Features
Interview with Wes Stephenson: Wes is Bad! by Steve Gregory
I was gathering up a few things after interviewing Snarky Puppy’s Michael League for our 2012 Bass Musician Magazine interview, when the bassist took my pen and started writing in my notebook:
T-h-e F-u-n-k-y K-n-
I interrupted by exclaiming, “The Funky Knuckles, right?!” Michael smiled and replied, “Wes is bad…you need to check him out!”
I had already heard of Wes Stephenson and the Funky Knuckles and knew Michael to be correct: Wes was (and is) absolutely bad! At the time, I was listening to the As Of Lately, the Funky Knuckles first album. The record features bass-rich tunes such as “Barbosa”, where Wes is funky, explorative, and grooving, all at the same time.
The Funky Knuckles next album, Meta Musica, took the #1 spot for jazz albums on iTunes, on the day it was released. Wes’s playing again anchored the group with his ability to be aggressive without overstepping. “16 Bars”, “Rain Journey”, and “Micro Clown” are good starting points for the uninitiated, each offering a different view into Wes’ bass playing. He has a knack for pushing the envelope, both rhythmically and harmonically, without losing his audience in the adventure.
These funky abilities were honed during time spent in the rich Dallas, Texas music scene. After a surprise diversion toward the instrument, which is best told by Wes in the interview below, he quickly immersed himself in the funky, soulful, and jazzy jam sessions that were available. During this time, Wes developed an apprenticeship with keyboardist Bernard Wright. It should be noted that a similar tale was told in the aforementioned interview with Michael League; the musical guru Wright has obviously placed important fingerprints on those in the Dallas musician community.
To explore further, Wes started The Funky Knuckles with fellow collaborators keyboardist Caleb McCampbell and drummer Cedric Moore. Joined by guitarist Phill Aelony, the quartet began a funky journey of playing constantly and exploring relentlessly.
That journey has now led to the Funky Knuckles’ latest release, New Birth. The album features a “new birth” as a septet, but long-time fans will note that the record sounds like an evolution, also. Wes’ bass still propels, pushes, growls, and sings, while the rest of the group tears through the compositions. The lines between groove and improv are woven together for wonderful results.
If this writer could be so bold to offer; rather, pass along some advice: You need to check out Wes Stephenson and The Funky Knuckles. Wes is bad!
You recently released New Birth, the Funky Knuckle’s third album. This is two years after the last record, Meta Musica, went to #1 on the iTunes jazz chart. Was the two-year period spent writing and arranging?
Well, no, it took two years to save up money to do another record! Most of the material was already there. We have an every-Monday residency that we do here in Dallas. It’s great for us, because we rehearse and get all of the music together and perform it before we record it, so the kinks are kind of worked out.
We are going on tour in September and we got a sub with us because our keyboardist, Caleb, can’t make the first part of the tour. The guy was like, “Man, this stuff is so hard!” It’s like, “Yeah, I know, it takes a minute to get some of that stuff together, ourselves!” It’s good that we have that residency.
Does everyone contribute to the songwriting process?
Not everyone, but it’s open for anyone in the group to write music. On New Birth, five of us contributed music. What we haven’t done yet, is actually write music together as a band. Most of the guys in the band are great writers, so they write this crazy music and bring it to rehearsal and then we learn their tunes.
What do you feel is the mark of evolution for the band on New Birth?
Compositionally, we’re getting better. Hopefully, we’re getting better as musicians. The music is part composition and part improvisation, so hopefully that’s going to greater heights. As a band, we’re becoming more in sync and in tune to each other as improvisers. I don’t know if we’re necessarily trying to do different things, we’re just trying to do better and get better.
Listening to your playing, you stretch both harmony and rhythm when playing with the Funky Knuckles. For example, there are times when you trade “home base” roles with Caleb.
If playing pop, or playing country, or something like that, you gotta play by the rules. But in a situation where it’s wide open to explore, I feel like any note in the chord can be the root. The way that Caleb voices his chords – and it depends a lot on the pianist and how ambiguously they voice their chords – the way Caleb voices his chords always leaves it wide open for me to explore. He jokes about it: about the half the time, actually more than half the time, I’m not playing the root! I’m playing around the root!
I remember that I was on a jazz gig when I was younger and it was [a tune] where it goes to the four, and then four becomes a minor chord. I messed up and instead of playing the minor four chord, I went up a minor third from there. So if it was F major, it went to F minor, but I played an Ab. I was like, “oh shoot – I can do that!” From that point, I started really exploring that.
Rhythmically, I’ve learned so much from Caleb and Ced and my mentor – this guy named Bernard Wright. He’s been a mentor for all of us here in Dallas. I played in a trio with him for four years and that’s where I met Mike [League] and that was a big hub for a lot of people here in Dallas. Bernard played keyboards like drum! Bernard doesn’t drive so after the gig, for four years, I took him home. And I was always, “Hey, what do you think about this?” and “How did you do that?” He talked to me a lot. I think about playing the bass like it’s a drum – I’m just a drum playing with the drums. When I started thinking about things like that, it impressed on me how to play when Ced’s doing all of the drum mathematics. I think, “What can I do, to play through that and make it make sense?”
You’re a Dallas native?
Yes, born and raised!
Growing up in Dallas, what led you to play the bass?
So, I was a punk of a kid, almost to the point where it wasn’t funny. I was headed down an interesting path. When I went into 9th grade, I was going to try to play football. We got done with two-a-days and I was talking with this dude I knew. He was talking about this homie of his that picked up the bass and within two weeks was playing the whole Red Hot Chili Peppers record. We go to this guy’s place – Steven Youngblood, we became friends that day and remain friends – and my friend asked him to show me his bass. He picked up his bass and it was an old Charvel four string. He started playing “Higher Ground” and that was the most incredible thing I’d ever heard in my life! I was like, “I have to do that!”
I left his house and I got hit by a car. It was going 40 mile per hour when it hit me; it was a bad accident! Because of that, I didn’t get to play football. I went down this weird path, but I never forgot that I wanted a bass. I begged my parents and my mom bought me this $100 Memphis bass. Even before that, for about a year I was going to a church and every Wednesday I went to the sanctuary early and played the bass player’s bass, then played the drums, then played the bass again. From that point, I was hooked. I got that first bass and it turned my whole life around. I didn’t even know you could go to college and study music. I had dropped out of school – I went back to school and graduated so that I could go to college and study music.
Let’s talk about the Dallas scene, specifically the music community, mentorship, and learning from others.
One of the community’s heroes – this guy named Gino Iglehart, he was Erykah Badu’s musical director for a long time – he had a rehearsal room where he shedded. He started an independent jam session. There’s an arts high school here that put out a lot of people, Sput [Searight] and that whole Erykah crew. They were super funk, gospel, R&B musicians, but they were also hip to jazz and improvising. That jam session brought them and then kids from North Texas – Mike and the whole Snarky Puppy crew – and a lot of people from a different backgrounds together. It kind of started there. That’s where everyone started meeting one another.
Bernard had a gig with Bobby Sparks, Keith Anderson, and JT Thomas – that was the Roy Hargrove RH Factor band. They would play at this club, maybe twice a month, and a lot of us would go and just go and be in awe with what they were doing. Eventually, we got to play with these people and they took us on. Then going and shedding with everyone, it just became a community. That’s how it all got started.
Who are the bass players from the community that impressed you?
Bobby Sparks is the baddest bass player in the world on a Moog. I have studied everything that he’s ever played bass on. Also Braylon Lacy, who is one of the most incredible bass players I’ve ever heard. Another dude named Nate Robinson, he’s a local guy who is super bad; he plays here, but doesn’t tour.
So, from this scene, you founded the Funky Knuckles?
Ced, Caleb, and I founded it together. I’m the administrator and get things together, but everyone has a voice. But Caleb, Ced, and I started it at our church where we were playing.
The church seems to be a common thread for you – picking up the church bassist’s instrument, meeting the fellow Knuckles there, and so forth. Was the church and the music there a big influence for you?
Yeah, definitely. The church I grew up in was Baptist – a congregational type of music thing. But I started playing in church more in my early 20s. I don’t know how any bass player could listen to gospel music and hear cats like Maurice Fitzgerald or any of those guys and think that’s not cool! I love the music! It’s been a big influence on me.
I think that all of our influences are channeled into the Funky Knuckles. That’s the biggest goal: not to play this type of music or that kind of music, but everything that influences you, let that come out of you in some type of natural way.
So after the initial founding of the Funky Knuckles, what happened?
The first record, Ask Lately, was supposed to be the whole church band. The other two dudes, I ain’t going to say who they and I love them with all of my heart, but they were a little flakey. When the guitar player that was supposed to play cancelled the rehearsal 30 minutes before he was supposed to be there, I called Mark Lettieri. He came over, learned the music, and played on half of the first record. He was the original guitar player, but that was about the time that Snarky Puppy was really taking off and he also wanted to do his own solo thing, so he graciously bowed out. I had subbed in this band called Moosehound and the guitar player was Phill Aelony. He was one of the main writers for that band, too. He was the first person I thought of.
As we were talking about putting all of our influences in, Phill is the exact opposite of a R&B or gospel guitar player! Complete 180. Because of that, I loved his interpretation of the music. From the first time he started playing with us, he’s been an awesome contributor.
So it was a quartet for a long time, but as we were writing more music, it was like, “Caleb only has two hands!” We started adding people. We’ve always had a residency, ever since we started. Frank Moka, our percussionist, played on all of the records, so he’s always been in the mix. Then Ben [Bohorquez, saxophone] and Evan [Weiss, trumpet] started coming out to the weekly residency and playing with us. Those dudes just learned the music! They kind of just morphed into the band.
Two things in your life, the mentor-apprentice relationship with Bernard and the residency that you hold today, are almost “throwback” ideas. How important are they and should be brought back on a greater scale?
For the mentorship, it’s the only reason I am the musician I am today. I had a lot of people hire me for long periods of time in musical situations that I probably wasn’t qualified to be in. Consequently, it allowed me to learn a lot of things about music that I don’t think you can learn by just sitting in your bedroom, practicing.
To tie that in with the residency thing, it’s so important. Playing music with people in a live setting is the biggest teacher. You play with six other guys for four years who are, at the very least at your level, if not better. You’re pushing them and they’re pushing you, in front of people. You can’t help but to get better. We’re always playing music together trying to be the best that we can and to be as sensitive as we can. After doing that for four years, at least once a week, it’s going to leave a mark on your musicianship, I believe.
What’s coming up for the Funky Knuckles?
We just signed with a booking agent, which is incredible because I don’t have to book tours anymore. We have our first West coast tour happening in September. We’re also doing some stuff with Jonathan Scales. We’re going on tour with them in November and he’s going to have Sput on drums and Mono Neon on bass! We’re looking into next year, getting our tour schedule together.
How about for you, personally?
Playing around town and shedding. One thing about Dallas, there’s always a batch of amazing, ridiculous musicians coming up behind you, and it’s inspiring.
What are you shedding on these days?
I think about music as two separate things. There is mechanics: getting your hands to do what your ears are telling them to do. Then, being as creative as possible. I’m not a super technique guy, but I’ve always wanted to play what I’m hearing, which takes a certain amount of facility, which is mechanics. Also being able to hear stuff! When I shed, I just play. I start playing and then when something strikes me that I can’t do, I work on that. I’ve been trying to work on what I was talking about with Bernard, thinking about the bass as a drum. I spent years working on chord-scale relationships, chord changes, and everything, so I’ve been thinking about rhythm and phrasing.
I heard Wynton Marsalis in a concert here in Dallas and then they had an after-hours jam session that he came to. He whupped everyone’s tail, just play root triads – not even extensions, with just rhythm and phrasing! It really made an impression on me. The notes are secondary. If what you’re saying and how you’re saying isn’t slick, or it isn’t funky, or doesn’t have any depth to it, and then the notes don’t mean anything. It has to do more with the rhythm and the phrasing. I’ve working on playing asymmetrical rhythms while the drummer is playing another asymmetrical rhythm and not losing my place and always having a strong sense of the pulse. I’m trying to play comfortably at a super slow tempo or a super fast tempo.
What gear are you currently using?
My amp is the tried and true: Alembic F1-X preamp and a QSC GX7. Alembic is my absolute favorite. Every bass I’ve ever played through it sounds good. That’s what I recorded Mark Lettieri’s record and New Birth, that was my DI. I use a Schroeder 2×12, because I gig a lot and it’s light and it’s super loud. I’ve been in love with CallowHill basses. Tim Cloonan is a Philly dude and a lot of the Philly gospel and R&B guys play them. He just made my first custom bass – it’s an OBS, Owen Biddle plays them. I’m shorter than most of the short people you know and I have big, small hands! My hands are wide, but my fingers are short, so the OBS is awesome because it is comfortable to play really low for me. He makes incredible basses. I have two of them.
In closing, what’s the one unique thing you bring to bass?
The only thing I bring to bass playing is me. My life experiences. I’m not a technique guy; I just try to bring honesty to it. I play what I hear and what I am; I don’t try to do things that aren’t “me”. I just bring honesty to it.
On The Web:
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
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markegan.com
markegan.bandcamp.com
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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
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