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If You Can Conceive It, You Can Achieve It
When I received the news of the recent death of Joe Zawinul age 75, I was shocked and shaken, to say the least. It had been a long time since Joe and I had spoken. I along with many others had been awe inspired by Joe’s work with Jaco Pastorius and Wayne Shorter in the band, Weather Report.
I always had a singular desire to play with the Weather Report band. But, the opportunity never presented itself. However, I had the distinct pleasure of working with both Joe and Jaco separately and in different venues. I worked with Joe at the World-class Attraction, the Salt Mine of Wieliczka, near Krakow, Poland.
United Nations Educational, Scientific and Cultural Organization (UNESCO) encourage international peace and universal respect through collaboration of the nations of the world. A concert was held for UNESCO in the unique setting of the subterranean Wieliczka Salt Mine, which had begun to take on water. The participating musicians took time out from their respective tours to participate in a benefit concert for UNESCO, during the summer of 1995. The proceeds of the concert were directed to restorative initiatives in the mine.
This location provided extraordinary acoustics. Imagine that setting coupled with Joe’s outstanding performance. The event evoked a surreal experience for all of those in attendance. When the concert began, Joe was incredible. The awesome display showed his true jazz and jazz fusion chops. He utilized nine keyboards set up with a remote strap-on keyboard, which generated a unique unexpected and exceptional sound.
My colleague, drummer Ernie Adams and recording artist Carlos Johnson were also a part of that remarkable performance. Ernie is currently playing, writing and producing many different styles of music and preparing for a world tour in 2008 with a major Japanese pop artist. His collaborations have included, among many others, Stanley Turrentine, Dianne Reeves, Ramsey Lewis, and most recently 9 years with Al DiMeola. Ernie vividly recalls Joe’s solo that evening. His solo during a groove that was reminiscent of an up-tempo Weather Report piece, was a beautiful and intricate modal barrage of 16th notes. As he and I reminisced, Ernie reflected upon how Joe continuously smiled at me while he executed his amazing solo.
The dreamlike experience was enhanced even more because during the concert I was provided my first opportunity to perform a bass solo. During my solo, I did a fast run down the bass and hit the lowest chord appropriate for that particular piece. This stroke blew out the electricity in the Salt Mine auditorium. Although the lights were out, the drums and percussions continued playing. The only lights that could be seen were the red lights on my Smith Jackson six string bass, and the lights on the miner’s helmets, as they went about the work of getting the electricity restored in the auditorium. Joe Zawinul, the icon, the idol, the star, the role-model graciously gave honor and recognition to all participants in the concert.
I had my first experience with Jaco Pastorius when I attended a performance at the Ivanhoe Theater in Chicago, Illinois. The show presented Herbie Hancock and the Head Hunters, featuring Jaco Pastorius on bass. This event was a life changing encounter for me because I had absolutely no understanding of jazz or bass soloing. BMM Editor, Jake Kot was also there that same evening, and we’ve talked many times on how we both walked away knowing things were going to seriously change for the both of us after seeing Jaco for the first time.
It was my privilege to be introduced to Jaco after the show. He was still wearing his bass strapped around his neck when we met. Consumed with curiosity regarding the sounds emitted when he played his instrument, I asked if I might briefly examine his instrument hoping that I might produce similar sounds. Jaco was very congenial and granted my request. My attempt at playing his bass did not, I repeat, did not produce the same sounds that Jaco created. I questioned him regarding the different sounds we generated while playing the exact same instrument. He replied, “It’s all in the hands.”
My second encounter with Jaco occurred in New York City, where I did a Bass Clinic for Harkey Guild. Jaco, bassists Darryl Jones and Jerry Peak, and I participated in the clinic at the Jazz Center. Jaco was in his dressing room with Larry Harkey and Ron Lorman, while I was on stage doing my sound check. Suddenly, Jaco appeared on the stage with me. We performed a spontaneous duet. I played the bass while he played the drums for approximately half an hour. Afterwards, Jaco shared with me that he had never in his life heard bass playing like mine. He then quickly countered, “But, I am still the greatest bass player in the world.” I laughed and agreed with him stating, “You know, you’re right.”
The impact of my experiences with Joe Zawinul and Jaco Pastorius is immeasurable. In reality I never fulfilled my wish to play with the Weather Report band. Instead, through fate and good fortune, I was given the opportunity to join forces and team up with two members of the band who personified the very essence of the jazz phenomenon.
As told to Dr. Yolanda D. Wallace and J.K. Dickens
Bass CDs
New Album: Jake Leckie, Planter of Seeds
Bassist Jake Leckie and The Guide Trio Unveil New Album Planter of Seeds,
to be released on June 7, 2024
Planter of Seeds is bassist/composer Jake Leckie’s third release as a bandleader and explores what beauty can come tomorrow from the seeds we plant today.
What are we putting in the ground? What are we building? What is the village we want to bring our children up in? At the core of the ensemble is The Guide Trio, his working band with guitarist Nadav Peled and drummer Beth Goodfellow, who played on Leckie’s second album, The Guide, a rootsy funky acoustic analog folk-jazz recording released on Ropeadope records in 2022. For Planter of Seeds, the ensemble is augmented by Cathlene Pineda (piano), Randal Fisher (tenor saxophone), and Darius Christian (trombone), who infuse freedom and soul into the already tightly established ensemble.
Eight original compositions were pristinely recorded live off the floor of Studio 3 at East West Studios in Hollywood CA, and mastered by A.T. Michael MacDonald. The cover art is by internationally acclaimed visual artist Wayne White. Whereas his previous work has been compared to Charles Mingus, and Keith Jarrett’s American Quartet with Charlie Haden, Leckie’s new collection sits comfortably between the funky odd time signatures of the Dave Holland Quintet and the modern folk-jazz of the Brian Blade Fellowship Band with a respectful nod towards the late 1950s classic recordings of Ahmad Jamal and Miles Davis.
The title track, “Planter of Seeds,” is dedicated to a close family friend, who was originally from Trinidad, and whenever she visited family or friends at their homes, without anyone knowing, she would plant seeds she kept in her pocket in their gardens, so the next season beautiful flowers would pop up. It was a small altruistic anonymous act of kindness that brought just a little more beauty into the world. The rhythm is a tribute to Ahmad Jamal, who we also lost around the same time, and whose theme song Poinciana is about a tree from the Caribbean.
“Big Sur Jade” was written on a trip Leckie took with his wife to Big Sur, CA, and is a celebration of his family and community. This swinging 5/4 blues opens with an unaccompanied bass solo, and gives an opportunity for each of the musicians to share their improvisational voices. “Clear Skies” is a cathartic up-tempo release of collective creative energies in fiery improvisational freedom. “The Aquatic Uncle” features Randal Fisher’s saxophone and is named after an Italo Calvino short story which contemplates if one can embrace the new ways while being in tune with tradition. In ancient times, before a rudder, the Starboard side of the ship was where it was steered from with a steering oar. In this meditative quartet performance, the bass is like the steering oar of the ensemble: it can control the direction of the music, and when things begin to unravel or become unhinged, a simple pedal note keeps everything grounded.
The two trio tunes on the album are proof that the establishment of his consistent working band The Guide Trio has been a fruitful collaboration. “Santa Teresa”, a bouncy samba-blues in ? time, embodies the winding streets and stairways of the bohemian neighborhood in Rio de Janeiro it is named for. The swampy drum feel on “String Song” pays homage to Levon Helm of The Band, a group where you can’t always tell who wrote the song or who the bandleader is, proving that the sum is greater than the individual parts. Early jazz reflected egalitarianism in collective improvisation, and this group dynamic is an expression of that kind of inclusivity and democracy.
“The Daughters of the Moon” rounds out the album, putting book ends on the naturalist themes. This composition is named after magical surrealist Italo Calvino’s short story about consumerism, in which a mythical modern society that values only buying shiny new things throws away the moon like it is a piece of garbage and the daughters of the moon save it and resurrect it. It’s an eco-feminist take on how women are going to save the world. Pineda’s piano outro is a hauntingly beautiful lunar voyage, blinding us with love. Leckie dedicates this song to his daughter: “My hope is that my daughter becomes a daughter of the moon, helping to make the world a more beautiful and verdant place to live.”
Bass CDs
Debut Album: Nate Sabat, Bass Fiddler
In a thrilling solo debut, bassist Nate Sabat combines instrumental virtuosity with a songwriter’s heart on Bass Fiddler…
The upright bass and the human voice. Two essential musical instruments, one with roots in 15th century Europe, the other as old as humanity itself.
On Bass Fiddler (Adhyâropa Records ÂR00057), the debut album from Brooklyn-based singer-songwriter and bass virtuoso Nate Sabat, the scope is narrowed down a bit. Drawing from the rich and thriving tradition of American folk music, Sabat delivers expertly crafted original songs and choice covers with the upright bass as his lone tool for accompaniment.
The concept was born a decade ago when Sabat began studying with the legendary old-time fiddler Bruce Molsky at Berklee College of Music. “One of Bruce’s specialties is singing and playing fiddle at the same time. The second I heard it I was hooked,” recalls Sabat. “I thought, how can I do this on the bass?” From there, he was off to the races, arranging original and traditional material with Molsky as his guide. “Fast forward to 2020, and I — like so many other musicians — was thinking of how to best spend my time. I sat down with the goal of writing some new songs and arranging some new covers, and an entire record came out.” When the time came to make the album, it was evident that Molsky would be the ideal producer. Sabat asked him if he’d be interested, and luckily he was. “What an inspiration to work with an artist like Nate,” says Molsky. “Right at the beginning, he came to this project with a strong, personal and unique vision. Plus he had the guts to try for a complete and compelling cycle of music with nothing but a bass and a voice. You’ll hear right away that it’s engaging, sometimes serious, sometimes fun, and beautifully thought out from top to bottom.”
While this record is, at its core, a folk music album, Sabat uses the term broadly. Some tracks lean more rock (‘In the Shade’), some more pop (‘White Marble’, ‘Rabid Thoughts’), some more jazz (‘Fade Away’), but the setting ties them all together. “There’s something inherently folksy about a musician singing songs with their instrument, no matter the influences behind the compositions themselves,” Sabat notes. To be sure, there are plenty of folk songs (‘Louise’ ‘Sometimes’, ‘Eli’) and fiddling (‘Year of the Ox’) to be had here — the folk music fan won’t go hungry. There’s a healthy dose of bluegrass too (‘Orphan Annie’, ‘Lonesome Night’), clean and simple, the way Mr. Bill Monroe intended.
All in all, this album shines a light on an instrument that often goes overlooked in the folk music world, enveloping the listener in its myriad sounds, textures, and colors. “There’s nothing I love more than playing the upright bass,” exclaims Sabat. “My hope is that listeners take the time to sit with this album front to back — I want them to take in the full scope of the work. I have a feeling they’ll hear something they haven’t heard before.”
Available online at natesabat.bandcamp.com/album/walking-away
Gear News
New Gear: Esopus Guitars Launches New Acoustic/Electric Bass
Esopus Guitars Launches New Acoustic/Electric Bass…
Esopus Guitars is proud to announce the new “Tailwater” bass guitar, from legendary bass luthier Stuart Spector. This 32” scale bass is handcrafted by Stuart using the only finest woods and components at the Esopus Guitar workshop located near Woodstock NY in the Catskill Mountains.
From its fully carved spruce top (the top is carved on both its exterior and interior surfaces) with a thumb rest that is elegantly carved into the top, to its custom-made Fishman piezo pickup and super hard Carnauba wax finish, every detail of the Tailwater is part of creating the ultimate playing experience.
The Tailwater bass features a fully chambered spruce over alder body (15.5″ lower body bout width, 2.25″ body thickness measuring from the peak of the carved top) that delivers a super comfortable tonal tool for all your low-end needs.
Each Tailwater bass is hand-signed and numbered on the back of the peghead by Stuart Spector. A very limited number of Tailwater basses are handcrafted each year at the Esopus workshop.
“I am proud to present the Tailwater bass, a bass that I have spent the last three years perfecting. The Tailwater is a culmination of all of my 45 years of experience, knowledge, and passion for bass guitar crafting. I am so eager to hear what fellow musicians create with this exciting new instrument.” -Stuart Spector
Direct Pricing : $4995.00 plus options.
For more information about Esopus Guitars and Stuart Spector’s handcrafted instruments, visit www.EsopusGuitars.com.
Bass Videos
Tour Touch Base (Bass) with Ian Allison
Ian Allison Bassist extreme…
Most recently Ian has spent the last seven years touring nationally as part of Eric Hutchinson and The Believers, sharing stages with acts like Kelly Clarkson, Pentatonix, Rachel Platten, Matt Nathanson, Phillip Phillips, and Cory Wong playing venues such as Radio City Music Hall, The Staples Center and The Xcel Center in St. Paul, MN.
I had a chance to meet up with him at the Sellersville Theater in Eastern Pennsylvania to catch up on everything bass. Visit online at ianmartinallison.com/
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This Week’s Top 10 Basses on Instagram
Check out our top 10 favorite basses on Instagram this week…
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Tour Touch Base (Bass) with Ian Allison
New Gear: Spector Woodstock Custom Collection Volume II
New Gear: The Dingwall John Taylor Signature Model
Interview With Bassist Edmond Gilmore
Have Fret Sprout? Sharp Fret Management… a How-To Video
This Week’s Top 10 Basses on Instagram
Tour Touch Base (Bass) with Ian Allison
Interview With Audic Empire Bassist James Tobias
New Album: Avery Sharpe, I Am My Neighbors Keeper
