Features
Elvin Bironien – The Great Journey
French born Bassist/Composer Elvin Bironien is one of the most exciting bassist to happen onto the active World Music scene in recent years!
In November 2016, he released A Quest, and the collection of great music thereon is definitely amongst my favorite instrumental releases of 2016!
Along with his group of young, hungry, big-eared musicians: Guitarist Ralph Lavital, Pianist Laurent Coulondre, and stunningly vital Drummer Pierre Alain Tocanier, Elvin accomplishes the near impossible feat of musical telepathy to offer up a masterpiece. The unison lines that season A Quest find the bassist and, in particular, monster guitarist Lavital, in an obviously ongoing conversation between musicians who have willingly entrained to a common vision. In fact, the entire outing functions as a picture of musicians listening deeply and conversing intimately with one another! A Quest was recorded at the House of Artists in Chamonix, and produced by André Manoukian.
If you’ve been fortunate enough to hear Elvin with FDH Trio, Conga Libre, Mamy Wata, or the wonderful Dorliz Trio, you will understand completely when I state that his continued use of the virtual melting pot of African/Caribbean melodies and rhythms that mark his compositions, coupled with a cool use of effects in order to articulate his conversational soloing style, is fully stated on his first full-length release as a leader, and the follow-up to the 2014 Jazz Family Label release Elvin P-leez 4tet 16 Mars.
Born on 26 September 1986 to multi ethnic parents Elvin began his instrumental education, at the age of 6-years-old, as a pianist. He then turned to percussion, and remained there until turning to the bass guitar at age 13. For the first several years of his bass studies, he remained completely self-taught. But in 2003, he enrolled in the Music Halle, in Toulouse, for 2 years of intense music education.
In 2005, he successfully auditioned for the bass spot with Pape N’Diaye and Pamaath in the afro-pop group Kaa, and launched his career as a sideman bassist with several touring and recording groups.In 2008 he co-founded the FDH Trio with pianist Thibaud Dufoy and drummer Arnaud Dolmen, which began his career as a composing and contributing member of a regular band. FDH performed at numerous concert events and the group also began competing in jazz band contests around France that included the winning of the Jazz Springboard Prize in Porquerolles, the 2010 National Jazz Competition in La Défense, Jazz Festivals On 31, Jazz in Millau, Souillac in Jazz, Jazz in the North, and the Afters Hours Duke of Lombard Competition. FDH won a 1st Prize at the Golden Jazz Trophy Jury Prize, which was chaired by Omar Sosa.
In 2012 FDH recorded their premier release Le Free du Hazard? with guest musicians: saxophonist Jacques Schwarz-Bart, percussionist Mino Cinelu and drummer/percussionist SonnyTroupe. At this writing, Elvin continues to participate in several World Music projects. The future looks bright for this incredible young player!
BAJ: Elvin! Thank you for taking time from your busy schedule to talk with us at Bass Musician Magazine! A QUEST is a very exciting album, and I am anticipating a very good response from the listening world, once the record has been heard! Tell us about your process for composing music, and how you present that material to your band. Is the music complete? Or, do you allow each musician to translate your vision?
EB: Thank you for letting me to talk about it! I compose over a period of several consecutive days. Then, I dedicate focused time to develop one or more of the ideas. As I write everything from my bass, I first record chords and then add bass lines and any additional voice which helps me achieve the superstructure that I hear. Sometimes all the melody and harmony is already present in my mind and everything is going very fast! But, most of the time, I need to come back several times to my ideas – as I often set them aside for awhile, in order to re-think my direction. Sometimes I spend several hours on only 4 bars!
In general, I bring the musicians the most complete material possible in the form of audio model and partitions then I explain to them my vision precisely. For example, even some drum breaks are written but when they make me a proposal that will enrich my basic vision I am open and I take it into account. They each have a strong personality, but they manage to put their involvement and energy into the service of the composition Also, they have free reign to perform their solos!
BAJ: Your use of harmony is very impressive! How do you decipher and navigate the tight intervals that are throughout your compositions?
EB: In fact, I purposely do not put a theoretical barrier upon myself when I compose. I think, it is my self-taught side that makes it easier to think this way. So, some chord sequences may seem quite complicated, because they are very personal to my tastes… But, in the end, I do not think it is so very difficult.
BAJ: Talk with me about your soloing concept!
EB: Over time I tried to develop my own phrases and refine my style. My purpose is being recognized after only few notes. My solos are also very related to the musicians I play with. In any case, I think it is difficult to tell a true story that makes sense while being original and without making a prepared musical direction.
BAJ: Your unison work with both Ralph and Grégory is fantastic! How much conversation goes into the lines you are playing together? Also, there seems to be a deep sense of togetherness and shared sense of humor. Do you find that important?
EB: I think there is a lot of listening between us, and our common musical vocabulary allows us to dialogue. I also try to write compositions while thinking of the musicians who play with me. The unity and the humor are the reflection of our complicity in the life and, yes, I think it is absolutely primordial for the music to be alive.
BAJ: You began your bass studies from a self-taught perspective. What were you listening to, musically, that directed you toward studying at the Musical Halle School?
EB: At 13, or 14 years old, I studied the bass lines of the artists I loved and that helped me to develop my memory and my ear. At the time, I listened to artists (and groups) like The Police, James Brown, Rage Against The Machine, Bob Marley, the rhythm section work of Sly and Robbie, and the Great Jaco Pastorius – who is the only jazz artist I loved at the time. At home my father listened to a lot of jazz or artists like Frank Zappa for example and it has enormously influenced me subconsciously. My mother advised me to take classes That would present me with things I did not know.
BAJ: What were your most invaluable lessons from your formal education?
EB: I was very immature, and stubborn, and I did not really know how to take advantage of it at the time. It was afterwards that I understood certain bases of harmonies and analysis of listening that I acquired while at school. It also allowed me to meet several good musicians with whom I have subsequently played including an excellent pianist who hired me for his trio and with whom I learned a lot about harmony and jazz music.
BAJ: You have worked in African-based World Music for some time. How has that helped you grow as a musician?
EB: Yes! Especially music from West Africa and Maghreb! The incredible rhythmic richness of these musics where tradition is very important has made me discover rhythmic flows and placements that I could never have imagined or understood alone. I can’t consider myself a specialist because it would take years of work… but it clearly influenced my playing, especially in how I support other musicians.
BAJ: How do you achieve your bass tone? What type of gear are you using? Finally, what is your ideal bass tone, and how would you achieve that?
EB: I think it comes, mainly, from the fingers and how I approach articulation. I also feel that personal tone is inexplicable, a bit like a human voice. When I listen to my first recordings, when I was playing lower quality instruments, I could already hear my sound except that the instruments could not respond as precisely as my current basses. I have collaborated with the French Luthier COMBE for 3 years and I am really a fan of his work. The two basses played on the album were made by him. In addition, I often use pedals, like an octaver, (Electro Harmonix) Q-tron, or a reverb Toneprint. I also like Aguilar very much for amplification.
Currently, I think I’m very close to the sound I’m looking for. It is possible that it has evolved over time. But, I also like the change! So, if I play a P-bass for a project that requires this type of sound I find it very interesting.
BAJ: I am very excited for the next release! When can we expect more from you?
EB: I have already composed several new songs, and I am thinking about the next release. But, for now, I am not in a hurry. I want to make this album exist as much as possible. So, I do not think I’ll be back in studio until 2018.
BAJ: Congratulations on the birth of your daughter! How has becoming a father affected your musical life?
EB: Thank you very much! What happiness! My daughter Soa is only 3 weeks old! So, it is really early to see the direct impact on my musical life, yet! But, she brings me a lot of joy, and I think it is felt in my playing.
BAJ: Please tell us about your practice regimen, and those factors you feel are most important to your musical articulation.
EB: I do not practice exercises every day. But, I am always playing the bass! When I was younger, I listened a great deal Jaco or the (Gerald Veasley, Richard Bona, Matthew Garrison, Victor Bailey, Étienne M’Bappé and Linley Marthe) lines of the Zawinul Syndicate! I also worked hard to exploit my skills to their maximum and refine them. I work on scales and arpeggios every day.
BAJ: Let’s talk about your very nice interpretation of The Police tune, “Tea in the Sahara”.
EB: The mystical atmosphere of the original version inspired me a lot. As I do not have the vocal talent of Sting, I wanted to be able to articulate the emotion of singing with my fretless bass. I chose a fretless bass to give a softer side to the vocal interpretation, and I did not want to touch the overall harmony of the song, but I allowed myself to incorporate a short melodic theme in the introduction. The piano also brings a lot of poetry to the version.
BAJ: Where can we listen to and purchase your other recorded materials?
EB: My first EP was released in 2014; it is available on all legal download platforms.
BAJ: Who are your musical influences?
EB: Not easy to choose but I can definitely site: Pat Metheny, Miles Davis, Joe Zawinul, Ultramarine, and many Caribbean artists like Mario Canonge, Sakésho, Marius Cultier, Gonzalo Rubalcaba, and Havana D’ Primera.
At the moment I am listening to a lot Kneebody, Walter Smith 3, Wayne Krantz, and Terence Blanchard. As far as bassists… Jaco Pastorius, Richard Bona, Linley Marthe, Michel Alibo, Anthony Jackson, Hadrien Feraud, Etienne Mbappé, John Patitucci, and Christian McBride are important players.
BAJ: What have you never been asked in an interview that you would like to be asked?
EB: That question! (Laughs)
BAJ: Thank you for the release of A QUEST! It is a beautiful statement, and I look forward to hearing more from you! Thank you, again, for taking the time to talk with us!
EB: My pleasure.
Visit online at elvinbironien.com
Bass Videos
Interview With Bassist Erick “Jesus” Coomes
Bassist Erick “Jesus” Coomes…
It is always great to meet a super busy bassist who simply exudes a love for music and his instrument. Erick “Jesus” Coomes fits this description exactly. Hailing from Southern California, “Jesus” co-founded and plays bass for Lettuce and has found his groove playing with numerous other musicians.
Join us as we hear of his musical journey, how he gets his sound, his ongoing projects, and his plans for the future.
Photo, Bob Forte
Featured Videos
Visit Online
www.lettucefunk.com
IG @jesuscsuperstar
FB@jesuscoomes
FB @lettucefunk
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/
Features
Interview With Audic Empire Bassist James Tobias
Checking in with Bergantino Artist James Tobias
James Tobias, Bassist for psychedelic, Reggae-Rock titans Audic Empire shares his history as a musician and how he came to find Bergantino…
Interview by Holly Bergantino
James Tobias, a multi-talented musician and jack-of-all-trades shares his story of coming up as a musician in Texas, his journey with his band Audic Empire, and his approach to life and music. With a busy tour schedule each year, we were fortunate to catch up with him while he was out and about touring the US.
Where were you born and raised?
I was born in Dallas, Texas and lived in the Dallas area most of my life with the exception of 1 year in Colorado. I moved to the Austin area at age 18.
What makes the bass so special to you particularly, and how did you gravitate to it?
I honestly started playing bass because we needed a bass player and I was the one with access to a bass amp and bass. I played rhythm guitar and sang up until I met Ronnie, who I would later start “Audic Empire” with. He also played rhythm guitar and sang and we didn’t know any bass players, so we had to figure something out. I still write most of my songs on guitar, but I’ve grown to love playing the bass.
How did you learn to play, James?
I took guitar lessons growing up and spent a lot of time just learning tabs or playing by ear and kicked around as a frontman in a handful of bands playing at the local coffee shops or rec centers. Once I transitioned to bass, I really just tried to apply what I knew about guitar and stumbled through it till it sounded right. I’m still learning every time I pick it up, honestly.
You are also a songwriter, recording engineer, and a fantastic singer, did you get formal training for this?
Thank you, that means a lot! I had a couple of voice lessons when I was in my early teens, but didn’t really like the instructor. I did however take a few lessons recently through ACC that I enjoyed and think really helped my technique (Shout out to Adam Roberts!) I was not a naturally gifted singer, which is a nice way of saying I was pretty awful, but I just kept at it.
As far as recording and producing, I just watched a lot of YouTube videos and asked people who know more than me when I had a question. Whenever I feel like I’m not progressing, I just pull up tracks from a couple of years ago, cringe, and feel better about where I’m at but I’ve got a long way to go. Fortunately, we’ve got some amazing producers I can pass everything over to once I get the songs as close to finalized as I can.
Describe your playing style(s), tone, strengths and/or areas that can be improved on the bass.
I honestly don’t know what my style would be considered. We’ve got so many styles that we play and fuse together that I just try to do what works song by song. I don’t have too many tricks in the bag and just keep it simple and focus on what’s going to sound good in the overall mix. I think my strength lies in thinking about the song as a whole and what each instrument is doing, so I can compliment everything else that’s going on. What could be improved is absolutely everything, but that’s the great thing about music (and kind of anything really).
Who were your influencers in terms of other musicians earlier on or now that have made a difference and inspired you?
My dad exposed me to a lot of music early. I was playing a toy guitar while watching a VHS of Stevie Ray Vaughan and Double Trouble live at SXSW on repeat at 4 years old saying I wanted to “do that” when I grew up. I was the only kid in daycare that had his own CDs that weren’t kid’s songs. I was listening to Led Zeppelin, Hendrix, and The Doors when I could barely talk. I would make up songs and sing them into my Panasonic slimline tape recorder and take it to my preschool to show my friends. As I got older went through a bunch of music phases. Metal, grunge, rock, punk, hip hop, reggae, ska, etc. Whatever I heard that I connected to I’d dive in and learn as much as I could about it. I was always in bands and I think I kept picking up different styles along the way and kept combining my different elements and I think that’s evident in Audic’s diverse sound.
Tell me about Audic Empire and your new release Take Over! Can you share some of the highlights you and the band are most proud of?
Takeover was an interesting one. I basically built that song on keyboard and drum loops and wrote and tracked all my vocals in one long session in my bedroom studio kind of in a stream-of-consciousness type of approach. I kind of thought nothing would come of it and I’d toss it out, but we slowly went back and tracked over everything with instruments and made it our own sound. I got it as far as I could with production and handed it off to Chad Wrong to work his magic and really bring it to life. Once I got Snow Owl Media involved and we started brainstorming about a music video, it quickly turned into a considerably larger production than anything we’ve done before and it was such a cool experience. I’m really excited about the final product, especially considering I initially thought it was a throwaway track.
Describe the music style of Audic Empire for us.
It’s all over the place… we advertise it as “blues, rock, reggae.” Blues because of our lead guitarist, Travis Brown’s playing style, rock because I think at the heart we’re a rock band, and reggae because we flavor everything with a little (or a lot) of reggae or ska.
How did you find Bergantino Audio Systems?
Well, my Ampeg SVT7 caught fire at a show… We were playing Stubbs in Austin and everyone kept saying they smelled something burning, and I looked back in time to see my head, perched on top of its 8×10 cab, begin billowing smoke. We had a tour coming up, so I started researching and pricing everything to try and find a new amp. I was also fronting a metal band at the time, and my bass player’s dad was a big-time country bass player and said he had this really high-end bass amp just sitting in a closet he’d sell me. I was apprehensive since I really didn’t know much about it and “just a little 4×10” probably wasn’t going to cut it compared to my previous setup. He said I could come over and give it a test drive, but he said he knew I was going to buy it. He was right. I immediately fell in love. I couldn’t believe the power it put out compared to this heavy head and cumbersome cab I had been breaking my back hauling all over the country and up countless staircases.
Tell us about your experience with the forte D amp and the AE 410 Speaker cabinet.
It’s been a game-changer in every sense. It’s lightweight and compact. Amazing tone. And LOUD. It’s just a fantastic amp. Not to mention the customer service being top-notch! You’ll be hard-pressed to find another product that, if you have an issue, you can get in touch with the owner, himself. How cool is that?
Tell us about some of your favorite basses.
I was always broke and usually working part-time delivering pizzas, so I just played what I could get my hands on. I went through a few pawn shop basses, swapped in new pickups, and fought with the action on them constantly. I played them through an Ampeg be115 combo amp. All the electronics in it had fried at some point, so I gutted it out and turned it into a cab that I powered with a rusted-up little head I bought off someone for a hundred bucks. My gear was often DIY’d and held together by electrical tape and usually had a few coats of spray paint to attempt to hide the wear and tear. I never really fell in love with any piece of gear I had till I had a supporter of our band give me an Ibanez Premium Series SDGR. I absolutely love that bass and still travel with it. I’ve since gotten another Ibanez Premium Series, but went with the 5-string BTB. It’s a fantastic-sounding bass, my only complaint is it’s pretty heavy.
Love your new video Take Over! Let us know what you’re currently working on (studio, tour, side projects, etc.)
Thank you!! We’ve got a LOT of stuff we’re working on right now actually. Having 2 writers in the band means we never have a shortage of material. It’s more about getting everything tracked and ready for release and all that goes into that. We just got through filming videos for 2 new unreleased tracks with Snow Owl Media, who did the videos for both Love Hate and Pain and Takeover. Both of these songs have surprise features which I’m really excited about since these will be the first singles since our last album we have other artists on. We’ve also got a lot of shows coming up and I’ve also just launched my solo project as well. The debut single, “Raisin’ Hell” is available now everywhere. You can go here to find all the links distrokid.com/hyperfollow/jamestobias/raisin-hell
What else do you do besides music?
For work, I own a handyman service here in Austin doing a lot of drywall, painting, etc. I have a lot of hobbies and side hustles as well. I make custom guitar straps and other leather work. I do a lot of artwork and have done most of our merch designs and a lot of our cover art. I’m really into (and borderline obsessed) with health, fitness, and sober living. I have a hard time sitting still, but fortunately, there’s always a lot to do when you’re self-employed and running a band!
Follow James Tobias:
jamestobiasmusic.com
Facebook.com/james.tobias1
Instagram.com/ru4badfish2
TikTok.com/@jamestobiasmusic
audicempire.com
Bass Videos
Interview With Bassist Edmond Gilmore
Interview With Bassist Edmond Gilmore…
I am always impressed by the few members of our bass family who are equally proficient on upright as well as electric bass… Edmond Gilmore is one of those special individuals.
While he compartmentalizes his upright playing for mostly classical music and his electric for all the rest, Edmond has a diverse musical background and life experiences that have given him a unique perspective.
Join me as we hear about Edmond’s musical journey, how he gets his sound and his plans for the future.
Photo, Sandrice Lee
Featured Videos
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facebook.com/EdmondGilmoreBass
instagram.com/edmond_gilmore/
youtube.com/channel/UCCYoVZBLXL5nnaKS7XXivCQ
Bass Videos
Checking in with Bergantino Artist Ricky Bonazza
Holly Bergantino talks with LA-based bassist/producer Ricky Bonazza about his path from Vicenza to Los Angeles to keep the spirit of rock ‘n’ roll alive!
Photo provided by Bergantino Audio Systems.
Ricky Bonazza has been chasing his dream from a young age. Growing up in Vicenza, Italy and now living in Los Angeles, he’s the embodiment of the hard-working, never-say-die rock and roll spirit. Ricky relocated to Los Angeles to pursue his dream as a professional musician and artist and he’s been going strong ever since!
You have been touring like a madman, playing arenas and some of the biggest music festivals in rock and metal. Tell us about this experience and how it feels going from small clubs onto the big stage.
It‘s surreal! Wacken is one! I have never seen a festival of that size holding like 70,000 people. My first tour with the Butcher Babies, we played Rocklahoma and due to a storm, the band got moved to play as the closing act right after “Slipknot”. Both stages were right across from each other so when Slipknot finished, the crowd basically just turned around and watched our set. It was a big party and people as far as the eye could see. I will say this about clubs though, there is just an unbelievable energy playing smaller venues. A packed club with 200 people can be just as crazy and energetic as a crowd of 20,000 in my opinion. So I really enjoy both.
Would you share some of the highlights of your career over the past four years that you are most proud of?
I am really proud to have this great opportunity to tour the world as a professional musician. It’s surreal sometimes the places music and tours are taking me. I think to myself that so many people are actually paying a lot of money to see the world. I get to travel as part of my job and in doing so I get to explore and see many different countries and cultures. It’s something I am extremely proud of. Playing these massive festivals all over the world such as Graspop, Aftershock and obviously Wacken, which is every rock and metal musician’s dream to play, is huge for me.
Becoming a voting member of the recording academy and with that helping to shape the future of music is also a big achievement for me.
You are also deeply involved behind the scenes in the music industry, especially as a voting member of the Grammys Recording Academy. Could you share a particularly memorable moment where you felt your contributions had a significant impact on an artist’s career or on the broader music community?”
Yes, this year a fairly newer metal band called “Spiritbox” got nominated for a Grammy. They competed against titans like Metallica and Disturbed. The fact that a new band like that made it to the final nomination, and the fact that new generations bands like “Architects”, “Sleep Token” etc. were in the run too, I feel like we were instrumental and shaped the pavement for new bands in rock to have a shot at the Grammys.
Throughout your career, you have earned the respect and endorsement of prominent guitar and accessory companies like Bergantino, EMG Pickups and D’Addario strings. Could you tell us more about these partnerships and how they came about?
Yeah for sure. I was introduced to Jim Bergantino by my good friend Matthew Denis who also uses Bergantino gear at a NAMM show. We have accomplished a lot in spreading the word and showcasing what the Bergantino Forte HP amp can do in various styles of music. All of us complimented and supported each other. With EMG my friend Jason Klein and Luis Kalil put me in touch with Tommy from EMG Pickups. We produced a series of videos together highlighting some of their signature pickups, we have an amazing relationship and they have been great to me. I am stoked to have earned this kind of respect and trust from these companies.
How has your playing evolved over the years, and have you made changes from your start until now? If so, can you describe the changes?
Yes, I started incorporating a lot of slap. I honestly couldn’t really slap before the pandemic haha. When I started doing a lot of video covers during covid, I studied bass players like Les Claypool, Marcus Miller and Flea. Also in the very beginning, I was mainly a finger player. Over the last years I really developed my picking technique and love to incorporate that way more in my playing, especially if the song dictates it.
What are you working on now?
I am working on my solo project, where I am planning to release music very soon. I have a single ready to go, featuring some incredible guests and just recently signed a distribution deal with Bloodblast. I am also writing new stuff with the Butcher Babies and that’s pretty exciting too.
When you are not playing shows around the world you are very active in the studio as a producer and writer, can you tell us about some of the collaborations and projects you have been involved in?
Yes, one thing I am really proud of is the recent Butcher Babies albums, which I had the pleasure to help write and record. Songs like “Red Thunder” had an amazing response and actually even made it into rotation at Sirius XM Liquid Metal” and peaked at number 10 of the iTunes Metal charts. I wrote a lot for music libraries here in Los Angeles and recently got a song placement with NBC Sports, which was for the 2022 “Lucas Oil Pro Motocross Championship”. So that was a cool collaboration I did with “Megatrax”.
Tell us about the Butcher Babies, Lots of good things have happened here.
Yeah totally! It’s been quite busy over the last 2 years. Lots of writing and even more shows. I think last year we did close to 90 shows. We toured with some incredible bands like Fear Factory, Amaranthe, Lacuna Coil, Mudvayne and Coal Chamber. We also did all of these awesome festivals in Europe and the US like Wacken, Graspop all that fun stuff haha. We released 2 albums “Eye For An Eye” and “Til The World Is Blind” which I am really proud of. This year it’s gonna be more or less the same show-wise.
Tell us about the Bergantino Forte HP bass amplifier.
I have had this amp for four years now and was just blown away by it. The sound, the features, everything. It has pretty much has all of the components I want from a bass amp. It is very versatile, clean, thick and powerful. It really just sounds so organic and real. I use it for everything from Metal to Funk and Pop.
What settings do you use the most on the forte HP? What are your favorites and why?
Honestly, all the EQ’s are on 5 o’clock, punch mode enabled, and a bit of compression.
On the drives there are different firmware downloads Bergantino offers. I use Matts tube screamer and another one called the MF360 fuzz that Jim sent me back in the day, it sounds sick.
Tell us about your favorite bass or basses.
Fender and Fender. I have been playing Fender all my life! At the moment, there’s really nothing else for me. I have tried all kinds of basses. I dig the Dingwall stuff a lot, but at the end of the day, Fender just does it for me. I just wished they did long or multi-scale basses! Haha
How did you learn to play the bass guitar, Ricky?
I honestly just started by playing along to Iron Maiden songs. I would also put on the metronome and just start playing the parts and then unintentionally developed a technique. I remember one person telling me that Steve Harris was playing with 3 fingers, so I started practicing with 3 fingers only to find out years later that Steve only plays with two haha.
Are there any other instruments you play?
Yes, the drums. I never gave up on my dream of playing drums haha, so I learned that a little bit along the way. I also play guitar. I play both of those instruments well enough to write and record my own songs, but not sure if I would ever dare to go out and do it live.
Who are your influencers?
Steve Harris is definitely my biggest influence. Duff McKagan has always been one of my favorites. Jason Newsted, Rob Trujillo, Geezer Butler, Frank Bello, Geddy Lee and many more.
Favorite thing to do besides play bass?
It’s honestly writing and producing music. The studio is my happy place when not on the road. It’s definitely a dream to do that full time at some point. We’ll see what happens.
We see Instagram stories of you when you visit your grandmother in Italy cooking up a storm for you. What is your favorite dish that she makes for you?
Haha, that’s amazing you ask this question! Yeah she’s 86 and kick butts like it’s no big deal. Her Spaghetti’s are definitely my favorite, followed by her homemade (obviously) Ravioli. The funniest thing is every time I post her on my IG stories. she gets the most views of all, I could post me playing the craziest shred video of all time and she would still get more views!
Your story and dedication to your craft inspires a lot of people, especially the younger generation of musicians. Do you have any words of advice for them?
As Arnie would say, don’t listen to the naysayers. If you are serious about becoming a professional musician you should pursue it. It’s not going to be the easiest route but it’s going to be the one that fulfills you, and something that always helped me out was a quote from Denzel Washington saying, without commitment, you’ll never start and without consistency, you’ll never finish.
Follow Ricky Bonazza:
Instagram: @rickybonazza
Facebook: /ricky.bonazza
YouTube: @rickybonazza8011