a

He is among the most revered British sidemen – session cats ever. Every record Alan anchored is worthy of exploration.  Among his most noted recorded works include Jesus Christ Superstar (1970), Joe Cocker! (1969), Leon Russell (1970), Paul Kossoff Back Street Crawler (1973), Alvin Lee In Flight (1974), and Roxy Music Avalon (1982).  You’ve heard him on stage and on record with Joe Cocker’s Grease Band, Roxy Music, Jim Capaldi, Paul Kossoff, Spooky Tooth, Alvin Lee, Kokomo David Coverdale, Bryan Ferry, Peter Frampton, Donovan, Steve Winwood, Ted Nugent, and Leon Russell, among many, many others…

 

If it were only for his incomparable bass passages on Jesus Christ Superstar (1970), Alan Spenner is legend. Spenner spins lines that exuded a soulful, rhythm & blues disposition akin to Motown masters James Jamerson and Bob Babbitt. Alan’s first professional gigs were with the blues/jazz outfit Wynder K. Frog which featured an impressive line-up of keyboardist Mick “Blue” Weaver (Mott the Hoople, Keef Hartley, David Gilmour), guitarist Neil Hubbard (Bluesology), drummer Bruce Rowland (Ronnie Lane, Fairport Convention, Joe Cocker), percussionist Reebop Kwaku Baah (Traffic), and saxophonist Chris Mercer (Bryan Ferry, Chris Farlowe, John Mayall). All these musicians intersected on many of the record dates that Spenner helmed.  Sadly, Alan passed at a young age (43) from a sudden heart-attack. 

 

Among Alan’s primary weapons of choice are Fender Precision – fretted and fretless. In his later years Alan switched to Wal basses. 

 

Alan Spenner Sound & Vision: 

 

Roxy Music “Same Old Scene” https://youtu.be/vXOgQN1a7bE

 

Roxy Music live “Avalon,” “Love is the Drug” https://youtu.be/co9TRT4Dar0

 

From Jesus Christ Superstar: “What’s The Buzz” https://youtu.be/c3LM2iQ8p7A

 

Tom Jones & Joe Cocker: “Delta Lady” https://youtu.be/V1gxVOcLZcI

 

Tony Senatore’s renditions of Alan’s passages from Jesus Christ Superstar 

 

“Gethsemane” https://youtu.be/vbLvAyrB6cU

 

“Herod’s Song” https://youtu.be/jBVVKbmwQu8 

 

“Heaven On Their Minds” https://youtu.be/ttnashv77K4

 

Alan with Joe Cocker at Woodstock: “Something’s Going On” https://youtu.be/kGbK5y94LOE

Berry Oakley, bassist (electric) by Joe Gagliardo

 

Artists/Bands: The Allman Brothers Band, The Shaynes, The Roemans, The Blues Messengers

 

Seminal Sides: Everything that Berry waxed with the Allman Brothers Band is essential listening for all bassists. Be sure to review the studio slabs, the live collections, and all the archival concert recordings!  

 

Thank you to Ken Voss and the Illinois Rock & Roll Music Archives for providing much of the historical information about Berry.

 

Here’s a man that certainly fits the lyrics to the Allman Brothers’ “Ramblin’ Man” – “trying to make a living and doing the best I can.” His name – Raymond Berry Oakley. But the Allman Brothers were from Georgia, you say. Yes, but like the Paul Butterfield song, Berry Oakley was born in Chicago and raised in Park Forest, Illinois!

 

While attending Rich East High School, Oakley was in a local band called The Shaynes, other members including Tom Morris and Tim Grossi. “Berry was one of the original hot licks lead guitar players in the Chicago area back in the ’60s. His band, The Shaynes, and my group used to play many of the same venues,” remembers Brian Paul. Since my band was comprised of guys a year or so younger than Berry and his guys, we often were the warm-up act,” he said. Playing guitar at that time, “Berry used to play a forest green Strat through a 2 X 12 Sears Silvertone amp back then, and it sounded great!”

 

As the band gained popularity in our area, they got to play with some pretty big-name acts of the time, including The Byrds. One group they played with a lot was Tommy Roe’s backup band, The Roemans. This is where Berry got his first big break. The Roemans’ bass player was drafted, leaving a void. Berry’s band was playing the warm-up show for them at Westwood Junior High in Park Forest, Illinois when he found out about the impending departure of their bass player, and volunteered to take his place.

 

The only problem was that Berry did not play bass! So he pressed into service the talent of his good friend and former bass player, Jim May. Jim was the guy who got Berry playing bass. He coached him for about two weeks to get him going. Berry then dropped out of Rich East High School and went on the road with The Roemans.

 

After his stint with Tommy Roe’s group, Berry ended up in Florida, playing with various bands in the lucrative beach scene there. In Sarasota, he met guitarist Dickie Betts who was putting together a new band. Oakley joined along with drummer John Meeks, guitarist Larry Reinhardt and keyboardist Reese Wynans (who later went on with Steve Ray Vaughan’s Double Trouble); and they became the Blues Messengers.

 

In 1968, the band migrated through some personnel changes and relocated to Jacksonville, changing their name to the Second Coming, and released one single on the Steady Records label that included “I Feel Free” (which the Allman Brothers remade on their album Dreams) and a version of the Jefferson Airplane’s “She Has Funny Cars.”

 

It was then they met Duane and Gregg Allman. Unwilling to break up his band situation and friendship with Dickey, Berry declined Duane’s first offers to join his group. What ended up happening is that both Oakley and Betts ended up joining, and the Allman Brothers Band was formed.

 

Oakley played an important part of the sound in the early days of the Allman Brothers Band. Duane didn’t want somebody who just played bass, he wanted someone who was capable of taking the instrument and the music to a different level. In Berry, he found the perfect person. Oakley became a crucial element in the evolution of the iconic Allman Brothers Band, known for his deep and melodic bass lines that provided a platform for Duane Allman and Dickey Betts’ aggressive and dueling solos and jams.

 

Berry’s weapon of choice was a bass nicknamed “The Tractor.”  It was a Fender Jazz bass modified with a Darkstar Hagstrom pickup that was made for the Guild Starfire bass.  He moved the Jazz neck pickup down between the bridge and bridge pickup, and put the Darkstar pickup where the neck pickup was.

 

Sadly, on November 11, 1972, Berry died as a result of a motorcycle accident, that took place 3 blocks from where Duane died in a motorcycle accident the year before. His music and legacy live on with the catalog of Allman Brothers records we’re left with.  Berry was inducted into the Rock and Roll Hall of Fame in 1995 as an original member of the Allman Brothers Band.

 

Every track Berry Oakley waxed with the Brothers is essential – here is our list of favorites!

 

“Mountain Jam” https://youtu.be/w9ZubobGMLs

 

“Whipping Post” with video https://youtu.be/FUvxRjYqjEQ

 

“One Way Out” with video https://youtu.be/yJ9twEldw_M

 

”Ain’t Wastin’ Time No More: https://youtu.be/4uWQszeuX2A

 

“Ramblin’ Man” https://youtu.be/7KeoYzHPKF0

 

Dig Berry taking the lead vocal on “Hoochie Coochie Man” https://youtu.be/mVIBBJ9XttI

 

“Stormy Monday” from Fillmore East https://youtu.be/_m5kWLCTFhw

 

Dig Berry’s isolated track for “Ramblin’ Man” https://youtu.be/PIxKyEsMyVM

 

Dig Berry on “Ramblin’ Man” live at one of his last performances. https://youtu.be/jUTORC4eoGc

 

Check out former Allman Brothers Band bassist (1979-82) David Goldflies’ commentary on Berry from his Know Your Bass Player On Film interview. https://youtu.be/XS0uDHbCMi8

 

Note that Berry’s son Berry Duane Oakley Jr. is also an accomplished bassist: https://www.allmanbettsband.com/berry-duane-oakly/

Tom Semioli coda….

Perfection is defined as “the action or process of improving something until it is faultless or as faultless as possible…”

 

Though the Allman Brothers made their bones (and legend) as instrumentalists, interpreters, and improvisers, especially in their early years circa 1969-72 – Gregory LeNoir Allman and Forrest Richard Betts penned many a memorable tune. 

 

To my ears “Melissa” b/w “Blue Sky” are their pinnacle compositions – as was the performance of their bassist Berry Oakley on these seminal tracks.

 

Akin to Sir Paul and Brian Wilson, Berry plies pedal tones, pocket grooves, and countermelodies which enhance the songs. When you’re on the bandstand playing either of these classics – and that included Lamar Williams, David Goldflies, Alan Woody, and Oteil Burbridge – if the bassist does not replicate Oakley’s motifs, the songs lack authenticity!

 

Perfection!!!!

 

“Blue Sky” https://youtu.be/UToUzWgHGyQ

 

“Melissa” https://youtu.be/bX72xzzoqkc     

 

 

Ever since I was a child I’ve always been very attracted to melodies. Whether I hear Jeff Beck, a choir, an ocean or the wind, there’s always a melody in there… Carlos Santana

 

Anybody can play. The note is only 20 percent. The attitude of the mother****r who plays it is 80 percent… Miles Davis

 

Which brings us to Benny Rietveld, chosen by both Carlos and Miles to helm the bass chair on some of their most potent sides, and on stage.

 

Inspired by Chris Squire and Sir Paul, Santana musical director Benny Rietveld has been the longest tenured bassist in Carlos’ numerous collectives commencing with the album Spirits Dancing in the Flesh in 1990.

 

Following his studies at the Hawaii College of Music, and work with artists spanning The Crusaders, Richie Cole, Makoto Ozone, and Sheila E., Benny, among others, Benny anchored Miles Davis on his last major tour in ‘88 and remained with the jazz icon until 1990, waxing tracks that have been featured on various archival live and studio releases.

 

A composer, recording artist, film director, educator (Ben Rietveld Bass Essentials – Hot Licks) and producer, Rietveld waxed his lone solo slab Mystery of Faith in 2001 which features cameos from Carlos and Tom Coster.  Among Benny seminal sides include Miles Davis Around the World (1996); Santana Spirits Dancing in the Flesh (1990), Milagro (1992),  Supernatural (2000), Santana IV (2016); Santana / Isley Brothers  Power of Peace (2017),  and Cindy Blackman Another Lifetime (2010), to cite a select few.

 

Benny’s weapons of choice include MusicMan Sterling (four and five string), Lakeland 4-94, MTD 5 String, and an NS electric upright.

 

 

 

 

Benny Reitveld Sound & Vision:

 

Sheila E. “The Glamourous Life” https://youtu.be/KOoWMtxR8GQ

 

Miles: “Me & U” https://youtu.be/nHXm-_-LT0I

 

Live In Europe The Prince of Darkness https://youtu.be/VMTO0jPp2Z0

 

Benny and Carlos:

 

“Smooth” https://youtu.be/6Whgn_iE5uc

 

“Black Magic Woman” https://youtu.be/-2O81STmDGg

 

“Samba Pa Ti” https://youtu.be/3LIPKtZyX6M

 

Santana and The Isley Brothers:

 

“Are You Ready” https://youtu.be/lHK9vzhxxLE

 

“Higher Ground” https://youtu.be/_OmUIOAZqF8

 

 

Kerri Jane, bassist, by Joe Gagliardo

As a child Kerri Jane started writing songs on a plastic guitar.  That didn’t sit well with mom – who expected her daughter to attend med school. On the sly at age fifteen, Kerri purchased a Les Paul copy guitar from a used-car salesman, along with a small amp and instruction book, and began to practice quietly in the basement. Soon after, Kerri realized something was missing…something about that six-string guitar wasn’t stirring her soul! A guitarist friend suggested she switch to bass.  Once again, Kerri begged mom for a bass, but to no avail…

However her mother eventually relented, and surprised her daughter with a 1976 Gibson Ripper, but there was a string attached—Kerri had to agree she would never perform live with that bass guitar! Mom was convinced that if Kerri took to the stage with that instrument- there would be no turning back. Mom was right!

Shortly after, Kerri’s mom tragically passed. (Kerri still treasures her beloved Ripper, which remains in her possession.) She kept her promise to never gig with the Ripper. So she purchased a ’63 Fender Jazz from Randy Kertz (see his KYBP profile) which she uses to this day, with her dad’s approval. In 1993 Kerri anchored The Nomads, an an all-original ensemble from Ireland. That gig came to an abrupt halt when their visas expired! By that time, Kerri was playing in a two or three Chicago ensembles, and subbing in others. After working with The Nomads, she performed in numerous outfits which plied diverse, original music including: Eternalux, a shoegazing pop band; a punk/rock /funky jazz group which worked under the moniker of Hot Heels; Sister Soleil, purveyors of pop/industrial music; and hard-core industrial instrumental band aptly titled Lab Report.

.

Her tenure with the band Lyla Stone led to Kerri a gig with the Fabulous Janes, followed by Catfight and Libido Funk Circus. All these bands were wildly popular on the club and festival circuit.  After four years with Libido Funk Circus, playing fifty-one weeks a year, Kerri decided to devote more of her time to Diversified Audio, a company that specializes in providing high performance sound reinforcement and lighting systems.

With Kerri’s history and ability to play in an array of musical styles, it’s no surprise that her influences are equally diverse. She cites James Jamerson, Carol Kaye, Paul McCartney, Eric Avery (Jane’s Addiction) and Mike Watt (Minutemen) among her bass heroes.

These days, you can catch Kerri laying down the bottom with The Gingers, a high-energy classic rock band which also includes Chrissie Olstad and Debbie Cielen on guitars, Emi Fukuda on keys, guitar and flute; and drummer John Sweeney.

With The Gingers, Kerri’s go-to bass is a ’99 Silver Sparkle Fender Jazz which she typically runs through an SWR 850 Watt Head, and 2 Eden Cabs—a 2×10 and a 1×15. Kerri also works the pocket with Gone Country, an ensemble which includes vocalist / guitarist Steve Calzaretta, lead guitarist Doug Schoenbeck, Rob Geiss on rhythm guitar, and drummer Chris Starke. Kerri’s go-to bass for Gone Country is a ’73 Jazz bass.

 

Kerri Jane Sound & Vision:

 

The Gingers / “Whole Lotta Rosie” https://youtu.be/6yeGJTqlOJo

 

The Gingers – Redheads that Rock! Live Performance Video   https://youtu.be/NbVTnrsfIcQ

Este Haim, bassist by Tom Semioli

 

Artists/Band: Haim 

 

Seminal Sides: Days Are Gone (2013), Something to Tell You (2017) –  

 

They got the looks… they got the hooks….

 

The sister trio of Este (bass), Danielle, and Alana Haim were raised in a musical San Fernando family and the rock and roll aesthetic most associated with their So Cali environs shines through their artistry i.e. strong vocals, memorable melodies, prominent guitars, and a solid rhythm section with an occasional flash of brilliance.

 

Akin to their ancestors Fleetwood Mac, Tom Petty & The Heartbreakers, and Sheryl Crow, Haim rock a lot harder on stage than they do on record, and their impromptu jams are a welcome relief in an era wherein rock bands refuse, or are incapable of walking the improvisatory high-wire.

 

Bassist Este, the eldest sibling, is primarily a song-player.  In the studio Este is mostly restrained, doubling sparse lower register keyboard motifs. However on the bandstand she’ll cut loose (somewhat) rhythmically.  

 

Este’s weapon of choice is a naturel finish Fender Precision with a big 70s headstock logo – does it get more Echoes of the Canyon than that, I ask you!?

 

Dig Este with Haim…

 

“Right Now” live at Glastonbury https://youtu.be/hqkyTsY2c9g  “Oh

 

Well” live at T In the Park https://youtu.be/VikyxJoBF2k 

 

Rock in Rio 2018 https://youtu.be/vlMqr9pEl70

“It’s not for the faint of heart!” From Terminal Studios in beautiful downtown Bermondsey, London, Later …with Jools Holland bassist, revered sideman, studio ace, bass collector, educator, clinician, journalist, and low end philosopher Dave Swift discusses the ups and downs of the upright!

Tom Semioli: Interviewer / Writer. Mark Preston: Producer / Director. Derek Hanlon, Oliver Harley Symonds: Cinematographers. Mark Polott: Editor.

John Pazdan, bassist by Joe Gagliardo

Seminal Sides: Pezband United Technique (1972) and Women and Politics (2016)

 

Artists / Bands: Pezband, Milton and Winston, Off Broadway

 

John Pazdan has pursued an eclectic array of musical styles during his five-decade career as a bassist – from rhythm and blues, to pop rock, soul, rockabilly and jazz. Though the Chicago area-based musician generally prefers performing an improvisational set at a New York City club or composing electronic tones from his studio in Aurora, Illinois – he also gigs in the Midwest with well-known power-pop bands.

 

Pazdan broke into the Chicago music scene in 1971, with an electric Wurlitzer piano and a Fender guitar, as one of the founding members of the power-pop legends Pezband. John played with the group until 1973, and occasionally through its several metamorphoses thereafter, switching over to the bass guitar.

 

From that two-year stint with Pezband, Pazdan appeared on United Technique (1972), which was released forty-one years later, and was followed by the release of a 1982 recording, Women and Politics in 2016. These records afforded Pazdan the opportunity to tour Japan and the East Coast with Dwight Twilley and Shoes.

However, it was the soul music of the 1970s, as well as the rhythmic delights of roots reggae, funk fusion and African music that turned Pazdan to the bass! Post Pezband, Pazdan joined up with the Southside Chicago soul band Milton and Winston, a well-known duo on WVON, which was Chicago’s premier soul, r&b and blues radio station, which released several of their 45s. 

This was the experience that made John a bona-fide bass player, Pazdan says – keeping time, playing the pocket, pushing the groove – and opening his own bass playing to influences that shape his improvisational focus.

Pazdan lists bass players such as James Jamerson and Leroy Hodges, funk fusion pioneers Michael Henderson and Paul Jackson, reggae bassists Robbie Shakespeare and Aston “Family Man” Barrett (Bob Marley & The Wailers) among the influencers of his style.  

Pazdan rolled with the 70s – playing funk and fusion instrumentals, as well as circling back to the power pop scene. A stint with the TS Henry Webb Band (after Webb moved on from The Flock), morphed into Off Broadway, which featured former Pezband lead singer Cliff Johnson. The band’s debut album On was released by Atlantic in 1980 and included the hit single “Stay in Time.”

By the mid-1980s, Pazdan had been to Los Angeles and back to Chicago playing blues at the storied Kingston Mines with Joe Kelley (Shadows of Knight), and blues greats including Sugar Blue and Hubert Sumlin. These sets, which ran every weekend for a year, often lasted until 4:00 AM!

Also during the 1980s, a new form of rocked-up traditional country music, now known as “Alternative Country” drew Pazdan’s interest. He teamed up with former Off Broadway bandmate and guitarist John Ivan to form Big Guitars from Memphis. The band, which became popular in Scandinavia, toured with The Jordanaires, top session player Charlie McCoy, and Beatles’ mentor Tony Sheridan – a rockabilly guitarist.

Through all these musical transformations, John mostly finds his groove in improvisation, such as a 2016 gathering of bass players at the Manhattan Inn in Brooklyn, New York.  That evening, Pazdan, set for the final solo of the evening among fourteen bassists, decided to invite Brooklyn-based baritone sax player Maria Eisen to join him along with upright bass players Scott Ritchie (Lady Gaga) and Louis Levitt (Sybarite 5) at the show for a free-form set. For Pazdan and his impromptu crew, that was exhilarating music!

Since the 1980s, Pazdan has produced and released compositions of bass and electronic instrumentals.

You can catch Pazdan live with Off Broadway, and check out his playing at the links below.

Also, watch for John’s electronic “free noise” ensembles St Fu and The Empty Set, as well as a new free floating “skronk-noise thing” under the monkier Scorched Space Policy.

John Pazdan Sound and Vision: 

 

Off Broadway-“Stay In Time” https://youtu.be/zJOTXWoeIew

 

Off Broadway-“She Said, She Said” Live https://youtu.be/h43wgg9erWc

 

Pezband-“Fab Girlfriends” https://youtu.be/hyHUIKENm0A

 

John Pazdan-“Murder” https://soundcloud.com/johnp352/murder

Notes John: It was written as a protest against the murder of black and brown people in the Middle East.  My “Machine Gun”…I like the false endings…

 

Weapons of Choice: Pazdan has used a diverse array of gear over the years, including a 1959 Danelectro Longhorn, a Mocha Brown Fender Precision bass, Fender Bass VI, MusicMan StingRay, a Piccolo bass, and an Ibanez Mikro bass, as well as Washburn, Jerry Jones and Alembic basses.  His go-to basses these days for jazz and improv are a custom Rick Turner Renaissance five string fretless, tuned from E to high C and a heavily modified Mikro bass using a variety of tunings. 

 

With Off Broadway, he prefers a MusicMan Sub from the early 2000s.  While he had monster rigs in the past, with MusicMan and Hi-Watt heads, and multiple 4×12 and 4×10 cabinets, his go-to rig these days is a GK1001 and a TC cabinet with 2x12s. He recommends tipping the monitor mixer a $20 bill to hear bass through the sidefills! For pedals / effects, he uses the Malekko Charley Foxtrot, and two extremely bent Roctek pedals from Circuit Benders UK. He also plays a Mbira Huru which is a large kalimba style instrument from Zimbabwe,  and various synthesizers.

By Tony Senatore

While other bass guitar related websites focus primarily on all things bourgeoisie, Know Your Bass Player’s sentiments have always resided within the proletariat, and the working-class bassists that comprise it.  Jeffrey Allen is a prime example of a bassist who has made a name for himself by constantly being able to deliver what his clients need, by selling his wage labor as a commodity. Unlike his radical chic bass brethren who call for a destruction of the very system that provides their sustenance, Jeffrey Allen embraces the best features of our American way of life, and works hard to deliver for those that hire him, whether the gig is a NYC bar, in the pit on Broadway, or on a world tour.

Moreover, in selling his wage labor he does not feel the alienation that Karl Marx said was a feature of a capitalist economy. In this feature, we at Know Your Bass Player want the bass players of the world to unite and come to the realization that they have nothing to lose but their chains. In our new global economy, some might say that all that is solid melts into air, all that is holy is profaned, and man is at last compelled to face with sober senses his real conditions of life, and his relations with his kind. The staff at Know Your Bass Player beg to differ. It is time to break the trend of false consciousness and learn what it takes to make a living as a working musician through the wisdom of Jeffrey Allen.

Tony Senatore, 2020

When and where were you born?

I was born the day after Magical Mystery Tour was released, in the fair city of Englewood, New Jersey, just over a mile away from the house in which I was raised, on November 28, 1967. On another note, Magical Mystery Tour eventually became one of the first cassettes I ever owned, along with the Jackson 5’s Third Album. Those were two tapes I was passionately grooving to as a five year old on my portable cassette player.

 Did you study music in college? I am curious as to your educational background, and/or specific teachers who guided you, not limited to only music teachers.

I did. I studied classical string bass at Juilliard with Homer Mensch and Eugene Levinson. I’ve been quite lucky to have had many incredible and influential teachers along the way. When I started playing clarinet in second grade, my very first teacher was the great and legendary reed pedagogue Joe Allard. He lived across the street from us and agreed to my dad’s request to give me a bit of guidance. I was always wildly intrigued by the comings and goings of the various long-haired sax players.

The main electric bass teacher I worked with in high school was a fella named Tony Oppenheim. He had written a very popular slap method book called Slap It! around that time, and my young, white suburban ass wanted to get down! I ended up getting way more than I had bargained for, though. He really was a great and patient teacher—we worked on reading rhythms extensively and other stylistic minutiae, both of which significantly helped me in later years when I started working professionally.

Once I thought I was making some headway on electric after playing for a few years, I thought it’d be cool to try and play upright—in the name of jazz and being well-rounded. Funnily, I started studying with a classical bass teacher, Linda McKnight, who valiantly attempted to teach me how to legitimately play the instrument and launched me into a years-long fascination with orchestral music in addition to the Sisyphean task of trying to make the double bass sound good. Linda was really responsible for me getting my whole upright bass thing going. I started attending Manhattan School of Music on Saturdays (pre-college division) and playing in multiple youth orchestras. All this led me to attending The Juilliard School after graduating high school. Along the way I also studied bits and pieces with Henry Portnoy, Tiny Martin, and Stuart Sankey.

Did your family support your decision to study music at the college level?

Yes, I was amazingly lucky in that regard, although it wasn’t exactly a straight line. They were initially less enthusiastic when I was only playing electric. I wanted to play rock and become a session musician. But as the classical thing took hold and I started achieving certain goals, culminating with getting into Juilliard, their tune started to change. I think it was a combination of their pride in me, the prestige of the institution, and their view of classical music that precipitated the shift. But they continued to be unbelievably supportive even after I finished school and pivoted back toward playing popular music. For this I’m incredibly grateful.

 Do you make your entire living playing music?

I do and have for the past approximately twenty-five years, although this current Coronavirus disruption is poised to possibly change that. We shall see.  Your classical training is a big part of who you are. How has your classical training helped you in your pursuit of making a living as a professional bassist? It has and it hasn’t. It certainly gave me a great foundation in being able to read well, understanding traditional harmony, appreciating western classical music, and playing the double bass in a reasonably effective manner. But I also learned many valuable skills in the trenches and clubs freelancing in New York City, playing in a wide variety of bands, as a rhythm section player, playing with great drummers, playing under the microscope of the studio, dealing with a wide range of different personalities and situations, being able to read and provide what’s necessary in one situation but not in another. I could go on and on.

Who influenced you coming up, regarding bassists that caught your ear? When you listen today, do your early bass influences measure up to your perceptions of them when you were young?

Early on it was: Gene Simmons, Michael Anthony, Geddy Lee, Steve Harris, and Chris Squire.

As I got a bit further along in playing the instrument: Jaco, Stanley Clarke, Marcus Miller, Will Lee, Anthony Jackson, Paul McCartney, Pino Palladino, Edgar Meyer, Eddie Gomez, Ray Brown, and Paul Chambers.

That list continued to grow consistently as I learned more, was exposed to more, researched more: Larry Graham, Verdine White, Louis Johnson, Rocco Prestia, James Jamerson, Duck Dunn, George Porter, Me’shell Ndegeocello, Nathan East, so many others. I’m still discovering and cluing in to great bass players that make me feel something physically: Keni Burke, Bobby Vega, Rusty Allen, Derek “D.O.A.” Allen, Leon Sylvers III, Sharay Reed, my homie and fellow Bergen County native Jonathan Maron. Once again, I could go on and on.

More often than not, my early perceptions are affirmed when I listen today, and a lot of the time I get even more out of it, as I have a much broader context and understanding.

Are there any bass players or musicians in general that inspire you today?

Man, I get inspiration from all sorts of things these days, both musical and nonmusical. I’m sometimes impressed with just how severe and athletic many people’s technique has become. But generally speaking, I find beauty in simplicity and understatement—be it in a lyric, a melody, a chord sequence, or a repeating pattern in nature. I’m still moved by a lot of the music I’ve been listening to for years, like Stevie Wonder, Tom Petty, and the Beatles. I just love good songs and songwriting. A few years back I discovered a cool band called MuteMath. They embody many things I enjoy in popular music (cool writing, great sonic palette, awesome rhythm section playing) and I find them compelling. I’m also frequently inspired by many of my colleagues here in New York—so many incredible, adventurous musicians and bass players.

 I am sure that like me, you have many basses. I have about forty, but I could exist with only my 1973 P bass if I had to. What bass that you currently own is your main instrument that you would never part? I

I have several incredible instruments, both vintage (Fender, Gibson, Hofner, Kay) and modern (Sadowsky, Musicman, F Bass, Lakland). That’s really a hard question to answer, but if I had a gun to my head, I’d say my ’65 P Bass and my ’66 Jazz Bass. They’ve been with me for a long time and are staples in creating the sounds I envision in my head a large percentage of the time. That said, some of the hollow body basses I have also see a lot of action, and there are many situations where one of my modern instruments is absolutely the right thing. That’s a part of the creative process I always enjoy—choosing the right sound and casting the right instrument that will work best in the context of what else is happening in the arrangement and how the part itself is operating within. Fun times!

Mark Twain once wrote, “Travel is fatal to prejudice, bigotry, and narrow-mindedness, and many of our people need it sorely on these accounts. Broad, wholesome, charitable views of men and things cannot be acquired by vegetating in one little corner of the earth all one’s lifetime.” I know you have done a lot of traveling in your career. Does this quote resonate with you? If so, please explain.

I absolutely love this quote and often refer to it when meeting people from various parts of the world. There’s no better way to expand one’s view of humanity or the world in general than seeing, experiencing, and being exposed to cultures and viewpoints that are different from your own. It saddens me that more people don’t recognize this. When you travel, you learn, in real terms, that the commonalities between people are way more substantial than the obvious differences.

 Do you have any significant gig nightmares or stories from the road that you would like to share?

The nightmares I’ve tried to forget and any specific stories are either not appropriate for this venue or you’d have to ply me with alcohol to shake them loose.

 When I went back to school from 2008 to 2017, my goal was to teach history or social studies at either a public or a charter school. This changed when I consulted with some of my friends who have been educators for many years.

They informed me that changes in the education system, and the advent of Common Core standards pushed them into early retirement, and that if I had any ideas about teaching with my own style in my effort to change the world one student at a time, I should reconsider teaching. In a similar way, I feel the same obligation to be honest which young musicians that often asks for my advice regarding a career in music.

It is more difficult to survive playing music today than in past eras. Reality is not negativity, and I feel an obligation to young musicians to make this clear. If you could offer one piece of advice to aspiring bassists, what would you tell them?

I would say, have other skills you can use to make money in addition to pursuing music. Or, at the very least, develop multiple skills within music to increase your potential earning capability. I hope I’m wrong, but the ongoing devaluation of creative content in our culture will continue to make it harder and harder for creative people to monetize their creativity, thereby making it more and more difficult to make a living.

Jeff has had the good fortune and pleasure to perform and/or record with some truly great musicians, singers, producers and songwriters over the last several years: Billy Preston, Rosanne Cash, Duncan Sheik, Chantal Kreviazuk, Chris Botti, David Garrett, Marc Cohn, Vanessa Carlton, Stewart Copeland, Five For Fighting, David Sancious, The Dragonflys, Leonard Bernstein, Avril Lavigne, Linda Eder, Lesley Gore, Bill Deasy, Susan McKeown, Donna Lewis, Phoebe Snow, Joan Osborne, Paul Buchanan (The Blue Nile), The BoDeans, Edie Brickell, Lucy Woodward, Mandy Moore, Graham Colton, David Johansen (New York Dolls), Sloan Wainwright, Black 47

BROADWAY SHOWS: Spring Awakening, Spiderman, Beautiful, Finding Neverland, Book Of Mormon, Kinky Boots, Hamilton, Dear Evan Hansen, Waitress, Tuck Everlasting, School Of Rock, The Band’s Visit, King Kong, Ain’t Too Proud, Moulin Rouge,Jagged Little Pill

FILM SCORES: Caught, Hurricane Streets, Safe Men, Girl Fight, State And Main, Wet Hot American Summer, Old School, The Deep End, The Bee Season, Hope Springs, The Secret Life Of Walter Mitty, Zoolander 2, Keeping Up With The Joneses, A Dog’s Purpose, Book Club (2018)

By Joe Gagliardo

When Lou Reed inducted Dion DiMucci into the Rock and Roll Hall of Fame in 1989 he closed by saying “after all, who could be hipper than Dion?”

Eddie Denise, “The Wanderer’s” bassist agrees!

In the beginning: it is a time-honored, familiar story to countless bassists – and one that that profoundly changed Eddie Denise’s musical trajectory: the bass player in his band quit, and Eddie switched from guitar to our instrument!

Since then, Eddie has provided the harmonic and rhythmic foundation for a wide array of iconic performers, including the Shangri Las, Chiffons, Bobby Rydell, Eddie Holman, Ronnie Spector, and John Sebastian, among others.

Though Eddie is left-handed in “real life,” he plays the bass right-handed.

Bobby Rydell’s drummer and musical director also had a deep impact on Eddie’s career. Several years ago, he called Eddie to sub at the last minute to back Bobby Rydell. However, Denise missed out on the gig because he could not read charts. Rather than allow that incident defeat him, Eddie worked hard to learn to read and sharpen his skills, studying with Broadway bassist Paul Adamy whose stellar career includes a fourteen-year run as the bassist in Mamma Mia.

Recently Eddie once again had the chance to be part of the Rydell’s backing band. As fate would have it, the legendary Detroit rocker still employs the same drummer and music director, and Eddie took the opportunity to thank him for motivating him to improve his skills and further his career.

For the past ten years, Eddie has played bass in support of the legendary Dion DiMucci.

Having worked numerous shows with Dion, among the highlights for Eddie was playing The Tonight Show, Starring Jimmy Fallon.  In terms of the music, while there are plenty of hits, Dion was ahead of the curve, playing blues and folk music before it became fashionable!

Writer’s note: It has to be a thrill to play the cool major scale bass line leading into Abraham, Martin and John!  One surprise for Eddie was to learn that, notwithstanding The Wanderer’s pulsing music, the song hangs together because the bass only renders quarter notes!

“Abraham, Martin, and John” https://youtu.be/rwn8hIyiHvI

In addition to his gig with Dion, Eddie has supported guitarist Arlen Roth for the last nine years, including his Grammy nominated LPs All Tricked Out.

Eddie with Arlen: “In The Heart of This Town” https://youtu.be/0mzYcqlRAhg

Another Grammy nominated album Eddie helmed was The Journey Continues by the father and son acoustic duo Sundad. Eddie and his son, Jayson, have an acoustic duo named Set To Stun, which has released a self-titled album.

Eddie and Sundad “Out of Body” https://youtu.be/KgV3jPre-ic

As if that isn’t enough to keep busy, Eddie also plays bass and sings with The John Hall Band (listen to the bass on ”Dance With Me by Orleans” -it is killer!) and with Vincent Pastore’s The Gangster Squad.

“Dance With Me” (bassist Lance Hopper) https://youtu.be/op9ApJJyhD4

Weapons of Choice: Eddie’s first bass was a semi-hollow body Red Mosrite.  He then moved to a Gibson EB1, akin to Felix Pappalardi, who, along with Paul McCartney, has been a major influence on his playing.

These days, Eddie’s go-to basses are a 1965 Fender Jazz with Roundwounds, and a Warmoth P Bass, with GHS Bright Flats.  Both basses have Lindy Fralin pickups wound at +5% for a little extra mid-range growl.

At clubs, his basses run through an Aguilar Tone Hammer 500 and 2 DB 1×12 cabinets, and his concert rig is the Aguilar 751 head with two Aguilar DB410 cabs.

Check out Eddie’s playing with Dion:

“King of the New York Streets” Live at Westbury Music Fair https://youtu.be/wWks1N40igc

“Ride With You” Live Westlake NY, 2016 https://youtu.be/TD_kkiTFjEs

From 1989 to ‘97, she anchored Minneapolis indie rock legends Walt Mink (a name they pilfered – in the tradition of Lynyrd Skynyrd – from a Macalester College professor), waxing five fab slabs which traversed punk, pop, thrash and permutations thereof.

As with many a rock trio bassist, Candice Belanoff pulled double duty as a pocket player and riff renderer – filling as much space as necessary (and then some) whilst serving the almighty song.

The band had their shot with a major label (Atlantic) – however akin to many of the best alt-rockers of the era, the fringe was their most fertile platform. Regardless, they were a force to be reckoned with, often sharing the stage with simpatico ensembles including The Lemonheads, Mudhoney, and Soul Asylum.

Their star of fame adorns the renown First Avenue venue in their home metropolis.

Dig Candice and Walt Mink….

“Stood Up” https://youtu.be/WbnmxDSjifI

“Pink Moon” https://youtu.be/jqGoa1TZ5l8

“Shine” https://youtu.be/pyVF_Zo7NKg

“Betty” https://youtu.be/VBvvyDnEkAA

“Fragile” https://youtu.be/hRDQWh8DI68