Ashley Suppa… A Know Your Bass Player Q&A by Joe Gagliardo

 

Borne of a musically talented brood, and hailed as the “female version of Cliff Burton,” bassist Ashley Suppa caught the eyes and ears of Kiss guitarist Ace Frehley who recruited her to sing backing vocals on his Anomaly album, released in 2009.

 

Ashley anchors PLUSH, all-female rock collective on a mission to bring rock back to the forefront of the music industry. This female rock force is fronted by singer, songwriter and guitarist Moriah Formica with drummer Brooke Colucci, guitarist Bella Perron and bassist Ashley Suppa.

 

How/when/why did you start playing bass guitar? I started playing bass guitar at age 11. I attended a local music performance program as a guitarist, and they needed a bassist for one of the songs. The director of the program asked if I had a bass. I wasn’t entirely familiar with what a bass even looked like… so I said that I would check when I got home. Sure enough, my dad had one and the first song that I learned was Death or Glory by The Clash! 

 

Any formal training? I took lessons that were mandatory with the program, but I consider myself to be self-taught! 

 

Cite the bass players who influenced you. Paul McCartney, Bootsy Collins, Mike Inez, Mike Starr, Robert DeLeo, and Gail Ann Dorsey are some of my greatest influences.

 

Current musical activity/tours… In the past I have toured in Plush with Slash, Sevendust, Evanescence/Halestorm’s arena tour, Mammoth WVH and played festivals such as Rocklahoma and Welcome to Rockville. Our upcoming tours include Alice In Chains as well as the Kiss Kruise.

 

Your go-to bass(es) and rig…My latest favorite is my Fender Meteora bass, but I also play many Fender jazz basses and sometimes a Fender Vintera ‘50s Precision bass. I use a Fender 810 cabinet and a Fender TB 1200 head. 

A description of your playing style… When I write bass lines, I like to play what I think will best complement the song. I typically go for solid grooves and tasteful runs where I feel that they fit. I also feel that my backing vocals are an aspect of my overall playing and that my bass parts must be able to cooperate with my vocal parts!

 

Ashley Suppa Sound & Vision…with Plush

 

“Better Off Alone” https://youtu.be/YOCU5IcDbxQ

 

“Hate” https://youtu.be/5jx1cpNY6v0

 

Live At Rocklahoma 2021 https://youtu.be/vgo_UyuqvqQ

 

For All Things PLUSH https://plushrocks.net/

 

 

Ricardo Rodriguez by Tony Senatore

 

I first heard about Ricardo Rodriguez when I was hired to play bass on the Shrapnel Records release entitled Midnight Drive in 1991. At that time, Ricardo was making a name for himself as a fiery bassist in the tradition of Billy Sheehan, and we traveled in the same circles. In those days, I was known for performing 10-minute Bach inspired bass solos while clad in spandex and played on stages with smoke machines. By the mid 1990’s, I started to get some session work thanks to an introduction to the late, great engineer Jason Corsaro, and needed to radically alter my approach. Playing bass lines that were suited for the song in perfect time, with no fret rattle or buzz took precedence over trying to replicate Paganini on the electric bass. Around this time, Ricardo made similar changes to his bass style. We both made vast improvements in our bass playing, but it was not because of what we were playing, but rather what we were leaving out. Ricardo has built a career as a bassist on his own efforts. He’s not a member of the elite circle of NYC bassists that play on Broadway or do sessions at the top studios. Like me, he has built his career from the perimeter.

 

For all of the talk about an alleged “bass brotherhood,” I have learned that if a fraternity of elite bass players truly exists, new members are only admitted if they have something to offer in the form of a tour or a Broadway show to gain access. To truly thrive, a musician must create their own opportunities.  Ricardo and I also have a similar view that there is much more to life than music. Financial security is important to us. As such, we both maintain day jobs that are unrelated to music and would not have it any other way. You can’t build a career with Instagram likes, by posing for pictures with famous bass players or “liking” their posts on Facebook. Getting hired and getting paid for your work is the only thing that matters. The rest of it is just a façade. Know Your Bass Player has always tried to convey the story of the working musician trying to navigate their way through a never-ending sea of obstacles, often in obscurity. As such, we are proud to present this feature on Ricardo Rodriguez, a true pragmatist who lives his life on his own terms.

 

When and where were you born?

 

I was born at Saint Joseph’s Hospital in Paterson New Jersey. When I was born the doctor looked at my hands and told my mom that I would either be a doctor or a musician. I was fortunate to be raised into a family full of Latin jazz musicians. Since our family functions were quite large, we would often rent a hall and my cousins and uncles would always bring the band to perform. As a kid I had no idea how good they were until I heard other bands that rarely sounded as good. They were all very well-educated schooled musicians at the top of their game. Now that I am older, I really appreciate having this influence very early on.  

 

I am curious about your educational background or specific teachers who guided you, not limited to only music teachers.

 

I was always fascinated with technology and studied electronics and computer science however my mind often drifted into music land. There came a time when I was getting busier musically and so I studied theory at William Paterson and took lessons from various local professional bass players. However, my cousin Frankie was my earliest bass player influence who I looked up to and guided me. He still plays Latin jazz to this day.  

 

Did your family support your decision to be a musician?

 

I put in as much time as I possibly can into my music endeavors while maintaining a day job. I’ve always been the responsible type, so my parents never gave me any arguments about my music activities. My family has always been supportive of my musical ventures. Not once has anyone given me any talk about moving in a different direction.

 

Who influenced you at the beginning of your career?  When you listen to their work today, do your early bass influences measure up to your perceptions of them when you were young? Are there any young bass players currently on the scene that inspire you?

 

As early as I can remember I was always humming the bass lines to songs. Not sure why I did that to be honest. But Silly Loves Songs by Paul McCartney as well as songs like “Sir Duke” by Steve Wonder were some of my earliest influences. I had no idea what a good musician was at that age. I just knew that I was drawn to it. As time went on, I realized their genius. As far as new young bass players on the scene that I admire, Henrik Linder from Dirty Loops, Sam Wilkes from Scary Pockets, Michael League from Snarky Puppy, Joe Dart from Vulfpeck and Jacob Collier come to mind.

 

I am a big fan of the Carol Kaye series of bass method books. Her method, combined with The Evolving Bassist by Rufus Reid, and Bach’s Six Suites for Violoncello Solo are the backbone of everything that I do on the bass guitar. Are there any books, or YouTube video channels that have inspired you?

 

Great question! I have Bass Guitar for Dummies by Patrick Pfeiffer. I bought a few from this series and I loved the cds that came with them. I tend to drive a lot and loved listening to these lesson books while on the road. It really helped me absorb many things I was trying to understand at the time. I later found Patrick in NYC and took lessons from him. As for YouTube channels Scott’s Bass Lessons is my go-to, however any session bass player that records a memorable line will grab my attention. I recently found the stems to Lady Antebellum’s hit song “I Need You Now”. I removed the bass track then recorded myself playing the entire track. Craig Young is the bassist on that track. In my book that is textbook perfect bass playing.

 

When I started playing live in 1976, I was lucky enough to acquire a vintage Ampeg SVT. During the ’80s, I got caught up in the sterile “divide and conquer” bi-amping approach to live bass tone. These days, I prefer the character that I believe is only attainable by plugging straight into an amplifier, and I have wisely decided to revert to my roots. How has your approach to getting a great live sound evolved over the years? What was important to you in the past, and what is important today? What is your current setup?

 

My early influences were Steve Wonder, Parliament, and other r&b artists. I would often confuse synth bass parts for real bass parts, and I wanted synth like lows to be a part of my sound. My first serious bass cabinet had dual 18’s. In those days bigger was better. I remember an older bassist telling me I could do so much more with less and that I would let all that big stuff go one day. My first thought was no way. How boring! I lugged that beast for about five years then down sized to 15’s. I lugged the 15’s for a few years then down sized to 12’s. The 12’s, in my opinion, are the sweet spot size wise and still have those around. I held onto the 15’s thinking I would go back to them someday but never did. What I have learned is having booming bass on stage can get messy at times. Most of the time I must trim the bass down and get a more focused sound so I can hear the pitch of my notes. It’s better to let the front of house get that boomy sound and just let your stage amp be your focused monitor.

 

Back in 2019 a friend asked for my opinion on great combo amps. The one I had was an Ampeg Portaflex 2×8 which for its size had a great sound however they were discontinued. I told my friend I would go to a few stores and see what new amps were out there that met my approval. I hit all the stores I could find within an hour drive from my house. I was at Alto Music in Middletown. They had a bunch of Phil Jones bass amps. I tried them all including the Fender, Peavy, Ampeg, Blackstar and other brands. To my surprise the PJB BG400 kept coming out on top. I went to a few other stores that had Phil Jones amps to compare it to other manufacturers and once again the BG400 for its size kept coming out on top. The last test I did was to compare it to my Ampeg combo and the BG400 blew it out of the water. I sold my Ampeg’s and bought the BG400. Since 2019 the only amp I have gigged with is the BG400 with its extension cab. I never thought in a million years that a 5” speaker could cut it but to my surprise so far it has. So, I guess that guy who was trying to educate me in my teens was right all along.  Setup, outside of the Phil Jones amps I just carry a few pedals to my live events. Nothing fancy. Just a few basic Boss pedals. Tuner, Limiter, Octave, EQ and Chorus. I love Boss pedals because I have been using them since I first started, and they never have failed me. If someone invites me to a session, I have a few boutique pedals that I will bring with me. Origin Effects Cali76 Compressor and a Noble DI. In my studio I use a Neve 1028 Preamp. It would be nice if someone would make a pedal version of this but the closest I have gotten to that is the JHS Colour Box. My travel session chain is always evolving so ask me next month what I am using.

 

To answer your question of what was important to me in the past and important today. That all ties into my first real recording session experience. I was only 20 years old and completely green to the process. But what I do remember was how amazing my bass not only sounded but felt under my hands. I asked the engineer a lot of questions. He explained the importance of a great preamp and compressor. All recorded bass is compressed to some degree. I like my bass to have that studio sound live, so I always add a touch of compression. Prior to knowing what a compressor was or did, the only time I experienced such a pleasant sound was with a tube amp with what is known as tube sag. A compressor mimics this sound. However not all compressors sound the same. I have a ton of them, and one will sound good with one bass and another sounds good with a different bass. So, your mileage will vary. But when you find the right combo its heaven. So, a good preamp DI, and compressor is everything these days.

 

Your decision to assemble a home studio to track bass parts for clients was a wise one. When asked to add bass to a project, I have yet to do the same and rely on area studios. Tell us a bit about your studio. Can you recommend a basic setup that would enable novice and veteran bass players to get started?

 

As much as the pandemic wreaked havoc for many it forced me into putting the studio together. I always had it in my mind of wanting to have my own recording setup, but I was always too busy and feared the learning curve. It was much easier to just show up and let someone else deal with all the technology. I just wanted to focus on playing and that’s it. I was already purchasing pieces for my studio and was already about 70% there with the gear I needed. Once we were forced to stay home and the only people that were still working musically were the ones with home studios, the rush to complete my studio went from hardly a focus to priority number one. The only problem was the whole world was in the same panic because the gear you needed was hard to come by. I ran around for a few months and spent whatever I had to get what I needed before someone one else took the opportunity away from me. What a crazy time that was. 

 

As for setup recommendations. This topic requires a lot of discussion; however, I will try to keep it basic for now. You need a computer with lots of RAM. At least 32Gigs. Most people use Pro Tools on a MAC however I am a Windows guy and since I work in  IT, I managed to put a system together that cost me 1/3rd of what an equivalent MAC would cost. So, it depends on your budget which system you want to go with. You want a good sounding interface. Apollo series of interfaces is the standard these days. Warm Audio is a decent brand that makes clones of much more expensive gear. I would check them out for a good recording DI, compressor, preamp, and microphone. As for nearfield studio monitors, Yamaha is a decent brand and would shoot for those. Lastly you can operate Pro Tools with your computers keyboard and mouse, but a control surface makes life easier. I like Icon series control surfaces. I think this covers it.

 

Do you make your entire living playing music? If not, why have you decided to work an unrelated day job?

My first love will always be music however personally I prefer a steady income with medical benefits. I admire the few hundred musicians that have managed to make a steady living, but I just don’t see a return to the days of the Wrecking Crew session musician life. If that were to ever happen again, I would entertain the idea of giving up my day job. Until then I just do not see paying a mortgage and car payment with on and off cash streams unfortunately.

 

My decision to release a solo CD in 2005, and an instructional DVD in 2007 was the catalyst for much of the session work that I am doing now. I am curious as to whether you have thought about deviating from your current path of playing on other people’s music and have considered releasing something of your own. Perhaps you have done this already, and I am unaware of it.

 

When I first hit the scene in the ’90’s I was only doing the New Jersey cover scene circuit. In 1999 I started working with a singer in NYC which opened a new door to session work with various singer songwriters. I was so busy that at one point I had 20 bands on rotation. Those were crazy fun times. I never gave the solo idea any thought because up until March of 2020 I was too busy working on everyone else’s projects. My mind set was always study and emulate the great session players like Pino Palladino and Nathan East.

 

In 2010 a Jazz band by the of Rubber Skunk hired me and for that year we had a lot of fun stretching out and I thought this might be a good band to showcase my talents but the band disbanded before we got to go into the studio. I still may one day go down that solo path but at this time I find it rewarding working with singer songwriters and bringing their ideas to life. 

 

I have a large collection of over 40 bass guitars. If forced to get rid of all of them except for one, I would keep my 1973 Fender Precision bass. Which of the basses that you own is the instrument that you would never part with?

 

If forced, I would keep my Sadowsky NYC Series Chambered 5 String Bass. That bass records well and has a great neck for live playing.

 

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

 

Give music as much as you can give it but keep an eye on reality. Think about your future. One thing I try hard to do is to not get into a day job that sucks the life out of me. If you come home every day drained to the point where all you want to do is sit on your couch, then you must make some important life decisions. These types of jobs shorten your life span. Music increases it. So, find a job that will allow you to balance your creative life with your professional life. This has worked well for me so far.

 

Ricardo’s YouTube Channel: https://www.youtube.com/c/RicardoRodriguezBass

 

Ricardo’s SoundCloud page: Stream ricardobass | Listen to Studio, Live and Demo Recordings playlist online for free on SoundCloud

 

Ricardo’s Instagram page: https://www.instagram.com/alotabass/

 

By Philip Huizer

 

Dutch bassist Ton Temming anchored several bands including Phoenix, The Caverns, and Batfinger and founded the repertory ensemble Witness. Temming, who passed in 2022, performed extensively in the Netherlands, Belgium, and Germany. Active on the jam session scene for nearly 60 years, Ton was a “real musician” who loved to play the bass guitar.

 

Ton Temming Sound & Vision…

 

The Caverns “No Matter” https://youtu.be/w5KfpHXM9po

 

The Caverns “It’s All Over Now” https://youtu.be/-xWO-_WvSAE

 

 

 

Bassist, author, and educator David C. Gross and bassist, journalist Tom Semioli host Notes From An Artist on  www.CygnusRadio.com – an insightful, intriguing, and informative two-hour talk / music program which brings listeners behind-the- scenes with individuals who have forged a profound impact on contemporary culture.

 

With 50,000 + listeners, Notes From An Artist radio spans musical artists who traverse rock, jazz, funk, blues, folk, country, and permutations thereof; along with key personalities in photography, technology, business, journalism, publishing, public relations, and education.

 

Notes From An Artist shows and exclusive content appear on  Notes From An Artist Podcast and  Notes From An Artist YouTube.

 

Notes From An Artist Radio / Podcast / Video Highlights:

 

 

 

 

Notes From An Artist Live! David and Tom also host live music events in major venues (The Cutting Room, The City Winery, The Bitter End) throughout New York City with musicians noted for their work with Bob Dylan, Joan Jett, Rolling Stones, Miles Davis, Ian Hunter and Mott The Hoople ‘74, Garland Jeffreys, Bruce Springsteen, Meatloaf, and David Johansen, to cite a very select few!

 

Notes From An Artist Who Cares (Roger Daltrey & Pete Townshend) Teen Cancer America Benefit Highlights from The Cutting Room NYC

 

Among the guests who have appeared on Notes From An Artist include…

 

• Bob Gruen (Photographer)
• Richard Thompson (Fairport Convention)
• Ron Carter (Miles Davis)
• Ian Anderson (Jethro Tull)
• John Altman (Monty Python, Amy Winehouse, James Bond, George Michael)
• Lenny Kaye (Patti Smith Group, Rock and Roll Hall of Fame)
• Ricky Byrd (Joan Jett & The Blackhearts, Rock and Roll Hall of Fame)
• Colin Blunstone (The Zombies, Rock and Roll Hall of Fame)
• Dave Swift (Later…with Jools Holland)
• Denny Seiwell (Paul McCartney & Wings, James Brown)
• Ellen Foley (Meatloaf, Ian Hunter, The Clash, Broadway)
• Michael League (Snarky Puppy)
• Neil Jason (Bryan Ferry, Brecker Bros., Roxy Music, Diana Ross)
• Rick Wills (Peter Frampton, Foreigner, David Gilmour, Small Faces)
• Carmine Rojas (David Bowie, Labelle, Rod Stewart) Joe Bonamassa)
• Freebo (Bonnie Raitt, Maria Muldaur)
• Larry Grenadier (Brad Meldau, Jack DeJohnette, Pat Metheny)
• John Regan (Peter Frampton, Rolling Stones, Ace Frehley, David Bowie)
• Bruce Thomas (Elvis Costello, Suzanne Vega, The Pretenders)
• Michael Manring (Windham Hill Records)
• Jeff Berlin (Bruford)
• Benny Rietveld (Sheila E, Miles Davis, Santana)
• Rudy Sarzo (Ozzy Osborne, Quiet Riot, Whitesnake)
• George Porter Jr. (The Meters, Tori Amos, Dr. John, Robert Palmer)
• Gerry McAvoy (Rory Gallagher)
• Leo Lyons (Ten Years After)
• Jim Fielder (Blood Sweat & Tears, Tim Buckley, Frank Zappa)
• Harvey Brooks (Bob Dylan, Electric Flag, Jimi Hendrix, The Doors)
• Greg Chaisson (Badlands, Pat Travers)
• Jason Heath (Contrabass Conversations)
• Sal Maida (Roxy Music, Sparks, Cracker, Edward Rogers)
• Mitchell Cohen (Author, A&R Executive)
• Arno Hecht (Uptown Horns, Rolling Stones, J. Geils Band, Joan Jett, Iggy Pop)
• John Montagna (Alan Parsons Project, Mark Farner)
• Ben Neill (Universal, Verve Records, Astral Werks)
• Percy Jones (Eno, Brand X)
• Chris Parker (Stuff, Bob Dylan, Brecker Brothers)
• David Soldier (Thai Elephant Orchestra)
• Mark Andes (Spirit, Jo Jo Gunne, Firefall, Heart, Ian MacLagen’s Bump Band)
• Annie Haslam (Renaissance)
• Greg Antista (Greg Antista & The Lonely Streets)
• Trey Gunn (King Crimson)
• Lee Sklar (James Taylor, Jackson Browne, Billy Cobham)
• Kate Taylor (James Taylor, Peter Asher)
• Gene Wisniweski (“The Art of Looking At Art”)
• Tor Hansen & Glen Dicker: Yep Roc Records
• Ioannis (Johnny Winter, Allman Bros, King Crimson, Uriah Heep)
• Alex Machurov (Fandiem) 

 

Contact:

David C. Gross

[email protected]

Tom Semioli

[email protected]

 

Notes From An Artist Facebook: https://www.facebook.com/notesfromanartist

 

Notes From An Artist Instagram https://www.instagram.com/notesfromanartistradio/

 

Notes From An Artist Podcast: https://notesfromanartist.buzzsprout.com/

 

Notes From An Artist Video Series YouTube https://bit.ly/37aJpWs

 

Next Event: AN EVENING OF FREE PIE! THE BITTER END NEW YORK CITY

147 Bleecker Street (between Thompson and LaGuardia) New York City, NY 10012

Wednesday 30 March 2022 Two Sets: 8:00 PM – 10:00 PM.  $10.00 Cover 

 Hosts / bassists David C. Gross & Tom Semioli lead a band of local luminaries to reimagine deep tracks from two rock music titans: Free and Humble Pie. Featuring singers Shannon Conely (Hedwig and the Angry Inch, Lez Zeppelin), Joey Kelly, Chris Berardo, and Troy Weekes with Mark Bosch (Ian Hunter, Mott The Hoople ’74, Garland Jeffreys), Dave Donen (Lenny Kaye Connection, Frank Carillo), John Colonna (John Colonna Quartet)…and surprise guests.

 

 

 

 

One: The bass is your spouse. If you are fortunate in life to find the ideal soul mate, why cheat? Why look elsewhere? Older players understand where I’m coming from…youthful indiscretion is an important part of…. youth! And growth. (Note: the author has been married twice!) 

 

Two: You become a better player by negotiating the strengths and weaknesses of a single instrument. If you jump to another instrument because playing a certain style is easier on said instrument– you compromise your potential to improve and the opportunity to truly forge your own voice. M’shell Ndegeocello slaps with heavy flats. Bobby Vega funks with a pick. Fernando Saunders and Tony Franklin did not concede their fretless inclinations for their respective bandleaders Lou Reed and Jimmy Page – two artists who couldn’t be more diverse.  Be like these cats!  

 

Three: Identity. Your sound is you! Your phrasing is you! Your note choices are you! Unless you toil in a repertory or tribute ensemble, all musicians (should) strive to be recognizable in a single passage. To a significant degree, when you move from instrument to instrument to instrument you do so at the expense of tone and playability which have a direct impact on your identity. I concur with the tenet that tone is (mostly) in your fingers and soul– however the instrument buffers the two. Don’t mess with that synergy!

 

Playing basses with different neck widths, shapes, weight distribution, fanned or trad frets, extended range, and scale lengths – among other characteristics – alters the way you play. The more instruments you play, the more your true identity is distorted. That is, if you want to have a “true” identity. I’ve met many a player content to appropriate their respective heroes. And it’s big business too – behold the massive popularity of “signature artist” instruments and tribute bands. Shoot me if you see me on stage dressed as Overend Watts. 

 

Four: Visuals. When you compose, practice, and record – you are an artist. When you step on the stage, you are an entertainer.

Macca / Hofner

Jaco / Fender fretless Jazz

Marcus Miller/ Fender Jazz by way of Roger Sadowsky’s revisions

Chris Squire/ Rickenbacker 4001

Berry Oakley / Fender “tractor” Jazz

Peter Hook / Yamaha BB1200S 

Stanley’s Alembic …

For those obsessed with aesthetics – swapping out pickguards affords you a fresh veneer when you get fidgety. You get the picture…. 

 

Five: And bandleaders, producers, engineers, sound-techs, and bandmates get a picture too. Among the most crucial roles of the bassist is one of infallible reliability. Be that cat who is dependable with the gear that is best for you and the situation gig after gig after gig. Fact is most basses are indistinguishable in the final mix – which is where they belong. Who knew Macca was playing a Fender Jazz on The Beatles, Abbey Road tracks until the archival releases revealed photos of the actual sessions? Can you pick out the P bass or the J bass with David Hood, Willie Weeks, Dee Murray, and John Paul Jones – all of whom used both models? Exaggerating an element of a tone of a bass: refer to Jaco Pastorius, Chris Squire, Aston Barrett, Jack Bruce, and Robbie Shakespeare – is rare – though commendable in the hands of a master.  You can hear nuances in the headphones or perhaps during a solo, but those subtleties vanish among the din of other instruments. Don’t sweat it. 

 

Six: Whoa, I want more timbre options! Good for you. Invest in strings! Instead of piling up instruments – have at your disposal multiple string species (flat-wound, round-wound, tape-wound, half-round…) in multiple gauges (light – medium – heavy). Game over! Now you have a myriad of pitches that will accommodate the majority of circumstances wherein your services are required. Cut the strings to size in advance and you can change ’em in under three minutes.

 

Play with your fingers, play with a plectrum, learn to palm mute, employ a “waddafoam” in proximity to the bridge. All these techniques affect your tone, note choices, and approach to the instrument. Variety is the spice of… growth, evolution!

 

Seven: Attitude! Miles Davis “Anybody can play. The note is only 20%. The attitude of the mother****er who plays it is 80 %.” How cool is it to observe keyboard players, drummers, guitar players, and the motley hassle with assembling interconnecting gear, pedals, elaborated rigs etc. as I simply and swiftly plug and play my Fender Jazz bass? I can soundcheck from the bar – and often do. Cool tries to be me! The bass is a relatively “simple” instrument – don’t make it more complicated than it needs to be. 

 

Eight: Multiple instrument ownership breeds indecisiveness. With one instrument, you never have to choose. Did Hank Aaron choose what size bat he was going to hit with every time he stepped to the plate?  

 

Nine: Old chickens make the best soup de jour. Maybe it’s my vintage ears, but the more I play the same instrument the better it sounds. And with battle scars, dings, dents… older looks even better. 

 

Ten: Space! Unless you reside in a house or have access to storage, basses in cases take up too much spaces!  

 

I could be right I could be wrong I could be…Every one of these ten reasons can be argued, debated, disapproved, or validated. Be my guest! 

 

A bona fide Nashville legend…here’s DP’s official bio from, of all places, www.DavidPomeroy.com

 

Dave Pomeroy has been on the cutting edge of Nashville’s music scene for more than 40 years as a bassist, bandleader, and producer. He was born in Naples Italy, into a U.S. military family and lived in Colorado, England, Virginia and Pennsylvania before moving to Nashville from London, England in 1977. From 1980 to 1994, Pomeroy toured and recorded with country music legend Don Williams, and has also performed live with Steve Winwood, John Fogerty, Willie Nelson, Peter Frampton, Mose Allison, and many other major artists. He has played the Telluride Bluegrass Festival, Merle Fest, Carnegie Hall, Nashville’s Ryman Auditorium, and London’s Royal Albert Hall.

 

As a studio musician, Pomeroy has played bass on more than 500 albums, including six Grammy winning recordings, with a diverse range of artists including Keith Whitley, Emmylou Harris, The Chieftains, Alan Jackson, Earl Scruggs, Sting, Elton John, Alison Krauss, and Trisha Yearwood. His television appearances include work with Chet Atkins, Vince Gill, Eric Johnson, Sheryl Crow, and Earl Klugh. A multiple Nashville Music Awards winner, his instrumental band Tone Patrol was voted “Jazz Band of the Year” in 1991 and Pomeroy was voted “Studio Musician of the Year” in 1992 and “Bassist of the Year” in 1997.

 

Pomeroy has also released more than a dozen projects on his label, Earwave Records over the past two decades. These include his groundbreaking all-bass and vocal solo albums “Basses Loaded” and “Tomorrow Never Knows,” “The Taproom Tapes,” an album of live improvisations featuring 14 of Nashville’s finest players, CDs by harmonica virtuoso Paco Shipp, and bluegrass vocalist Lorianna Matera, and the jazz-grass instrumental trio “Three Ring Circle” with Rob Ickes and Andy Leftwich, whose most recent release, “Brothership,” was released in 2011. His latest all- bass and vocal solo album, “Angel in the Ashes” was released in 2017 and immediately garnered great reviews, including an in-depth article in Bass Player magazine, and Music Row magazine’s Robert Oermann’s description of the project as ‘wildly inventive” and “a fascinating listening experience!”

 

In 2012, he produced “Restless,” the latest album by country duo The Sweethearts of the Rodeo, and in 2013 made a music documentary film about legendary rockabilly artist Sleepy LaBeef, which was selected for the Nashville Film Festival and is selling well around the world. Earwave’s latest release is the DVD “The Day The Bass Players Took Over The World”, a digitally remastered re-release of the successful 1996 concert video originally released on VHS featuring Dave and the All-Bass Orchestra with special guests Victor Wooten and Friends. The DVD also includes five bonus cuts and a mini documentary “Building The Bass Orchestra.” These projects are all available online at the Earwave Music at www.earwavemusic.com.

 

Over the past 20 years, Pomeroy has raised over $480,000 for Nashville’s “Room In the Inn” homeless program with his annual “Nashville Unlimited Christmas” benefit concerts and CDs. He is a longtime columnist and Advisory Board member for Bass Player Magazine, and has contributed as a writer to numerous books about the music business. Pomeroy was profiled in Backbeat Books’ release“ Studio Bass Masters,” and Michael Visceglia’s “A View From the Side.”

 

A longtime activist for working musicians, Pomeroy was elected President of the Nashville Musicians Association, AFM Local 257 in 2008, and was unanimously re-elected in 2011, 2014, 2017, and 2020. Since them, he has been responsible for transforming Local 257 into a real world, responsive and proactive organization for all Nashville musicians. In 2010 he was elected to the International Executive Board of the American Federation of Musicians, and has since been re-elected three times, in 2013, 2016 and 2019. Local 257 is on the cutting edge of the AFM, having developed new agreements for home recording, payment for use of studio tracks onstage, and working with publishers, labels and independent artists to make recording with the best musicians in the world affordable and enjoyable experience.

 

With the release of “Angel in the Ashes,” and his recent re-election to a fifth term as AFM 257 President, Dave Pomeroy continues to balance his passion for helping musicians take care of business with his first love – playing the bass!

 

 

 

MIKE WATT “Good God’s Urge” Pornos for Pyros

 

The alt-rock bass maestro vacillates between upper-register melodicism and pocket riffage on this trippy Peretz Bernstein composition. 

 

Live Acoustic Version: https://youtu.be/It1u7FtJ8gE  

 

Studio Version: https://youtu.be/lrN0f94W7Xw

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MELISSA AUF DER MAUR “Out of Our Minds”

 

The power of…one note! Dig Melissa’s hypnotic bass loop intro which morphs into airtight lower register grooves with Vince Nudo’s kick-drum.  

 

“Out of Our Minds” https://youtu.be/OHan_RwI_VU

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BILLY PETERSON, TONY BROWN: Blood On The Tracks Bob Dylan

 

Most bandleaders / producers would have opted for the doghouse. Waxed in the waning days of ‘74, Bob’s Blood on the Tracks stands among his (numerous) classics and an exquisite example of the subtle powers of the electric bass in an acoustic folk context.  Tony Brown anchored the September A&R NYC dates (“Simple Twist of Fate,” “You’re Gonna Make Me Lonesome,” Meet Me in the Morning,” “Shelter from the Storm,” “Buckets of Rain”). Billy Peterson (pictured) helmed the December Sound 80 Minneapolis sessions (“Tangled Up in Blue,” “Idiot Wind,” “Lily, Rosemary, and the Jack of Hearts”). Sans charts with minimal direction, the bassists fixated on Dylan’s every nuance whereas many other backing musicians who couldn’t “catch” Bob were dismissed one by one.  

 

Nowadays Americana artists aplenty opt for the upright, however the warmth of the Fender P and phrasing borne of an electric bass afford these recordings a modernist twist (pun intended) despite the fact that they were cut nearly a half-century ago. Everything new is old again.  

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NORMAN WATT ROY “Hit Me With Your Rhythm Stick” Ian Dury and The Blockheads

 

“He’s the man with the face, from outer space, on his faith and grace” bellowed the late, truly great Ian Dury of his virtuoso bassist Norman Watt-Roy. A rite of passage for players of my generation, Norm’s Jaco inspired (spot the “Teen Town” riff) motifs brilliantly underpin Dury’s lunatic libretto.  Sometimes busy is better!

 

Ian Dury “Hit Me With Your Rhythm Stick” https://youtu.be/0WGVgfjnLqc

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BENNY RIETVELD “Are You Ready” Santana / The Isley Brothers 

 

Notes From An Artist Radio / Podcast / Video Series guest Benny Rietveld takes the staccato 16^th note Francis Rocco Prestia route replete with a dub resonance that would do Robbie Shakespeare proud on The Chambers Brothers classic “Are You Ready” from the amazing collaborative LP Power of Peace. Essential!

 

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

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GORDON EDWARDS: “Let’s Go Down to Lucy’s” Leon Thomas

 

The bass in the hands the master, Gordon Edwards, serves as the melodic hook and the anchor – double stop included! And that’s Bernard Purdie on drums…from the slab Blues & The Soulful Truth (1973).

 

“Let’s Go Down to Lucy” https://youtu.be/xx4uOZ77KLk

 

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JOHN GUSTAFSON / OVEREND WATTS / PAUL PAGE “Lounge Lizard” IAN HUTNER / MOTT THE HOOPLE ’74.

 

Yet another Ian gem, “Lounge Lizard” was originally intended as a B-Side for Mott’s “Saturday Gigs” swansong.  The original with Overend Watts was probably the last blast of Hoople bombast abetted by the profound plinkery of Morgan Fisher. The first released version appears on Ian’s s/t debut with bassist John Gustafson taking a more soulful / pocket approach. For the Mott ’74 reunion tour, KYBP On Film star Paul Page negotiates between his predecessors with equal measures of rhythm and bluster. Great songs make for great basslines….

 

Ian Hunter: https://youtu.be/lQ7Mm_TkJOE

 

Mott The Hoople: https://youtu.be/xPQByEZE8Y8

 

Mott The Hoople ‘74 https://youtu.be/dnf3z62mP9U

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BILL WYMAN “Jivin’ Sister Fanny” Rolling Stones 

 

Why this killer coldcocked Stones cut never found its way on an official slab is beyond me! Dig the former William Perks’ equitoxic quarter-note groove abetted with more supplementary fills and upper-register grace notes than the stone-faced bassist is typically noted for. Best B-side ever? Could be. Imagine if Joey Kelly. Michael Muller / Dave Donen covered this track…

 

Audio Link: https://youtu.be/LgVo0Krv6Yg 

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MICHAEL HENDERSON: “Right Off” Miles Davis 

 

The jazz police continue to debate these sides, which to my ears, reverberate magnificently decades after their release. With hypnotic repetitive motifs and piercing upper register fills Michael Henderson anchored Miles’ most controversial, groundbreaking, and influential jazz funk recordings. “Right Off” kicks off with a James Brown “inspired” motif in the universal funk key of E then abruptly jumps to Bb – though it took a few bars for Henderson to catch on. Regardless, “Right Off” is a jazz fusion touchstone. Following his tenure with Davis, Henderson forged a successful career as a contemporary jazz singer, composer, and recording artist. 

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DAVEY FARAGHER “Farewell, OK” / “The Boy Named If” Elvis Costello & The Imposters

 

Yes, Declan’s Imposters are indeed “The Subtractions” (as in minus Bruce Thomas), but there’s evidence aplenty on the last few EC slabs (especially Look Now / 2018) that bassist Davey Faragher has been studying the work of his irreplaceable predecessor with remarkable attention to detail. Ditto producer / engineer Sebastian Krys taking liberties (pun intended) from Nick Lowe’s approach to The Attractions classics in both sound and execution. Eschewing the (yawn) pocket for melodic motifs, glissandos, and upper register riffery – check out “Farewell, OK” and the title cut- Faragher gives further credence to the credo that imitation is the sincerest form of ….flattery!  Even the album art evokes comparison to Blood and Chocolate… Imperial Bedroom.  Oh well, if it worked the first time around….

 

“Farewell, Ok” https://youtu.be/eGcbRIX0Fjw

 

“The Boy Named If” https://youtu.be/9Tjuygr65SU

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JIM RODFORD “(Wish I Could Fly Like) Superman” / The Kinks 

 

During the 70s’ disco zeitgeist rockers aplenty including the Rolling Stones (“Miss You”), Sir Rod (“Do You Think I’m Sexy?” Macca (“Good Night Tonight”), Kiss (“I Was Made for Loving You”), and even The Clash (“Magnificent 7” with Blockhead maestro Norman Watt-Roy in the bass chair) all set their sights on the dance floor. All but Strummer sacrificed their street cred. Ditto Ray Davies with his self-effacing social commentary on the aforementioned single from their stellar Low Budget (1979) collection. The late, truly great bassist Jim Rodford eschews the usual cliches for a punchy descending motif which served the song well and translated note for note when The Kinks rocked this tune on-stage – as I was witness. That’s Jim and I at The Horn in St. Albans (2014) with his modded Fender Mustang which he used on most of the band’s sessions and gigs.  

 

“(Wish I Could Fly Like) Superman” https://youtu.be/DV-4Ge78OaI 

ROBBIE SHAKESPEARE: Bob Dylan “Too Late” 

 

Audio link: https://youtu.be/RUT7N8RYgSI When is “too many notes” not too many notes? Right here! Dig Robbie’s double-time riddum on this Zimmy outtake entitled “Too Late,” metamorphosing a mid-tempo folk ditty into a groovin’ reggae psalm! And the libretto ain’t to shabby either… 

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JERRY SCHEFF: Mick Jagger “Memo From Turner” 

 

Audio Link: https://youtu.be/yCoCgB3eIU4  Recorded by the Stones a few months following the Beggar’s Banquet sessions in ‘68, various versions of this incendiary track from Mick’s Performance film have found its way on to bootlegs. However the official release is the definitive, produced by Jack Nitzsche in L.A. with session cats aplenty: guitarists Ry Cooder and Russ Titelman, Randy Newman on piano, drummer Gene Parsons, and bassist Jerry Scheff.  

 

Presley’s late 60s-70s anchor drenches his trad Fender P bass tone with distortion, and he’s a far busier player than the former William Perks, affording this somewhat forgotten gem of a recording a decidedly southern fried rhythm & blooze veneer abetted by Jagger’s jagged drawl.

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HERBIE FLOWERS: David Bowie David Live

 

Introducing Ziggy Souldust….

 

It could be the greatest concert recording ever by a major rock artist …or the worst.

 

Despite overdubs aplenty, a near mutiny by his backing band (allegedly commandeered by this bassist), and horrific reviews – the former David Jones’ first (and to my ears finest) live set waxed in the summer of ’74 is a fascinating, futuristic, and funky meld of glam, soul, theater, and avant-garde. 

 

Anchoring an all-star ensemble which featured Earl Slick (guitar), Michael Kaman (keys), David Sanborn (sax), Tony Newman (drums), Warren Peace and Gui Asandro (backing vocs), Pablo Rosario (percussion), and Mike Garson (piano), Richard Grando (sax/flute) was virtuoso session bassist Herbie Flowers. 

 

Herbie’s sizzling staccato lines, jazzy harmonic counterpoint, and rhythmic variations re-cast David’s Ziggy era canon with a decidedly Broadway flair.

 

Akin to Robert Zimmerman, Bowie completely reinvents his canon on this now expanded twofer which blew minds aplenty upon its winter release. I’m sure it took concertgoers a few minutes to figure out what song the motely were rendering. Every now and then a cocaine fueled train wreck works, that’s David Live at the Tower Philadelphia.

 

Kudos to producer Tony Visconti for pushing Herbie up in the mix!

 

“Moonage Daydream” https://youtu.be/SOYNkDPqsso

 

“Suffragette City” https://youtu.be/WuyTVxvfIig

 

“1984” https://youtu.be/JIPt9UpHtXQ

 

“Rebel Rebel” https://youtu.be/QLyDNl0rfi0  

 

“Sweet Thing” https://youtu.be/CiydgQymvTE    

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BRUCE THOMAS: Elvis Costello & The Attractions Punch The Clock 

 

Times, trends, tones, and technology were a-changin’ during the Reagan / Thatcher era, hence the trad low-end resonance of Fender and Danelectro, among other studio staples, could not compete with the barrage of snazzy synthesizers that dominated the pop music landscape.

 

As such many a bassist opted for more treble trolling instruments. Enter Bruce Thomas on Declan’s superb 1983 platter Punch the Clock with his “electric Wal bass guitar” as listed in the album credits. Featuring Chet Baker and TKO sax colossus / clarinetist Geoff Blythe (listed as “Jeff”), Bruce’s signature countermelodic harmonic forays forged a decidedly sharper twang.

 

Thomas’ tempered timbre manages McManus’ melancholy melodies and “sugary” stanzas quite magnificently.  

 

“Everyday I Write the Book”    https://youtu.be/V1d4r9awjKE 

 

“Let Them All Talk” https://youtu.be/NaYJCfenR20

 

“Invisible Man” https://youtu.be/3o-iZ_GfTTs

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DAVID HOOD: Traffic On The Road

 

Extended live slabs are oft ponderous affairs, however this terrific Traffic twofer with Muscle Shoals “Swamper” David Hood in the bass chair is the rare exception.

 

Waxed in Germany ’73 – dig the “wir fahr’n fahr’n fahr’n auf der Autobahn” cover artwork – Hood along with polyrhythmic percussive purveyors Jim Capaldi, Rebop, and Roger Hawkins stir up a Bitches Brew brouhaha on super stretched out renditions of the studio originals.

 

Hood masters the pocket – rendering subtle variations on what are essentially jam vamps tailored to the improvisational prowess of Messrs. Chris Wood, Steve Winwood, and second keys man Barry Beckett. 

 

“Glad / Freedom Rider” medley https://youtu.be/K37bsDlutes

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JOHN BAKER SAUNDERS: Mad Season Above

 

Doomed by drug addiction, this 1990s alt-rock super group comprised from Seattle’s finest – Alice in Chains (Layne Staley), Pearl Jam (Mike McCready), and Screaming Trees (Barret Martin)- waxed a gem of a slab that traversed ambient, jazz, blues, trad hard-rock, experimental and “grunge.”

 

Bassist John Baker Saunders, who cut his teeth with notable artists including Hubert Sumlin and The Walkabouts, nimbly works the pocket with inventive harmonic extensions and legato passages.

 

Intense, understated performances from all involved – it’s pity that half of Mad Season left this mortal coil way too soon….     

 

Lifeless Dead”  http://bit.ly/2tPMebm

 

“River of Deceit” https://youtu.be/StqioKCPqF8

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JIMMY ASHURST: Izzy Stradlin & The Ju Ju Hounds

 

Start to finish, this was the best album Guns ‘n’ Roses never recorded – save perhaps for Gilby Clarke’s Pawnshop Guitars (1994). The Gunners best songwriter fires on all cylinders with a collection that strips the pomp and circumstance of Use Your Illusion l & ll with songcraft and a laidback Stonesy vibe that would do Keef proud – note Ronnie Wood, Nicky Hopkins, and Ian McLagan’s individual appearances on three cuts.

 

Veteran bassist Jimmy Ashurst (Buckcherry) renders a fine chordal intro on the slab’s single / video “Shuffle It All,” and works the pocket with sparse grooves that leave space aplenty for Charlie Quintana’s fat back beat and Rick Richards (than name again!) riffage.

 

Buried in the grunge era, this is one of the great lost rock albums of the 1990s.  

 

“Shuffle It All” https://youtu.be/TKBgbbFaF2U

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DUFF MCKAGAN Guns ‘n’ Roses “Pretty Tied Up”

 

“Cool ranch dressing!” Michael Andrew McKagan stands among the hard rock’s premiere bassists – and this track proves why. Controversial libretto aside, Duff’s mastery of melody and the pocket achieves perfection on this cut, abetted by a funky flange resonance.  Had Axl had a handle on his ego, you pull the best tracks from solo Slash, Duff, Gilby, and Izzy slabs and they’d have had a career equal to the Stones. But…. GnR as a nostalgia act in the 21^st Century continues…yawn. 

 

“Petty Tied Up” https://youtu.be/uOzA23ibxjU 

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ROB RAWLINSON: Ian Hunter’s Overnight Angels 

 

Whenever I mentioned Overnight Angels (1977) to Ian Hunter during our four or five interviews since 2000, the usual reaction was a groan, or a grimace, or a combination of thereof. Though it was an album out-of-time, out-of-touch, and somewhat out-of-tune thanks to producer Roy Thomas Baker’s misdirection, the songs and bass playing on Overnight Angels are, to my ears, rather astonishing. Rare is the player who can overplay – yet play to the song.

 

Yet that is exactly what Rob Rawlinson achieved on this collection, which, incidentally, was only available as an import in the United States upon its release.

 

Rawlinson, who went on to found Atomic Studios in London, also anchored sessions and gigs with Freddie Mercury, the Climax Blues Band, the Lloyd Langton Group, Rick Astley, and Alison Moyet, among others.

 

“Golden Opportunity” https://youtu.be/xOgI42s53uA

 

“Overnight Angels” https://youtu.be/HzYBO4Uw92o

 

“Wild and Free: https://youtu.be/KwFFEw5BtOo

 

“Miss Silver Dime” https://youtu.be/qzADr4fkbUQ

 

“Shallow Crystals” https://youtu.be/7stOZSXUFU4

 

“To Love a Woman” https://youtu.be/Hb4mTJnPFrQ

 

“Justice of the Peace” https://youtu.be/PjWzp2gb-yU

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MARTYN LENOBLE: “Dirty Sticky Floors” (Live) Dave Gahan

 

Veteran (Pornos For Pyros, Scott Weiland, The Cult) alt-rock anchor Martyn LeNoble (that’s Mr. Christina Applegate to you!) furtively works the fuzz on this Depeche Mode-minus magnum opus whilst a sustain pedal does the heavy lifting for his three-note bass break at 2:30. Yep, ‘twas a time when rock gods traversed the terrain…

 

“Dirty Sticky Floors” https://youtu.be/guB5PHcArLw 

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ADAM CLAYTON “Mysterious Ways” U2

 

Groove monster Adam Clayton works his dub bass magic on this 90s classic. What is it with bass players and their model mates?

 

“Mysterious Ways” https://youtu.be/TxcDTUMLQJI 

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LESLIE LANGSTON: “Devils Roof” Throwing Muses

 

Of all the bassists who served in Kristen Hersh’s corps (with / without Tanya Donelly) over the years, Leslie Lansgton was by far the most accomplished, incorporating funk and reggae influences beneath her bandleader’s mystically twisted libretto. An alt-rock collective way ahead of its time…. 

 

“Devils Roof” https://youtu.be/E9-Zqgxvogw

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GAIL GREENWOOD “Geppetto” Belly

 

Rock critics who opined that grunge bass lacked finesse didn’t know what they were talking about…again…and again. Dig Gail’s grooves as each note melts into the next.  

 

“Geppetto: https://youtu.be/gQlk8eKdIIA

 

John brings the root, the fifth, and occasionally the minor six! He can dance, he can sing and boy-oh-boy he can do THAT thing! Swing, Johnny, Swing!!!  Emily Duff

 

Akin to many of our g-g-generation John Hamilton came to the instrument by way of the six-string. Yet as contra-bass icon Anthony Jackson and such Jacksonian devotees as Dave Swift (Later …with Jools Holland, UK’s most recognized bassist) rightly pontificate: the electric bass is indeed a member of the GUITAR family!

 

Unlike many a convert, Hamilton eschews the riffage approach (see Keef, Ronnie Wood….) and works the pocket in the Willie Dixon / William Perks (that’s “Bill Wyman” to you civilians!) perspective in his supportive slant on stage and in the studio with the aforementioned Duff collective and The Bakersfield Breakers – the latter of whom have embarked on “a mission to reawaken the classic guitar-driven sound of 1950’s Bakersfield and the driving tunes of 1960’s surf rock….” 

 

As Ms. Duff details, Hamilton serves the singer, song, and soloist with a warm tone borne of his “mutt” P bass, among other fine tools of the trade.

 

John Hamilton Sound & Vision:

 

Emily Duff Band Haverford Music Festival:

 

The Bakersfield Breakers

 

L to R: Kenny Soule, Scott Aldrich, Emily Duff, Charlie Giordano, and John Hamilton with his “P Mutt”

Photo by Charles Chessler

 

John Hamilton and the “Mutt P Bass”

 

 

By Tony Senatore