Features
Interview – Dreaming Spirits with Mark Egan
Mark Egan sat down with us to discuss Dreaming Spirits, recording the album, and to share news of upcoming endeavors.
Mark Egan, our July 2014 featured cover interview, has joined with percussionist Arjun Bruggeman to release Dreaming Spirits.
Mark’s signature bass tone washes together with Arjun’s wonderful tabla and frame drum playing to create expansive, meditative soundscapes that decorate the album. A prime example of the duo’s interplay can be heard on the track, “Mombassa”.
Mark and Arjun, who are longtime collaborators with Kirtan artist Krishna Das, are joined by guest guitarist Shane Theriot.
Shane’s playing integrates seamlessly with the duo and offers chances for great conversation with Mark’s bass lines, as in “Wave Motion”.
Mark sat down with Bass Musician Magazine to discuss Dreaming Spirits, recording the album, and to share news of upcoming endeavors.
I understand that you first started working with Arjun when you both played with Krishna Das?
Yes. I first met tabla player Arjun Bruggeman in 2008 at a recording session for Krishna Das in New York City. Guitarist, composer and producer, David Nichtern asked me to play on a project he was producing with Krishna Das. For those that don’t know Krishna Das, he is a spiritual teacher that performs Kirtan, which is a form of meditation in the format of all-and-response of Indian prayers and scriptures. He’s written, recorded and performed many songs with an instrumentation that is usually Harmonium, Voice, Tabla, Bass, Finger cymbals, guitar, violin and cello.
Since that first session with Krishna Das I’ve recorded and toured with he and Arjun in the United States. Bassist Mark Gorman also plays and records with Krishna Das on the west coast and in Hawaii.
From the very beginning, Arjun and I have had a great musical rapport playing together and have always talked about recording a project. Finally, last year in January, we got together and recorded all of the music that’s on the new Dreaming Spirits record.
What was your vision for the record, coming from the duo perspective?
Arjun and I had had spoken about what we wanted to do before we got together in the studio. We decided on some different time feels and different tempos; Arjun had some great ideas for tabla grooves and tone drum possibilities.
In preproduction I also had made some bass loops from a Roland RC3 Looped. I made some very long, extended ambient loops with volume pedal and two Lexicon PCM-42 delays with 10 seconds of delay. I also used the Strymon Time line effects delay pedal as well as the Strymon Blue Sky reverb pedal. These harmonic waves/beds are similar in some ways to the way that tabla functions in Indian music as a drone. Arjun and I improvised over these pre-recorded bass waves for some of the original sessions.
Additional pre-production ideas that I focused on were thinking of different key centers and tempos that I thought would be fun to experiment with and improvise over along with some specific bass line sketches and chord sequences that we could develop.
Most of the recording started as improvisations based on the above ideas and the basic concept was “Let’s do something in this tempo and in this type of feel and in this key and possibly around this tabla groove or bass line.”
We’ve played a lot over the last ten years and we know the different directions that we can explore. Our main focus was to be creative and enjoy doing it.
Arjun had a lot of ideas that he wanted to experiment with various drums that he had brought to the session. Arjun was originally a drummer so he not only plays tabla, but also frame drum that he plays on “Spirit Blues” and “Framonics”. He also played drums on some of tracks, tom-toms, cymbals and shakers. He also played tone drums, which are wooden drums that look like a box with carved wood tone bars that he plays these with his hands.
He came in with two songs that were basically solo pieces on the tone drums. One we later titled “Joy Ride” and the other is called “When Spirits Dance”. He recorded these pieces first solo and I then transcribed them and found bass lines and melodies and made the arrangements around his tone drum performance.
As post production evolved it seemed that we needed another voice for the instrumentation so I contacted guitarist Shane Theriot who I have been playing with for the last few years in the New York area. Shane is a very versatile guitarist and was the perfect choice to enhance the music that we had pre-recorded.
From the original two recording sessions with Arjun and myself and the addition of Shane’s great overdub sessions we had about two hours of music that now needed to be arranged and edited. I then spent about six months orchestrating, editing and producing. It was a lot of fun and creative to experiment with different bass melodies and effects. I was able to play my Pedulla 8-string fretless and 5-string fretless on backgrounds and melodies along with experimenting with different ambient effects. Even though I played bass on the original tracks, I added more bass melodies, effects and harmonies to the tracks and edited various jams into new pieces.
In the sessions, after the preproduction, you were playing together in the studio?
Yes, for the original sessions we set up facing each other as I was going direct with my bass, so there was no sound leakage from my bass into the tabla mics. All of the tabla and bass was recorded simultaneously. We later overdubbed tablas on top of songs with frame drum and various bass melodies on top of bass grooves. A few of the tracks such as “Village Call” started with just Tabla as Arjun played three different high tabla creating the melody which I later transcribed, double on bass and added bass chords. Later, Shane overdubbed Acoustic guitar strumming, lap slide guitar and electric guitar solo on the out vamp.
The songs on the album have a feeling of conversation in them. They feel very organic.
Whenever Arjun and I play we are always listening to each other and very much in the moment. As I mentioned, we have spent a lot of time playing together with Krishna Das over the last ten years. His music is very groove oriented and we always are having a musical conversation when we play together. We’ve spent hundreds and hundreds of hours in concert, so we know each other’s playing very well so being in the studio was an extension of that conversation and a very organic, evolving process.
One thing I really love is not only his sensitivity and the way that we can play together, but it’s not the typical odd-meter type of Indian music, which is sometimes more of the traditional music you associate with tabla. Arjun is an American and started playing drum set and percussion, and then he played tabla. He has a more Western approach to playing tabla even though he has studied and knows the tradition of classical Indian music. Arjun can play tabla with the sensibility of playing a drum kit with kick and snare.
But there’s another factor: the sound of my basses, the Pedulla fretless basses fit beautifully with tabla. Sonically the frequency range fits so well with the low tabla (bayan). When we lock in on a feel, it really becomes one sound with the bass and low tabla and I love that. That’s not dissimilar to locking in with a kick drum, but the tabla has a nice mid-range punch that I like with my basses. It’s a very alluring sound.
Your fretless comes across with a sound that resembles a vocalist.
The fretless bass can create a vocal sound because it’s like a cello; that’s one of the reasons why I’m so attracted to it. It has much more sustain than a fretted bass and you can play microtonaly around the pitch, which gives it that vocal quality.
Another reason the fretless bass speaks on this project is that the recording is very open and sparse, because of the orchestration. With such an open instrumentation it allowed me to be expressive with my fretless basses and fill in different spaces. Whereas if there were 4-5 musicians playing with a full drum set, I wouldn’t want to take up as much space and would play accordingly. In this case it was such an open canvas that it allowed me to really experiment and react to the tabla and guitar.
Let’s talk about Shane’s contribution to the album. How did he become involved?
After Arjun and I recorded the three days of duo sessions, I was starting to edit and do post-production by adding s bass melodies and bass pads over the tracks. I realized that we had recorded lot of music and it would be nice to have another voice on the project. I didn’t want to fill it up with all basses because it would have been too much and be monotonous, so I had the idea to add guitar. I had recently been playing with Shane in New York on a date at Richard Bona’s club called Club Bonafied with vibist Steve Shapiro. I asked Shane if he would be available to record at my studio in Connecticut to enhance what Arjun and I had just recorded.
I asked him if he played acoustic, which most guitar players do, but most just play it as a second instrument, but he really plays it as well as electric, just beautifully. I sent him some MP3’s of what Arjun and I had recorded along with some of the basic charts for the forms.
When he came to the sessions he had done a lot of homework and came up with several altered tunings for his acoustic guitar. Even though some of the songs were in E minor or D major or B major, that he could have just played on the [standard tuned] acoustic, he had interesting altered guitar tunings for the songs which created different timbres and made him play different parts. When you do altered tunings on a guitar or bass, it’s a whole different universe of chord and melody fingerings and you have to figure out different parts as you go. He came with altered tunings for each song. I was so impressed that he had spent a lot of time on it and really spent time learning the music.
He had great sensibilities about the guitar approach for each song. For instance, on songs where the bass was featured predominantly as melody, he came up with really interesting acoustic rhythm parts that added a groove that he then doubled. He then would add lap slide guitar in places, which created pads in the background somewhat like synth pads. We later added a lot of ambience with reverb and delay that created more depth of field in the mix.
There were times where I didn’t play a bass solo, because I didn’t want to play bass solos 3 or 4 times on the same song. Shane played some great solos and he totally fit into the feeling of what we were doing on the original tracks. He really had the vibe of what we had recorded initially with the duo – so much so that it sounds like we recorded the music all, together in an organic way.
That’s the sign of a really gifted player (Shane), that he can immerse himself and superimpose himself onto something that’s there and really become a part of it and be in the moment of it. He’s a very talented player.
Let’s talk about the recording side and how you recorded your bass.
I played my Pedulla basses direct through two Millennia TD-1 mic preamps with EQ. I also went direct through two Radial JDI direct boxes for some of the overdubs. I recorded in stereo using two lexicon digital delays along with effects such as Strymon timeline, Stymon Blue Sky and TC Electronics Chorus.
I didn’t use compression on the basic tracks but later in the mixing used a few plugins for compression and EQ.
Do you have dual pickups on your bass, then?
I have two pickups (P/J) but one ¼ ouput on my basses, so a mono output. I went mono out of my bass into stereo effects. In this case I used 2 Lexicon PCM 42’s and on some tracks I first went into a TC Electronics chorus. The left and right signals then went into two Lexicon Digital Delays which I used for delays and looping. Out of the delays I went into two Radial JDI direct boxes then into the mic pres. From the mic pres I went directly in the ProTools HDX system.
The bass is really less of a pure solo feature on the album and instead adds presence to the songs. The melodic content in your solos is amazing.
Thank you…
The music took on its own life when we started playing and recording. I think the sound of Arjun playing tabla and his sensibilities and the way that he grooves along with all of my past sensibilities and experiences made me react to the sonic spaces and play more impressionistically rather than just solo above everything. I felt like I played inside the sphere of the music and was just reacting to the spaces that we were creating. I had no awareness or desire to try to play with more of a solo feature. The music didn’t call for that and I generally don’t like to go in that direction.
When I did solo it was more from a melodic approach and inspired by the setup of the space.
I feel like this album is a very personal statement because of the openness of the orchestration and the overall tone of the recording.
On the first track, “Village Call” the bass improvises throughout the A sections over a Maj #11. The intent was more of a collective improvisation even though the bass is featured.
In recording this project Arjun and I weren’t trying to be commercial or come up with airplay material. The only goal was to sit down and play improvised honest music. It was all about what was in the moment and I love to play that way.
What’s coming up next for you?
We are producing a video of the trio about the making of the CD as well as some live performances in the studio that will be on YouTube and social media. We’ll hopefully be doing some live dates as a trio in the Northeast.
Another project that I’m working on is a duo record with Danny Gottlieb, drums and bass. Danny and I go way back to our days at the University of Miami and the Pat Metheny group experience. We have recorded several sessions that feature compositions and improvisations that draw form our 47 years of playing together. It’s a very open project with multi tracked drums and basses and features our experimental side of things. That will be released later this year.
I’m also working on a record with drummer Karl Latham and guitarist Vic Juris that is a follow up to Karl’s last recording “Living Standards” where we recorded modern standards such as
“Riders on the Storm”, “Tax Man”, “Day Tripper” etc. It’s so much fun playing with this trio as
Karl and Vic are team players and great musicians.
I am also a member of the Outreach Orchestra that performs every summer in Austria with great players from New York and Europe. It is a player/composers collective and very creative ensemble.
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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
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