Features
Diana Rey… San Francisco Bay Area Bassist Plays the Music of Queen by Carl J. Mancuso
Diana Rey… San Francisco Bay Area Bassist Plays the Music of Queen by Carl J. Mancuso
Online
- Facebook.com/DianaRey
- Twitter: @dianareymusic
- The Killer Queens – www.thekillerqueensrock.com
- Twitter: @kqrocks
Bands I play with:
- The Killer Queens
- Shotgun Suitor
Gear:
- Strings: D’Addario Flatwounds; Rotosound Roundwounds
- Bass Guitars: Ibanez SR700-CBE; Fender American Standard Precision; Carvin B4(Active)
- Bass Amplifier: MarkBass
- Upright Bass: Cremona
- Straps: Gruvgear
A self-described geek about all things related to bass, Diana and I hit it off immediately. Within minutes, her voice conveyed her vast knowledge of bass techniques, songs, and gear. At the same time, seeing her perform on stage revealed a perpetual smile and joyful happiness, splendid musicianship, and a love for her bandmates in The Killer Queens, the world’s only all- female Queen tribute band. Founded in 2011 by lead vocalist Nina Noir and guitarist Joyce Kuo, the current lineup of the band features Noir on lead vocals; Diana on bass/vocals; Nichole Boaz, keyboards/vocals; Lindy Day, guitars/vocals; and Karla Downey, drums, percussion, and vocals.
CJM: A lot of folks probably don’t realize that you are also a very talented keyboardist. Given that you started out on piano first, how long have you been playing bass and what beckoned you to embrace it so much?
DR: I’ll start out with the story my mom tells everyone about when she realized she had a little musician on her hands. When I was four, she put on a Sesame Street album and went into the next room. A bit later, she returned to find me on the piano, jamming along in key as if I was part of the band on the recording. One of my favorite things to do at that age was to sing, play the piano, and put on silly shows for my family where I forced everyone and anyone to sit down and watch me be a ham. I did costume changes, choreography, the works! In response to all this, my parents started me in piano lessons when I turned 5, so I continued to train classically until the age of 12. I’m kicking myself for quitting piano then, of course. At that time, I began playing flute for a year and switched to clarinet the following year, performing in my middle school’s band. A few years later, I discovered my spirit animal, the bass guitar. It’s a bit odd that I read music and tabs but I definitely prefer to learn music by ear. For me, playing by ear is nearly instantaneous and definitely instinctual, whereas sheet music takes me some time to absorb and translate back onto the instrument.
My personal musical development and experiences showed me that I prefer jamming and that I learn music best by working it out sonically, versus sheet music based playing. So one of the reasons I gravitated towards the bass was that I found it easy to pick up and play on my own without an instructor or sheet music. Also, all my favorite bands and songs were very bass heavy so I already appreciated the role a melodic, active, and complex bass line has in taking a song and elevating the sound to the next level. A genius bassline can turn a song played with any standard chord progression into something unique and memorable.
CJM: How and where did you learn how to play bass?
DR: Three places. In my room with the radio on, I’d figure out the chord progression and jam along with any song that aired. For 7 years, I played bass every week in my church band during mass. In my friend Liz’s garage for something like 10 years with a band that consisted of me, Liz, her brother, and her cousin. I took a lesson one time and found it to be a waste of time, but I know now he was just the wrong teacher for me. Technically I’m self-taught, but really my teachers were a regular practice routine, the experience of being in a garage band, and the bassists who played on the recordings I studied.
I read Daniel Coyle’s The Talent Code about how it takes time, passion, and lots of focused rehearsal hours to master a skill. I definitely put in my time jamming and performing in front of people.
CJM: Who are some of the musicians who have inspired you and have had the greatest impact on your approach to bass?
DR: John Deacon, Flea, Nik West, Tony Kanal of No Doubt, Geddy Lee, Paul McCartney, Cliff Burton, Jaco Pastorius, Lee Rocker, Esperanza Spalding, Victor Wooten, and Tal Wilkenfeld. This isn’t in any particular order, just random as they came to my head. Don’t ask me to rank these players! When you’re talking about the greatest of the great players, they’re so unique and talented that it’s hard to compare skill level. I think at the top levels, it’s more a matter of musical taste. But what sets these guys apart from the rest, is how unique and groundbreaking their playing and performing style is.
CJM: Was there any particular song or performance of a song that moved you when you were growing up as a teenager in California that lit up the proverbial “lightbulb in your head” to let you know you wanted to pursue music professionally?
DR: I saw Gwen Stefani perform ‘Just a Girl’ along with the entire Tragic Kingdom album at one of those all day, multi-stage music festivals when I was in high school. Before I saw her kick butt and rock the audience, every band I had seen was all male. Suddenly, I could see myself in her shoes because I connected so strongly with No Doubt’s music and Gwen looked a lot like me: a blonde, sporty, mix of girly tomboy. For the first time, I saw a role model who spoke to me and showed me what I might be able to do someday.
CJM: What specific challenges do you face as a female bassist and what are some advantages?
DR: Challenges:
The music industry has historically been very male dominated, and so I long to see more women filling roles both onstage and behind the scenes. There’s more of that going on now than before, so that’s really exciting. I have two kids and I can see first hand why women may take time out of pursuing a music career to take care of the home front. The nomadic and nocturnal lifestyle of a musician is at odds with my hours with the kids, so I get exhausted trying to everything and do it well. But it’s so worth it because my music and my family both are what keep me going.
Other female musicians can be really challenging. We can be each other’s best supporters and each other’s worst critics. I’ve worked with both kinds and some that are in between. It’s pretty deflating to feel like one of my musical sisters is trying to bring me or anyone else down, because that is so not what I’m about. I want to see other women killing it onstage and support them. In the past year and a half especially, I’ve learned to grow a thick skin and be careful who I take criticism from.
Advantages:
It’s rad to surprise people when I get on a stage and they see I’m the bass player and singer, instead of just the lead singer. The stereotypes are changing as more and more women are playing instruments in addition to singing.
Another advantage to being a she-bassist is connecting to other women in the audience. I look out into the crowd and I see the ladies looking at me and loving that I play a guitar and play it well. I can tell they feel empowered by it because they come up right in front of my spot on the stage and rock out with me, giving me lots of love. If the rest of my bandmates are males, the ladies will find us more approachable and danceable when I’m stage too. I also hope that I’m showing other chicks (including little girls at my all ages shows) how to rock like a girl. When young girls come up to me after a show to chat, I always ask if they play any instruments and if the answer is no, I encourage them to pick up an instrument and play!
CJM: There seems to be a growing number of female bassists in music today. Who are some of your favorite female bass players?
DR:
- Nik West
- Catherine Popper
- Esperanza Spalding
Tal Wilkenfeld - Angeline Saris
- Ariane Cap
- Anna Sentina
CJM: What tips/advice would you give to aspiring bassists on how to navigate through the music business and promote harmony in a band? This is a good question for you to answer, especially since you are a musician with two young children and have to manage your time between being a mother and attending gigs, practice, and doing extensive traveling.
DR: I am a huge believer in the team mentality. In a harmonious group, each member feels like they add value and bring their skills, experience, and wisdom to the table. I’ve seen time and time again that bands succeed when they work together as equals for a shared goal. Bands fall apart when any one or all members act as individuals only looking out for themselves, and acting like they alone are the reason for a band’s success. If we uplift and appreciate each other, we can fly higher. Together, we either fall or fly high. Sounds hokey, but this is the truth
Balance is the other crucial element. My love for music and my love for family and friends are the two most important parts of me. Don’t ask me to choose between them. If I get too immersed in one side or the other, I start to lose myself. So for me personally, I need both and that’s what keeps my fire burning. I draw inspiration for my music from my personal life, and the music helps me blow off steam and process what’s going on offstage. Without one, I couldn’t do the other. It’s a tough balancing act, but I navigate it as I go along and really listen to my heart as well as the people I trust most to let me know if I’m drifting too far off my center. It helps that my family and friends completely support all the colorfulness and insanity of my life as musician. I think they find me entertaining, so they keep me around. 😛 If it weren’t for my family, I’d be a workaholic musician and I wouldn’t have a life outside of that. I’ve seen so many times how important it is to have something going on in your life outside of your music because it can be easy to get completely consumed with the passion and drama of life in a band. My family helps me let go, focus on other things, and not take everything that happens in my bands and music career so seriously.
CJM: As a musician, is there anything you have learned in the last year that you wish you had known when you first started playing bass?
DR: I definitely had a tough lesson to learn this past year about believing in myself and recognizing that I have to carefully evaluate what a person’s motivation is in giving an artist negative feedback. So often when people criticize you, it has nothing to do you with you and everything to do with them being uncomfortable with themselves. Since they won’t accept and then work on their inner demons, they lash outward in the hopes that it will distance them from their fears and insecurities. This lesson applies to all aspects of life, not just music. So if I could hop into a time machine, I’d tell my 16 year old self that I have every right to believe in myself and ignore the critics. I’d tell teenage Diana that someday my dream of being musician would come true because of pure love, passion, and a lot of hard work. I got the message growing up that music was a fun hobby, but was not a lucrative career option. If I’d known back then where I’d be today, I would have chosen a different path during my college years and gone to Berklee to study, perform, and write music. I’m still doing it with my college degree in Philosophy, but I often wonder where I’d be now if I’d majored in music.
CJM: You played keyboards in The Killer Queens before you moved to bass. Now you’re up front with guitarist Lindy Day and lead vocalist Nina Noir. You interact with the crowd. How has the move been beneficial to you and the band so far, and how has your knowledge of the keyboard parts in the band’s arrangements helped you in your transition to bass?
DR: As bassist for TKQ, I’m able to go wireless and move all over the stage and rock out. It’s easier for me to dance and jump around, while also feeling like a badass because I have a guitar. As TKQ’s keyboardist, I felt so tethered to my keyboard and struggled with how to rock out on the keys when it looks to the audience like I may as well be typing on my computer. Also in Queen’s music, the keyboard isn’t present on every song, so for those songs that I would just add harmony vocals and dance in the background, I felt a little awkward. On bass, I’m so busy for the entire set, thanks to John Deacon’s elaborate basslines. I may not be the lead singer in any bands (yet), but as a singing bass player I have a frontwoman gravity to my performances. I enjoy being up in front of people and performing, so I’m stoked that I get to be back on bass.
CJM: Obviously, you have studied the bass playing style of John Deacon, Queen’s very reclusive and quiet bass player. He is retired from the music business, but he gradually became more of a songwriting force after the release of “A Night at the Opera,” even penning the band’s highest charting hit in the US to that point, “You’re My Best Friend.” Can you explain a little bit of his technical genius on that track, as well as “Another One Bites The Dust,” “39” (on upright bass), and “Dragon Attack”?
DR: I hear a few themes in John Deacon’s playing style that echo throughout Queen’s repertoire. These themes reveal a lot about Deacon.
- Deacon was close with Freddie Mercury because on bass he often parallels, mirrors, and echos Mercury’s melody lines, even down to the cadence of them. I believe Deacon and Mercury were very close both musically and personally. Deacon retired from music entirely after Freddie’s death, which is very telling. Such a loss to the bass community. Come back John Deacon…we miss you!
- He was the quietest member of Queen, rarely singing onstage, but his voice is loudly and clearly heard through his bass. His bass lines are intricate, active, and range all over the fret board. Deacon could take a pretty simple chord progression and write a bass line that elevated the song to an incredibly artistic and iconic level. He had a lot to say and his musical choices allowed this introverted, deep thinker to express himself in a way that allowed him to shine and set him apart as a bassist. I think a lot of bass players can relate to this.
- Deacon was well-versed in many genres and playing styles. He could do it all and do it well, just like the rest of his bandmates. In “You’re My Best Friend” he used elements of jazz and the aforementioned technique: paralleling of and dancing around Mercury’s melody line. This is possibly Deacon’s most complex bass line that I’ve learn yet. I nearly hyperventilated when I first started to learn this song, and then I psyched myself up and just tackled it. Now it’s one of my favorite songs to play.
“Another One Bites the Dust” is possibly one of the most iconic songs out there today, and that’s all due to the partnership of Deacon’s predominant disco-funk bass line and Mercury’s vocals. This is actually one of the easiest Queen songs to play, and yet at KQ shows, it’s one of the songs that always gets the crowd cheering and dancing as soon as I start to play. This is what I mean when I say that Deacon’s playing style elevates even the simplest of songs to the point where they become legendary.
“39” is such a fun song to play because it’s quite a different sound for Queen, yet still maintains classic Queen elements. This is their bluegrass song but with a futuristic twist, because this song is about traveling through time and space. Deacon’s bass playing traveled into new territory for him because he played an upright bass in the recording studio in response to a joking request from Brian May to take it up. The next day, Deacon was ready to go on an upright and played a classic bluegrass root to 5th pattern throughout, adding in some runs here and there for variation and effect.
“Dragon Attack” shows off a really funky-bluesy bass line. This is the song that I imagine playing for a huge crowd, and suddenly I can see the beach balls being thrown around while the crowd bobs and sashays in time to the beat. It’s a really chill jammer, but also musically intense for the players. I call this my “hand cramp” song, and it’s a love-hate thing to some extent. Seriously if you need a solid drill to exercise the strength of your left hnd and the agility of your fret-playing fingers, jam this song out for as long as you can and alternate the fingers used. You’ll be crying at first, but it will make you stronger and faster, guaranteed!
Deacon’s quiet nature and early retirement from music has caused him to be undeservedly underrated, but I believe he should be ranked somewhere in the top 5 greatest bassists of all time. I know I sound like a fan girl now, but let’s start Deaky Day to celebrate him. 🙂 I highly recommend studying his bass lines if you want to significantly step up your bass game. Thanks to my role in TKQ, the call for me to study and perform his work definitely made me a better bass player today.
CJM: John Deacon and Paul McCartney are known as very melodic bass players. I think perhaps this is due to the fact that both of them are multi-instrumentalists. Both of them began playing guitar first and moved on to bass and keyboards as well. Through my own research of McCartney’s bass playing during the early years of the Beatles, he played with a pick and was a very treblely (sic) bass player. Can you point out some distinctions between Deacon and McCartney as far as tone and style?
DR: Paul McCartney goes for some really interesting note choices sometimes. It’s not something you’d think would fit with the music, but it sounds incredible. He’s a busy bassist just like Deacon, ever-present and busy, but not overwhelmingly so. He also makes a song unique and writes basslines that do more than just hold down the bottom end. His basslines add to what make the songs go down in history as some of the most well-loved songs of all time. His playing style does sound like he’s playing with a pick, but it’s hard to tell from the videos since they’re so grainy. I watched a recent video where he’s actually playing a bassline with his right thumb.
CJM: Let’s get back to your playing. You play with your fingers. Do you use the two finger method with your right hand and the first four fingers on your fretting hand?
DR: That’s right. I usually use my two fingers but sometimes I’ll throw my right thumb into the mix while picking with the two right fingers so that I can get more notes in per beat. There are a couple times in TKQ set that I use this trick playing octaves for rhythmic effect. I don’t usually play with a pick, but I’ve just started practicing this skill since John Deacon used a pick for “Under Pressure” and “Stone Cold Crazy”. I play the set as authentically to Deacon’s style and recordings as possible. My goal is for the audience to close their eyes while hearing me and the rest of the girls with TKQ perform and to feel transported back in time to a Queen concert. If we are playing with that amount of passion for Queen’s intricate and yet seemingly effortless style, then we’re doing our job as a tribute band.
CJM: “39” is one of the songs in your set. You bring your upright bass up to the stage. You seem to be able to transition seamlessly between electric bass and upright. Did you start out on upright bass in high school? Can you explain why Brian May joked about using an upright bass on the song? Explain what you like most about playing the upright bass on stage?
DR: Upright bass on stage adds so much to the look of the band. It’s like having another band member up there! The Cremona is bigger than me for sure. I like to do upright bass tricks because it also adds a fun visual effect to a show. During “Crazy Little Thing Called Love,” I lean the upright bass over a bit and kneel down to brace it with my knee so that Nina Noir (our Frederica Mercury) sits on the side of the bass while singing to the crowd. It’s always fun to show off like that. Definitely a photo op moment, and the bass trick is fitting for this song because it’s Queen’s rockabilly song. I started playing upright bass back in 2012 because I joined an all-girl rockabilly band, so it’s fun to throw that vibe into our set for a song. I had always wanted to play upright, but finally when I joined the rockabilly group (Pedals & Pistols), I had an excuse to buy one and perform with it. Queen was very showy and theatrical, so I think they’d approve of the upright bass making an appearance and giving me and Noir the opportunity to do some upright bass tricks on stage.
CJM: Bay Area guitarist Gretchen Menn told me that she practices a minimum of 4-5 hours per day. On average, how much time do you practice each week, excluding band rehearsals?
DR: On average right now, I practice 5 hours a week minimum on bass. I try to get at least an hour in every day, whether it’s to work on scales, right hand techniques, or Queen songs. I’m focusing currently on my bass soloing and slapping. I also work daily on guitar, piano, and singing. Guitar because I want to hone my songwriting and chord playing skills. I love when bassists play chords or arpeggios, so my guitar work translates back and improves my bass playing. Bonus! I probably spend another 1-3 hours per day working on my singing, piano, guitar, and song writing. I also take days off to have adventures and focus on other things. I’ve found that music percolates in the back of my mind if I take breaks now and then and give my brain a breather. Then I come back to my music work feeling fresh and better than the last time I played.
However, when I get contacted to sub or join a new project on short notice, I will spend up to 6 hours a day practicing to learn the new material. These situations are always a really intense challenge and can sometimes scares me, which then motivates me to work harder to meet my deadline. I’ve always come through on the other side as a better and stronger player. So it’s stressful, but absolutely pays off. I’ve gotten good at figuring out a timeline and song hierarchy, and sticking to it so that I’m stage ready and solid on the set in time.
CJM: You also play in another band called “Shotgun Suitor.” Can you tell us a bit about your role in that band, the musical style of the group, and how you co-write songs with other members?
DR: I play upright and electric bass as well as sing harmonies in Shotgun Suitor, which is both an original and cover song project. We perform all the time and we have a team of incredibly talented pro musicians. We’ve been called “Swamp Rock” before because our band’s lead singer, Chas Crowder, is from Alabama and he has an awesome accent and we at times play some country and blues in addition to rock and alternative rock. I also hear a beachy vibe to our music, since the band is based in Santa Cruz, CA, a beautiful little beach town about an hour south of San Francisco.
When we write music, I’ll write the bassline and my harmony parts. I want to sit down with Chas and write lots of music, so hopefully in the near future we’ll crank out more songs. We have an album out, and if you’re interested in getting a copy, message us at our Shotgun Suitor Band page on Facebook.
CJM: The Killer Queens have been really busy in the last three years, playing at NAMM, at Giants Stadium prior to a major league baseball game for the San Francisco Giants, and playing in various venues in Northern California and Nevada. Nina mentioned that you were also invited to play in Detroit for a Queen convention. What is on tap in the immediate future for The Killer Queens as far as touring is concerned?
DR: We’re hoping to play for more audiences and venues in the US and eventually around the world. Currently we’ve been playing more in the wine country area of Northern California, but we also hope to play soon in the northern west coast. We’ll keep you updated on www.thekillerqueensrock.com as well as our Facebook page, Instagram, and Twitter accounts.
CJM: Not long ago you told me that you were working on a solo album. How far along are you in the process of getting that material recorded and released? More importantly, how would you describe the texture and feel of the songs you have written for the project?
DR: This is definitely a work in progress!! Right now I’m listening to and inspired by tons and tons of Queen, Sara Bareilles, Grace Potter and the Nocturnals, Alabama Shakes, No Doubt, Imelda May, Miranda Lambert, Amanda Palmer, The Beatles, Etta James, Meghan Trainor, Adele, Amy Winehouse, Florence + The Machine, Muse, and The Pretty Reckless. I love so many genres such as blues, classic rock, rockabilly, soul, country, and alternative. I also sing barbershop with Bay Area Showcase Chorus, a chapter of Sweet Adelines International, and I adore the use of harmony in songs. So I wouldn’t at all mind if my work sounds like some kind of mashup of these artists and genres. We’ll see. It’s really in the infant writing stages right now and I have no sense for how long it’s going to take. I have lyrics for days already written down, and so now it’s just a matter of putting it to music. I need a producer, so if anyone wants to work with me, give me a call.
CJM: Ok, one last question for you. There are a lot of bassists out there that struggle with singing and playing bass simultaneously. However, I have found that Paul McCartney and Timothy B. Schmit (Eagles, Poco) have really mastered it. How do you get to the point where it becomes second nature along with the bass? I’m guessing that one way is to learn how to speak in sentences while playing bass slowly and eventually playing faster, perhaps with a metronome. True?
DR: This is a great issue to bring up because playing bass and singing is NOT easy! For the longest time, I thought it was just not going to happen for me and that I was the only one who struggled with this. Now I know it’s a common issue for a bassist. Much more so than for any other instrument such as piano or guitar. On bass, you’re thinking of two different note sequences and rhythms, not to mention voicing with finesse through both instruments. I think the talking while playing to a metronome exercise you mentioned is a great idea! I’m going to try that. I tend to practice my singing and bass parts together slowly until it seems weird to play the part without singing as well. Depending on the song (ie not Queen’s “You’re My Best Friend”), singing backup vocals is very doable for me, but I hope to someday be able to sing lead and play bass. As with anything, putting in hours of practice will result in progress. So keep working on it and don’t give up!
CJM: Diana, it has been a pleasure talking with you today. I have known about The Killer Queens for a long time, and I was very pleased to hang out with you and the band in San Francisco. Keep on rocking the low end.
DR: Thanks Carl! I always dig talking with you – you’re a dear friend to me and the rest of The Killer Queens. Let’s hang out again soon and you keep rocking the low end, too.
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Carl J. Mancuso is a graduate of Louisiana State University (Journalism) and the University of Central Florida. He has published music articles on Blogcritics.org featuring Cheap Trick, Foreigner, Girl in a Coma, The Dollyrots, and others. He is a strong advocate for promoting Women in Music via Upswing PR and his concert series, “Ladies Rise Up and Rock,” which has donated funds for music education in Northern California and Oregon through The Grammy Organization and Rock Camp for Girls. He resides in Birmingham, Alabama.
When I heard that American Vanity, formerly known as Burn the Jukebox, was gearing up to release a new album this summer, it felt like the perfect moment to catch up with bassist and vocalist Virginia Franks.
With a fresh name unveiled just this past January and a clear shift in musical direction, the band is entering an exciting new chapter, one defined by both sonic evolution and a deeper, more focused message.
In this conversation, Virginia opens up about the inspiration behind the upcoming record, how she crafts her distinctive bass tone, what fans can expect from their upcoming tour, and where she sees both herself and the band heading next.
Join me as we dive into it all.
Here is Virginia Franks.
Photo, Devin Kasparian
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Features
Interview With Bassist Bjorn Meyer on ‘Convergence’ … Exploring Sound, Space, and Innovation
By Guest Contributor, Joe Barth
Joe Barth talks to Bjorn Meyer about his new album and exploring new musical territories with the electric bass.
Above photo courtesy: Björn Meyer © Fredrik Gille / ECM Records
Bjorn Meyer was born in Stockholm, Sweden in 1965 and has lived in Switzerland since 1996.
Starting on the piano, trumpet, and guitar, he turned to the electric bass at age eighteen. In 1996, the Nyckelharpa player Johan Herdin, percussionist Bazar Bia, and Bjorn formed the trio Bazar Bia. Since then, he has worked with Persian harpist Asita Hamidi, oud player Anouar Brahem, and pianist Nik Bartsch. Convergence is Bjorn’s second album on the ECM label.
JB: Before I ask about the new Convergence album, tell me about yourself. You grew up in Stockholm, Sweden. During your teenage years, you played guitar in punk-rock bands, then, at age eighteen, switched to bass. What was musically most helpful in your personal development as a bassist?
BM: My first encounter with the electric bass was pure luck and changed my life in an instant. Music had been an important part of my life from childhood, but always as one of many things I was interested in, like a very rewarding hobby. The bass changed all that. I had finally found my voice, and all the sounds I had heard and accumulated for so long without knowing how to make them real could finally burst out. I gladly spent every free minute of every day exploring this new universe, and that gave me a focused motivation that was hugely important.
Two important things helped me on my way and shaped me a lot at that time:
First of all, I realized that so much music that I was really interested in, as a guitar player, had resonated with me mainly because of the bass players involved! As a newly emerged bass player, I had a big library of music I could revisit. I learnt many important lessons by figuring out what made the music I loved work.
Second and definitely not less important: at the time I lived close to a house where many great musicians from Stockholm had their rehearsal spaces, jam sessions, and a general meeting point. Often there was a bassplayer missing — and I was five minutes away — so from the very early days as a bassist I could play with fantastic, experienced musicians from many different styles. From the very beginning, I was surrounded by role models and mentors who later on became colleagues and bandmates.
JB: Bjorn, to learn more about what shaped your musical values on the bass, to you, what are the three most influential bassists, and please give us a particular album they appeared on that you really connected with?
BM: There could obviously be many more than three, but – and this connects to the answer above! (Bass players “behind” guitar players)
Bass player: Jimmy Johnson
Album: Alan Holdsworth – Metal Fatigue.
I was (and still am) absolutely fascinated by Alan’s playing and compositions but the real magic was when I realized what Jimmy was doing to keep it all together, weaving fully logical basslines through “impossible” chord changes! And then there are these two very short fills at around 2:55 in the title track. 2 times 2 bars that I still remember the very first time I heard on Swedish radio. Time stopped, and I found myself trying to understand how to create such bass parts and how to adapt Alan’s unique chord voicings for the bass.
Bass player: Carles Benavent
Album: Paco De Lucia Sextet – Live One Summer Night
I had been intrigued by flamenco and the work of Paco De Lucia for a long time. My sister gave me the LP for Christmas, and this sextet redefined anything I had imagined possible. It taught me a lot about how to approach strong musical traditions with deep respect and still find my own space within and make the music even stronger.
It is absolutely incredible how Carles takes part in every function in the group – from rhythm and chords to melody and harmony – without ever losing the bass function of keeping all the sounds together and allowing the others to shine.
The bass solo in “Alta Mar”, the comping — if you can call it that — in Solo Qiero Caminar”.
Also, the studio album Solo Qiero Caminar was a game changer, just listen to the duo version of “Monasterio de sal.”
Bass player: Anthony Jackson
Album: (for once not a guitar player) Michel Camillo – Why Not!
I had been a fan from hearing Live In Central Park by Simon & Garfunkel but his playing with Michel Camillo was another ear-opener for me. Maybe also because my main working band at the time was a Latin-jazz band, so I guess it was a good match.
Having said that, Anthony was a huge inspiration across styles and genres over all the years we were fortunate enough to have him with us!
… that was already three … and I didn’t even get to mention Steve Swallow, Marcus Miller, Aston Barrett, Jaco Pastorius, Skuli Sverrison, Meshell N’Degeocello, Carol Kaye, Pino Palladino, and all the fabulous upright players that have inspired me so much – Charlie Haden, Palle Danielsson, Scott La Faro, Miroslav Vitous, and Eberhard Weber.
.. but the three I mentioned were definitely very important at the time!
JB: Convergence is you recording alone with your six-string bass. Your music has (for lack of better words) a very ethereal sound. How do you describe your music?
BM: The idea of an electric bass as a solo instrument triggers very diverse and often contradictory expectations. Many people have some idea of what a bass can do, and they expect anything from “root notes and fifths” to fast, equilibristic slapping frenzies with the comment, “How can you do that for more than three minutes per show?”
If I were to describe this program, I tend to use a few different approaches depending on who I am talking to:
Electric bass in acoustic space — I think it sums it up very well and gives some idea of what to expect without putting the music in a certain genre. For me, it is very important to share the music’s acoustic experience rather than focusing on the instrument’s electric character.
This music is also a mirror of my musical and personal journey through this life. The bass allows me to express myself without the risk of having my words misunderstood, and everything has a place in this music. Even though there are compositions, performing solo allows a unique freedom of interpretation depending on my state of mind that day.
Generally, I would be very happy to just say – new music for electric bass guitar!
JB: The album opens with “Convergence,” a song with deep textures, loops, and very staccato melodic figures. Talk about this.
BM: The album starts with a distorted chord progression – somewhat inspired by Alan Holdsworth – that I simultaneously feed into a loop through a shimmer reverb that I slowly fade in, played backwards. I find this texture very inspiring, and since it is all created live, it always turns out a bit different.
A pattern in 14/8 is presented – like a teaser – before an improvised part takes off in another direction. The pattern comes back in two versions: the original 14/8 (28/16) and a shortened 27/16 version. I loop the shorter version and play the original one on top, creating the rhythmical displacements you hear at the end.
I find such layering of patterns of different lengths very interesting, and it is a natural part of my vocabulary after many years of playing various kinds of minimal music with Don Li’s Tonus, Nik Bärtsch’s Ronin, NEN, and many others.
JB: The album consists of nine of your compositions. Were these songs all composed for this project? Talk about that process.
BM: Yes and no. I didn’t sit down to deliberately compose a fully new repertoire with this album in mind.
However, from the very first concert I played to release my first solo album, Provenance, in 2017, I noticed that the material and my playing were already shifting. Creative accidents happened, and new ideas emerged during concerts, soundchecks, and travels. After almost six years and many concerts, I had a tour in Japan and realized that there was nothing left of Provenance in the program. Then it took some time for Convergenceto emerge — during which the material continued to evolve.
In hindsight, I can see many stages of the development of Convergence that were definitely meant to become a new repertoire in its own right. One aspect of the name of the album reflects the convergence of ideas, moods, emotions, life, and time into this moment.
JB: Talk about the six-string bass you used in this recording. Did you use amplification, or was it mainly recorded directly?
BM: I play an MTD 635 (#160), an instrument that found its way to me by very lucky coincidence in New York in late 1995. I have played this very instrument on everything involving electric bass ever since.
As I mentioned earlier, the acoustic component is very important to me, and I am very lucky to have the support of producer Manfred Eicher for this approach. We recorded in a big, wonderful-sounding room that often hosts symphony orchestras and recordings of large film-music projects. The sound engineer Michael Hinreiner knows the room very well and was also very keen on the idea of making an acoustic-style recording.
I had a pair of Genelec 8030 Studio monitors and a small subwoofer behind me for the full signal (bass and effects) and a pair of satellite speakers further away, where I sent effects only (delays, reverbs, etc., but no direct bass signal) in order to fill the room and have a spatial experience.
This setup was then recorded using a lot of microphones to pick up all the aspects of the room, but also close miking on the instrument to pick up the acoustic sound. Much like you would approach a serious recording of any acoustic instrument, like a classical guitar or a cello.
Obviously, the line outputs of the bass and the effects were also recorded, but very little of that was used in the mix. I am very happy with the result, and I think you can really have the experience of sitting in the room with me when listening to the album.
JB: “Drift” is filled with harmonics. Tell us about that song.
BM: After Jaco’s “Portrait of Tracy,” anything involving harmonics on the bass is a bit sensitive. However, the range of the six-string and playing harmonics with a bit of a scraping sound with the plectrum does add another texture that I find very inspiring.
The piece started out as a reflection on the ice breaking on a river after a strong winter. Deep cracks forming, small pieces of ice breaking loose into the stream. Obviously, that is only my very personal picture. Some have said that it reminds them of northern lights, which is also a beautiful thought!
B: I love the sense of movement you create in the song “Motion.” Talk about this composition.
BM: Thanks! It took me a long time to become fluent in playing it and for the piece to develop to its current form. It started with the plucking pattern in 11/8 and the first two chords. For a long time, I couldn’t find a way out of this tonality, but the more my right hand started feeling comfortable in any tempo, I started hearing a harmonic development that the left hand was kind enough to accommodate.
“Motion” is a good example of two things that inspire me: I like it when odd meters still can have a dancing quality to them, and I often find this kind of incremental approach to harmony very interesting.
JB: This is your second ECM album. What do you appreciate about working with producer Manfred Eicher and ECM Records?
BM: It is my second solo album on ECM, but I have been lucky enough to work with Manfred on four albums with Nik Bärtsch’s Ronin and two albums with Anouar Brahem. All very different productions.
I am fascinated by his enormous dedication to music and very inspired by his way of listening. Knowing that he is listening changes my focus as a player. From being concerned with playing “right” it becomes all about playing in a way that allows for a deeper level of experience. Taking risks and adapting the performance so that the music translates well to someone who is attentively listening. He has the ability to ask or suggest things that allow me to shift focus away from the microcosm of “my composition” to the macrocosmic dramaturgy of the music.
This overview also applies to the full album, in how he balances the tracks and puts the track list together. For example, the idea of opening with “Convergence” was far from my original plan, but it turned out exactly right. Not to mention the choice of cover picture, a very unexpected but perfect match for me.
JB: Do you view the entire album as a kind of symphony or tone poem with multiple movements?
BM: I definitely see the album as a whole body of work in itself and a thoughtfully curated dramaturgical statement. But I still see it as a collection of separate compositions rather than multiple movements. The album has one sequence, but in a concert situation, I can freely choose another path to adapt the dramaturgy to the room, the audience, and the setting.
Having grown up listening to LPs, it is very important to me that listening to the full album adds an extra dimension to each song’s experience. Especially in this age of streaming and separate songs put together in more or less random playlists, I think it is more important than ever to at least try and compose as deep listening experiences as we possibly can.
JB: The album ends with the reflective “Nesodden.” Is there any connection with the peninsula in Norway?
BM: Yes – the song was written in a small cottage at Nesodden, overlooking the fjord running into Oslo. I was performing at the jazz festival there and arrived a day early due to travel issues. Sitting there, I saw a family of geese and two canoe paddlers in a beautifully respectful interaction. I guess it had something to do with who could land first or something, but all of a sudden, this whole tune had formed. I did rework some minor details over time, but the song was like a gift from Nesodden. It very seldom happens in that way.
JB: You moved to Switzerland a few years ago. Talk about the gigs you do in Europe and how you make a career in music work for you.
BM: You are kind – it has already been 30 years.
One thing I really appreciated coming from Sweden was how well-connected Switzerland is. In four to five hours, you reach Paris, Milano, Munich, and many other comparatively large cities by train or car! This makes touring so much easier than from Stockholm, where you either spend a full day just to reach the country’s border, or you have to fly all the time, which I don’t really like.
Interestingly, both Sweden and Switzerland are quite small countries, yet they have very strong, yet distinct and creative music scenes. There are also many interesting venues and festivals. Since I am involved in quite a few different projects all across Europe, Iran, and North Africa, my touring schedule will depend on which projects are active at the time. At the moment, my focus is on my large ensemble, Garden of Silence — 9 Musicians from 3 continents — on the one hand, and the solo project on the other.
I feel so very blessed to have the opportunity to present this music to so many fantastic audiences and to be part of so many inspiring collaborations.
Like everywhere, the economic situation for live music is changing quite rapidly, also here. However, I am confident that we will always need this form of human interaction, being in the same space at the same moment in time, sharing the same experience. Music is such a strong healing power, and we need it more than ever.
Photo: Self-portrait by Melissa Auf Der Maur
Melissa Auf Der Maur is a Canadian bassist who played with Tinker, Hole, and The Smashing Pumpkins. She released her own work and is a photographer with photos published in Nylon, Bust, and National Geographic. She released her ‘90s Rock Memoir “Even The Good Girls Will Cry” on 17 March 2026.
KB: Did you always want to be a singer-musician growing up?
I’ve played music my whole life. In school, I played trumpet and sang in a children’s choir, so music was always within me. My mother was the first female disc jockey on the Montreal airwaves; her record collection played a huge role in my inspiration and love of music.
KB: When did you start playing bass, and why this instrument?
When I was 19, the early 90s music explosion began to percolate in tiny clubs around the world. I was lucky to be a ticket girl at Montreal’s underground music club. In one year, I saw Hole, Sonic Youth, Smashing Pumpkins, White Zombie, and The Breeders – all had female bass players. That’s when the seed was planted. By the age of 22, I was the bass player of Hole.
KB: Which brands of basses have you used in your career, and which one are you using now?
The first bass that I learned on was a vintage Squier Precision. Hole was sponsored by Fender guitars, so I upgraded to Fender Custom Shop Precisions. That is all I play, but I have a cool vintage 8-string Greco that I use on recordings to thicken up guitar parts.
KB: What equipment do you use or have you used with your basses?
Ampeg SVT amps and cabinets, a couple of Sans-Amp pedals, and that is it.
KB: How did you become a member of Hole, and what is your fondest memory of that time?
Billy Corgan of the Smashing Pumpkins was helping scout a replacement for (RIP) Kristen Pfaff, Hole’s bass player. My band, Tinker, opened for them on the Siamese Dream tour, so Billy had seen me play and could vouch for me. Courtney trusted her talented friend, and that was it. I initially said “no thank you” due to my commitment to my photographic studies and the drama and chaos surrounding the band during the “Live Through This” album release. Courtney took it as a good sign that I said no, so convinced me to reconsider, and soon after, I accepted their invitation, in the name of helping put females in the male-dominated landscape of rock music. My fondest memory is every show we played as a mostly female band, symbolizing what a woman could do in a rock band. Every show had a purpose: get more women to play music.
KB: You are a photographer as well. What makes a great picture? Do you shoot in color or b/w?
I started shooting photographs at age 15. Initially only shot black & white and worked in the art school darkroom. In university, I took a color photography course, and shifted mostly and forever to that, because it was easier to process film on the road when I joined a rock band. I experimented with many cameras, point and shoots, manual, polaroids, medium format, and vintage finds. The trick to a good photograph is to shoot many and all the time – the magic is in the edit and selection process.
KB: Are there artists you would love to collaborate with or wish you had?
??I’ve been lucky to collaborate with some of my favorite musicians in my career. I would still love to collaborate with a new generation heavy electronic artist on an analog bass, heavy electronic drums, and synths collaboration project. Take me out of my usual zone, merging the past and future: my love of 80s dark new wave and new artists exploring that genre. It was very futuristic back then, and we are now, after all, living in the future. I am in the mood to play bass to heavy beats I want to dance to.
KB: What are your 7 favorite bass lines in music across all genres? And why these 7?
“Mountain Song” – Jane’s Addiction (love a rambling, rolling bass line – feels like the ocean waves)
“Black Top – Helmet” (was the first bass line I taught myself)
“Gold Dust Woman” – Hole from “The Crow 2” Soundtrack (it was my first bass line contribution to the band)
“Get Ready” – The Temptations (Motown just feels so good, because of the bass)
“Lucretia My Reflection” – Sisters of Mercy (makes me want to hit the dance floor and play bass simultaneously)
“Be My Druidess” – Type O Negative (full chord bass playing at its best by iconic, demonic, Peter Steele, RIP)
“Romantic Rights” – Death from Above (1979 – unique distorted overdriven tone, combined dance rhythm and melodic intelligence, all in one shot – also! Shout out to a bass & drum only band, which is awesome, and we should have more of, but the bass player needs to be a killer to fill that role.
KB: What are you currently up to?
Releasing my ‘90s Rock Memoir “EVEN THE GOOD GIRLS WILL CRY”. Visceral healing process, it was to get it out of me and write it, but I suspect the real magic will begin by putting it into the world and reflecting with others on what the magic of the ‘90s was all about. Powerful music decade that carried us into what is now a brave new world of digital corporate weirdness – may the past shed a light on our future. That’s my hope for this book release and tour.
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Harvie S is an American jazz double-bassist. He recorded numerous albums as a leader and co-leader, with over 400 recordings as a sideman. He has been a professor of jazz bass and ensembles at the Manhattan School of Music since 1984. He has a new album coming out on 20 March: “Bright Dawn”, where he features the bass as a melodic instrument.
KB: Did you always want to be a musician growing up?
In my childhood days, I wanted to be a professional football player. When I hit my early teens, I didn’t know what I wanted to do, but I finally decided that music was calling me. No one supported my decision, especially my guidance counselor at my High School. I decided to go to Berklee College and enrolled as a pianist.
KB: Why did you pick the double bass?
I was always listening to Jazz in High School, but I had a cheap stereo and the bass never came through, so I was not into the bass. I bought the Riverside Bill Evans “Waltz for Debby” recording and could hear the bass on that. Scott LaFaro made a huge impact on me. I realized what you could do on the bass through that.
In my first year at Berklee, I made the decision to get a bass and give it a try. No lessons, but I started working immediately and took to the instrument fast, even though I really didn’t quite know what I was doing. Berklee at the time didn’t really have much of a bass department (they do now), so I stayed as a composition major and piano minor. I was doing gigs on both instruments, but leaning towards the bass. In my senior year, my hero, George Mraz, graduated, and I was chosen to replace him. I was amazed by that, but it inspired me to do better.
KB: What double basses have you used over the years? Which one are you using now?
Good question. I have owned over 30 basses in my life. I would buy and sell a lot, and quite truthfully, I let some great basses go. About 12 years ago, I got a Jusek bass made in the 1920’s that Barrie Kolstein had completely restored after it was in an accident. He made it better than it ever was. I love this bass. He then turned me onto a Prague 100-year-old bass. I decided on this bass to use a gut G string and added a C-extention. This is my power bass, and my Jusek is great for trio work I do with Alan Broadbent and others. It bows really nicely. I used it on my new recording. I also have a Busetto bass, which is kind of a travel bass with a small body, and I use it around town and can take it on the bus. It sounds so real. Probably isn’t made anymore.
KB: What equipment do you use with your double bass?
I am very concerned about equipment. So concerned that I invented a bass amp called the “Upshot”. It is a completely different design where the sound goes up rather than straight out. For some reason, it projects perfectly and sounds like there is no amp, but has plenty of volume.
I also designed it to fit in a backpack which frees your arms when you carry the bass. It only weighs about 13 pounds. Acoustic Image was making it, but unfortunately, the owner, Rick Jones, passed away, and the company disappeared. I have some spares, so I can still use it. I use Heritage strings because I was involved with the development. Great strings, but maybe hard to get now. I use the Planet Wing pick-up, which, in my estimation, is the best there is, and it is such a simple design.
I use Weidoeft rosin, which Barrie Kolstein invented. Best rosin I ever used.
KB: You are teaching bass at Manhattan School of Music: What is the first thing you teach someone who is new to bass playing?
I really spend a lot of time working on how to get a sound. After that, timing and intonation.Then a lot more.
KB: Are there people you would love to collaborate with or wish you had?
I never got to play with Billy Higgins or Jack DeJohnette. I would have really liked that. I’ve been blessed and have gotten to play with many of my heroes. On my website, you can see the list.
KB: What are your 7 favorite bass lines in all music genres, and why these?
Hard question to answer, but I love the bass lines Ron Carter played on the Miles Davis recordings.
Israel Crosby with Ahmad Jamal
Ray Brown with Oscar Peterson and others
Luizão Maia & Elis Regina
Bobby Rodriguez with Tito Puente and Alegre All Stars
Scott LaFaro with Bill Evans
James Jamerson with everybody
Gene Taylor with Blue Mitchell
Butch Warren with Herbie Hancock
Thelonius Monk (with Wilbur Ware) on everything he ever did
I know I left out a lot, but it’s a good start.
KB: You have a new CD coming out in March… What can you tell me about it? How excited are you?
I’ve made over 20 recordings as a leader and over 20 recordings as a co-leader, but I never did a bass feature project. On “Bright Dawn,” I decided to feature the bass as a melodic instrument. I don’t play all the melodies, but more than in the past. That’s for sure. I wrote all but 2 compositions. I carefully picked the band and was able to get Peter Bernstein, Matt Wilson, and Miki Hayama for the date. I know their playing and have recorded separately with them in the past. I tried to make the music fit with their style so they could shine (and they did).
I am very happy with the result, and I was involved with the mix. Actually, in the past 10 years, I have assisted many musicians in mixing their recordings. I believe the mix to be essential in getting the message across. I have also been doing recordings, and I have recorded over 12 CDs as a recording engineer, mixing assistant, and producer. I enjoy the process so much. I like a hands-on approach to music that I record, and it has been working very well.
The importance of music to me is to tell a story and inspire others to fulfill their potential. Just playing notes is not the way for me. I’ve had a hard road to travel all my life, but I wouldn’t want it any other way. I’ve had a blessed life.
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Since 2012, Tom Doyle has been holding down the low end for UK alt-rock heavyweights Don Broco, helping to shape the band’s groove-driven, genre-blurring sound into one of the most distinctive in modern British rock. With thunderous tone, razor-sharp precision, and an instinct for hooks that hit just as hard as the riffs, Doyle has become a crucial force behind the band’s ever-evolving sonic identity.
As Don Broco gear up to unleash their highly anticipated new album, Nightmare Tripping, this feels like the perfect moment to dive into the mind of the man anchoring the chaos. From his musical roots and influences to the gear and techniques that craft his signature sound, Doyle opens up about the journey so far and what lies ahead.
Join me as we explore Tom’s evolution as a musician, the creative process behind Nightmare Tripping, and his vision for the future in a band that refuses to stand still.
Here is Tom Doyle.
Photos by Ton Pullen