Brandi Disterheft: Bass, Equipment, Ron Carter, Bass Lines, and More…

Photos courtesy of Brandi Disterheft

Brandi Disterheft is a Canadian Bassist and Composer, based in New York City. The legendary Ron Carter was her mentor, and she was the bassist for the legendary Hank Jones on the album “Pleased to Meet You”. Her debut album “Debut” won a JUNO (Canadian Grammy). She is working on her sixth album, featuring the iconic drummer Louis Hayes, which will be released in 2026. 

KB: Did you always want to be a musician growing up? 

Yes, since I was in the first grade. I performed songs from my piano lessons, and seeing my classmates’ eyes light up with excitement showed me the magic of music. I also adored writing songs, and my mother, also a pianist, would steadily offer much encouragement! My aunt, Angie Jaree, is a Grammy-winning singer in LA, and I’d always sing along to the many recording sessions she was on. A musician’s life was a conquerable feat in my family, and I moved to NYC to play jazz.

KB: Why did you pick the bass? What is so special about this instrument? 

It was my father’s idea. He thought it would be ironic to see a little girl playing a very large instrument. I was immediately mesmerized by the sonorous low sound. And all that control with the pocket and harmony simultaneously!

KB: You studied under the great Ron Carter… what did he teach you, and what is your fondest memory?  

Mr. Carter wanted it right, not one time, but five times in a row. His attention to detail is something I have never seen before. He wanted a beautiful sound with minimum effort, hence 2 fingers plucking at the same time as one unit, rather than one finger. He wanted a softer, more rounder sound and kept repeating I was playing too hard and too loud. And then suddenly, as I lightened up, I could hear even the poignant yet delicate attack of the note. He is an eloquent person, and similarly, his bass playing has that royal finesse.    

KB: Which basses have you used in your career, and which bass are you using currently?

1920’s German Pfretzschner Upright Bass and a 1980 fretless Fender P Bass. Had them both for years.

KB: What gear equipment do you use with the bass? 

Live shows for front of house – I always bring my DPA bass mic. Love Ampegs and Hartke for the Upright. Right now, my G string is a synthetic gut that my student gave me. (Always long for a gut when I play all metal strings). Thomastik Spirocore on the other 3 with a David Gage Realist pick-up and a back-up Kolstein pick-up.  

KB: Are there artists you would love to collaborate with or you wished you had? 

I’ve recorded with Hank Jones, Harold Mabern, and George Coleman. Straight to the jazz source before we lose that sound in our ears that only the elders have. I would like to collaborate with Finneas O’Connell.

KB: What are your 7 favorite bass lines in any music genre? 

• “Altitude” – Brandi Disterheft – which is featured on my new 6th record to be released in 2026. (Tune based on Donald Bird’s “Fly Little Bird”) 
• “For Turiva” – Charlie Hayden
• “Uptown Sop – Gene Harris/ Ray Brown
• “Just a Gigolo” – Louis Prima – (Love how Amado Ridriquez plays up the octave in AB, makes the song bright and clean. Basic triad. If he played it lower, it wouldn’t have that punch. Upright sings clearly) 
• “Bolivia” – Cedar Walton 
• “The Hang” – Anthony Wonsey 
• “Elation” – Vincent Herring

KB: What are you currently up to? 

Working on finishing up my new record featuring the iconic drummer Louis Hayes (2026 release). I have a few “pop” bonus songs and reading champion athletes’ autobiographies to steer this record into an album with lyrics to inspire my twin girls to hold the belief that they have the gift. I’m thinking of calling it “Game, Set, Match”. 

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