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Solo Bass 101 by Michael Manring
The bass guitar has had a pretty interesting journey in the fifty-some odd years it’s been around. Creative artists have explored and tapped the enormous potential of the instrument to amaze us with all kinds of innovations and advancements so that today it’s played with an amazing variety of styles, techniques and approaches in many, many genres. Now there’s a new vision of the bass that’s starting to take shape and develop a small but enthusiastic group of adherents — unaccompanied performance.
Given that the bass has always been thought of as an integral part of a rhythm section — perhaps the essential accompaniment instrument – this development may be a bit of a surprise. But progress in instrument design and enormous advancement in music technology have made it possible for all the subtleties and colors of the instrument to be heard and developed, and the solo format offers a unique opportunity for this extraordinary expressive capability to be appreciated.
My own experience with solo bass has been surprising and fulfilling. Ever since I caught the “bass bug” as a youngster, I loved hearing it by itself and had a feeling there was more potential there than it was given credit for. Many well-meaning friends discouraged me from getting too serious about bass as a solo instrument because they felt it was something, “No one would ever want to listen to for more than two minutes.” I was happy to pursue the more conventional role of the instrument, as that has always been just as interesting to me, but the dream of solo bass never really went away. Over the years I composed little solo pieces for myself and summoned up enough nerve to perform them whenever I could get away with it. Little by little I found myself able to do more and more unaccompanied playing and the more I did, the more I enjoyed it. At this point, even though I’ve had the good fortune to play on hundreds of recordings and in thousands of shows as an accompanist, solo playing has become the main focus of my musical life.
Much to my delight I’ve found I’m not the only person who’s got the solo ‘Jones’. In the last few years a group of dedicated bass soloists has sprung up, playing wherever they could, for whomever would listen. And surprisingly, people are actually listening. Don’t get me wrong — this solo bass stuff doesn’t have major pop stars shaking in their Doc Martens or anything — but a lot of these guys have full performance and clinic schedules and several solo recordings under their belts. In fact, a large number of solo bass oriented events have sprung up around the world and many of them are attracting respectable cult followings. At this point I think it may be safe to say we’re witnessing the birth of “Solo Bass” (with capital letters) as a kind of art form in itself as opposed to just “solo bass” (in small case) as an occasional musical oddity.
So what’s it all about? A surprisingly wide variety of music is being made on solo bass these days. Thinking of it as a “genre” or an “idiom” may not be the best choice as solo bassists come from all sorts of backgrounds from jazz to metal to folk to avant-garde. Some are “converted” guitarists, drummers or other instrumentalists who sensed in the bass something powerful and unique that could help them express themselves in ways no other instrument could. It is possible to put solo bassists into certain camps —
Some use looping technology, some are dedicated improvisers, some specialize in adapting classical or jazz repertoire. Still others are technique monsters, singer-songwriters, ambient-soundscape creators or extended range explorers going way beyond four strings, but almost all feel a kind of camaraderie that transcends easy categorizations. More and more bassists of all kinds are becoming comfortable in either solo or group roles, easily switching back and forth, making it appear that Solo Bass is becoming an integral facet of this versatile instrument.
Solo Bass actually isn’t really all that new and its roots can be traced back to some real masters. The tragically under-appreciated Colin Hodgkinson has been making absolutely amazing solo bass music since the early ’70’s. Jaco Pastorius thrilled everyone with the incredible “Portrait of Tracy” from his 1976 solo release and his live favorite “Slang.” Stanley Clarke and Jonas Hellborg did pioneering all-solo bass shows in the 80’s. Much of the original vocabulary for Solo Bass draws from the long tradition of solo steel-string guitar, solo jazz guitar and piano and even solo chamber music. It’s exciting to see how these techniques are being blended with more bass-native ways of playing to create new sounds and colors.
If you’d like to get your feet wet in the solo world but are unsure how to get started, doing a lot of listening is a good bet. Track down recordings of as many solo bassists as you can. MySpace, YouTube and file sharing are acceptable ways to find out about these guys, but if you like what you hear, please, please buy the recordings. All the solo bassists I know are hard working, independent musicians who need and will very much appreciate your support. Many of these guys are accessible through their web sites or on-line forums. Interacting and discussing can be vital tools to help build your own conceptions as well as for advancing the depth and quality of the movement as a whole. Checking out as much solo bass music as you can will give you a feeling for where the art form is going and how you might fit in, but also consider listening to solo music on other instruments for perspective and inspiration. In addition to listening, the ability to read music will give you tools for understanding and appreciating elements of music from different angles, and transcribing music you like is always useful. I think it’s wise to keep an open mind and learn all you can. The more you know, the more tools you have available to you.
We bassists are good at being the glue in a band; holding things together and making the music work from the ground up. I think that’s an excellent perspective from which to become a soloist, but it’s a good idea to build an understanding of less bass-specific musical concepts as well. Most folks agree that qualities that make for an effective solo piece include a compelling structure, reasonable variety in tone and texture, a workable harmonic/melodic sensibility, a story to tell and an original voice. But this is a new world there are no unbreakable rules, so experiment, follow your heart and don’t be afraid to pursue wild ideas if you think they might lead you to something beautiful and meaningful.
To those of us who are used to standing in the back of the stage, being not only the center, but sole point of attention takes some getting used to, so be prepared for a bit of a consciousness shift at least the first few times you stand on stage by yourself. And speaking of being on stage, it’s important to acknowledge there aren’t an overwhelming number of opportunities for solo bassists to perform, so you may have to get creative to get live experience. Open mike nights are an ideal place to try out your tunes when you’re ready to take them out for a spin. If you’re lucky and your music is good, you’ll eventually get hired to play at the venue. Doing opening sets for local bands is another good way to get out there, but if mainstream music venues aren’t biting, look for off-the beaten-track places to play. House concerts are an important and viable option these days; also consider parks, libraries, schools, and music stores — whatever will work.
It can be difficult, but persevere. There’s no substitute for a lot of live performing experience and the feedback of a live audience is always valuable.
Interest in Solo Bass does seem to be building and I have a few theories as to why it’s gaining momentum. I’ve always felt the bass has a remarkable richness of tone and expressive flexibility. Perhaps it’s that as technology has made improvements in the frequency response of our listening experiences, both live and recorded, those qualities can now be fully enjoyed. Perhaps it’s a matter of the right place and time — we’ve all heard plenty of guitar, piano, violin and saxophone — maybe folks are ready for a new voice, especially one from an instrument that was invented recently, but still has connections to older instruments and traditions. I find it an interesting trend that so many guitarists of all kinds are extending the range of their instruments downwards with tuning and the use of various kinds of baritone and extended range guitars — maybe it’s just that low is cool!
Even if you’re not interested in going down the solo road yourself, I hope you’ll consider checking out those who are. I feel Solo Bass has become an essential part of the character of the instrument and is helping to contribute to its growth, development and evolution. The variety of interpretations the instrument enjoys is a vital aspect of its appeal and depth. In my opinion, arguments about the way the instrument should or shouldn’t be played are of limited value and personally, I’m thrilled to play an instrument that’s capable of supporting so many kinds of expression — even those I don’t have an interest in following myself. As is the case with any musical movement, Solo Bass ranges in quality, but I’m consistently impressed by the creativity, energy and devotion out there. The best Solo Bass performances I’ve experienced have moved me as much as those of great soloists on other instruments or even those of great ensembles.
Where is it all going? Who knows? It may of course, be just another musical fad, destined to a short and obscure existence. But given the depth, variety and vitality of the folks I hear out there these days I’m betting Solo Bass is here to stay — and grow.
Visit Michael Manring online at www.manthing.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
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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 CDs
New Album: Avery Sharpe, I Am My Neighbors Keeper
Avery Sharpe and his Double Quartet to release, I Am My Neighbors Keeper
A new recording will be released on JKNM Records by internationally renowned bassist/composer Avery Sharpe, “I Am My Neighbors Keeper” is scheduled for release in June 2024.
Sharpe has composed a new work that highlights our commitment to one another. Avery initiated the project as a response to the political and racial division that has grown over the past seven years in the country. “The U.S political climate has drastically changed in the past 40-plus years, especially during the last seven of those years. In this age of greed, which Sharpe refers to as “IGM,” I Got Mine, basic human compassion has been eroded. Racial, economic and social strides are being turned back.
“We have food insecurity, the unhoused, pandemics, school shootings, domestic violence, and an opioid problem, just to name some. There is a need to remind people that each of us is here on this planet for a very short period of time. It doesn’t matter if one has a religious approach or a secular approach, it all comes down to concern and compassion for each other. Through these compositions and recordings, Avery’s mission as an artist is to remind us that we all are interconnected and that ‘We Are Our Neighbor’s Keeper.’ When we help to uplift one, we uplift everyone,” Sharpe said.
Each movement in the piece describes the values we should strive for to help one another for this multi-media (video slide show during performance) and multi-discipline performance.
Many of Sharpe’s projects and recordings have been about “standing on the shoulders of ancestors, heroes and sheroes.” Among his recordings and projects, include “Running Man” (celebrating the athlete Jesse Owens), “Ain’t I A Woman” (about Sojourner Truth), and his most recent project “400: An African American Musical Portrait” (marking the 400 years from 1619 to 2019).
Avery Sharpe has recorded and performed with many jazz greats from Dizzy Gillespie to Yusef Lateef. He had an illustrious run of 20 plus years with the legendary Jazz pianist McCoy Tyner, of which he recorded more than 25 records with Mr. Tyner and performed countless worldwide concerts.
Visit online at averysharpe.com/
Bass Videos
New Gear: Spector Woodstock Custom Collection Volume II
Spector Launches Woodstock Custom Collection Volume II…
Spector Musical Instruments expands their celebrated Woodstock Custom Collection with the Volume II series – a breathtaking series of 12 handcrafted, one-of-a-kind bass guitars, each one masterfully designed by members of the Spector team. Crafted in the Spector USA Custom Shop in Woodstock, New York, these works of art go beyond musical instruments and expand the boundaries of Spector Bass design.
Spector’s iconic design lays the foundation for the Volume II collection. Each bass showcases a unique vision, including the selection of tonewoods, electronics, captivating finishes, and intricate design details. The collection highlights Spector’s commitment to craftsmanship and artistry and the individual people and stories that make up the team.
“The Woodstock Custom Collection was such a huge success, and we had so much fun with it that we couldn’t wait to do it again,” said John Stippell, Director – Korg Bass Division. “With Volume II, we’re expanding on everything we learned from the first collection, as well as pushing our design and Custom Shop team even further. These basses are a testament to the inspiring talent, creativity, and skill of every person on the Spector team. I’m excited for all of these basses and love how they tell the unique stories of all involved.”
Visit online at spectorbass.com/
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