The Know Your Bass Player Interview by Tony Senatore

 

Recently, one of my Facebook friends, who happens to be a fine bassist, posted that although he started his days with great optimism, after checking out his Facebook feed, he realized that either he was a substandard musician, had made bad decisions, or had any combination thereof. My reaction to his words was quite the opposite. My daily social media habits have reinforced my view that the world is more vapid, vacuous, and morally bereft than I ever imagined. Whether I searched for quality journalism, music, or depictions of humankind at its best, it seemed as if there was none to be found. When creative people are faced with such obstacles, they have choices. They can go with the crowd and follow trends rather than set them or try to uphold all they hold sacred in everything they do, no matter what the cost.

 

Moreover, they could either remain aloof and unsupportive for fear of losing whatever notoriety they have or be nurturing and try to align themselves with like-minded people who toil away in relative obscurity, unwilling to lower their standards.  In my life, when faced with such choices, I have decided on the latter. When I learned of Charles Nagtzaam via my friend Tony Renaud, I was pleased to see that many individuals are still willing to uphold the time-tested tenets of music while resisting the latest fads, and I wanted to be acquainted with him. Charles is the type of bass player that I admire. He doesn’t live in the past. Charles is constantly trying to break new ground on his instrument. What I like most is that, like me, he always tries to move forward while tipping his hat to the great bassists like Anthony Jackson, that inspired him.

 

Things ranging variously from technology to guns are decidedly non-moral. Whether they are used for good or nefarious purposes is ultimately in the hands of the user. While I have come to despise social media, without it, I would never have learned about the brilliant playing of Charles Nagtzaam. Moreover, if it wasn’t for my friend Tony, there is a good chance that I might never cross paths with him. The lesson is clear. We must stop thinking about ourselves and instead put some effort into others. Social media should not be a place to question your worth. On the contrary, it should be a place to confirm what we are doing right and to help people that we are in a position to help. That said, I would like to introduce Charles to the KYBP family. – Tony Senatore 

 

 

When and where were you born?

 

I was born in June 10, 1967 in a small town called Cuijk, near Nijmegen, which is in the Netherlands

 

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.

 

From where I grew up, there was not much of music in Elementary School. My parents discovered I had affinity with music and made me play the wooden flute (recorder?) at the local music school, thinking that learning how to read notes was the most important base. After two years of this (I was around 9 years old), I wanted to play drums or electric guitar, but my parents decided to put me on classical guitar lessons first, most likely to prevent complaints of our neighbors.

 

In 1979 when I was twelve my dad died, and I was tired of classical etudes and wanted to be able to just play a song. Preferably songs I heard on the radio or on those records which my four-year older brother had. By then I was heavily into all kinds of music. The first time I briefly picked up the bass, it felt like home to me. Due to my classical guitar training, my left hand was already a bit familiar to a wider neck and where the notes were. I didn’t own a bass yet and started playing along with songs on the lower strings of my classical guitar. A year or two later, my mom got me a cheap bass guitar (Kumika P-bass clone) and I started playing with friends from school. That’s when it all started.

 

After high school I wanted to study at the conservatory and wanted to play (preferably) jazz funk. However, in order to get admitted, I had to play upright bass. After some upright bass lessons with Ruud Hendriks I got admitted to the conservatory of Arnhem to study upright bass with Henk Haverhoek (http://www.henkhaverhoek.nl) a great musician and teacher who has played with many famous jazz musicians. 

 

Two years later the school contracted Lené te Voortwis as the main subject electric bass teacher, and I finally got my first real electric bass guitar lessons. Both Lené and Henk had a huge part in my development. After my graduation I got a lot of wisdom from artists which whom I’ve worked with.

 

If you studied music in college, did your family support your decision to study music at the college level? Are there any musicians in your family?

 

My dad used to sing in the church choir. My mom (85) was a housewife and used to sing all the time. When I was in college she was already a widow and did everything she could to make ends meet. She somehow found the strength to carry on, take a part time job and found a way to give us everything we needed. She came from a large single parent family too and, just after WWII, only her brothers could study due to financial reasons. So, she never got the chance to study and was determined to give her children the chance to be able to become anything they wanted. She was very supportive in my decision to make a living from music. I only had to get my high school diploma first, which was kind of a struggle for me after I took up the bass guitar. She had to lock it away in a closet at times in order to make me finish high school first.

 

My brother plays drums but isn’t a professional musician. My older cousin taught me the first barre chords on guitar but is also not a professional musician.

 

 Do you make your entire living playing music, either live or in the studio, or do you have an alternate source of income?

 

I make my entire living with music. I’m still playing a lot live, and get the occasional calls for a studio gig. I’m also teaching bass and band-coaching at the conservatory in Arnhem (https://www.artez.nl/en/courses/bachelor/jazz-pop-arnhem) and at Rockacademie in Tilburg (https://rockacademie.nl). This mixed practice is enough to make the ends meet. I have two daughters of 18 and 17 years old and they’re somewhat at the start of their college education.

 

Who influenced you coming up, regarding bassists that caught your ear?

 

Verdine White, Bernard Edwards and Leon F Sylvers III were a huge influence. I’ve always loved soul music! When I picked up the bass, Mark King was conquering the charts with Level 42. So that was a huge influence at first. My brother pointed out Stanley Clarke and bought his first two albums. And I got more and more into jazz rock and serious about music. Marcus Miler, Anthony Jackson and Jaco Pastorius were the main influences during the time before I got admitted into the conservatory.

 

 But also so many other great bass players like Nathan East, Louis Johnson and Will Lee caught my attention. Marcus, Anthony and Jaco however would really “make my jaw drop” more than a few times whenever I heard something “new” of them. And I never stopped listening to them ever since. There was no Spotify neither CD’s, so discovering new music was really a thing you couldn’t do by surfing on the internet. You were relying on good friends who bought a lot of records. And you had to buy some yourself. And of course, we had Maxwell and TDK, which made it a little cheaper for a music freak like me.

 

During my study James Jamerson, John Patitucci, Pino Palladino and Francis Rocco Prestia were very much of influence, and of course upright bass players Ray Brown, Niels Henning Ørsted Pedersen, Paul Chambers, Scott LaFaro. And I have to mention Gary Willis and Jeff Andrews.

 

When you listen today, do your early bass influences measure up to your perceptions of them when you were young?

 

I think my perception of how to experience those early influences changed. At a young age one is full of questions like “how do they do it,” “how do they get that sound,” “what’s happening harmonically/rhythmically” etc. As you grow older and understand that there are no real secrets in music, and that it’s also hard work and understanding of theory, analyzing, studying and more, a lot of those early questions might have been answered. But each one of those early influences are very authentic players with a signature sound. Something one only gets out of that unique individual person in combination with a certain instrument. And that still holds up to me with each and every one of them, while in the meantime I’m still searching for my own signature sound. That might be a downside of transcribing and analyzing too much of almost everything.

 

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

 

 For sure! It’s amazing to see how some newer players still grow into “their thing” which appears to be another new way of approaching the instrument. Like Victor Wooten, MonoNeon is a second to none authentic player, as is Thundercat. I also like bassists Michael League and Joe Dart who are influenced by stuff from the era I grew up in (mid 70’s), giving it a fresh new formula. Also Hadrien Feraud and Dario Deidda are very inspiring bassists. And, of course, Pino Palladino.

 

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 have enough basses, although not forty. I have to say my STENBACK FIVE will probably be that bass. Amazing response, great tone. A five string that feels like a four string somehow. Well balanced. When I bought it, it probably hadn’t been played that much, and the bass really had to come alive through playing. After two months it definitely did, a day and night difference.

 

If it wasn’t for the need of a five string, I could exist with only my 1972 Fender Jazz Bass, too.

 

Your YouTube channel has a vast array of very accurate transcriptions of some of the greatest bass lines ever recorded. Of all of the transcriptions that you have done, which was the most difficult?

 

Thanks for the compliment. I try to be as accurate as possible. There are a few of those videos which I had to do in more than one take. “Voice” by Hiromi was three takes, “M&M studio” had a cut right before the solo, which I still can’t play as accurate as the original. “You Got It!”, “Some Sharks” and “Island Magic” were all a one straight take eventually, but that doesn’t mean that those were less difficult. It has to do with focus, staying relaxed and, of course preparation.

 

 Also, “difficult” evolves to “getting a little bit more comfortable” every day with a good practice routine. I wasn’t able to feel odd meters in an even flow yet, for instance. After transcribing and practicing it, it just gets more fluid because it starts to feel natural and balanced. You just have to put in the hours of practice, which are harder to find at a later age. But I’ve still managed to put in the work to do it, so far. Difficulties come in all areas. Even a “simple” 4/4 groove has its difficulties if you don’t understand the feel or the pocket. So it’s not only a matter of a lot of notes or odd meters. Switching from pick to fingerstyle playing could easily call for hours of practice. So Leon Sylvers’s bassline of “Here I Am” by Dynasty also took some time to get a little more comfortable with.

 

Can you recommend any specific method books that have helped you to become the bassist that you are today?

 

When I studied, I probably checked out anything I could get my hands on. “Standing in the Shadows of Motown”, “The Funkmasters”, “What Duck Done”, “Sitting in with Tower of Power”, “Modern Electric Bass” & Oscar Stagnaro’s “Latin Bass Bible” of the more style-method books. As for improvisation, David Baker’s “Bebop Era”, Adelhard Roidinger’s “Jazz improvisation & pentatonics”, “Charlie Parker Omnibook”, “John Coltrane Omnibook”, Hein van de Geyn’s “Comprehensive Bass Method” were all great books to discover and get ideas from. And there’s so many more of which I probably took a few excerpts from in my daily study routine.

 

 As a recommendation to upcoming players I would say: explore the stuff that moves you yourself first. Whenever I hear a great melody with a great chord sequence, I want to know what that is. And not by ONLY looking up a YouTube tutorial or (maybe even worse) a quickly written TAB sheet. The same with basslines, drum rudiments or odd time signatures. When I hear something great, I’ll bury myself between the speakers or headphone until I exactly know what it is that moves me. Train your ears and carefully listen to what you really hear, not taken all of those videos and websites as an instant truth. The blessing of having all the acces to all the material with just one click can also set you on a detour when watching an incorrect explanation.

 

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 ask 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?

 

 At Rockacademie, where I also teach, each student is forced to choose a learning path from the perspective of a mixed professional practice. So, next to a skill (main subject) (vocals, bass, guitar etc) one has to choose for either “session musician”, “artist”, “audio engineer”, “skills- & band coach (education)” and “business manager”.

 

At Artez Jazz & Pop, we stimulate all students to be as artistic and authentic as possible (more like the “artist” direction), which makes it probably harder to get instant work that pays the bills once a student graduates. Some students rather do a different profession alongside their career so they can carry on with their own intrinsic creativity without any concession to commercial succes.

 

Both schools have alumni who are really successful, so I would advise a student to really look around, check out each school’s curriculum to know what appears to be the best thing for your own growth. And by this I most certainly don’t mean “the easiest path to making money”. One should know that, if you’re in it for the money, it will never pay off. I believe Wynton Marsalis said something like: “You really have to be obsessed with making music, otherwise it’s barely impossible to put in the amount of work you need to make it a successful path”. Or Woody Shaw: “So you’ve tried to play the trumpet but didn’t have the talent? Really? Well, start practicing three hours a day for one year, come back, and then we’ll talk about talent again”.

Since you really have to love what you do, it’s probably a good idea to have a wider palette of options, but only if those options are almost equally joyful as playing your instrument. And with some of these options you might just want to try it first.

 

 Keep an open mind and if a different direction doesn’t get in the way of your development as a musician: do it. It’s better to quit after trying than wondering how it could have worked out a few years later when that ship has already sailed and chances have passed. You’ll probably never have the same amount of time to explore other options. If you still want to make a living only through making music, though: be ready to sacrifice and put in the hours. And remember that success should always be measured by the things you have had to give up for it.

 

Charles Nagtzaam Renders Anthony Jackson’s classic Chaka Khan bass passage “Sleep On It” 

 

Charles Nagtzaam Website : https://charlesnagtzaam.wordpress.com/

 

 Charles Nagtzaam YouTube https://youtube.com/channel/UCZ-rbZYrz45_WgbqAaosV7w

 Photos by Frank Boeigen, Kathie Danneels 

 

The  concept of purity of principle is central to many of the world’s most influential ideologies. To individuals concerned with philosophical and aesthetic issues, preserving the purity of the doctrine is of utmost importance. Marxism is one example of such an ideology. Whenever historical facts challenge the dogma, proponents deny these elements are part of the story. Unfortunately, too often, preserving the doctrine in its unadulterated form becomes more important than the problems than the moral and ethical issues that need to be resolved.  During my forty years as a musician, or recent career as a journalist, I have often committed myself to a concept or ideology.

 

Ayn Rand’s Objectivism has always made sense to me, and the thought of deviation from its primary ideas was not an option. Rand defined Objectivism as the concept of man as a heroic being, with his own happiness as the moral purpose of his life, productive achievement as his noblest activity, and reason as his only absolute.

 

I did a TEDx Talk https://youtu.be/SRQSqM1aljg on the meaning of education, in which I described myself as a modern-day Howard Roark that used music rather than architecture to make my mark on the universe. Like Roark and his architectural designs, I used to believe that my musical ideas, bass lines, and opinion pieces were my own and not open to interpretation or collaboration. Many years after I became the self-professed Howard Roark of the music business, I realized that whether it was my music or my journalism, the result was always far better when I let others I respected have input over my final product. I also realized that my talents were perhaps not as formidable as I thought they were. The record of human history is crystal clear: unwavering adherence to principles that often fall apart in the real world often results in tragedy, but notable exceptions exist. That exception is the bass career of Anthony Jackson.

 

When reflecting on Jackson’s career, it is most interesting that his artistry is steeped in the time-tested essential elements of music as we understand them in Western culture. His style is not derivative of any bassists that came before him. In the traditional sense, slapping, tapping, and harmonics are essential to many bassists, but Jackson is not concerned with these techniques. Jackson uses melody, harmony, rhythm, texture, structure/form, and expression (dynamics, tempo, and articulation ) as the foundation of his style. To be clear, other bassists also use these essential elements. Still, in my opinion, no one has been able to incorporate these elements while forging a personal style as successfully as Jackson has. Bass solos, usually a forum for the latest Instagram bass trends, is perhaps the area where Jackson has made his most notable contribution to the bass world. His solos are not rendered traditionally, emphasizing histrionics and grandstanding. They are complete musical compositions unto themselves. Having multiple instruments for specific situations is vital to many bass players. Jackson can fully express himself on only one instrument his Fodera Anthony Jackson Presentation II contrabass. This design extends the range of the standard electric bass guitar with two extra strings; a B tuned a fourth below, E and a C tuned a fourth above G.

 

I rode to Tambour in Brooklyn this past Saturday to participate in Joey Lauricella’s birthday celebration. Joey is not only a bassist but also the co-owner of Fodera Guitars, the company that built Anthony’s contrabass. I had heard rumors that Mr. Jackson was unwell, so I wanted to be there as a show of support. When I arrived, the table I reserved was next to Mr. Jackson. I noted that he was about to have dinner and was probably more interested in devouring his cheeseburger and fries than in discussing the influence of Oliver Messiaen’s overall concept on his bass guitar style. I did not want to disturb him. I waited for an opportunity to tell him how much he has influenced me, not as much stylistically, but rather the standard of excellence he forces anyone who considers themselves a serious bass player to uphold.

 

That opportunity came when my friend Dave Fields, leading the band assembled for the occasion, introduced me to Mr. Jackson. I knew I had to keep it brief. Hoping not to sound like a fanboy, I simply told Anthony that I was confident that at least a thousand bass players had told him what his legacy meant to them. I told him that I wanted to be person one thousand and one. I asserted that those words would neither pay his bills nor mine, but I hope my sincere appreciation for his life-changing influence on me meant something to him. He smiled widely as he departed for the stage. When the music started, Anthony sounded as formidable as ever.

 

Anthony Jackson has forged a career by setting and not following trends. His journey led him from a standard four-string bass guitar to the contrabass. His determination to adhere to the principles he holds sacred without deviation has been integral to his success and mine. We need to learn from his example. More importantly, when someone profoundly influences the direction of your life, whether it is a teacher, a musician, or an ordinary person, we should take the time to let them know how much their influence has shaped our lives, no matter how mundane or trite you think the gesture might be. On the contrary, it is the type of exchange that makes life worth living. 

 

 

Know Your Bass Player Q&A With Jon Rogers, By Joe Gagliardo

 

How/when/why did you start playing bass guitar?

 

I grew up in a house with a lot of live music.  My dad and his brother (my original guitar heroes) played and wrote folk music, and there were always guitars to play in the house.  I started learning how to play at about 8 yrs old, and joined the school band at North Main Street School in Spring Valley, New York when I was 11.  Bill Withers’ sister was the special ed teacher there and arranged to have Bill’s full band play in the little gym/ auditorium.  That was my first live concert and a real music lesson about what a rhythm section can do.  After the show, as the band was packing up, Melvin Dunlap came over to where I was standing with my elbows on the stage, and said he saw me checking him out, and asked if I liked the bass (I’m sure I was staring at him!).  I told him I did, and that I was learning guitar.  Melvin grinned and said “this is the bass; bass is where it’s at!”

 

When I was 13, my best friend Andy Rossi (now senior vice pres. at Korg) who also played guitar, suggested we start a band, but insisted that I play bass.  I immediately thought of Melvin Dunlap and said yes!  No looking back!

 

 Any formal training?

 

That was my dad’s condition on my buying a bass.   When I was 14, I found a teacher through the original Alto Music in Spring Valley.  I can’t remember the guy’s name, but he had an old full-size upright and an Alembic electric bass that lit up!  He was very relaxed and promised that he wouldn’t make me read out of the Simandl studies if I practiced my exercises, and learned my theory!  I stayed with him until I was 16 or so, and then started commuting into Manhattan on weekends to study with different bass teachers-anyone I could find really.  When I was 17 I got a job teaching bass at Alto Music, and had the realization that you can also learn from your students!

 

In 1981 spent my first semester of College at Berklee in Boston.  Berklee was a great experience, but I heard that Ron Carter was going to start teaching at the City College of New York in Harlem; a very short train ride from my apartment.  So I came home, auditioned with Ed Summerlin at City College (played a Jaco-inspired version of Charlie Parker’s “Donna Lee”), and was accepted into the program.  I showed up early for the commencement faculty performance and sat in the audience right next to where Professor Carter’s bass was lying on the ground.  He showed up almost 45 minutes late due to a snag at a prior recording session, not in the best mood.  He uncased, picked up and tuned his bass, and then launched into the first notes with the faculty jazz orchestra with such volume and power that I literally almost fell off my chair.  First lesson.  I learned so much from him- a real master, and a very nice man.  He made me defend every note choice I made.  Ron and I split up after my first year over my preference for electric bass.  I then studied with Blood Sweat and Tears bassist Ron McClure-a great bassist and guy, again through the City College, and then privately with Homer Mensch, from the “Jaws” soundtrack/ NBC Orchestra/ New York Philharmonic.  

 

Bass players who influenced you:

 

First from my parents’ records; Dee Murray, Paul McCartney, Bill Wyman, Billy Cox, Harvey Brooks, Rick Danko…

 

Then from my High school days; John Paul Jones, John Entwistle, Geddy Lee, Chris Squire, Glenn Cornick…

 

 Post High school and later; Jaco, Stanley Clarke; Ralphe Armstrong, James Jamerson, Paul Jackson, Pino Palladino, Tony Levin…

 

 Summary of bands/years, recordings, and current music activity.

 

In 1982 I got a job teaching and playing bass at Talent Unlimited, a NYC high school program for the performing arts, where my brother attended.  TU was a NYC entity with connections to a lot of cultural organizations, so we got to play for the gospel choir at the Abyssinian Baptist Church in Harlem, and regularly performed at civic events for the City and Board of Ed.  The program had an astounding array of young performers, including Cory Glover of Living Colour.  Keith Jarrett and Joanne Brackeen sent their kids there. 

 

I also joined the act “Mike Quashie, King the Limbo,” a glam rock-Calypso band.  Mike Quashie was famous for his friendships with Jimi Hendrix, Lou Reed and Led Zeppelin, and was a fixture in New York’s West Village.  We played a lot of dance clubs.  Quashie really focused on theatrics as well as the music, and I learned a lot about presenting on stage from him.  You can see him doing his fire act, setting John Bonham’s gong ablaze on the opening reel of the Led Zeppelin DVD. 

 

My brother (a drummer) and I also hired ourselves out in the mid-80s as a rhythm section, and worked as a band in Manhattan with some of the talent from Talent Unlimited.  We called ourselves “The Worx” and did studio work, supported other acts, and performed our own original music in local venues.  In 1985, we cut a demo “Invisible Man” for Sony, but turned down the deal offered.  My brother continued to court Sony, and wrote for them, ultimately focusing on songwriting, engineering and production.  Dee Lite’s “Groove is in the Heart” is a good example of his early skills behind the console.  He’s still making it happen, big time.

 

I also played bass for several independent New York bands during the mid 80s including Rich Blood and the Equators, Black Tire Safari, and The Troubleshooters with Alan Freedman, and in 1985 I joined Bill Sledge and his Hammers, playing jazz six nights a week during the summers at Tavern on the Green. 

 

During winter of 1986 I escaped the cold by joining Princess Cruises’ Love Boat Orchestra; an 11-piece band playing production shows, and backing guest performers in the ship’s main theater.  This was a stellar band, full of seasoned pros from Vegas and younger pedigreed jazzers.  The only guys in the band who didn’t have degrees were myself and saxophonist Victor Goines (Wynton Marsalis’ cousin and director of jazz studies at Julliard and Northwestern University).  That was the most musically challenging, yet cushiest gig imaginable.  I can’t understate the luxury of not having to set up and breakdown gear for each show!   Of course the food, the itinerary and the social life were extraordinary.  Then I met my future wife from Chicago on board the ship, and by 1990 I was back to living life on land. 

 

When I got to Chicago I started jobbing on events with the Michael James Orchestra; a local big band, and working in the studio and on live dates for local indie bands, including Jack Salamander and later Barrett’s Hidden agenda, but my focus was primarily family and raising kids.

 

Nowadays, with the kids out and having their own adventures, I feel lucky to be playing more.  Currently, I’m recording both locally and back on the East coast, and I’m very happy to be playing live again with the popular festival band The Sofa Kings, Barrett, Jack Salamander, the Vini Bruckert Band, Black Partridge, and country band Hodie Snitch.  And I’m looking to do a whole lot more!  Have guns, will travel!

 

Your go-to basses back in the day, and now, and rigs:

 

1974 My first bass; a one pickup Guild Jetstar mated to a Gibson EB neck, so that it looked like a Gibson EB0 (it took a few years before I figured that out).  Rig:  My dad’s black Kustom plush.  I loved that amp.

 

 1978; a Rickenbacker 4001 modified with a brass ingot milled to fit the slot under the bridge, the brass was welded to a Badass bridge (all work imagined and done at Alto Music); sounded great for a couple of years but too much tension eventually made the neck warp.  Rig:  Ampeg SVT.  I took that to a couple of gigs on the NYC subway (with help). 

 

 1982 An Aria Pro II

 

 1983 I traded Ron Carter a broken down old 7/8 size Czech upright I had, for a fretless Fender Jazz with a neck of unknown manufacture (solid piece of rosewood with a single strip of maple down the back for the truss rod, no fingerboard, metal inlaid markers on the side only, old style grover tuners, but with a crack behind the nut before the first tuner).  I took the bass to Roger Sadowsky for an assessment before agreeing to the trade. He took the neck off and told me that Dave Schecter signed it, that the crack repair would be stronger than new, and that if I didn’t want it, he would buy it.  Good enough for me; by the end of the week it had a new set of EMG J pickups, a set of Roger’s hand-wound pots and wiring, and a headstock that still looks like it was never cracked.  Always my go-to if frets aren’t required.

 

 1986  A ‘57 Fender P bass with cut down body. 

 

 1987 The moisture at sea was taking its toll on the fretless, so I made an emergency run to the big guitar chain in LA as soon as we made port, and played every bass in the store.  The best playing instrument at any price was an Ibanez RD707.  It was cheap, light and sounded great; perfect for the gig, and it still feels and sounds great.  Rig: Dad’s black Kustom plush!

 

 Today, I still play the fretless and the Ibanez.  I picked up a new Gibson Thunderbird a few years ago and am just loving it.  The redesign makes it hang so much better than the old version, and the look and sound are just iconic.  Rig:  TC Electronic RH450 and Eden Nemesis.

 

 A description of your playing style.

 

I like to think, musical and natural.  Everything else is so artist/ song-dependent for me.  I take my note choices seriously and focus on the feel.  I try to give every song what it needs from the bass, adding a little fun and flavor, just when and where it can really use it.  That’s it; Fun!

 

A few songs to highlight your playing:

 

Nayobe; “I Don’t Have to Make Believe” 1986 https://youtu.be/3-4HI9HzgaI

 

The Equators; “Road to Panama” 1986 https://bit.ly/3dmE1Tf

 

Chubby Checker (with Jerry Marrotta, Tracy Bonham, Happy Traum, Professor Louie); “Lookin’ for Me” 2016 https://youtu.be/_vIrRUedv2M

 

Jack Salamander (with Chicago poet Gregorio Gomez); “Midnight Dreams” 2021 https://youtu.be/VmBevzX3CN0

 

Vini Bruckert Group; “That Thing” (Lauren Hill) 2022 https://bit.ly/3C7dvYm

 

For All Things Jon Rogers …. Jonathan Rogers Music (jonrogersmusic.com) 

 

Courtesy of Lynyrd Skynyrd Com

 

Despite his self-taught approach and working his instrument with a left / right hand technique that bore resemblance to a soft-shell crab skittering across hot pavement, the late Leon Russell Wilkeson was a dexterous player who purveyed many a thrilling passage as anchor of the classic Lynyrd Skynyrd line-up.

 

Born in ’52, akin to many of his generation, Wilkeson learned his craft emulating such ’60 – ‘70s bass icons including Sir Paul, Jack Bruce, Phil Lesh, Berry Oakley, John Entwistle, and Jack Casady. When he nailed the Skynyrd gig, a job which he held for life, Wilkeson got cold feet and sat out the band’s debut platter Pronounced Leh-Nerd Skin-Nerd, waxed in 1973.

 

Bandleader Ronnie Van Zandt and producer / mentor Al Kooper convinced Leon to rejoin the collective, and the rest, as they say, is history.

 

Dubbed the “Mad Hatter” by way of his proclivity for eccentric headwear on and off stage, among Wikleson’s more notable instruments was a purchase from his aforementioned bass hero Entwistle – the hybrid Gibson Thunderbird body and Fender Precision neck – hence the moniker “Fenderbird.”

 

Though Skynyrd’s redneck posture was both a blessing (to fans) and a curse (to detractors) – they were a force to be reckoned with, deftly melding British rock influences with American blues and the gift of a pop hook.

 

Sadly, Wikleson was seriously injured in the ’77 plane crash which essentially destroyed the band’s classic line-up and he lost much of his abilities as a premier pocket and melodic player. He continued his career, nonetheless, holding the bass chair in his bandmates’ two terrific post LS  ensembles; Rossington-Collins, and later The Alan Collins Band – until Skynyrd reconvened with Johnny Van Zant as vocalist. Leon passed young due to substance abuse issues; no doubt prompted (enhanced) by Skynrd’s tragic fate.

 

Leon Wilkeson Sound and Vision…

 

With Lynyrd Skynyrd…

 

“One More Time” https://youtu.be/46PqCZHzBdw

 

“Freebird” (live) https://youtu.be/1kphg_kWMwE

 

“I Got The Same Old Blues” https://youtu.be/UporLxuEg1E

 

“Cheatin’ Woman” https://youtu.be/R4auSmfb2JU

 

“Travellin’ Man” https://youtu.be/_61OW8EUjwg

 

“That Smell” https://youtu.be/2n-azBfzcuU

 

“I Never Dreamed” https://youtu.be/eg6x3opGozk

 

Bass Solo (1987) https://youtu.be/q_MeNKcvHdE   

 

Rossington-Collins Band “Don’t Misunderstand Me” https://youtu.be/RZsYKYUYZeE

 

 

As an electric bassist, the late Michael Henderson played a major role in the evolution of jazz and modern music. As a pop singer, Henderson topped the charts numerous times with his unique blend of rhythm & blues, soul, and funk.

 

Anchoring an opening act for Stevie Wonder at the Regal Theater in Chicago while still in his teens, the headliner summoned Henderson as his new bassist. Michael served as Stevie’s catalyst on stage and in the studio during the Motown legend’s initial transformation from a pop singer into one of the greatest forces in modern pop music.

 

Whilst Wonder scaled artistic and commercial heights at the dawn of the 70s, Miles Davis was seeking an anchor who came from a pure ‘electric’ approach in contrast to Davis’ most recent bassists Ron Carter and Dave Holland who were upright jazz players first and foremost. According to legend, Davis poached Henderson from Stevie during a Copacabana appearance in New York City in 1970 – allegedly informing bandleader Wonder with the utmost subtlety “I’m taking your f***ing bass player!”  

 

Though Henderson’s membership in the electric Miles ensembles raised the ire of many a jazz journalist (Stanley Crouch) and a few of Davis’ employees (Keith Jarrett) – Henderson was the most crucial piece in Miles’ electric puzzle.  He was the only bassist Miles used in the golden era of his jazz fusion career spanning 1970-75.

 

Henderson’s repetitive, staccato bass passages borne of Sly Stone and James Brown’s vamp-oriented influences– though ‘deceptively’ simple to jazz purists, provided the bedrock for the harmonic, rhythmic, and sonic explorations forged by Davis, Gary Bartz, John McLaughlin, Jarrett, Airto Moreira, Dave Liebman, Jack DeJohnette, Herbie Hancock, Chick Corea, Reggie Lucas, Pete Cosey, Sonny Fortune, and Al Forster to cite a select few. Every time Henderson repeated a line – it grew bigger and bigger and bigger. It’s impossible to gauge how many hip-hop artists sampled Michael’s passages.

 

When Miles went into hibernation circa 1975, Henderson forged a successful career as a singer. Collaborating with Phillis Hyman (“Can’t We Fall In Love Again”), Jean Carn (“Valentine Love”), Norman Conners (“You Are My Starship”) – Henderson never fully abandoned his funk jazz inclinations – using many of Davis’ former players including Herbie Hancock, and young lions such as Ray Parker Jr. on his solo slabs.

 

Michael Henderson Sound & Vision:

 

Stevie Wonder live “Signed Sealed Delivered” https://youtu.be/VvHV2Ityb1E

 

With Miles Davis:

 

“Right Off” https://youtu.be/3U_jem9q_mg

 

“Ife” live: https://youtu.be/PruMPJTsqvo

 

Live in Tokyo 1973: https://youtu.be/rOsP24FwcYw

 

 Michael Henderson solo:

 

“Wide Receiver” https://youtu.be/BuO0TuvH-3c

 

“Take Me I’m Yours” https://youtu.be/mV6eLrNHtuI

 

Norman Conners “You Are My Starship” https://youtu.be/7S2HNjfeaj4

 

Phillis Hyman “Can’t We Fall In Love Again” https://youtu.be/w43yQQ5kZNg

 

Jean Carn “Valentine Love” https://youtu.be/3KXVJl7knFo

 

Photos Courtesy of Michael Henderson Facebook 

 

 

Stars in their native UK and Germany; the collective that toiled under the moniker of “Dave Dee, Dozy, Beaky, Mick & Tich” were founded by bassist Trevor Ward-Davies – aka Dozy.

 

Recording and performing songs mostly penned by the celebrated theatrical writing team of Alan Blaikley and Ken Howard – who also composed various West End musicals and television themes – DDDBMT scored several hits spanning ’66 to ’69.

 

Noted for their fashion savvy (or lack thereof) and exuberant performances (and early music videos), Dozy was soulful pocket player who occasionally rendered lead vocals including a Shakespearean monologue on the group’s final chart hit “The Wreck of the Antoinette.”

 

When singer Dave Dee departed, the band faded into obscurity (from which KYBP now rescues them…) and eventually re-emerged as a popular presence on the nostalgia circuit in recent years. Dozy dosed off for good in 2015, yet his legend prevails…

 

Trevor Ward-Davies Sound & Vision…

 

“Hold Tight” https://youtu.be/J5RiPbBgO6g

 

“Wreck of the Antionette” https://youtu.be/yCgqIYbGfcY

 

“Legend of Xanadu” https://youtu.be/rsExj_0IHEs

 

“Bend It” https://youtu.be/MSlpK0U9dhE

 

Know Your Bass Player Q & A with Joe Gagliardo & John Abbey

 

How/when/why did you start playing bass guitar?

 

I kind of started playing by “accident” when I was 13 or 14. Two of my older brothers play bass. One summer, my friends and I would hang out at my house listening to records and play air guitar along with them. One of my brothers was home from college, and on a whim one day, I pulled his bass out of the case and figured I’d play “air bass” while actually holding a bass. I guess the accidental part was this, he played left-handed. I assumed he had a left-handed bass but he’d learned to play upside down, and when I strapped on the bass it was “set up” for me and from that day on that was it.

 

 Any formal training?

 

At first no. I’d ask my brother(s) when they were around to show me some stuff. I bought Mel Bay’s Volume 1 bass book…learned the names of the strings, notes on the fret board but mainly just listened to records and tried to figure stuff out. In elementary school I played violin for a year, and in junior high, you had to be in the chorus, but I had no formal training. I didn’t take any music classes in high school at all, but by my senior year I wanted to learn to read music and understand theory etc etc…unfortunately none of the music teachers were interested in having someone who knew nothing join band or orchestra.

 

That summer, between senior year of high school and freshman year of college, I took a basic music theory class at a community college, and I ended up staying there for my freshman year. It was a classically oriented program and after a year I wanted to learn other stuff. I switched to SUNY Old Westbury. At the time it was one of the only jazz programs around. The head of the department was Ken McIntyre and faculty included Warren Smith, Charles Persip, Jack Jeffers, Dick Griffin, Jimmy Owens…super heavyweights, although at the time their impact was lost on me.

 

After that, I went to B.I.T and studied with Potter Smith, Bob Magnuson, and Jeff Berlin. I was there during a very transitional year for that school..it was just starting to lean away from the jazz/fusion side of things and towards the “metal/big hair” of the mid-80’s. The guitar program still had Joe Pass and Joe Diorio on board and they were thrilled with guys that were into what they did vs what they thought was the “flash”

 

Bass players who influenced you…

 

Man..so many!…Jack Casady, Bill Wyman, Willie Dixon, John Entwistle, Paul Chambers, Charles Mingus, James Jamerson, Jerry Jemmott, Duck Dunn, Larry Graham, Marcus Miller, Jaco, Rick Danko, Aston “Family Man” Barrett, George Porter Jr..I’m sure I’m forgetting a bunch.

 

Summary of bands/years—and recordings…

 

Alright, let’s see I’ll probably be off by a year or two and I’ll skip the “early years”and apologies in advance for stuff I’ve missed and therefore omitted.

 

1984-85 Lauren Smoken-self titled debut record produced by Jack Douglas, 1985-1990?-Outback..came this close :-), recordings with Rob Fraboni, Lori Carson 1988-1990, Carolyne Mas 1989, Todd Kray 1990-1998?

 

Stevie Cochran 1985-1992, David Poe 1995-2003-self titled debut produced by T-Bone Burnett, The Late Album, Love Is Red, Dog’s Eye View-1994-1996(?) debut album Happy Nowhere, Amy Rigby 1994-97, Mike Errico 1996-Pictures Of the Big Vacation, John Cale-1996-1998, Ray Davies-2000, Hubert Sumlin and David Johansen 2004-2005, Amy Speace 1999-2002, Neal Casal- 1995-1997, Moe Tucker 2000, Mark Geary 1998-2001.

 

Current musical activity…

 

Let’s see-since 1998/99 I’ve been producing and engineering…so since moving from NYC to Chicago in 2002, that’s been a majority of my work.

 

Throughout my 20 years in Chicago, I’ve been playing (on and off in some cases) with Robbie Fulks, Steve Dawson, Sons Of the Never Wrong, and Jon Langford’s Four Lost Souls.

 

Partial “recent” discography Producing/Engineering- Emily Hurd -her full discography, The Old Town School of Folk Music Songbook Volumes 1-4, Robbie Fulks-Revenge of the Doberman and 16, Funeral Bonzai Wedding self-titled, and Last Flight Out, Martin Lang-Bad Man.

 

Your go-to basses back in the day, and now…

 

These are the basses I used to have and play(very rarely more than one at a time)…that I regret selling; 1978 Fender Jazz Bass, Ken Smith 4 string serial # 109 (smh), early 80’s Steinberger, 1973 Fender P-bass-fretless, mid 80’s Tobias 6 string.

 

I had a GREAT late 18th century German upright bass that suffered a broken neck on the last day of a tour..after it was fixed, it was never the same and I sold it…still haven’t found an upright I like as much as that one.

 

In 1986 I got a 1966 Fender Jazz bass…it took about 6 months for it to get and stay in shape…that’s been my go to bass ever since. I also currently have a 1967 Guild Starfire (the bass I grew up playing courtesy of my bro!) a 1968 Vox violin and a bass made by a great luthier here, Bruce Roper. It’s a short scale hollow body based on Starfire specs. My upright is a German carved bass from the 50’s but made in Italian style..Oh almost forgot, I also have a Guild Ashbory.

 

 Describe your approach / style…

 

Hmm..another tricky one to answer.  I’d like to think that I always serve the song, stay in the pocket and react to what’s happening in the moment.

 

What are you up to when not playing bass?

 

 I am a Producer-Engineer (and Bass Player) at Kingsize Sound Lab and I have taught at the Old Town School of Folk Music.

 

Similar to how I started playing bass, I got into producing and engineering kind of by accident. A buddy of mine from M.I.T. days, Joe Carter III, a great jazz guitar player, said “You know all these singer/songwriter, rock guys..I want you produce a record for me.

 

I wrote a bunch of tunes on piano and I want to make a record that’s a cross between Tumbleweed Connection and Exile On Main Street.” 

Without skipping a beat, I agreed..and not knowing ANYTHING, but with the help of a lot of super talented people I started to learn and TJ Swan-Redemption was the result.

 

Fast-forward 12 years and a few random spaces in Chicago, Mike Hagler and I partnered up and got our current space together in 2010.

 

It’s a great set-up. We work independently of each other…but we share a huge live room, gear, etc.

 

A partial list of stuff I’ve been lucky enough to work on: Robbie Fulks-Revenge of the Doberman and Sixteen, Funeral Bonzai Wedding-self titled and Last Flight Out, Freakons-self-titled, Mike Allemana-Vonology, Martin Lang-Bad Man, Jonas Friddle-The Last Place To Go, Belle deLouisville, Use Your Voice

 

Emily Hurd-(pretty much everything) most recently- Underkill, Nightshades, Josh Berman-A Skip and a Hop….

 

John Abbey Sound & Vision…

 

“New Pony” live w. Robbie Fulks https://youtu.be/xEduxa3J4UA

 

“Oh Chocolay_Sons of the Never Wrong”  https://youtu.be/uS5uxjj5ZVk

 

“Heart of Snow” Emily Hurd  https://youtu.be/3qAcYG6NECM

 

“Reunion” David Poe https://youtu.be/scS2xlIcIIo

 

“Love is a Blessing” live w. Steve Dawson  https://youtu.be/uYYZWiydtUI 

 

Said the late, truly great Morris “B.B.” Dickerson to Rolling Stone magazine circa 1974 “some people call it ‘ass music’…others call it street boogie…rhythm…our rhythm is different.”

 

As the rhythmic and harmonic anchor of War, a collective which forged a seamless fusion of funk, rock, soul, jazz, Latin, blues, and permutations thereof – B.B. Dickerson grooved a generation. Literally!

 

Dickerson’s career started in a Harbor City Los Angeles church – singing in the choir. He took up bass and guitar at 12. When his brother Scott returned from Vietnam service, he formed Night Shift – backing NFL football star Deacon Jones who was dabbling in a soul music career. When former Animals singer Eric Burdon caught their act in 1969, he enlisted the ensemble as his backing band. Scott summoned B.B. for the bass chair in the newly christened Eric Burdon & War – and the rest, as they say, is history.

 

With a Fender Jazz as his primary weapon of choice, B.B. exuded a sharp, blunt tone wherein he worked the pocket and rendered melodies and motifs which served as hooks for the hits and album tracks. An accomplished lead and backing vocalist, B.B.’s lines often danced around the beat with a relaxed Southern Californian vibe: indicative of their environs. 

 

In the hip-hop age, B.B. and War’s grooves provided a bedrock for such artists Kanye West, De La Soul, the Beastie Boys, and Janet Jackson to cite a select few.

 

Notes War super-fan Reina Laguerra:  As one of WAR’S biggest fans it was my extreme honor to get to meet BB and call him my friend. BB was not only a legendary bass player, he’s the one singing lead on one of WAR’S most iconic songs, ‘The World Is A Ghetto’, which was Billboard Album of the Year 1973, and is #444 in Rolling Stone Magazine’s 500 Greatest Albums Of All Time.

 

“BB”, along with six original members of WAR and Eric Burdon, were the very last artists to jam with Jimi Hendrix the night before he died. WAR has been nominated 3 times for Rock & Roll Hall of Fame, only to get snubbed while they induct artists who sample or cover WAR; The Beastie Boys, NWA, Janet Jackson, 2PAC, and others. Because of WAR name legalities back in 1999, by producer Jerry Goldstein, the remaining WAR originals have been divided into two bands that perform WAR music. Goldstein’s faux “WAR” with one original, and the Lowrider Band, what with BB’s passing, is down to three WAR originals. True WAR fans stand with the Lowrider Band. Declare WAR at the Rock & Roll Hall of Fame NOW for 2023 induction.

 

B.B. Dickerson Sound & Vision…

 

“Spill The Wine” https://youtu.be/3i0DMbCKnAg

 

“The World is a “Ghetto” https://youtu.be/VIIbT89V7EI

 

“Where Was You At” https://youtu.be/PSBWtq4evTw

 

“All Day Music” https://youtu.be/U5pX4mRQcFo

 

Joe Iaquinto, Tom Semioli, Tony Senatore, Mark Polott at John’s Italian restaurant, New York City 2021

 

Joe Iaquinto: A Guy Like Me

 

In 2006, I spoke on the telephone with my friend John Conte, who is currently the bassist for Southside Johnny and the Asbury Jukes. We discussed bass equipment and our never-ending quest for the ultimate tone. John was telling me about a non-Fender vintage bass he wanted to buy. He told me it was an excellent instrument for “guys like us.” He did not have to elaborate on the meaning of the phrase guys like us because I instinctively knew what he was talking about. Members of this group would probably regard the Acoustic 360 as the most outstanding bass amplifier of all time and have no problem explaining the difference between Gibson EBO, EB-1, EB2, or EB3 basses.

 

Moreover, it was likely that one of these basses is the instrument they currently play most often. Most importantly, group members likely started playing bass guitar in the 1970s, which they consider the most significant period for creativity regarding the electric bass. In many ways, being a member of the guys like us club was analogous to Henry Hill’s definition of being a good fella; “you’re going to like this guy Joe Iaquinto. He’s all right. He’s a good fella. He’s one of us.” He plays an EBO-L through a Marshall Major. More practical individuals ponder the great mysteries of life.

 

On the other hand, guys like us are more concerned with things they deem more important, like what bass guitar and amplifier did Dee Murray use on Elton John’s 11-17-70 vinyl masterpiece. The guys like us club is an exclusive club along the lines of Yale’s Skull and Bones. To gain entrance, we might trace your bass history back 100 years. If you owned a bass that requires 9-volt batteries or owned a bass with a million knobs made out of fancy wood that looked like a coffee table, your hopes of admittance are slim to none.  Finally, if your bass tone sounds like the theme music from Seinfeld, that is grounds for a sit-down with the heads of the five New York City Bass families with Don Semioli at the helm.

 

When Know Your Bass Player head honcho Tom Semioli permitted me to interview Joe Iaquinto; I took advantage of the opportunity to get to know Joe better. To the staff of KYBP and me, Joe is no stranger. When he is in New York City, he is always a guest of honor at the KYBP dinners that “Don” Semioli puts together. Often, there is not enough time to ask him the types of questions I want. I messaged Joe, and he agreed to a lengthy phone conversation. When it was over, I was amazed to learn that Joe was not only a genuine member of the guys like us club, but our life stories were incredibly similar. Whether in person at a Semioli-hosted dinner or during a Zoom call with KYBP stalwarts Joe Gagliardo and Mark Polott, Joe Iaquinto amuses us. He is extremely funny and makes us laugh, but to be clear, he is not funny like a clown. I think he could have a career as a stand-up comedian if he ever chose that career path. His humor is undoubtedly a by-product of his days observing comedians while performing with the Brooklyn-based band Hollywood during their 1976 stay at the Brickman Hotel in the Catskills.

 

 Joe only had one private music instructor. Between 1971 and 1975, Joe studied bass guitar with a guitarist named Jack Leone. I find this intriguing, as I only had one instructor, primarily a jazz and classical guitarist. Joe was so proficient that by the time he was 13 years old, Leone was using Joe on his own gigs with The Noblemen. This was made possible via a pencil applied to Joe’s upper lip. Charlie Dere was Joe’s high school stage band director. Dere was a mentor to Joe and was the person that introduced him to the legendary bassist Jeff Ganz. This was another exciting revelation, as Mr. Ganz was also a great inspiration to me. He was a close friend of my father’s, and my dad held Jeff in the highest esteem as the type of consummate bassist I should seek to emulate.

 

Perhaps the most important commonality between Joe and me is that our parents did not expend tremendous energy to guide us on a career path. In Joe’s case, it was unavoidable. When Joe was 11, his mother and father passed away.  My father was a professional musician who toured the world with Tito Puente and was quite involved with my development as a young musician. Unfortunately, my father dissuaded me from attending college when I was about to graduate high school. He told me that after graduating, I should get a job and start helping around the house. This contrasts with most of my friends whose parents urged them to apply to Harvard, Yale, or Princeton. Joe and I were on our own when it came to creating our destiny. We both agree that, unlike many of our peers, we already knew how we wanted to spend the rest of our lives, so we were blessed. Spending our days practicing and nights wielding a Gibson Ripper while plugged into an Ampeg SVT seemed much better than four more years of education. Besides, we both concluded that most of our heroes did not study music in college. We had no interest in getting into the double bass played arco or studying serial composition, or becoming the next Schoenberg. The only context in which the word serial meant anything to us concerned David Berkowitz, the serial killer whose reign of terror defined the 1970s and our neighborhoods.

 

Perhaps you have heard of a college student that never wants to leave school. Becoming a perpetual student is much more palatable than getting out into the real world as soon as possible and perhaps failing. Unlike these types, Joe and I had no interest in higher education and immersed ourselves in the NYC music scene. Jeff Ganz offered to take Joe under his wing and groom him for the Broadway scene. I had similar offers from NY bassists, most notably Paul Adamy, the primary bassist for Mama Mia, one of the most successful Broadway shows of all time. It was essential to convey that while we appreciated the offer, Joe and I wanted to be a part of an original live band, and all of our efforts were on securing a major label record deal for the bands with which we were involved. In retrospect, this was shortsighted and the wrong plan for me, but as we all have learned, hindsight is 20-20.

 

While I remained tethered to the NYC area, Joe decided to try his luck in California. He left New York in 1978, returning only once in 1982. Ultimately, Joe spent from 1978 to 2017 on the West Coast. While there, he did a stunning array of singer/songwriter gigs and live performances with a who’s who of the music business: Earl Slick. Rita Coolidge, Stephen Bishop, Jeff “Skunk” Baxter, Patrick Simmons, Wayne Newton,  Bobby Kimball.

 

Joe’s tenure as the bassist for Branscombe Richmond, the star of the well-known television series Renegade, is perhaps his most enduring musical relationship. Joe started with Branscombe in 1995 and is still the band’s bassist. Joe told me the band’s direction was country-inspired before he occupied the bass chair. Joe’s funky bass playing was the catalyst for a new direction for the band. Joe also confided in me that between 1985 and 1988, he made quite a bit of money doing the soundtracks for porn movies. The libertarian in me has no problem with that. I find it offensive that those who clamor about the dangers of big government seem to be preoccupied with what consenting adults do behind closed doors. I think Joe should have starred in some of the movies he created soundtracks for. I will save the political commentary for another time because Semioli likes to keep these conversations private and within the family. Perhaps head honcho Semioli is getting a little soft in his old age, with all this talking about SEO optimization this, algorithms that, and dumbing things down for a semi-literate audience. As philosopher Jimmy Conway once asserted, “what is this world coming to?”

 

Joe conveyed that having a five-string bass was mandatory for most of the work he did in California, and a Music Man Stingray was his primary bass guitar. These days when recording, Joe uses and endorses long-scale basses built by Pat Wilkins of Wilkins Guitars. He prefers short-scale basses in live performance situations; a 1970 EB3 and a Fender Mustang P/J reissue. Like many of my KYBP brethren, Joe has moved to light (40/95) strings. I am the sole holdout with my 55/110 flat wounds. The first reason is that I prefer the feeling and tone of heavy strings. The second reason is that Don Semioli always advocates using “manly” gauged strings. I don’t want Semioli to whack me, so I adhere to his wishes. Also, a 110-gauge E string can be a deadly weapon. Just ask Carlo Rizzi and Clemenza.

 

The most important part of my conversation with Joe was that by 1990, all of the sex, drugs, and rock and roll had wreaked havoc on his mental well-being. He was at an all-time low and decided to seek therapy. This wise decision enabled him to thrive as a musician ever since. He also agreed that after a lifetime of temporary day jobs, he could only be pleased if he was not a part of the 9 to 5 world. He credits his therapist for helping him realize this. He took a short time off, going out on what he refers to as stress leave, which was similar to disability. During this period, his bills were paid, which enabled him to focus on getting well.

 

Similarly, I am no stranger to how untreated or resilient mental issues can destroy lives. My sister had a traumatic experience at 16 that ruined her life. I would rather not publicize the event and relieve the pain, but it also affected me. In 1993, I had to raise my sister’s child with the help of my family when my sister was unable to do so because of her illness. When she passed in 2007, like Joe, I was at a crossroads in my life. During my career as a musician, I met some of the most unsavory and unethical people imaginable. They mistreated me, and I took it from them for fear of losing my gig. I was unhappy but felt that I did not need to seek therapy, as I instinctively knew what I had to do to reclaim my life. When one can do that, it is a blessing. I decided to retire from the music business in 2004 and get a government job. By 2008, my lack of a college education was the chip on my shoulder that I needed to deal with. It took time, but by 2017, I graduated magna cum laude from Columbia University at 55. The take-home message here is that if you are unhappy, you need to make the necessary changes in your life.

 

Most importantly, there is no one size fits all approach for success in life or mental well-being. You must do what is right for you, not for your friends or family. Telling individuals under extreme mental duress to “man up” is similarly unhelpful.

 

The final piece in the puzzle for Joe’s quest for happiness was his decision to play and teach music full time and relocate to Madison, Wisconsin, which the Iaquinto family did in 2017. Joe’s wife Kristine, to whom he’s been married since 1995, was born in Wisconsin, so it seemed like the right move, as they were both disillusioned with life in Los Angeles. As a young boy growing up in Sheepshead Bay, Brooklyn, Joe was surrounded by some of the best food available anywhere. His favorites were places such as L&B Spumoni Gardens on 86th Street and Randazzo’s on Emmons Avenue. He also used to load up on littlenecks and cherrystones at Lundy’s, but now it is all over. There’s not as much action or good food in Madison as in Los Angeles or Sheepshead Bay. Larry Storch Boulevard has supplanted the Belt Parkway and US 101. I wondered if when Joe ordered spaghetti with marinara sauce the first time he had dinner in Madison, the waiter gave him a bottle of ketchup and egg noodles. I promised to ask him that the next time I spoke with him. One thing I know for sure is that he is not an average nobody living the rest of his life like a schnook.

 

How Joe’s life took shape was not only the best for him, but for Kristine and his sons Kevin and Jordan, who are 23 and 19, respectively. I can say the same thing regarding how my life ultimately took shape. We concluded our conversation that there is no musical artist alive today who could convince us to alter the lives we have both built for ourselves. We are both making music on our terms. We also spend a lot of time with our families because, as Don Semioli famously asserted over dinner at John’s of 12th Street, a man who doesn’t spend time with his family can never be a real man. For more information about Joe, please visit his website at

 

http://joebass.squarespace.com/

 

Now go home and get your shinebox!

 

By Phil Spalding – June 2022

 

The Albert Hall all to myself; who would have ever thought it?

 

What a journey from starting to play with the pub rock and north London (before Bernie Torme Band) soul scene of whom Gonzalez and Kokomo were undoubtedly the leaders. You had Headquarters (Steve Salvari) who then, in time, morphed into Central Line and Lynx, the oft forgotten Moon lead by Noel McCalla at The Brecknock, also FBI and Osibisa who often supported Kokomo at The Roundhouse.

 

God knows what they’ve done to the Roundhouse as, in its amphitheater type state sounded fabulous out front; it now sounds ‘poor’ and ‘tinkly’ at best. I saw Heaven 17 and B.E.F. there not so long ago and the sound was bloody abysmal. The Average White Band who, if you were lucky to get in, used to fill The Marquee to bursting but started, like The Stranglers, at The Torrington (just after North Finchley on the Finchley Road where I was later to meet The Toyah Band’). If it hadn’t have been for these bands and venues I’d have probably stayed at Lloyd’s Bank and retired FAT and 50. Instead I’m just FAT !!! 

 

The doctor has asked my to try and lose 20kgs as the conditions I have may kill me before the next 5-6 years pass. So it’s back to the gym, hard work rowing, walking, cycling and whatnot. This is the reason I’m not with Roger on tour; they couldn’t get me insured having Multiple Myeloma and COPD. The blessings that have arrived though; Rome the week after next, Toulouse in August and I’m having my 65th birthday at The Backstage in Paris (for those of you who can make it Saturday Nov 4th !!). YES (with my friend Shanne Bradley) in Birmingham Symphony Hall were an absolute delight last Friday. I’ll never get tired of “Close To The Edge,” “Heart Of The Sunrise,” “Starship Trooper” et al, et all. All the way through the gig (every 5 minutes) I could hear a lick that I’ve incorporated into my playing.

 

Saw the lads afterwards (even though Steve insisted we speak from 6 feet away!) and they’re still chugging along, not prepared to get off of the hamster wheel YET !! BUT BE CAREFUL … This business kills you, if you’re not careful!!!

 

I wanna get my books done before I cop it from these f*****g conditions; at least I’m ready to meet my maker, something from which I take solace. Pray people, PRAY and live your life ONE DAY AT A TIME … praying will get you through the worst times and open up spaces for … well, WHO KNOWS?

 

Only him up there knows AND I’m not spending the rest of my life in vans, on coaches, in airports, limos, on airplanes, living off ‘the rider’, sound checking and endlessly playing the same f*****g songs I’ve played for 40 years.

 

There’s a life out there .. time to go and GRAB IT and enjoy the years I have left. Thank God for PPL which gives me, come what may, a comfortable living. PHEW THATS IT FFS … I’m already f****d and it’s raining cats and dogs here in South Wilts.