the door”) to the hyperreal. Fine-tuning his guitar, Thornton announces “this is about a random shepherd sitting on a hill, contemplating physics; and this is what he wrote” – and follows up with a spiralling love song full of dramatic metaphysical jumps of scale and perspective. Later, he’ll sing something with the same driven blend of voyeurism and thwarted intimacy as “If I Was Your Girlfriend”, giving us permission to laugh at the first line (“I wish I was a girl of 21”) but daring us to giggle at the sympathy and jealousy emerging from there on in. Another dark horse talent revealed. This church is broader than I thought.

– DANN CHINN

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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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Creativity and Socially Networked Marketing – the good and the bad.

March 23rd, 2008 · Comments Off on Creativity and Socially Networked Marketing – the good and the bad.

So much is being written about the egalitarian nature of online distribution, it would be easy to believe that all our worries as wannabe professional musicians are now over. We all know that we can get a myspace page and a facebook music page, a reverbnation widget and a last.fm page, just like the big boys. We can also get our music onto iTunes and eMusic, Amazon and Rhapsody, just by sending a CD to CDBaby and paying them less than $40 to set it up. Easy, huh?

Well, not quite. It’s true that the music economy in the last couple of decades has shifted from hundreds of acts selling millions of records to millions of acts selling hundreds of downloads, but two things are still problematic – monetizing the attention that we’re given, and building online spaces where attention is available in units greater than 30 second chunks.

You see, the huge problem with the MySpace/Youtube/iTunes generation is that it favours instantaneous gratification. It favours music that ‘wows’ in the first few seconds over music that takes a while to grow – in much the same way that mainstream pop radio has done for decades. It’s just that now, it’s not just the top 40 sector that’s expected to fit that paradigm, it’s everyone. There’s no special version of myspace for people with long songs, where the listener knows that it’ll take a particular piece of music a good few minutes to get going and reveal its hidden magic.

It’s true that to a degree it has always been thus – playing music to your friends in a ‘hey, check this out!’ scenario has always been a less comfortable proposition if you’re introducing them to the magic of Steve Reich or Brian Eno’s Music For Airports than if you were letting them in on the hitherto-undiscovered-to-them genius of Chic or Duran Duran. Pop music is by its very nature more immediate.

No, the problem here is a slightly more insidious one – it’s that all of us, ‘pop’ acts and more difficult to classify musicians alike, are being encouraged to market what we do via these channels in the same way, and music lovers are being encouraged to look for it in that way, and it can have a negative effect on the way we create and the way we find the music we love.

The fantastic potential that Myspace/Youtube/iTunes gives us to connect with an audience that we’d previously have needed a record label and radio plugger to connect with is still largely bound up in the ‘instant gratification’ notion of where the value lies in a piece of music. 30 second previews of tracks are useless for through-composed or gradually evolving music. 30 seconds of just about anything by Michael Nyman or Philip Glass isn’t going to show where the piece goes as it unfolds over the course of minutes rather than seconds.

How do we deal with this? I think acknowledging it is the first part of the answer – once the influence has been ‘named’ we can see if for what it is, and hopefully recognise the difference between our own creative urge pushing us towards brevity or accessibility (certainly no bad thing if that’s where you’re leaning) and the crippling of a deeper more evolved sense of where a particular piece of music should be going out of a fear that it just won’t work on myspace.

Download culture is wonderful in that it frees us up from the limitations of length – in both directions – that vinyl/casette/cd/minidisc had – we can put out tiny short works and not feel like we need to pad it out to fill a CD, or we can release massive epic hours-long single pieces if that’s really where our muse is heading. There’s nothing to stop you putting out 10 hours of continuous music, other than the limitations of the download speed of the person trying to get hold of it. We’re no longer constrained by pressing cost or media size, but we are still subject to the evolution of the music-discovery culture, and we all need to be thinking hard about how we build a space where we encourage people to investigate music that takes many listens to sink in, music that doesn’t reveal any of its complex magic in a 30 second low-res preview, but given time will seep into our consciousness and affect us in a unique way.

We need filters. We need

  • people and
  • media-outlets and
  • blog groups and
  • socially networked advisors who will recommend great music to us in the way that magazines used to.

Magazines still provide some of that, but they are very limited in their scope, because they are beholden to their advertisers and the broadcast nature of what they do, so are constrained by the need to write about people their core readership already know about. Those people aren’t really our concern. The ones who already have a career, a fanbase, a stream of self-generating traffic to their sites and online store. Finding out about the new Nick Cave or Pat Metheny record is rarely going to prove difficult.

No, we need microfilter channels, groups of 5,10,20,50 friends who get excited about new music and do the research for eachother, in the same way that Google Reader lets us search out news and blog posts for eachother.

There are already music blogs like this – audioblogs that feature MP3s on a daily basis. Some of them are fabulous. Many of them are less helpful in that they are basically a mashup of bit-torrent and blogger.com – illegal giveaways of whole albums that don’t actually help the band because they direct no attention or traffic in their direction. I was talking with a guitarist friend in LA in January who found that only a week or so after his latest album had come out, someone was giving it away on an audioblog based in Holland. The sales in the first few weeks of any project are important because that’s when the publicity is focussed on, so to be offering illegal free downloads of an album that close to the release date is particularly galling.

The new currency online is attention. Time is valuable, and it is possible to monetize that, through sales of CDs, downloads, DVDs, t-shirts, gig tickets, teaching weekends, meet and greets, promotional spin-offs, advertising revenue. But directing attention is best done by communities, by trusted advisors, but bloggers and twitterers and facebookists and friends of friends who know their subject and seek out the best new music around and tell people about it. And do it because then their love for it is propogated, the artform and the creators are encouraged, make enough money to make the next record, and the cycle of soundtracking a part of our lives is completed and begun again.

BUT if you’re a musician, unless the career part of being a professional musician is more important to you than the musician part, all of that has to be at the service of getting the word out about YOUR art. That which you hold most dear. Not an advert for what you hold dear, not a truncated, MySpace-ized version of it, but the real deal, however dense, complex, mellow, subtle or otherwise it is. Which brings me back to a point I’ve made a few times on here before – BE THE KIND OF FAN YOU’D LIKE TO HAVE – musicians need to be using the attention they have from their audiene to share the love, to let their listeners know about the music they love. It’ll come back, karmic-stylee, and will solidify your position as a guru of great music, a person of taste and discernment and the hub of a music-loving community. That’s how we build RELATIONSHIPS with the people who connect with our art – relationships built on shared knowledge and an unfolding understanding of where our aesthetic tastes overlap…

That is, as the yanks like to say, all good.

Tags: cool links · New Music Strategies · tips for musicians

Steve Rodby interview from Bassist Mag, Aug 1999

November 5th, 2007 · 1 Comment

Steve Rodby was, without a doubt, one of the nicest people I got to meet when writing for Bassist mag. Along with Michael Manring, Lee Sklar, Jimmy Haslip and a handful of others, he was one of the interviewees that inspired me as much by his personality, grace and enthusiasm as by his wise words and exceptional playing. His thoughts on soloing in this interview were particularly enlightening…

He’s also, bizarrely, one of the most underrated bassists on the planet. I’ve had the ‘who could replace Steve Rodby?’ conversations with loads of great bassists the world over, and no-one has yet suggested another player that does everything that Steve does as well as Steve does it in the Pat Metheny Group. His jazz upright playing is exemplary, his bowing beautiful, his rock and pop electric playing makes him sound like he’s spent the last 40 years studying nothing but great rock/pop bass playing. He’s a proper low-frequency master of all trades. So here’s the interview – again, frustratingly, it’s an edit of a very long and involved conversation that I wish I had transcribed… maybe I’ll have to start an ‘in conversation’ podcast – could be a fun project for NAMM… Anyway, have a read of this, then go and listen to any of the PMG albums that Steve plays on, and be amazed at what a great player he is. One thing to keep in mind is that when Richard Bona joined the PMG, he joined as a singer. That’s how good Steve is :o)


For 20 Years now The Pat Metheny Group has been one of the biggest selling acts on the contemporary jazz scene. It has consistently filled concert halls and arenas the world over, and produced a series of critically acclaimed albums that have touched on almost every imaginable area of contemporary music, from Latin to industrial, drum ‘n’ bass to avante garde and freeform improv.

Since 1982 Steve Rodby’s upright and electric bass grooves have driven the band’s sound, helping to define the style that is now instantly recognisable as the PMG.

Bassist collared Steve for the low down on all things Metheny-esque while they were in London earlier this year for three nights at the Shepherds Bush Empire.

SL – You started out as a Classical bassist, but made the switch to Jazz fairly early on. How did that come about?

‘I always thought I’d be a classical bassist. My father is a classical musician, so that seemed the obvious direction. I went to college to study, but I don’t think I was ever quite at the level where I would have landed a really good orchestral post.

‘Very early on I started playing pop. When I was in college I got a couple of calls for studio work and I took to those sessions extremely well. Because orchestra playing was kinda boring, I played this game with my self when I was a kid where I would imagine that there was a mic in front of my bass recording every note that I played and that someone was going to say “Rodby, come in here!” and then play the tape back and say “What were you doing there”'”

‘So when I finally got in the studio, it was a fairly stress free process as I’d been playing for imaginary tape recorders for years!!

‘I also started to play electric bass, and made the switch to playing pop easily as that’s the music I was listening to all the time.

‘I finished college got my degree in classical bass, but by half way through college I was playing fairly regularly on the Chicago jazz scene.

‘My big break came when the great bass player Rufus Reid, who played in the house band at the Jazz Showcase (prestigious Chicago jazz venue), moved to New York, so the gig was up for grabs. The owner of the club seemed to like the way I played, and I ended up playing five nights, three sets a night with all these amazing visiting musicians like Milt Jackson, Sonny Stitt and Joe Henderson. The drummer in the house band had played with Charlie Parker and the pianists were all 30 years older than me and knew so much about music. And here I was this nerdy college kid with a classical background and all I had going for me was my ear and a feel!’

How did you learn all the tunes?

‘When I first started playing bass, my dad bought would play guitar and we would play duets. To teach me a song, he would write the roots notes and bar lines down, with no information about what else to play, so I had to improvise from the very beginning.

‘On the gigs, I was doing the same thing – following roots and knowing instinctively what the rest of the notes were. The piano players would play the first few choruses very clearly until I had it. I learned on the bandstand rather than in the practice room or out of books. I never really studied as much as I wish that I had.’

How did you first hook up with Pat?

‘I’d met Pat at various jazz camps when we were younger, and had stayed in touch. He was looking to add acoustic bass to his band and was auditioning players. My name came up so he called me and I went to NY and auditioned. Shortly after that he offered me the job.

‘When I met Pat I was an unformed nobody from small town Illinois, who didn’t even know what chords were, and he was already the future of music – he was 18 and had it all figured out. He was so far ahead of the game it was unbelievable. But when we played there was something about the style of the music that I felt that I could understand that I couldn’t account for – It may have been similar backgrounds and a shared love of pop music, the Beatles. It just made sense. I used to listen to the first couple of PMG albums and say to myself – ‘that’s my music’. It really was my dream group.’

Was it intimidating to work with Pat after the succession of great bassists that he’d already worked with?

‘Mmm, not really. The only thing that could have freaked me was Pat’s relationship with Jaco. Not only because he played with Jaco, but he REALLY played with Jaco. Bright Sized Life was one of the best records ever made. The next time I saw Pat after he met Jaco he said, “Oh man, I just heard a bass player that is going to change music. He sounds like John McLaughlin and John Coltrane only better – and on bass!!” – Pat doesn’t say stuff like that lightly!

‘Once I heard Jaco I just said “forget it, I’m not even going to try!” I was one of the few bassists on the planet who loved Pat and Weather Report but didn’t get a fretless and transcribe Jaco’s licks. I’ve never transcribed a bass solo in my life! Hearing Jaco also kept me away from playing fretless. So I thought if I’m going to do anything, I’ll play acoustic bass and I’ll play fretted pop style bass. Playing acoustic bass with Pat gave me a lot of freedom because what I was doing was different to what Mark Egan, Jaco or Charlie Haden had done. That’s my way of being able to sleep at night, otherwise I would have shot myself a long time ago!!’

How did the group develop such a distinctive sound?

‘In the early days of the band, I think we had a feeling that we had to do something different from other bands, so we had a load of do’s and don’ts – don’t do fusion, don’t have a back beat. And then we spent a lot of time avoiding music that may have sounded borrowed. But now we’ve finally got to the place were we can play Happy Birthday and it’ll sound like us. So we can now do a tune like the opening track on Imaginary Day that sounds sorta Chinese, maybe a bit like Gamalan Indonesian music, but it still sounds like us.’

Live, on the standard, ‘How Insensitive’, you take the first solo that I’ve heard you play. Is this a new area for you?

‘For years I took some really bad solos, and then we started doing this tune and I began applying myself to soloing again. That’s the next thing to think about. Not just soloing, but maybe making a solo record. I’ve spent so many years not paying any attention to it, but now that I’ve finally started to do my homework, I’ve found a real satisfaction. I’ve managed to get beyond the plateau that I was on. I’m moving forward as a soloist, so maybe now’s the time to do my own record.’

What have you been studying?

‘Well, I’ve finally begun to realise that at the technical level – playing melodies and chord scales, playing faster, higher – that you need to be able to do it 20 times faster than you’ll ever need to in a song! My problem was that the fastest the highest the hardest that I ever played was in this little solo during the gig. I was always trying to reach so far over my head and it didn’t really work.

‘So I realised that I had to put in the time, getting my technique up to speed. Same with the chord scales – there is a set of musical materials that you need to know – with this chord, this set of notes are your primary musical material – you can do other things, but you need that reference point.

‘These are the things that beginning sax or piano players learn very easily, but bass players don’t seem to take to so well. Fancy bass soloists tend to learn a bunch of hot licks but often don’t learn the fundamentals of music. So I’m finally taking the time to learn what the chords are and be able to play them at soloing speed!

‘A great bass solo has to be a high quality melody that would sound like a high quality melody if it was played on another instrument. You’d go, “well, it’s down kinda low on the piano, and he’s playing a little slow, but that’s a great melody!” Most bass solos on any other instrument would sound kinda weak.

‘I have a million miles to go, but that’s what I aspire to, that’s what I’m going to work on for the next 20 years. I’m sat up there playing for myself and for the audience but I’ve also got Pat and Lyle, two of the finest melodic improvisers around, sat right behind me! I’m not going to get a smile out of them by playing fast, but my playing good strong melodies.”

Pat Metheny on Steve Rodby:

When you’ve played with the most highly respected bassists on the planet, the must be something pretty special about the guys that you keep in your band for 15 years. Here’s what Pat has to say about Steve –

‘The kinds of things I need in any musician who is going to be in the group, regardless of their role in the band, is a certain musical insight that includes, but hopefully transcends, a deep sense of what has happened on their respective instrument, particularly over the past 60 or 70 years of popular and improvised music, combined with the musical skill and vocabulary to sonically render their conception of what just what that history implies into a personal sound. Steve Rodby has the ability to do just that and so much more, and that is what makes him the perfect bass player for this band. His background in classical music combined with his extensive jazz playing and studio work has made him an exceptionally well rounded player with a genuine musical curiosity that transcends style. His relentless pursuit of just the right part, played with just the right intonation and sound are well suited for the basic musical aesthetic that our band aspires toward.’

Tags: bass ideas · journalism · tips for musicians

Friday Random 10

September 8th, 2006 · 4 Comments

Here’s today’s list…

Cathy Burton – Speed Your Love (need to get her new album soon)
Tom Waits – Ol’ 55 (what a FANTASTIC song! Not heard this for a while…)
Pat Metheny Group – Second Thought (from Quartet)
Hinda Hicks – If You Want Me (bit of a shock after the last tune! Don’t trust iTunes to generate radio playlists for you…)
Jaco Pastorius – Continuum (now THIS would’ve followed the PMG track perfectly… bloody iTunes)
John Martyn – Looking On (from the double version of Live At Leeds, and this clearly isn’t from the Leeds gig)
Paul Simon – Sure Don’t Feel Like Love (apparently he’s at Wembley soon – will have to find out about tickets…)
Gillian Welch – I Want To Sing That Rock And Roll
Iain Archer – Soul Cries
Evelyn Glennie – Battle Cry (Bonus Mix) (From the album Shadow Behind The Iron Sun, which is incredible – get it!)

another interesting mix of stuffs…

Tags: Musing on Music

Friday Random 10 on saturday…

June 17th, 2006 · Comments Off on Friday Random 10 on saturday…

a day late…

1. Pigs, Sheep and Wolves – Paul Simon
2. Part IV – Mark Isham (from Tibet)
3. Just For Now – Imogen Heap (sadly not a live version – this was the single greatest live looped performance I’ve EVER seen when I saw her do it in London and Brighton)
4. Rain – Iain Archer
5. Little More Time With You – James Taylor
6. Making Flippy Floppy – Talking Heads
7. Off The Wall – Michael Jackson
8. Creeper – Gary Peacock and Ralph Towner
9. Meanwhile – Art Lande/Jan Gabarek
10. I Will Find The Way – Pat Metheny

…now that’s a compilation I’d buy!!

Tags: Musing on Music

Friday random 10…

June 9th, 2006 · Comments Off on Friday random 10…

seems to be a bit of an online tradition to post a random playlist generated by your iTunes or whatever on a Friday. ‘Til now, there hasn’t been much point for me, as I didn’t have enough stuff to do it with. But now that I’ve got the new harddrive, and am furiously copying CDs across, it’ll be a little better –

1- Steve Lawson, No More Us And Them (seriously, it’s not a fix!)
2 – Charlie Haden/Pat Metheny, Tears Of Rain
3 – U2, Tryin’ To Throw Your Arms Around The World
4 – Paul Simon, Senorita With A Necklace Of Tears
5 – Steve Lawson, Here Endeth The Lesson (again, it’s what actually came up!)
6 – The Works, Meeting Place
7 – James Taylor, Line Em All Up
8 – Mary Chapin Carpenter, I’ll Take My Chances
9 – Jeff Buckley, Corpus Christi Carol
10 – Lleuwen Steffan, Gwahoddiad

there you go!

:o)

Tags: Musing on Music

Death of a legend

December 28th, 2005 · Comments Off on Death of a legend

I don’t know too many of the details at the moment, but I’ve just read on another list that the great free improv pioneer Derek Bailey died on Christmas Day. I never met Derek, and the only gig of his I ever saw was a huge disappointment, but we have lots of friends in common, and his influence on the free improv world is hard to put into words. A phenomenal free thinking musician, who went from dance band side man to possibly the most abrasive sounding guitarist the world has ever seen. Uncompromising and hugely skilled, but willing to apply his notion of ‘ad-hoc musical experiences’ to his playing life even when he reached the point where his fame was so great that he recorded a record with Pat Metheny.

His book on Improvisation is a great read too – I learned a heck of a lot from that.

Rest in peace, Derek, you’ll be sorely missed.

Tags: Rant - Politics, Spirituality, etc.

"Intention is Audible"

December 2nd, 2005 · Comments Off on "Intention is Audible"

It’s one of those things I tell my students all the time. ‘Intention Is Audible’ – if you’re writing music just so other people who play the same instrument as you will think you’re a badass and can play faster than them, that’s going to come across in the music, and it’s very unlikely to have any emotional impact on your listeners. If you are playing out of some sense of obligation to some outside standard of what is and isn’t acceptable, the likelihood is that it’ll be plainly obvious that it isn’t from the heart. It’s why so much modern pop is as dull as shit, why not one of the TV talent shows has, as yet, produced a genuinely creative artist. That Will Young is the best we have is a sad indictment on the whole sorry charade.

Every now and again, the ‘intention is audible’ line is hammered home to me in a positive way (the negative stuff is there in so much music every day, sadly). One such experience is listening to ‘Duw A Wyr’ by Lleuwen Steffan/Huw Warren and Mark Lockheart. It’s a collection of Welsh hymns from the time of the revival, sung in welsh and given a european jazz reworking. And it’s beautiful.

But more than that, it’s deeply moving. Remember, it’s sung in welsh – there are translations on the sleeve, but I’ve intentionally avoided them thus far, as I’m allowing the music to impact me on a purely emotional level. And it works. Boy, it works. One particular track, ‘Gwahoddiad’, is one of the most uplifting things I’ve heard in years. The intention of the song is crystal clear in the performance, in the intonation of the voice. It’s incredible. Maybe I’ll have a read of the words later on. Maybe I won’t. It’s gospel music in its purest form – ‘good news’.

And it reminds me why I do what I do. Playing solo bass that isn’t all histrionic fretboard gymnastics and slapping, tapping circus tricks is definitely a ‘road less travelled’. There are very few solo bassists around, even fewer that aren’t spending their time pushing speed and agility as their main frontiers. To keep heading down this path into music where the emotional narrative is front and centre is a juggling act, given that it requires a lot of work on all those technical control and awareness issues that the twiddly stuff requires but without the pay-off that your peers rave about your wikkid skillz. Instead you get the pay-off of people being moved by what you do, being changed in some way by hearing it. I get enough of these stories from people to make it worthwhile. It’s never going to be a mainstream choice of music career (well, I guess it might be, I’d be happy to end up looping, layering and noodling on Top Of The Pops… or at least on Jools Holland’s show…), but it’s one that ultimately is so much more fulfilling for me creatively.

For any musician, learning to practice, absorb and then dismiss virtuosic technique is a huge challenge. For extreme virtuosity and emotional impact to be resident in the same player is incredibly rare – Coltrane would be one, Michael Manring another. Keith Jarrett’s one, Pat Metheny is more than capable of it. And Eric Roche, for whose family I’m playing a benefit gig on Sunday night, was definitely one, one who inspired me hugely, who encouraged me to pursue those aims, to carry the tension forward on my own journey into deeper musical understanding, and greater control of musical vocabulary and expression.

The gig on Sunday night, at Haverhill Arts Centre will be a great chance to give credit where it’s due. The rest of the bill is pretty fine too – Boo Hewerdine, Steve Lockwood and Stuart Ryan are all fabulous musicians that I’m really looking forward to playing with and listening to.

Soundtrack – Lleuwen Steffan/Huw Warren/Mark Lockheart, ‘Duw A Wyr’

Tags: Uncategorized