Features
Jimmy Haslip – The Common Denominator
Jimmy Haslip – The Common Denominator By Brent-Anthony Johnson
“Everything happens for a reason!”, laughs bassist/producer/composer Jimmy Haslip, as we recently discussed the latest several recordings to be added his remarkable 40-year-plus discography – which, by the way, includes 13 nominations and 3 Grammy Awards! Jimmy’s most recent Grammy Award is 2018’s Jeff Lorber Fusion release Prototype, of which he has been a full member since 2011.
Jimmy has also toured extensively with guitarist Oz Noy, Jing Chi (with long standing collaborators Robben Ford and Vinnie Colaiuta), and the late, great Allan Holdsworth, amongst others.
Never one to rest on his laurels, Jimmy is now bass deep into projects with multi-instrumentalist Cody Carpenter, keyboardist Scott Wilkie (with guitarist/vocalist Kleber Jorge and drummer Jeff Olson), ELEMENTAL (with keyboardist Otmaro Ruiz and drummer Jimmy Branly), and the incredible ARC Trio (with keyboardist Scott Kinsey, and drummer Gergö Borlai). Always engaging, gracious and a “just, plain good Human Being”, Jimmy Haslip has had the career most professional musicians wish they could achieve… 3-or-4 times over!
In past interviews, Jimmy has always taken time to identify his “Main Gig”, and how he arranges his time to accommodate incoming recording and performance offers around that dedicated home-base. However, for more than a decade his musical world has evolved in the same manner as the “music business” itself into a more fluid, and definitely busier, landscape. So, instead of unpacking a single release, we find ourselves looking at several projects that are related only in the sense that each project has produced profoundly good music that share Jimmy as the common denominator!
Stay tuned for more great music from the projects listed above!
Most recently, Jimmy can be seen playing new an instrument by Japanese Luthier Hirotaka Kiuchi of INNERWOOD, his beloved Trickfish amplifiers, Moody straps, and Dunlap strings and effects!
BAJ: Here is the best opener I can think of, man, One of the great truths of 2019 is this: Jimmy Haslip doesn’t need a “Main Gig”, because, it appears, virtually everyone else’s main gig is hiring Jimmy Haslip!”
JH: (Laughter) I am getting a lot of work, right now! Actually, I’m in pre-production for a few new projects since finishing the last sessions! There are the necessary pre-production phone calls, et cetera…
But, I do stand by a statement I made before, about having a “main gig”! My main gig, at this time, is production.
BAJ: Once again we find you in the still eye of the music hurricane that is your life! Congratulations on the Grammy win with Jeff Lorber Fusion, by the way! It is great to talk again, Brother…
You, are a BUSY Man! As I said, congratulations on the win for Prototype! Also, you and Jimmy (Branly) sound awesome on ELEMENTAL! Let’s begin by discussing that hook up!
JH: Jimmy Branly and I have recorded a number of recordings and live performances together, and the time was right to find one of those projects that allowed us to work together on both sides of the mixing board – as Jimmy is also an excellent mixing engineer! In recent years, he and I have recorded several projects that required bass & drums overdub sessions, and we have talked quite a bit about a collaborative project. The new ELEMENTAL release (Blue Canoe Records) is a culmination of our intentions!
BAJ: Though it is very subtle, there is a definite Latin vibe in the conversation you’re having with Otmaro that creates a wonderful, earthy “sub-hook” throughout the record. Was that ever discussed, or intentional in any way? Or, as I suspect, is the outcome from the trance that occurs when you’re playing with great players who happen to be cool people?
JH: Nothing about the genre was discussed between us, and we allowed for a natural turn of events when we began recording the project. As Otmaro explains in our newly released EPK, “The project originally started some years before as a quintet with two other prominent musicians, and we just couldn’t get any support for it. So it fizzled out. This trio recording came out of the ashes from that and, with the motivation of Jimmy Branly, we resurrected something inspired by the fact that we enjoy playing music together. The music naturally has a Latin influence and we ran with it!”
Otmaro is a wonderful composer and he had a bevy of music ready to go. So, we had an instant repertoire that we could focus on for this release. The entire session fell into place largely due to JImmy’s expert recording and mixing abilities, and it morphed into an enjoyable (and creative) whirlwind!
BAJ: What happens next with the Elemental project?
JH: The plan is to all pitch in to promote ELEMENTAL through social media. We are planning to perform! Unfortunately, the touring landscape is growing more and more difficult for new releases – due to budget cuts by festivals around the world. So, being handcuffed by diminishing gig possibilities, we are planning to play those gigs that makes sense geographically and economically. Incidentally, ARC Trio is in the same boat, economically.
BAJ: You have spent many years playing with brilliant guitarists: Allan Holdsworth, Robben Ford, Oz Noy…
It is really nice to hear you alongside pianist/keyboardists in this most recent group of recordings! When we talked last, you were very excited about the session you recorded with Scott Wilkey and Kleber Jorge. Tell us more about that?
JH: Well… I’ve been lucky enough to play with a lot of great musicians – including the great guitarists mentioned here!
I was invited to collaborate on the very recent recording with pianist Scott Wilkie and drummer Jeff Olson that featured Sergio Mendes’ guitarist and percussionist, Kleber Jorge and Gibi. The recording includes some classic and a few, more obscure, Brazilian music pieces. So, there are songs by wonderful Brazilian songwriters (a few of which have been rarely recorded) as well as original music that was composed by Scott. Those sessions were a true joy on many levels! For instance, it was my first time working with Kleber, Jeff Olson, and Gibi who are brilliant! All the musicians are playing really well, and we’ve had a great time working at Spragueland Studio, which is owned by guitar icon, Peter Sprague. At this time, we are still recording new material and I’m really excited about the project!
BAJ: Oh! I can’t wait to hear the new music from Cody Carpenter! Can we also get a glimpse of what’s to come from him?
JH: This is the second time I have recorded with Cody, and this is Cody’s second solo release (Blue Canoe). It’s really great to work with him as he is a multi-instrumentalist and his music is Progressive Rock focused. Which, is one of my all-time favorite genres! So, working with Cody is right in my wheelhouse! He is a young genius, in my opinion, and his music is inspired, progressive, and challenging! I grew up listening to YES, Gentle Giant, Jethro Tull, ELP, Soft Machine, Atomic Rooster, King Crimson, RUSH, and Genesis… in addition to Jimi Hendrix, Led Zeppelin and more blues-based bands that were playing more unique forms of the progressive music of that time. More recently, I have become a big fan of Virgil Donati’s bands Planet X and Icefish, and Virgil was a guest on both of Cody’s recordings.
BAJ: Are there any plans to tour with anyone new this next season? Or, is Mr. Lorber keeping you too busy at this time? Also, you reminded me that Jeff Lorber Fusion released another offering right after Prototype! Wow! Let’s talk about the writing/rehearsal/recording process for JLF! How do you stay on top of all the music Jeff produces?
JH: Jeff has kindly include me on the production side of his recordings, and I have been honored to co-produce 6 Jeff Lorber Fusion recordings: Now’s The Time (with the legendary Bobby Colomby), Galaxy, Hacienda, Step It Up, Prototype, and the most recent release, Impact.
As you mentioned, Prototype won a Grammy for Best Contemporary Instrumental Music, last year, and Impact was released shortly after the award ceremony. Jeff and I have been “on a roll”, and Jeff is incredibly prolific as a composer – he is, practically, writing and producing 24/7 (Laughter)! He has an amazing work ethic that incorporates his musicianship with his own State Of The Art recording studio. Jeff is also a solid and creative recording and mixing engineer, and I have learned, and continue to learn, a lot from him! We have tons of shared knowledge and we write similarly. So, we have a very compatible and creative relationship.
Finally, Jeff is great to work with on all levels, and we have been able to surround Jeff Lorber Fusion with amazing musicians and special guests like:
- (drummers) Vinnie Colaiuta and Gary Novak, “Lil’ John” Roberts, Ash Sloan…
- (guitarists) Paul Jackson Jr., Michael Thompson, Larry Koonse, and the incredible Robben Ford…
- (brass & woodwinds) Randy Brecker, Gary Meek, Eric marienthal, and Andy Snitzer!
Jeff Lorber Fusion is gearing-up to work on a special recording project that is slated for a February 2019 release! We’re recording at JHL Recording, and it has become a Music Machine – to say the least! I am honored to be part of this incredible experience!
BAJ: You were photographed playing a new instrument built by Hirotaka Kiuchi while you were recording the Scott Wilkie sessions. Are we looking at a Jimmy Haslip signature prototype? What other instruments are you recording with these days?
JH: Ah YES…! (Laughter) Hirotaka Kiuchi operates Japan’s Innerwod Guitars and Basses and he is also a distributor of two other projects I endorse: Roscoe Guitars, and Trickfish Amplifiers & Speaker Cabinets.
Hirotaka and I have a long-standing relationship, and he has built several Innerwood instruments for me. The particular instrument in question has become a staple for me in the recording environment. I have used that bass on many recordings, and it is being used on much of the upcoming releases including the new Jeff Lorber Fusion project, and upcoming releases with (pianist/composer) Silvio Amato, and (guitarist) Dave Haskell!
BAJ: You have been spending a lot of time on the “other side” of the control room glass! Which projects come to mind that you didn’t actually play on, of late?
JH: I just consulted the mix and produced two tracks for guitarist Dewa Budjana’s recording “Mahabini” for the MoonJune label! I invited my good friend, (guitarist) Mike Stern, to participate in the recordings and Dewa’s studio band included (drummer) Marco Minnemann, (bassist) Mohini Dey, and (Dream Theater keyboardist) Jordan Rudess. I also co-wrote a song, and Dewa wrote the rest of the material with (Red Hot Chili Peppers guitarist) John Frusciante – who also played on the disc.
Since we’re talking about it… I have had the pleasure of working on the following projects that are either newly released, or about to be released:
Melbreeze “Amazonia” which I also co-produced with Scott Kinsey, Michael Franks’ “The Music In My Head” which I co-produced with Gil Goldstein, Charles Blenzig, Scott Petito, and (the late, great) Chuck Loeb, Michael Schmidt’s “Life”, Jing Chi “Suprem” with Scott Kinsey, OUI’3 “Tribe Of Rivals”, Gary Dean Smith’s “Awakening”, and yet untitled soon to be released outings by Luca Di Luzio, Jeff Richman, and Dave Haskell. I co-produced the Dave Haskell release with Robben Ford.
BAJ: This story is hitting the pages of Bass Musician Magazine about the time you’re going to NAMM 2019! The 70’s fashion question, “Who are you wearing?” comes to mind! I know you will be at the Trickfish booth! But, who else will you be spending time with, this year?
JH: Actually… I won’t be attending NAMM 2019 – as I’ll be in the studio non stop with those projects we’ve been discussing and a few more that I have yet to schedule! I will, however, be there “in spirit” with Moody Guitar Straps,Dunlop Strings and effects, Trickfish, MTD, and Roscoe Guitars!
BAJ: Cool, man! I rarely meet, “To busy for NAMM this year!” That’s incredible! Let’s get back to music…
ARC Trio! Please, give us everything! Will we see this live? Can we talk about the “Special Project”, yet?
JH: I really can’t discuss the forthcoming special collaborative project that will include ARC Trio as the rhythm section! But, ARC Trio will perform November 2019 in Bonn, Germany with several special guests in a concert that will feature the music of MSM Schmidt in an event commemorating 10 years of JazzRock TV from Köln, Germany!
As ARC Trio, (keyboardist) Scott Kinsey, (drummer) Gergö Borlai and myself are “on hold” as we await a couple other performances to materialize this year. But, we are planning to follow-up our debut recording. As it stands, there may be an opportunity to record this summer.
This is a new band with all the pitfalls inherent and presented by the landscape of the music business. This is highly experimental music that falls through the cracks of any high profiling and acceptance within the Jazz Festival and Jazz Club community. But, we’re resilient, and we’re happy to record and release our music with the help of Blue Canoe Records. I have a very solid relationship with CEO/Bassist Joseph Patrick Moore, who is a champion of this music!
The ARC Trio is another cool collaborative project with Scott Kinsey and I composing the bulk of the music. Originally, I wanted to direct the music more toward my first solo release ARC (GRP, 1990) which I co-produced with Vince Mendoza, who wrote half of the material. Likewise, ARC Trio has recorded two of Vince’s compositions. I also wanted to include longtime collaborators (drummers) Vinnie Colaiuta and Gary Novak, in addition to adding Gergö – who rounds out the trio. Gergö, Scott and I have been recording together on other projects as well. Scoot and I thought it would be great to add a few “other colors” and that led to the addition of (saxophonist/EWI) Steve Tavaglione, who I’ve worked with extensively, and (EVi) Judd Miller. Executive producer, Rick Denson, helped us with the project’s funding, and served as a vigorously positive and supportive force within the creative process that birthed the ARC Trio! We are all looking forward to the performances and to recording the follow-up material.
BAJ: When we spoke last year, you were wanting to spend more time in the studio and much less time on the road. What does 2019 look like for Jimmy Haslip – all things falling into order?
JH: Yes! That’s the vibe… Spending more time in the studio, and less time on the road! Since becoming a professional musician, in 1970, I have traveled extensively from 1970 through the early 2000s! Though most of that time on the road was with Yellowjackets, I toured with Dave mason, Al Jarreau, Chaka Khan, and Bruce Hornsby. Later in my career I toured with the Allan Holdsworth/Alan Pasqua Group, the Robben Ford Band, Jing Chi, Renegade Creation, Oz Noy, and Jeff Lorber Fusion! There were also short runs and numerous gigs with a variety of bands and artists. I have travelled all over the world. But, once I made the decision to focus on production and studio work, it made a much needed (and much desired) change in my calendar and scheduling life!
Since 2012, I’ve limited my touring to 3 months per year,and that has been a totally welcomed change, and this year looks to fall in line with this schedule – and, possibly, even less time spent on the road as I look at several new production projects that are in the scheduling phase of their development slated for 2019!
BAJ: I always enjoy speaking with you, Jimmy, Thank you for taking time with us! Again, congratulations on this collection of wonderful music, and thank you for sharing your great gift. Did I mention that your playing is absolutely amazing on everything we’ve tried to cover this time? You sound incredible! So… I’m heading back into the woodshed, now. See you next time!
JH: Many thanks, and very kind of you to say that!
So… to you, Bass Musician Magazine, and the Bottom Dwellers BASS FaceBook site… Thanks for all the good vibrations and support you have given, not just to me, but for all the bassists around the world who are performing, recording, and bringing the gift of music to us all!
Your support means a lot to us (and to me). Thank you for taking the time to talk with me about the music!
Visit online at jimmyhaslipbass.com
Readers have been fans of the composer, bass player, and Bass Musician contributor Alberto Rigoni for some time now.
In this interview, we had the opportunity to hear directly from Alberto about his love of music and a project near and dear to his heart, “Unexpected Lullabies”…
Could you tell our readers what makes your band different from other artists?
In 2005, I felt the urge to write original music. My first track was “Trying to Forget,” an instrumental piece with multiple bass layers (rhythm, solo, and arrangement), similar to the Twin Peaks soundtrack. When I played it for a few people, they really liked it, and I decided to continue composing based on my instinct and ear without adhering to any specific genre. In 2007, I released “Something Different” with Lion Music. The title says it all! Since then, I’ve released many solo albums, each different from the others, ranging from ambient to prog, fusion, jazz, and new age. I am very eclectic!
How did you get involved in this crazy world of music?
As a child, I listened to the music my parents enjoyed: my dad loved classical music, while my mom was into Pink Floyd, Genesis, Duran Duran, etc. These influences left a significant mark on my life. However, the turning point came at 15 when a drummer friend played me “A Change of Seasons” by Dream Theater, which was a shock! From that moment, I decided to play bass and cover Dream Theater songs, which I did for many years with my cover band, Ascra, until it disbanded in 2004. After that, I joined TwinSpirits (prog rock) led by multi-instrumentalist Daniele Liverani. Since then, I haven’t played any more covers!
Who are your musical inspirations, and what inspired the album and the songs?
My roots are in progressive rock metal, with influences from bands like Dream Theater, Symphony X, and many others. However, I listen to all genres and try to keep an open mind, which helps me compose original music. On bass, I was significantly inspired by Michael Manring and Randy Coven (bassist of Ark, Steve Vai, etc.). But I don’t have a real idol; I just follow my own path without compromise.
What are your interests outside of music?
Living in Italy, I love good food and wine! Beyond that, I have a deep interest in art in general and history, not just of my country. I enjoy spending time with friends, skiing, biking, and walking in nature. This is how I spend my free time. The rest of my time is devoted to music and my family!
Tell us about the new album.
It is definitely an out-of-the-box album. When I found out last year that I was going to have a baby girl, I decided to compose a sort of lullaby album, but I didn’t want to cover already famous lullabies. So, I started composing new tunes with the goal of creating an album that was half-sweet and half-hard rock. I did include some covers like “Strangers in the Night” by Frank Sinatra, sung by Goran Edman, former lead singer of Malmsteen. It’s not exactly a lullaby, but I felt the lyrics fit the album, as does the instrumental version of “Fly Me to The Moon.” There are also tracks with just bass and piano (Nenia) or two basses (Vicky). It was definitely an interesting creative process!
What is the difference between the new album and your previous releases, and will there be any new material from your other outfit called BAD AS?
BAD AS is essentially a metal band with several influences including prog. My solo genre is quite different, although there are some metal songs on a few albums. It’s always difficult for me to categorize my music… let’s say it’s a mix of prog, ambient, fusion, and new age.
Where was the album recorded, who produced it, and how long did the process take?
I produced my last album entirely by myself, including mixing and mastering. Unlike other albums I’ve produced within a few months, this one took much longer, perhaps because I was very busy or maybe because I wanted it to be perfect for my daughter, who is now three months old. In any case, I am satisfied. Once again, I did something different from my previous albums.
What is the highlight of the album for you and why?
My favorite song is the first track titled “Vittoria,” named after my daughter. It’s the intro to the record and isn’t very long, but the melody stuck in my head. Another standout track is the instrumental version of “Fly Me to The Moon” by Frank Sinatra, where I used fretless bass. The first part is sweet, the second part definitely rocks!
How are the live shows going, and what are you and the band hoping to achieve?
With BAD AS, this year we shared the stage with David Ellefson’s (former Megadeth bassist) band and talented young singer Dino Jelusik (White Snake). We plan to continue performing all over Europe!
What’s in store for the future?
I am working on an instrumental project called Nemesis Call, a progressive shred prog metal album with various influences. It will feature guest appearances from famous musicians like drummers Mike Terrana and Thomas Lang, as well as young talents like Japanese guitarist Keiji from Zero (19), 14-year-old Indian drummer Sajan Young, and guitarists Alexandra Zerner and Alexandra Lioness, Hellena Pandora. It’s scheduled for release at the end of the year or early 2025. As an independent artist, I have launched a fundraising campaign with exclusive pledges at www.albertorigoni.net/nemesiscall. And no, I am not begging; the album will be released anyway!
What formats is the release available in?
Unexpected Lullabies is available both as a Digipack CD and on streaming platforms.
What is the official album release date?
June 4th, 2024.
Thanks for this interview Bass Musician Magazine and for the continued support to my career!
Visit Online:
www.albertorigoni.net
www.youtube.com/albertorigoni
albertorigoni.bandcamp.com
www.instagram.com/albertorigonibassplayer
www.facebook.com/albertorigonimusic
www.tiktok.com/@albertorigonibassist
CD Track Listing:
1. Vittoria
2. Fly Me to the Moon
3. Azzurra
4. Dancing with Tears in My Eyes (feat. John Jeff Touch)
5. Out of Fear
6. Veni Laeatitia (feat. Alexandra Zerner)
7. Nenia
8. Slap Lullaby (feat. Karl Clews)
9. Saga
10. Vicky (feat. Michael Manring)
11. Ocean Travelers (feat. Vitalij Kuprij)
12. Strangers in the Night (feat. Göran Edman)
13. Peaceful
14. Un uomo che voga (feat. Eleonora Damiano)
Band Line-Up:
- Tommaso Ermolli arrangements on “Vittoria”
- Sefi Carmel on “Fly Me to the Moon” (Cover) (except for the keyboard solo by Alessandro Bertoni)
- Piano and keyboards by Alessandro Bertoni on “Azzurra”
- Leonardo Caverzan, guitars, and John Jeff Touch, vocals on “Dancing with Tears in my Eyes” (Cover)
- T. Ermolli keys on “Out of Fear”
- Alexandra Zerner everything on “Veni Laetitia”
- Daniele Bof piano on “Nenia”
- Karl Clews, piccolo bass on “Slap Lullaby”
- Jonas Erixon vocals and guitars on “Saga”
- Michael Manring bass on “Vicky”
- Vitalij Kuprij, keyboards and piano, and Josh Sapna, guitars, on “Ocean Traveler”
- Göran Edman, vocals, Emiliano Tessitore, guitars, Emiliano Bonini, drums, on “Strangers in the Night” (Cover) everything by Alberto Rigoni and vocals by Federica “Faith”
- Sciamanna on “Peaceful”
- T. Ermolli, guitars, and Eleonora Damiano, vocals, on “Un uomo che voga All drums programmed by Alberto Rigoni
If you are an electric bass player, this is an exciting time to be alive as this relatively new instrument evolves around us. Some creative individuals have taken an active role in this evolution and made giant leaps in their own direction. Lee Barker is one of these inventive people having created the Barker Bass.
Fortunately, Lee is also an excellent writer (among so many talents) and has recently released his book “Plausible Gumption, The Road Between a Christmas Toolbox and The Barker Bass”. This book is a very fun read for everyone and shares a ton of details about Lee’s life in general, his experiences as a musician, a radio host, and a luthier. Now I am fortunate to have the great opportunity to gain even more insights into this renaissance man with this video interview.
Plausible Gumption, The Road Between a Christmas Toolbox and The Barker Bass is available online at Amazon.com
Interview and photo courtesy of Holly Bergantino of Bergantino Audio Systems
With an expansive live show and touring, Mt. Joy bassist Michael Byrnes shares his experiences with the joyful, high-energy band!
Michael Byrnes has kept quite a busy touring schedule for the past few years with his band, Mt. Joy. With a philosophy of trial and error, he’s developed quite the routines for touring, learning musical instruments, and finding the right sound. While on the road, we were fortunate to have him share his thoughts on his music, history, and path as a musician/composer.
Let’s start from the very beginning, like all good stories. What first drew
you to music as well as the bass?
My parents required my sister and I to play an instrument. I started on piano and really didn’t like it so when I wanted to quit my parents made me switch to another instrument and I chose drums. Then as I got older and started forming bands there were never any bass players. When I turned 17 I bought a bass and started getting lessons. I think with drums I loved music and I loved the idea of playing music but when I started playing bass I really got lost in it. I was completely hooked.
Can you tell us where you learned about music, singing, and composing?
A bit from teachers and school but honestly I learned the most from just going out and trying it. I still feel like most of the time I don’t know what I am doing but I do know that if I try things I will learn.
What other instruments do you play?
A bit of drums but that’s it. For composing I play a lot of things but I fake it till I make and what I can’t fake I will ask a friend!
I know you are also a composer for film and video. Can you share more
about this with us?
Pretty new to it at the moment. It is weirdly similar to the role of a bass player in the band. You are using music to emphasize and lift up the storyline. Which I feel I do with the bass in a band setting. Kind of putting my efforts into lifting the song and the other musicians on it.
Everybody loves talking about gear. How do you achieve your “fat” sound?
I just tinker till it’s fat lol. Right now solid-state amps have been helping me get there a little quicker than tube amps. That’s why I have been using the Bergantino Forté HP2 – Otherwise I have to say the cliche because it is true…. It’s in the hands.
Describe your playing style(s), tone, strengths and/or areas that you’d like
to explore on the bass.
I like to think of myself as a pretty catchy bass player. I need to ask my bandmates to confirm! But I think when improvising and writing bass parts I always am trying to sneak little earworms into the music. I want to explore 5-string more!
Who are your influences?
I can’t not mention James Jamerson. Where would any of us be if it wasn’t for him? A lesser-known bassist who had a huge effect on me is Ben Kenney. He is the second bassist in the band Incubus and his playing on the Crow Left the Murder album completely opened me up to the type of bass playing I aspire towards. When I first started playing I was really just listening to a lot of virtuosic bassists. I was loving that but I couldn’t see myself realistically playing like that. It wasn’t from a place of self-doubt I just deep down knew that wasn’t me. Ben has no problem shredding but I was struck by how much he would influence the song through smaller movements and reharmonizing underneath the band. His playing isn’t really in your face but from within the music, he could move mountains. That’s how I want to play.
What was the first bass you had? Do you still have it?
A MIM Fender Jazz and I do still have it. It’s in my studio as we speak. I rarely use it these days but I would never get rid of it.
(Every bass player’s favorite part of an interview and a read!) Tell us about
your favorite bass or basses. 🙂
I guess I would need to say that MIM Jazz bass even though I don’t play it much. I feel connected to that one. Otherwise, I have been playing lots of great amazing basses through the years. I have a Serek that I always have with me on the road (shout out Jake). Also have a 70’s Mustang that 8 times out of 10 times is what I use on recordings. Otherwise, I am always switching it up. I find that after a while the road I just cycle basses in and out. Even if I cycle out a P bass for another P bass.
What led you to Bergantino Audio Systems?
My friend and former roommate Edison is a monster bassist and he would gig with a cab of yours all the time years ago. Then when I was shopping for a solid state amp the Bergantino Forté HP2 kept popping up. Then I saw Justin Meldal Johnsen using it on tour with St. Vincent and I thought alright I’ll give it a try!
Can you share a little bit with us about your experience with the Bergantino
forte HP amplifier? I know you had this out on tour in 2023 and I am pretty
certain the forte HP has been to more countries than I have.
It has been great! I had been touring with a 70’s SVT which was great but from room to room, it was a little inconsistent. I really was picky with the type of power that we had on stage. After a while, I thought maybe it is time to just retire this to the studio. So I got that Forte because I had heard that it isn’t too far of a leap from a tube amp tone-wise. Plus I knew our crew would be much happier loading a small solid state amp over against the 60 lbs of SVT. It has sounded great and has really remained pretty much the same from night to night. Sometimes I catch myself hitting the bright switch depending on the room and occasionally I will use the drive on it.
You have recently added the new Berg NXT410-C speaker cabinet to your
arsenal. Thoughts so far?
It has sounded great in the studio. I haven’t gotten a chance to take it on the road with us but I am excited to put it through the paces!
You have been touring like a madman all over the world for the past few
years. Any touring advice for other musicians/bass players? And can I go to Dublin, Ireland with you all??
Exercise! That’s probably the number one thing I can say. Exercise is what keeps me sane on the road and helps me regulate the ups and downs of it. Please come to Dublin! I can put you on the guest list!
It’s a cool story on how the Mt. Joy band has grown so quickly! Tell us
more about Mt. Joy, how it started, where the name comes from, who the
members are and a little bit about this great group?
Our singer and guitarist knew each other in high school and have made music together off and on since. Once they both found themselves living in LA they decided to record a couple songs and put out a Craigslist ad looking for a bassist. At the time I had just moved to LA and was looking for anyone to play with. We linked up and we recorded what would become the first Mt. Joy songs in my house with my friend Caleb producing. Caleb has since produced our third album and is working on our fourth with us now. Once those songs came out we needed to form a full band to be able to do live shows. I knew our drummer from gigging around LA and a mutual friend of all of us recommended Jackie. From then on we’ve been on the road and in the studio. Even through Covid.
Describe the music style of Mt. Joy for me.
Folk Rock with Jam influences
What are your favorite songs to perform?
Always changing but right now it is ‘Let Loose’
What else do you love to do besides bass?
Exercise!
I always throw in a question about food. What is your favorite food?
I love a good chocolate croissant.
Follow Michael Byrnes:
Instagram: @mikeyblaster
Follow Mt. Joy Band:
Instagram: https://www.instagram.com/mtjoyband
Facebook: https://www.facebook.com/mtjoyband
I am sure many of you are very familiar with Mark Egan as we have been following him and his music for many years now. The last time we chatted was in 2020.
Mark teamed up with drummer Shawn Pelton and guitarist Shane Theriot to produce a new album, “Cross Currents” released on March 8th, 2024. I have been listening to this album in its entirety and it is simply superb (See my review).
Now, I am excited to hear about this project from Mark himself and share this conversation with our bass community in Bass Musician Magazine.
Photo courtesy of Mark Egan
Visit Online:
markegan.com
markegan.bandcamp.com
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Bassist Adam Sullivan…
Hailing from Minnesota since 2012, By the Thousands has produced some serious Technical Metal/Deathcore music. Following their recent EP “The Decent”s release, I have the great opportunity to chat with bassist Adam Sullivan.
Join me as we hear about Adam’s musical Journey, his Influences, how he gets his sound, and the band’s plans for the future
Photo, Laura Baker
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