Features
From Amateur to Pro: A Discussion with Derek Jones
Derek Jones has been making a living as a professional bassist since 1986. Photo by Lionel Hamel
The third featured artist in this series, “From Amateur to Pro” is bassist Derek Jones. Over the years, he has performed with such notable musicians as Bela Fleck, The Pete Escovedo Orchestra, Jeff Sipe, Orestes Vilato, Dori Caymmi, Crystal Gayle, and Kai Eckhardt. Derek has also performed on The Tonight Show with Jay Leno, The Late Show with Conan O’Brien, CMT Live, as well as the 2001 & 2002 CMA Awards.
Originally from Vallejo, Calif., he started gigging as a teenager in 1986 and moved to Nashville in 1999 where he played with Nickel Creek, Jeff Coffin, and Jerry Douglas.
In 2004, he moved to Las Vegas to play bass and double bass in the Cirque du Soleil production of “KA” at the MGM Grand. You can catch a behind-the-scenes look at Derek at work in the October 2010 issue of Bass Musician Magazine.
Derek is an endorsing artist for Carvin’s SB-5000 (fretted and fretless) and proudly uses Genz Benz amps, Elixir strings, Eminence Bass, iGig cases, and Jim Dunlop effects.
Bass Musician Magazine: Based on your experience as a working musician, what are the one or two musical skills you see that are consistently lacking in bassists who trying to make the transition from playing at home to gigging for pay?
Jones: As far as musical skills go, I would say some of the newer players I’m seeing are lacking an overall musicality. We’ve all heard that music is a language, right? Let’s say you know all of your words in English, Spanish, Russian, or whatever language you speak. You are dialed in on your vocabulary and can conjugate verbs faster than anyone in your community. Yet, you don’t know how to inflect emotions or be articulate in your phrasing. As a result, your words are less impactful. When you are learning a new language, you learn nouns, pronouns, adjectives, and how to conjugate verbs. However, you really don’t communicate with anyone until you start conversing with them. Music is no different.
One way to fix that is through experience and it’s the one thing you can start doing right away. Practice your techniques and learn how to play your instrument at home, but get out of the house and play with people who are more experienced than you.
As a bass player, getting used to playing with other musicians is critical. You can spend all day working on scales, modes, and harmonic concepts and all that, but you need to learn how to communicate with an audience. That is what music is all about. If you can’t communicate your thoughts in a way that other people can understand them, then it’s kind of meaningless.
Derek playing his Carvin SB5000. Photo by Bobby Glad.
I’ll give you an example from my life on how I went from shedding in my room to gigging for money. When I was 14, I picked up the guitar and started jamming to MTV with my friends. We tried to learn all of these cool guitar licks and were so proud of our accomplishments, even if we figured out only one note!
That experience gave me the confidence to join the high school jazz band the following year. I wasn’t a great reader but I took the music home and worked my butt off and eventually became a better reader. I improved to the point where I was enjoying the musical relationship I had with the other 20 kids in the band.
Soon, that jazz band experience lead to an opportunity to play with a bunch of older cats in the Generation Gap Big Band.
That feeling of grooving with others through music got me hooked. We were communicating with each other and the audience. Whether I was trying to jam to Ozzy Osbourne and Iron Maiden with my friends, or playing Glenn Miller-era oldies at the Moose Lodge, the music was no longer about me. It was about the music we made together. That was an addicting feeling and I didn’t want to play in my room anymore. I wanted to get out and get together with other musicians.
I think getting that experience is more difficult for the younger musicians today. With the advent of YouTube, I see a lot of these young kids playing fantastic solos. And so what? That’s not going to get you hired by non bass players. Think about that for a minute. Most people you work with are not going to be bass players. You have to bring a musicality that people want to be around.
Do your homework at home but get out and play. That will give you experience and improve your musicality faster than anything else.
Derek is also known as an outstanding upright bassist. Here, he’s performing with legendary jazz trombonist Bob McChesney. Photo by Linda Bell.
BMM: Along a similar line, what about personal or business skills that bassists should have but many don’t bother developing?
Jones: Now that you have all of these skills and learned all of these tunes, how do you sell that to someone else? Salesmanship.
How do you become a commodity that people want to pay their hard-earned money for to hear you play? Salesmanship.
When I first started to make a go of it as a professional bassist, I thought because I was a decent player I would automatically get work. I was wrong.
Take some business classes and find out how to market yourself. If you want to make a living at this you have to know how to run a business. Who is your competition? What is expected of you? Don’t hide yourself in a bubble and not know what other bass players are doing. You have to be in your community and be a vital part of that community.
Derek playing his fretless Carvin SB5000. Photo by Bobby Glad.
Look at the bassists who have risen above and figure out how they got there.
Also, take a look at yourself from the perspective of the person who will hire you. Again, that’s rarely going to be another bassist who was blown away by your YouTube solo. You have to look at what traits people want to have for their gig.
Another important consideration is your personality. Are you enjoyable to be around? That’s called “bus chops.” Who do you want to be with 22 hours a day on a tour bus? You don’t want to be with a jerk, so don’t be that jerk.
You also want to be around musicians who have a strong identity on who they are as artists. They’re going to bring it to the table every day. As bass players we have to sound good, but it’s more important that we are recognized for making everyone else sound better.
I’ve found the key to accomplishing a lot of this is by surrounding yourself with people who are better than you. And I mean better to the point that you’re wondering why you’re even there. That keeps you humble and searching. Surround yourself with people who inspire you.
Now, here’s where it gets tricky for many people, including me. How do you find an appropriate balance between pleasing everyone and pleasing yourself. Thelonius Monk said, “A genius is the one most like himself.”
Growing up, I wanted to be everyone’s bass player. I figured if I could do that, I would get a lot of work. As a result, over the years I kind of lost who I was. I lost the joy of playing music. I forgot what made me want to play when I first started. When you’re playing music as a professional and music is providing a living for you and your family, it’s easy to lose that passion and get lost.
I’m 42 now with a great family and an amazing new baby and I’m finally starting to find my musical soul again. What I’m finding is that I can’t thrive as everyone’s bass player. Pleasing everyone else will only take you so far. I can thrive, however, as Derek Jones.
There’s only one Nathan East. There’s only one John Patitucci. There’s only one Edgar Meyer. Learn what they did and the path they followed. Be inspired by them and learn from them. But do not copy them.
Derek with the Nathan Tanouye Orchestra. Photo by Bobby Glad.
There’s only one you. Be your own musical inspiration.
On a more practical note, I’d like to add, it’s really the simple things that will keep you working beyond your first gig:
Be over prepared.
Show up early.
Don’t get cocky.
People are going to remember more when you mess up than when you get it right.
It takes longer to develop a good reputation and only an instant to create a bad one.
Give everything you’ve got on every single gig.
BMM: Speaking of gigs, there seem to be two schools of thought: Take every gig you can to build your experience and network; or be very selective and cultivate your music credentials and reputation. What are your thoughts on building a successful gigging resume?
Derek with Santa Fe and the Fat City Horns. Photo by Bobby Glad.
Jones: In the beginning, you should take everything you can get. Over time, you will earn the right to be selective. However, you will probably think you earned the right before you do.
I moved from the Bay area to Nashville when I was 30. I quickly went from having a good rep in San Francisco to no rep in Nashville. No one in Nashville cared what I did in San Francisco. They only cared about what I was doing right now. And at that time, I was doing nothing!
I thought I would be doing pretty good within six months of my move. I was wrong. The Nashville community pretty much told me to take a number and get in line. So I did. And I went back to taking every gig I could take.
That move was a big lesson and a big shock to my ego.
I had to build my reputation in Nashville from the ground up. I eventually did and was able to be selective again about what gigs I would take. But, it’s scary to say no to a gig when you’re trying to move up.
I would caution people to be careful of their egos. If you have a hang up with certain gigs or playing with certain people, really look and see if the problem is with you. Don’t let your ego take over. At the same time, if you don’t want to take a gig because it’s not right for you, then don’t take it.
Also, I find it’s better to get a part time job to cover your expenses than take really horrible gigs for money. Keep honing your craft after work and wait for the gigs that you want to do.
There are no absolutes. As you become more professional, you need to market yourself and make a living. But you have to do it so when you go to bed at night, you’re proud of what you’ve accomplished that day.
BMM: Where does jazz come in to play for a working musician? Is it still critical to learn?
Jones: Knowledge is knowledge. Everything you learn adds to your self and your humanity and experience in life. Jazz is a form of music. It is not any less valid or more valid than any other musical genre. It’s part of the musical language. What you learn in jazz can be used in anything. Duke Ellington said there’s only two forms of music: good and bad.
Jazz is very improvisational language. You have to dig deep in yourself. It’s 10 percent your own ideas and 90 percent reacting to everyone else.
Studying jazz makes you a better musician. Jazz brings an intensity and focus to what you do. It sharpens your attention to detail. When you’re studying jazz, you learn about other forms of music.
More important than genre, however, is that being a better bassist is really about listening. You have to listen to many, many forms of music. Go to YouTube and get on the page for different countries like Bulgaria and Greece. See what music is popular there. If you’re not listening to music, you’re not going to leave your bedroom.
BMM: Any parting advice you’d like to give to our aspiring professional bassist?
Derek as you’ll see him when he performs with Cirque du Soleil’s “KA.”
Jones: First of all, be able to play. You do have to have a certain amount of technique and ability.
Second, get out there and play with everybody. Don’t just hunker down in your room and make YouTube videos. Go out into your community and be a part of it. Find out who the bass players and drummers are in your area and go listen and meet them. Don’t just talk to the bassists. Meet the drummers, sax players and piano players and find out what they’re looking for when they want a bassist. You’ll be amazed at how many of these people are really cool. They may give you one nugget of information that may end up being a paradigm shift in your life.
Don’t limit yourself to “I’m just going to be an ‘insert-style-here’ bass player.” You never know. I didn’t figure on working with Cirque du Soleil and here I’ve been for the past seven years.
You can’t have a right place or a right time unless you are out there playing. If there’s an open door, go in.
The more mistakes you’ll make, the faster you’ll learn. Figure out what you need to learn each time you fall down.
Realize that you are never at the top. There’s always more to learn. Always.
Also, don’t surround yourself with negative people. Throughout the history of music, people have always said, “It’s hard out there.” It’s always been hard to make a living as a musician. There are no good old days. Don’t listen to those people.
If there’s a desire in your heart, it’s there for a reason. Don’t deny it and don’t belittle it. Let it grow.
The fact that you can put your finger down on a metal string and press it against of piece of wood and have that resonate with someone else’s sound, and then communicate with an audience who aren’t musicians and who don’t care how you do it, then man, you’re doing it. You’re making music.
I’ll leave everyone with this thought: You are never ready. You don’t prepare. You begin. If you try to prepare for something, you are going to be preparing for a long time. Just begin!
Readers have been fans of the composer, bass player, and Bass Musician contributor Alberto Rigoni for some time now.
In this interview, we had the opportunity to hear directly from Alberto about his love of music and a project near and dear to his heart, “Unexpected Lullabies”…
Could you tell our readers what makes your band different from other artists?
In 2005, I felt the urge to write original music. My first track was “Trying to Forget,” an instrumental piece with multiple bass layers (rhythm, solo, and arrangement), similar to the Twin Peaks soundtrack. When I played it for a few people, they really liked it, and I decided to continue composing based on my instinct and ear without adhering to any specific genre. In 2007, I released “Something Different” with Lion Music. The title says it all! Since then, I’ve released many solo albums, each different from the others, ranging from ambient to prog, fusion, jazz, and new age. I am very eclectic!
How did you get involved in this crazy world of music?
As a child, I listened to the music my parents enjoyed: my dad loved classical music, while my mom was into Pink Floyd, Genesis, Duran Duran, etc. These influences left a significant mark on my life. However, the turning point came at 15 when a drummer friend played me “A Change of Seasons” by Dream Theater, which was a shock! From that moment, I decided to play bass and cover Dream Theater songs, which I did for many years with my cover band, Ascra, until it disbanded in 2004. After that, I joined TwinSpirits (prog rock) led by multi-instrumentalist Daniele Liverani. Since then, I haven’t played any more covers!
Who are your musical inspirations, and what inspired the album and the songs?
My roots are in progressive rock metal, with influences from bands like Dream Theater, Symphony X, and many others. However, I listen to all genres and try to keep an open mind, which helps me compose original music. On bass, I was significantly inspired by Michael Manring and Randy Coven (bassist of Ark, Steve Vai, etc.). But I don’t have a real idol; I just follow my own path without compromise.
What are your interests outside of music?
Living in Italy, I love good food and wine! Beyond that, I have a deep interest in art in general and history, not just of my country. I enjoy spending time with friends, skiing, biking, and walking in nature. This is how I spend my free time. The rest of my time is devoted to music and my family!
Tell us about the new album.
It is definitely an out-of-the-box album. When I found out last year that I was going to have a baby girl, I decided to compose a sort of lullaby album, but I didn’t want to cover already famous lullabies. So, I started composing new tunes with the goal of creating an album that was half-sweet and half-hard rock. I did include some covers like “Strangers in the Night” by Frank Sinatra, sung by Goran Edman, former lead singer of Malmsteen. It’s not exactly a lullaby, but I felt the lyrics fit the album, as does the instrumental version of “Fly Me to The Moon.” There are also tracks with just bass and piano (Nenia) or two basses (Vicky). It was definitely an interesting creative process!
What is the difference between the new album and your previous releases, and will there be any new material from your other outfit called BAD AS?
BAD AS is essentially a metal band with several influences including prog. My solo genre is quite different, although there are some metal songs on a few albums. It’s always difficult for me to categorize my music… let’s say it’s a mix of prog, ambient, fusion, and new age.
Where was the album recorded, who produced it, and how long did the process take?
I produced my last album entirely by myself, including mixing and mastering. Unlike other albums I’ve produced within a few months, this one took much longer, perhaps because I was very busy or maybe because I wanted it to be perfect for my daughter, who is now three months old. In any case, I am satisfied. Once again, I did something different from my previous albums.
What is the highlight of the album for you and why?
My favorite song is the first track titled “Vittoria,” named after my daughter. It’s the intro to the record and isn’t very long, but the melody stuck in my head. Another standout track is the instrumental version of “Fly Me to The Moon” by Frank Sinatra, where I used fretless bass. The first part is sweet, the second part definitely rocks!
How are the live shows going, and what are you and the band hoping to achieve?
With BAD AS, this year we shared the stage with David Ellefson’s (former Megadeth bassist) band and talented young singer Dino Jelusik (White Snake). We plan to continue performing all over Europe!
What’s in store for the future?
I am working on an instrumental project called Nemesis Call, a progressive shred prog metal album with various influences. It will feature guest appearances from famous musicians like drummers Mike Terrana and Thomas Lang, as well as young talents like Japanese guitarist Keiji from Zero (19), 14-year-old Indian drummer Sajan Young, and guitarists Alexandra Zerner and Alexandra Lioness, Hellena Pandora. It’s scheduled for release at the end of the year or early 2025. As an independent artist, I have launched a fundraising campaign with exclusive pledges at www.albertorigoni.net/nemesiscall. And no, I am not begging; the album will be released anyway!
What formats is the release available in?
Unexpected Lullabies is available both as a Digipack CD and on streaming platforms.
What is the official album release date?
June 4th, 2024.
Thanks for this interview Bass Musician Magazine and for the continued support to my career!
Visit Online:
www.albertorigoni.net
www.youtube.com/albertorigoni
albertorigoni.bandcamp.com
www.instagram.com/albertorigonibassplayer
www.facebook.com/albertorigonimusic
www.tiktok.com/@albertorigonibassist
CD Track Listing:
1. Vittoria
2. Fly Me to the Moon
3. Azzurra
4. Dancing with Tears in My Eyes (feat. John Jeff Touch)
5. Out of Fear
6. Veni Laeatitia (feat. Alexandra Zerner)
7. Nenia
8. Slap Lullaby (feat. Karl Clews)
9. Saga
10. Vicky (feat. Michael Manring)
11. Ocean Travelers (feat. Vitalij Kuprij)
12. Strangers in the Night (feat. Göran Edman)
13. Peaceful
14. Un uomo che voga (feat. Eleonora Damiano)
Band Line-Up:
- Tommaso Ermolli arrangements on “Vittoria”
- Sefi Carmel on “Fly Me to the Moon” (Cover) (except for the keyboard solo by Alessandro Bertoni)
- Piano and keyboards by Alessandro Bertoni on “Azzurra”
- Leonardo Caverzan, guitars, and John Jeff Touch, vocals on “Dancing with Tears in my Eyes” (Cover)
- T. Ermolli keys on “Out of Fear”
- Alexandra Zerner everything on “Veni Laetitia”
- Daniele Bof piano on “Nenia”
- Karl Clews, piccolo bass on “Slap Lullaby”
- Jonas Erixon vocals and guitars on “Saga”
- Michael Manring bass on “Vicky”
- Vitalij Kuprij, keyboards and piano, and Josh Sapna, guitars, on “Ocean Traveler”
- Göran Edman, vocals, Emiliano Tessitore, guitars, Emiliano Bonini, drums, on “Strangers in the Night” (Cover) everything by Alberto Rigoni and vocals by Federica “Faith”
- Sciamanna on “Peaceful”
- T. Ermolli, guitars, and Eleonora Damiano, vocals, on “Un uomo che voga All drums programmed by Alberto Rigoni
If you are an electric bass player, this is an exciting time to be alive as this relatively new instrument evolves around us. Some creative individuals have taken an active role in this evolution and made giant leaps in their own direction. Lee Barker is one of these inventive people having created the Barker Bass.
Fortunately, Lee is also an excellent writer (among so many talents) and has recently released his book “Plausible Gumption, The Road Between a Christmas Toolbox and The Barker Bass”. This book is a very fun read for everyone and shares a ton of details about Lee’s life in general, his experiences as a musician, a radio host, and a luthier. Now I am fortunate to have the great opportunity to gain even more insights into this renaissance man with this video interview.
Plausible Gumption, The Road Between a Christmas Toolbox and The Barker Bass is available online at Amazon.com
Interview and photo courtesy of Holly Bergantino of Bergantino Audio Systems
With an expansive live show and touring, Mt. Joy bassist Michael Byrnes shares his experiences with the joyful, high-energy band!
Michael Byrnes has kept quite a busy touring schedule for the past few years with his band, Mt. Joy. With a philosophy of trial and error, he’s developed quite the routines for touring, learning musical instruments, and finding the right sound. While on the road, we were fortunate to have him share his thoughts on his music, history, and path as a musician/composer.
Let’s start from the very beginning, like all good stories. What first drew
you to music as well as the bass?
My parents required my sister and I to play an instrument. I started on piano and really didn’t like it so when I wanted to quit my parents made me switch to another instrument and I chose drums. Then as I got older and started forming bands there were never any bass players. When I turned 17 I bought a bass and started getting lessons. I think with drums I loved music and I loved the idea of playing music but when I started playing bass I really got lost in it. I was completely hooked.
Can you tell us where you learned about music, singing, and composing?
A bit from teachers and school but honestly I learned the most from just going out and trying it. I still feel like most of the time I don’t know what I am doing but I do know that if I try things I will learn.
What other instruments do you play?
A bit of drums but that’s it. For composing I play a lot of things but I fake it till I make and what I can’t fake I will ask a friend!
I know you are also a composer for film and video. Can you share more
about this with us?
Pretty new to it at the moment. It is weirdly similar to the role of a bass player in the band. You are using music to emphasize and lift up the storyline. Which I feel I do with the bass in a band setting. Kind of putting my efforts into lifting the song and the other musicians on it.
Everybody loves talking about gear. How do you achieve your “fat” sound?
I just tinker till it’s fat lol. Right now solid-state amps have been helping me get there a little quicker than tube amps. That’s why I have been using the Bergantino Forté HP2 – Otherwise I have to say the cliche because it is true…. It’s in the hands.
Describe your playing style(s), tone, strengths and/or areas that you’d like
to explore on the bass.
I like to think of myself as a pretty catchy bass player. I need to ask my bandmates to confirm! But I think when improvising and writing bass parts I always am trying to sneak little earworms into the music. I want to explore 5-string more!
Who are your influences?
I can’t not mention James Jamerson. Where would any of us be if it wasn’t for him? A lesser-known bassist who had a huge effect on me is Ben Kenney. He is the second bassist in the band Incubus and his playing on the Crow Left the Murder album completely opened me up to the type of bass playing I aspire towards. When I first started playing I was really just listening to a lot of virtuosic bassists. I was loving that but I couldn’t see myself realistically playing like that. It wasn’t from a place of self-doubt I just deep down knew that wasn’t me. Ben has no problem shredding but I was struck by how much he would influence the song through smaller movements and reharmonizing underneath the band. His playing isn’t really in your face but from within the music, he could move mountains. That’s how I want to play.
What was the first bass you had? Do you still have it?
A MIM Fender Jazz and I do still have it. It’s in my studio as we speak. I rarely use it these days but I would never get rid of it.
(Every bass player’s favorite part of an interview and a read!) Tell us about
your favorite bass or basses. 🙂
I guess I would need to say that MIM Jazz bass even though I don’t play it much. I feel connected to that one. Otherwise, I have been playing lots of great amazing basses through the years. I have a Serek that I always have with me on the road (shout out Jake). Also have a 70’s Mustang that 8 times out of 10 times is what I use on recordings. Otherwise, I am always switching it up. I find that after a while the road I just cycle basses in and out. Even if I cycle out a P bass for another P bass.
What led you to Bergantino Audio Systems?
My friend and former roommate Edison is a monster bassist and he would gig with a cab of yours all the time years ago. Then when I was shopping for a solid state amp the Bergantino Forté HP2 kept popping up. Then I saw Justin Meldal Johnsen using it on tour with St. Vincent and I thought alright I’ll give it a try!
Can you share a little bit with us about your experience with the Bergantino
forte HP amplifier? I know you had this out on tour in 2023 and I am pretty
certain the forte HP has been to more countries than I have.
It has been great! I had been touring with a 70’s SVT which was great but from room to room, it was a little inconsistent. I really was picky with the type of power that we had on stage. After a while, I thought maybe it is time to just retire this to the studio. So I got that Forte because I had heard that it isn’t too far of a leap from a tube amp tone-wise. Plus I knew our crew would be much happier loading a small solid state amp over against the 60 lbs of SVT. It has sounded great and has really remained pretty much the same from night to night. Sometimes I catch myself hitting the bright switch depending on the room and occasionally I will use the drive on it.
You have recently added the new Berg NXT410-C speaker cabinet to your
arsenal. Thoughts so far?
It has sounded great in the studio. I haven’t gotten a chance to take it on the road with us but I am excited to put it through the paces!
You have been touring like a madman all over the world for the past few
years. Any touring advice for other musicians/bass players? And can I go to Dublin, Ireland with you all??
Exercise! That’s probably the number one thing I can say. Exercise is what keeps me sane on the road and helps me regulate the ups and downs of it. Please come to Dublin! I can put you on the guest list!
It’s a cool story on how the Mt. Joy band has grown so quickly! Tell us
more about Mt. Joy, how it started, where the name comes from, who the
members are and a little bit about this great group?
Our singer and guitarist knew each other in high school and have made music together off and on since. Once they both found themselves living in LA they decided to record a couple songs and put out a Craigslist ad looking for a bassist. At the time I had just moved to LA and was looking for anyone to play with. We linked up and we recorded what would become the first Mt. Joy songs in my house with my friend Caleb producing. Caleb has since produced our third album and is working on our fourth with us now. Once those songs came out we needed to form a full band to be able to do live shows. I knew our drummer from gigging around LA and a mutual friend of all of us recommended Jackie. From then on we’ve been on the road and in the studio. Even through Covid.
Describe the music style of Mt. Joy for me.
Folk Rock with Jam influences
What are your favorite songs to perform?
Always changing but right now it is ‘Let Loose’
What else do you love to do besides bass?
Exercise!
I always throw in a question about food. What is your favorite food?
I love a good chocolate croissant.
Follow Michael Byrnes:
Instagram: @mikeyblaster
Follow Mt. Joy Band:
Instagram: https://www.instagram.com/mtjoyband
Facebook: https://www.facebook.com/mtjoyband
I am sure many of you are very familiar with Mark Egan as we have been following him and his music for many years now. The last time we chatted was in 2020.
Mark teamed up with drummer Shawn Pelton and guitarist Shane Theriot to produce a new album, “Cross Currents” released on March 8th, 2024. I have been listening to this album in its entirety and it is simply superb (See my review).
Now, I am excited to hear about this project from Mark himself and share this conversation with our bass community in Bass Musician Magazine.
Photo courtesy of Mark Egan
Visit Online:
markegan.com
markegan.bandcamp.com
Apple Music
Amazon Music
Bassist Adam Sullivan…
Hailing from Minnesota since 2012, By the Thousands has produced some serious Technical Metal/Deathcore music. Following their recent EP “The Decent”s release, I have the great opportunity to chat with bassist Adam Sullivan.
Join me as we hear about Adam’s musical Journey, his Influences, how he gets his sound, and the band’s plans for the future
Photo, Laura Baker
Featured Videos:
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Alberto Rigoni On Unexpected Lullabies
