Features
Bassist Danny Stewart – Why Is Music Important (The Panel Experiment) by Brent-Anthony Johnson
Bassist Danny Stewart – Why Is Music Important (The Panel Experiment) by Brent-Anthony Johnson…
Who are you, and what do you do?
My name is Danny Stewart, which is such a common name that I use my middle Initial, “M”, in an attempt to try to differentiate, or give my name a unique denominator…. Which is much needed in this Internet age!
Who are your primary musical influences, and at what age did you begin pursuing music as a vocation?
Nobody in my locality played bass. So, I volunteered at age 19 to play in a cover band. We did some Police, Yes, Hendrix, Marley, and a bunch of blues covers. So, I have to say, Sting and Chris Squire certainly touched my soul and inspired me.
Then the Jazz thang happened for me. A local pianist heard me playing and offered me work that I was not qualified to do at the time… I had limited knowledge of theory, at the time, and couldn’t read… but he took me on as an apprentice bassist! Playing with the pianist got me listening to Ray Charles, Charles Mingus, Tony Dumas and many upright players and the amazing musicians they backed! I also got into an Acid Jazz band called “The Root Source”! At the time, and we did JB covers, George Duke, P-Funk covers, originals and more…! Of course, I got into Jaco and John Patitucci by this stage, which incidentally turned me onto Afro-Cuban music and grooves – as Patitucci was well into that and has an AMAZING feel for it!
Rodney “Skeet” Curtis (who toured with P-Funk in the 80’s and 90’s) was such a monster groove player who I really looked into, and Stuart Zender (from Jamiroquia) also wrote beautiful lines that I loved to hear and learn from. He had a wonderful touch and great taste! Incognito / UK session bassist, Julian Crampton, (also a monster influence for me) was extremely inspiring. I remember trying to learn “Jacob’s Ladder” from 100 Degrees and Rising… and it was just killer! I learned so much from just that one track! Crampton’s technique and taste was just mind-blowing and pioneering to me.
Can you tell us about your earliest musical listening and performance experiences? Also, what projects are you participating in most recently?
Early, formative listening for me was Holst’s, The Planets. My mother would have it on a lot… and also the Moody Blues! Oh, and Stan Getz – which I loved to hear from an early age! During my teens, I listened to Hip-Hop, Metal and Reggae, and I got into Zappa at that point. Wow! Zappa just amazed me, and I loved Scott Thune’s sound as a bass player.
I never performed as a child. My earliest performance was when I was about 15-years-old when Rob Cass, from the US, came to stay as a guest and brought his bass with him – an 80’s G&L PJ. He saw that I was into guitar and showed me a few lines on bass, and I sat-in on a small, local gig, playing old R&B classics like “Knock On Wood”. I was bad! But considering it was my first gig ever… I did OK! At 17-years-old, my school entered me as the district Young Musician of The Year award. I played two Joe Satriani pieces and a Steve Vai piece on electric guitar I had learned from Tablature and listening. I actually had no real idea of what I was playing in terms of theory and harmony… and I won second place! All that practicing tapping and picking technique has been valuable for me right up to the present day!
Current projects I am involved in would be, firstly, Innobassion – which has drums, bass/vocals, and horns (trumpet / t-bone / Sax). I play all the chordal work, and sing. I also present demonstrations for STR and Bacchus Basses using this material – as the techniques utilizes the entire instrument.
dannymstewart.com/index.html has a lot of the music for DL or on CD.
Another project is the Shu Ishikawa Quintet. “Shu-san” is an incredible saxophonist and flautist. He always selects very cool tunes and originals. I love his taste and style, and his collective of musicians are top notch! I am honored to play with them. I would say he is probably among the top players in Tokyo.
dannymstewart.com/shu-ishikawa-quartet.html has more details on him.
I also play regularly with pianist / vocalist, Jeremy Kuhle. He calls his style “Pop Up Jazz” because A: He selects pop tunes and puts them in a Jazz format. And, B: As we are a duo, are highly portable, and we can “pop up” anywhere! I have to play foot percussion and a percussive style on that gig – as there are no drums. It is a LOT of fun and a welcome challenge! We are relatively new, having only started a few months back, but playing wit Jeremy is one of my favorite gigs these days!
What are you listening to musically, in the past 12 months that has enhanced the way you think about music and your craft?
I’ve heard and played some of pianist Amina Figarova’s work, and I love it! Her sense of harmony really blows me away! She is a friend and acquaintance of the aforementioned saxophonist, Shu Ishikawa, and she is a fantastic musician and composer.
Here in Japan, I happened upon super bassist IKUO, who does crazy Rock-Funk Fusion stuff and has incredible slap and tap chops. You can check him out here: ikuo190.com
Seeing IKUO perform really made me want to get back into wood shedding new techniques again! It has also lead me to check out some of the Visual Kei bands, some of which are hardcore, heavy, and technically skilled. I quite like the Visual Kei band “Thomas”, for example. I also really enjoy sounds of contemporary fusion bassists from around the world. It’s always great to hear Hadrien Ferraud, Frederico Malaman, or Janek Gwizdala. When I want inspiration, I often go to Richard Bona’s videos on YouTube. Another artist I listen to frequently is French-Morrocan flautist Magik Malik, whose incredible music blows my mind! There are too many to list here… But inspiration is very important for me.
How would you describe your perfect tone for the instruments your regularly record and perform on? Also, are there any particular gear choices you’ve made along the way that has enhanced your tone for the better?
I need punchy lows, round/warm mids, and clear highs on a reliable, lightweight and affordable instrument.
I find that the Bacchus Hand Made bass fit the criteria perfectly! They make affordable, modern Jazz Basses that have what I’m looking for sonically, aesthetically and playability-wise. I have been a keen advocate of Deviser instruments, and indeed have found STR Instruments to be excellent, as well! Having said that, there are so many great instruments and Builders in Japan that I have played a number of basses over the years. Among my favorites are the Bacchus Woodline DX range, the Dragonfly BD5 or CS5, the STR LS648, and the Tune Zi6. Right now I use a passive Tune Zi6 that is great, although I am considering moving onto an active STR LS648, when budget allows!
If we wanted to listen to you, which recordings would you suggest? Along with that, which recordings are your proudest of, and why?
Because I do commercial composition as well as review, demo, deal and play MIJ basses, there are many many recordings on my Reverbnation page and downloads on my site.
From my website DL store (http://dannymstewart.com) I’d recommend “Demons”, “Signposts”, “Running Away”, “Final Words” and “Fragile”. There is also Electronica stuff and Pop-Rock on my Reverbnation page: www.reverbnation.com/dannymstewart
Check out “Aura”, “See So Clearly”, and “American Vista”
I cannot say if any of the music will appeal to the bassist in you… But, one piece that most people dig is “Torn” – which is in the Acid-Jazz vein and has a bass solo in it. Make sure to scroll down the song list! “See So Clearly” has one of my better bass solos in it and some of my best bass parts (the genre is R&B / Tech-Soul). I’m very proud of all of the music I’ve mentioned because I put a lot of effort and spirit into them! The work I did in London, with revered trumpeter Kevin Davy, on his album “The Thoth Project”, is something special to me because we recorded in a few amazing studios, like Mick Hucknall and Simon LeBon’s top notch facilities and at BBC Maida Vale. I loved the pianist Alex Douglas’ interpretations, and the drummer Adrian Lawrence’s pocket on those recordings, not to mention Kevin’s warm, fat tone and great playing! You can hear that album here: itunes.apple.com/gb/album/the-thoth-project/id460610090
Are you involved in educating others? What is your teaching philosophy? Also, if you could change one thing about the way music students learn, what would that be?
Yes! I teach (mostly) online now, and to only a handful of students, at present.
My philosophy is similar to my first teacher’s, which is to give students the knowledge and tools to discover things themselves, and to give students the foundation on which to develop an individual voice… because music is expression. Whether you are working as a team player / sideman, or a soloist, your own USP and unique sound is an asset to you in the music world. I often site Pino Palladino as an example to this point!
Having said that, it is not the be-all and end-all to have a unique voice. I am adamant that students garner a good understanding of theory because even if they fail to expand in that area, a lot of creative doors will remain closed. Without strong theory understanding, professional work could be out of the question, and serious progress could be greatly hampered.
Theory and harmony is the groundwork of the Language of music. So both subjects must be studied, in my view. The ear is also a huge part of learning. But, the more you study… the more that develops in tandem.
If anyone is interested in my teaching page: dannymstewart.com/bass-tuition.html
How does your personal musical voice directly relate to the function of the basses?
I use the bass as a groove, chordal, percussive and melodic voice… So, it uses almost all facets possible. This is probably because throughout my musical adventures I have learned guitar, piano and drums to varying degrees, and now I also sing (also something I need to dedicate more practice too)! I use all these instruments as facets in producing music for commercial projects. I have been lucky enough to be hired for my multi-part percussive bass playing style to back up soloists in duo formats. It’s very challenging…! But, that makes it more interesting at the same time!
Describe your musical composition process.
First, I get the brief or concept… and if necessary listen to music samples for inspiration. Then, I go for a walk and actively try to hear a melody and/or riff in my head. I whistle or sing the melody into my smart-phone… and take that onto the guitar or bass and record a loop on the main theme adding whatever percussive / chordal ideas that materialize. I usually give this process about 20-minutes. Once I have a fully formed idea that I can translate into my DAW and record guitar / keys / bass / vocal parts and add drum programming after.
I edit the structure until I have reached the desired length. Finally, I fine-tune dynamics and feel, often rerecording parts to suit or adding more intricate programming. It takes about 1-hour to get a concrete sounding verse and chorus and bridge. dannymstewart.com/composition.html
How does music affect your culture and immediate environment?
In Japan, music is used in commercial spaces and public areas all the time. For example, each subway station has it’s own music and all stores have their jingle playing. Supermarkets have mad techno or Euro house to make you shop faster! It’s kind of crazy! Some of the music here is so irritating but catchy… it gets under your skin!
What would you be, if not a professional musician?
An amateur musician! Maybe a carpenter or illustrator! But, for sure… an amateur musician.
What is the greatest sacrifice you’ve ever made while in the practice of being a musician, and how did that sacrifice affect you?
Moving to Japan to become a father was a huge sacrifice to my job and art. But, I was willing to make sure that my Japanese wife could be confident and comfortable being near her family for the birth of our first child. I left music and studio work behind, in England, only to end-up deciding to stay in Japan… it is so convenient, clean and reasonable, compared to London! I ended-up teaching English, and had all but given-up on music as a career. However, I did take an acoustic guitar with me to keep my fingers and ideas fresh. After the birth, my wife helped me find some composition work, in our second year in Tokyo, and I started getting out and about more as I became more confident with the Japanese language and culture.
It was then that I happened to start documenting my findings of Japanese basses in the multitude of music stores here in Tokyo – which led me to becoming a collector, dealer, demonstrator and endorser of new and used MIJ builds. So, what seemed like a huge sacrifice, initially, served as a catalyst to pursue another new way of being a musician/bassist! If it wasn’t for that I would never have known about STR, Dragonfly, Atelier and the many other fantastic hand built brands from Japan… let alone work with them as a demonstrator / dealer and exporter. So, I am very pleased (and blessed) with the way things turned out! Not that it wasn’t hard work…. It was! It took a lot of building relationships, gaining trust of partners etc.
Describe your standing practice regimen. Also, what technical (and musical) aspects of your playing are you currently working on?
My usual routine is to warm up with connected arpeggios, then move into voice and 8th note spiraling (improvised with scat vocals in unison) then into 16th note spiraling and into 8th and 16th note triplets… So, my mind is in tune with the bass. I also try to do this with my eyes closed.
I have a few set pieces like “Donna Lee”, “Blues For Alice”, “Freedom Jazz Dance” and “Teen Town” that I run as exercises to get my fingers moving.
One thing I really need to practice hard is “reading dots” and odd time signatures. Neither come naturally to me, so I have to work at them regularly. I usually do this in two ways! One way, is just reading rhythms, then reading rhythms and notes. I try this in both Bass and Treble clef – so when playing from lead sheets I wont get lost if I can read the melody. It also helps when it comes to improvising solos! For odd times, I try to break them down into easier divisions such as 11/8 becomes 6 (8th notes) plus 5 or 4 + 4 + 3 or 4 + 3 + 4 depending on accents, or 9/8 becomes 6 + 3 etc…
Another aspect I am focusing on is learning new articulations. I got to the point where I felt like I was doing the same stuff all the time and I was getting bored with my own sound. New methods or patterns would break that habit and bring out new flavors, textures and ideas. It’s all about expanding vocabulary / palette really and I have found that you can never stop learning! There is always so much more to learn and try! It’s a wonderful thing!
What does music, and being a musician, mean to you – at the deepest level of your being?
It’s an integral part of my being…! Without music in my life I’d be lost. Without playing an instrument, I’d become destructive. It’s an essential outlet both spiritually and emotionally. It’s my Yoga, my Mecca, and my peace and joy!
How important is it to understand the Language of music?
It depends what your goal is, if it is just to enjoy playing and experimenting with it then it’s not essential. To work with other people, or become professional, however… it is very important to know how to write and read, understand theory, and to have good sense, feel, timing, technique and attitude. Lacking too much in any area reduces the chances of achieving one’s objective.
If you know how to read music there is so much you can learn from just going through melodies and bass lines. I learned a lot about theory and phrasing from reading, in addition it is fun too! I am not a great reader by any stretch… But, I can do it and I enjoy it!
How do you collect the series of seemingly random influences and articulate them through music?
Good question, and one I cannot answer in any definite way! In my opinion, there is no one way… But, the closest example is that it’s like a Language. So, just like learning a Language naturally… we all develop vocabulary through listening, reading, absorbing, repeating, experimentation, and talking musically with others until, one day, you find your voice and phrases flow at will.
Can music ever truly become commercial? Why, or why not?
At the end of the day, I think it all boils down to what the perception of “commercial music” is. Some believe it (commercialism) to be any music that sells well and is a “commercial success”. Others say it is more specifically music written for advertising or music written for hire. Even so, some artistic license and creativity surely is employed. To that end, I don’t believe music can be truly “commercial”.
However, I would say certain sides of the industry are very “commercial” – like jingle production, for example. I don’t think a musician would truly find all that much artistic satisfaction in writing Yamada Denki, Wal-Mart or Mc Donald’s jingles! They’d surely only be writing that stuff for the money, and it is for a store chain identity or commercial slogan. That, in my mind, is about as commercial as it can get. In other words, if it is written purely to push a product and the composer / producer and performers are not into it from an artistic point of view, or would never want their name outwardly associated with the music… then it is truly commercial. If you write a successful jingle that is aired millions of times in many countries you’ll pay bills with it for as long as it runs, and buy yourself time to do your own music! I have an acquaintance who managed to pay off his mortgage thanks to a long running jingle and another acquaintance who could pursue his own music thanks to a high grossing licensed piece earning royalties galore. So, there are examples of commercial success leading to non- commercial pursuits. Music is never all about the money for these guys, it is always about the art… But, they had bills to pay and they were some of the more fortunate ones who hit the right wave, so t speak.
Name: Danny M Stewart
Location: Tokyo, Japan
Years of Professional activity: 20
Discography:
- Innobassion
- Superjazzygroovilicious
- KDQ Thoth Project
Currently Gigs:
- Shu Ishikawa Quintet
- Pop-Up Jazz
- Michal Sobkowiak
- Yoshiaki Kayano Group
Education:
- Brunel Univ. Uxbridge – Music production & law
Favorite foods:
- Sushi, Green Curry
Pastime:
- Reading / Movies
Color:
- Maroon
Animal:
- Panther
Super Hero:
- Spiderman!
Visit online at dannymstewart.com
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It is very rare when I talk to a band where all the members play bass. The K3 Sisters Band is a perfect example of a group where Kaylen, Kelsey and Kristen Kassab are all multi-instrumentalists and take turns playing bass.
Hailing from Texas, these three sisters have been playing music since they were very young and have amassed an amazing amount of original music, music videos, streaming concerts, podcasts, and content that has taken numerous social media platforms by storm. On TikTok alone, they have over 2.5 million followers and more than a billion views.
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Here is the K3 Sisters Band!
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Danielle Nicole writes and sings the Blues. She does an amazing job at delivering both exquisite smoky vocals but plays just the right bass line to drive the tune home. Danielle recently released “The Love You Bleed” last January and will be touring the album this upcoming year.
Join me as we learn about Danielle’s musical journey, how she gets her sound, her plans for the future and more.
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Bergantino Welcomes Karina Rykman to Their Family of Artists
Interview with Karina Rykman…
Karina Rykman…The high-energy bassist discusses her path on bass, her upcoming tour, how she came to find Bergantino through another Bergantino artist, and more!
A lifelong Manhattanite diehard New Yorker, Bergantino welcomes new Artist Karina Rykman. Jim and Holly had the privilege of meeting Karina and her band in Boston to see her perform. She lights up a stage with her charismatic passion as a bass player and singer – a true powerhouse of joy and energy. On stage, she smiles from ear to ear, hopping, jumping, and dancing; the entire room overflowing with positivity! If you don’t know this titan of bass yet, you will soon enough. Karina’s JOYRIDE 2024 tour picks up this month with the debut of her new album. We had the opportunity to ask Karina some questions about her career so far.
You have quite the career that began at a very young age. You have so much going on!! Can you share some of your musical path highlights you are most proud of?
Oh man, thank you! What a long, strange trip it’s been. I’m proud of still being so absolutely enthralled by music after playing in a million bands and finally ending up at this current juncture: being able to make my own music and tour under my own name. It just seems completely surreal – every gig, every recording…I’m on cloud 9 being able to continue to do this, and we’re just getting started. I’m extremely proud of being so young and being able to learn so much from Marco Benevento, without whom I’d be absolutely nowhere. Being put up to a large task with enormous shoes to fill, and stepping in even though I barely knew what I was doing at the time. Every gig with Marco is extremely special to me.
Tell us about your new album release Joyride and your 2024 tour.
Joyride is my debut record! It came out in August 2023, and we’ve been touring behind it nonstop ever since. You only make your first record once, and I’m so proud of this one – it’s fun, searing, lush, with chantable choruses and, of course, incredibly thick bass and infectious grooves. It was produced by Phish’s Trey Anastasio, who also contributes guitar parts to 5 of the 9 tunes.
What makes the bass so special to you particularly, and how did you gravitate towards it?
There’s nothing quite like feeling the subs rumbling under your feet in a venue and being responsible for those sounds is thrilling. I played guitar first, at age 12, but essentially completely switched over to bass when I was 22 and got the gig playing bass with Marco Benevento. I haven’t looked back since, except for a few gigs on guitar here and there (notably in the house band on Late Night with Seth Meyers and on The Today Show backing up Julia Michaels).
People hate this question, but: If you were constructing your personal Bass Mt. Rushmore, who are the four players that would make the cut and why?
Geddy Lee, Cliff Burton, Bootsy Collins, Les Claypool. The list goes on and on, of course, but those four have imprinted their unique styles upon my brain since I was so young, and I’m perpetually learning from them – even in the case of the deceased Cliff (RIP), going back and watching Cliff ‘Em All videos is something I do all the time. Endlessly compelled by these four players and their original takes on the instrument.
How did you learn to play?
I never took lessons, but in middle school and high school, I just surrounded myself with equally music-obsessed people. All we did was play music and go and see live music, which is wildly accessible when you grow up in New York City. I had a really tight-knit crew of amazing players as my friends, and everyone would teach each other riffs and licks. I was fearless – playing with people much better than me and saying “yes” to every cool opportunity that came my way. I essentially learned from playing in a million bands and playing along to Black Sabbath and Led Zeppelin records.
Are there any other instruments you play?
I started on guitar, and still love to write on guitar. I can get around on keyboards a bit, but you’d never hire me as a keyboardist. The same goes for drums – I LOVE playing drums but you’d never hire me as a drummer.
Describe your playing style(s), tone, strengths and/or areas that can be improved on the bass.
I play both with a pick and my fingers, depending on the specific needs of / vibe of the tune. I love playing fuzz bass and writing bombastic “lead bass” moments, which are a staple of my live show. I’d say I’m about the least “traditional” bassist in just about every way – which is both a strength and a weakness depending on how you frame it. I play what I hear, what I like, and I adhere to very few rules. I’ve always hated rules, and I didn’t start playing rock n roll to follow them.
How did you find Bergantino Audio Systems?
I’m pals with Mike Gordon, bassist of Phish, and his tech is named Ed Grasmeyer. Ed suggested he bring Mike’s Bergantino for me to try out at a show I was playing in Vermont, and I fell instantly in love.
You have been using the Bergantino Forté HP2 head. How have you been setting the controls on this and what changes to those settings might you make as you plug into your other individual instruments?
I love my Forté HP2! The versatility and headroom are incredible, and I’ve been having a lot of fun dialing it in at home. The real fun will begin this weekend when I take it out for 2.5 weeks of tour – dialing something in an apartment just isn’t the same as on a big stage with a PA and subs and all that good stuff. I like to roll my highs a bit and I keep “punch” on all the time. So far, it’s been a dream.
You are the inspiration behind Bergantino cab the new NXT410-C. Can you tell us more about this cab and your experience so far?
Firstly, I’m beyond touched to be the inspiration behind, well…anything! But this is truly insane, and such an honor. I love this cab. Not only is it light and extremely good-looking, it can handle all my loudest, most abrasive and obnoxious effects. My old amp didn’t come close, and could just fart out or I’d have to turn down to appease it. I’m a big fan of playing at earth-shattering volumes, so this is going to be a match made in heaven.
We all love your custom-made Goldie Hawn bass guitar! Can you share more with us about this bass design and why it is so special to you?
Thanks! That’s made by “Zeke Guitars” – it’s the second custom bass he’s made for me! He reached out in the summer of 2019 and asked what my dream bass would be, and I said it was basically my 1978 Fender P-Bass, but lighter, whiter, with Lindy Fralins, gold hardware, and shorter scale. And, well..he did exactly that! I love that bass so much. And the gold, which is referred to as Goldie Hawn, was born in December of 2022, and has the same specs. I just love it, it sounds amazing and looks, arguably, even better.
Jim and I were lucky to get to meet you in person when you came to Boston with the band. The members of the band are such a great group of people! Can you share more with all about the band and crew.
I’m so lucky to keep such incredible company. My bandmates, Adam November and Chris Corsico, are not only unbelievable musicians but also incredible humans. We just laugh and laugh, and we’re there for each other when the road gets tough or we’re exhausted or whatever life throws at us. It’s the joy of my life to get to tour the world with these guys. And the crew! That night was Connor Milton on sound and Nick Koski on lights – we have a rotating cast of people who play those roles based on availability, and everyone who works for us are absolute consummate professionals and the sweetest humans. They are my team of experts and I just adore them so much. Shout out to Zach Rosenberg, Jeff Volckhausen, Dylan Hinds, Dom Chang, for being the best rotating crew a gal could ask for!
What else do you do besides music?
Not much! I love going to the beach! I love eating dinner!
Because I am a foodie, I always ask people what their favorite food is!
Oysters, caviar, sushi. I’m a raw bar fanatic.
At a very young age, Karina is a diligent hard worker. She juggles many balls managing her business and is savvy beyond her years. We are very happy to be working with Karina and are excited for her continued success!
Follow Karina Rykman:
Instagram: @karinarykman
X (formerly Twitter): @KarinaRykman
Facebook @karinarykman/
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Blind since birth, she is a powerhouse of talent; she is not only a professional bassist, but also composes music, and is a producer and educator. I am just blown away by her talent and perseverance.
Join me as we hear about Ciara’s musical journey, the details of her album, how she gets her sound, and her plans for the future.
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