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Chicago Bassist, Jauqo III-X Releases a New Recording

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Chicago Bassist, Jauqo III-X Releases a New Recording

Chicago Bassist, Jauqo III-X Releases a New Recording

Well renowned Chicago bassist, Jauqo III-X, recently released a new CD.  This recording project was a bold exploration that took the concept of improvisation much further than most projects.   Being based in Chicago, I was fortunate enough to be invited to attend this project’s marathon recording session.  I attended this session not just for the “hang”, which was epic, but to see and hear first-hand this unusual trio and it’s unusual recording approach.  The other unusual thing about this session was that those of us who attended the session got to watch a legendary session musician ply his trade in his natural environment.

Bass Musician Magazine (BMM):  Thank you so much for taking the time to talk to me and our readers about your latest CD.  I’ve been looking forward to this interview primarily because I was at the recording session for this CD, along with a few great Chicago bassists, which included Will Howard, Kemet Pryor and Barnum & Bailey Circus bassist Mike Brown.  I was especially intrigued by your recording approach.  Before we get into that, can you share with us what the title of you new CD is, and list the players that recorded with you?

Jauqo III-X (Jauqo):  Thank you Vuyani, and I thank you for this opportunity. The name of the CD is Trioplicity and it features legendary drummer Bernard Purdie and talented guitarist Kudzai Kasambira.

BMM:  You are welcome Jauqo.  It was incredible, for those of us who were at the session, to watch your session with the legendary Bernard Purdie on drums.  Not many get a chance to see a legend like Bernard in a recording session.   Can you tell us how you came up with the idea of putting together this line up?

Jauqo: I have been listening to Bernard pretty much my entire life but, like a lot of young musicians just starting out, I didn’t know who I was listening to.  His playing moved me in such a way that I just had to find out who this gem of musician was, so I would do some searching around  until I was able to get my hands on some album credits and in Bernard’s case I wanted to hear every thing that he played on.

The original guitarist that was going to play on the album with me and Bernard was the phenomenally individualistic Pete Cosey.  Unfortunately, a couple of days before the session Pete became ill and had to catch up on his rest.  Guitarist Kudzai Kasambira, who I had worked with before, was willing and definitely able to step up to the plate, so I reached out to him and from there we were set. The main reason that I wanted Bernard on this project was because his pocket is one of the greatest in modern music.  He and I have always had a great history, having played together a few times before the recording made doing this with him that much more powerful.  As a kid, it was listening to Bernard that taught me what the pocket was and the importance of the marriage between the bassist and drummer.  This includes the importance of having the proper space between the bass and drums, no matter what the musical style or genre may be.

Kudzai had worked with me before in the past on improvised and non-improvised projects (he’s one of the guitarist on my recording “The Low C# Theory“). For me my main focus was to toss any pre-conceived musical thoughts out the window and allow the music to create it’s own direction and speak through a collective and trusted voice of three individuals coming together as one solid vessel.  I trusted Bernard  and Kudzai to bring it and I appreciate them for doing just that and then some!  All the music on Trioplicity is 110 % improvised and I am so proud of the interplay between me and Bernard as a rhythm section supporting each other and especially supporting and respectfully allowing Zudzai to speak any way that he and his instrument chose.

BMM: If I remember correctly, there were no charts, pre-written songs or rehearsals for this session.  At the time, it seemed to me like you were all walking a suspended tight rope with no safety net beneath you.  This was the most extreme and fearless improvisation I’d ever witnessed.  Can you talk about this recording method and what you wanted to accomplish?

Jauqo: No charts at all, and there was no need.  I let Bernard and Kudzai know that we were going to go in and what ever happens, happens – just let the tape roll. I definitely accomplished what I wanted and that was catching the three of us making the music manifest exactly as is was being channeled through us. I think some of the better and more true improvisational music comes from the musician applying his or her heart and soul, allowing the instrument to be the heartfelt tool through which their inner being’s deepest interpretation of what is transpiring during the moment is documented. I also was able to capture that very thin high wire balancing act between me and Bernard as a rhythm section and no matter how much freedom the three of us had, it still came down to the fact that the music speaks as a life line focused on saying something to those who make take the time to give it a listen.

I used my Adler fretless Sub Contra bass (C# F# B E), a bass that has the ability to go low, very low and very focused.  At the same time, because it can go very low, if not dealt with accordingly, in the wrong hands it can be very one dimensional,  but to properly capture such low frequencies even more, it has to be broken up into sections of three, highs, mids and lows,and that’s just the basics to get a proper mix if it’s a proper mix that you’re going for.

During the recording process I went direct into the board, I also went direct from the pre amp (I used a separate pre and power amp instead of a single head) and I mic’ed the cab.  I used at least a total of 15 tracks individually, and that was so that when it was time to mix the bass, and correctly mix it with the drums and guitar, I had all the frequencies I needed for a clear and even recording and end result mix. I used no compression at all during the recording process but a little was used during the mix and mastering. During the mixing session, because I had used so many tracks to capture the full spectrum of the bass, I was able to borrow what I needed from the chain of three’s (High’s, Mid’s and Low’s). I mixed the bass to a great point way before I started to bring in the drums and guitar, the mixing process really was that the bass was the foundation, literally. The mastering process was a workout as well, most mastering facilities take a cookie cutter approach and the first thing they usually do is go in dismantling the bass, but the talented Harry Brotman worked with me during the mastering sessions and it went with out a hitch.  That was because Harry allowed me to be me, and he agreed with me in knowing that to take away the bass would take away it’s warmth and growl and also block the presence of the properly placed high’s, mid’s and low’s from my playing that is so evident throughout the recording.

BMM: Wow!  Fifteen tracks for the bass alone?   That’s a lot of tracks!  I’m sure that gave you an incredible amount of flexibility when it was time to mix. Again, I’m still amazed by the fact that the three of you went into the session without any charts or some type of framework to play within. Did you record the entire CD in one marathon session?  I seem to only remember attending one session.

Jauqo: Haha!, yes that many tracks and the flexibility was definitely needed and I knew that going in. If not for all the tracks, the bass and the overall recording would not be what it is to a great degree. Depending on what kind of sound the bass player is going for, very low bass could be hard to capture, it’s like going after a wild Anaconda but once you capture it, do you want to keep it as is or attempt to tame it in order for you and it to work together?

The whole thing about going in with out charts was something that I’ve always been into and the only frame work was to just capture what we collectively ended with and I’m very proud of the end results.  And yes, the entire session was definitely a marathon that took place in one day.

BMM: In many ways, your excursion into extreme improvisation (my description, not yours) on this CD is no surprise to many of us who know you.  You are known by musicians all over the world for charting your own course musically.  I have to acknowledge and thank you for pushing me into the role of a band leader.

You spent some time living with the late, great Ornette Coleman.  Did he influence you to follow your own imagination in creating music, or have you always been musically unique and adventurous?

Jauqo: It could be considered extreme for how we went about it but for me it was just like a walk in the park (laughter).  As far as charting my own course musically, I was under the impression from the moment that I first listened to music, in a mind that I could at the very least understand what I was listening to, and like a duck to water I knew that there was no other way for me to be other than be myself. The origins of music is to be an individual and do your best to express your self as such, to not do that is to neglect your self truth and some people wonder why they can’t seem to figure  things out musically, maybe if they take the time, heart and courage to give themselves a chance they could be the musician or artist that they think they are.

And you’re very welcome and I’m proud that you are a band leader and I’m sure that it has been an uplifting experience for you in regards to gaining higher levels of musicality and self growth that you weren’t even aware you had in you.  Being a band leader can teach one a lot about self.

Ornette was to me what Charlie Parker was to Miles Davis. I felt a kinship with Ornette and I had to meet him. Before I met Ornette I was already leading my own band and trying to figure out ideas and concepts.  When I did finally meet Ornette, he acknowledged that I was on the correct track and moving in the right direction.

For the most part he got me and he recognized where I was coming from and that meant a lot to me.  We would talk for many hours and a lot of that was about life, and our ideas and concepts and he was sharing many aspects of his Harmolodic concept. Ornette was beyond awesome and sincere and he meant a lot more to me than the musical indivisaul that he was. He simply reminded me that at the end of the day, my musical self is just an extension of where I’m at, where I come from, where I’ve been and where I’m going.

BMM: That was a beautiful tribute to Ornette Coleman.  Thank you for sharing with us what he meant to you.  Most of us think of him as a legendary giant of jazz, but you got to know him as more than a musician, as a friend.  In my experience, I’ve found that music is what introduces us to each other as musicians.   After a while, we end up appreciating the friendships far more than each other’s musicianship.  That is what I love most about music.  It has given me so many brothers and sisters all over the world that I otherwise would not have known.

You have had very long associations and endorsement relationships with many music equipment manufacturers over the years.  Can you tell us about some of the companies whose products you endorse?

Jauqo: I’ve been using and endorsing Ashdown Engineering amps, as of early 2016 it will be 18 years. They really deliver and they are some of the most versatile amps on the market – that is one of the best things I like about them. I have never had an issue with an Ashdown amp or cab breaking down on me, always reliable and that is very important. Mark Gooday and all the other guys at Ashdown are really about doing the best that they can to put proper amps and cabs on the market and in different price ranges so as to not leave any one out who may be interested in having their own Ashdown experience.

Chicago Bassist, Jauqo III-X Releases a New Recording-2

BMM: Brace yourself Jauqo, I’m going to let out your secret….  I know you are an effects pedal junkie.   Would you care to tell us about the effects you like or endorse?  Is there a “holy grail” pedal that has somehow eluded you over the years that you would like to get?

Jauqo: Haha! I do like the pedals. I really, really like filters because they all sound so different.  I definitely have my share of filters on my board…hahaha! I have pedal endorsements with XoticEWS (Engineering Work Store), DigitechMXRPigtronixDunlopMorelyBoss/RolandBeigel Sound Lab (creator of the original Mu -Tron III ), SolidGold FXSub DecayDaring AudioMoogLoud ButtonAshdown/Dr. GreenTC ElectronicRadial EngineeringPeterson Strobe TunersHenrietta Engineering, and Guyatone.  As far as that holy grail pedal that may have eluded me over the years, thankfully it does not exist for me, at least it doesn’t at this point.

BMM: In your new release, Trioplicity, you used guitarist Kudzai Kasambira and legendary drummer Bernard Purdie.  Since this is not your usual trio, can you tell us the name of your trio?   Also, please talk a little bit about the players in your trio.

Jauqo: The name of my trio is The Jauqo III-X Reality. It consists of drummer Will McCraven and guitarist Micah Joseph Clark, two very talented musicians that I feel have something to say, while at the same time learning to allow the music to have the final say so. I can say without an ounce of ego that they have never been in a band situation where their individuality is nurtured and supported in the way it is with me. The Jauqo III-X Reality allows their input, while at the same time reminding them that they are students of the music.

BMM:  As we close our conversation, do you have any words of advice for our readers?  Specifically, can you share with us your advice or thoughts on things that would benefit our readers regarding their professionalism, business etiquette or musicianship?

Jauqo:  Yes, I would say the following:

  1. If you have a hint that you want to be yourself, do it. Some people are going to like what you do and some aren’t. It’s the human way.
  2. Respect your own voice.
  3. Learn your worth.
  4. Be very open minded to music, there’s a treasure trove of awesome music longing to be discovered.
  5. Always be on time.
  6. When you are hired to play bass, do not attempt to be the MD or the producer. Just do what you are hired to.
  7. Respect the gig.
  8. Make sure your equipment is always in proper working condition.
  9. Always follow through – always do what you say you will do.
  10. Play for the song.

BMM:  Thank you so much for taking the time to talk with me, and share aspects of your career with our readers.   You have been very gracious and generous with your time.

Jauqo: Vuyani you are most welcome, and I would like to say thanks to Raul and Valery Amador for allowing me to share on this platform.

Jauqo III-X’s CD Trioplicity can be downloaded from CD Baby.

Jauqo III-X can be reached through the following portals:

The CD can also be purchased here.  jauqoiii-x.bandcamp.com/releases

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Bass Videos

Interview With Bassist Erick “Jesus” Coomes

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Interview With Bassist Erick Jesus Coomes

Bassist Erick “Jesus” Coomes…

It is always great to meet a super busy bassist who simply exudes a love for music and his instrument. Erick “Jesus” Coomes fits this description exactly. Hailing from Southern California, “Jesus” co-founded and plays bass for Lettuce and has found his groove playing with numerous other musicians.

Join us as we hear of his musical journey, how he gets his sound, his ongoing projects, and his plans for the future.

Photo, Bob Forte

Visit Online

www.lettucefunk.com
IG @jesuscsuperstar
FB@jesuscoomes
FB @lettucefunk

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Bass Videos

Tour Touch Base (Bass) with Ian Allison

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Tour Touch Base (Bass) with Ian Allison

Ian Allison Bassist extreme

Most recently Ian has spent the last seven years touring nationally as part of Eric Hutchinson and The Believers, sharing stages with acts like Kelly Clarkson, Pentatonix, Rachel Platten, Matt Nathanson, Phillip Phillips, and Cory Wong playing venues such as Radio City Music Hall, The Staples Center and The Xcel Center in St. Paul, MN.

I had a chance to meet up with him at the Sellersville Theater in Eastern Pennsylvania to catch up on everything bass. Visit online at ianmartinallison.com/

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Interview With Audic Empire Bassist James Tobias

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Interview With Audic Empire Bassist James Tobias

Checking in with Bergantino Artist James Tobias

James Tobias, Bassist for psychedelic, Reggae-Rock titans Audic Empire shares his history as a musician and how he came to find Bergantino…

Interview by Holly Bergantino

James Tobias, a multi-talented musician and jack-of-all-trades shares his story of coming up as a musician in Texas, his journey with his band Audic Empire, and his approach to life and music. With a busy tour schedule each year, we were fortunate to catch up with him while he was out and about touring the US. 

Where were you born and raised?

I was born in Dallas, Texas and lived in the Dallas area most of my life with the exception of 1 year in Colorado. I moved to the Austin area at age 18. 

What makes the bass so special to you particularly, and how did you gravitate to it?

I honestly started playing bass because we needed a bass player and I was the one with access to a bass amp and bass. I played rhythm guitar and sang up until I met Ronnie, who I would later start “Audic Empire” with. He also played rhythm guitar and sang and we didn’t know any bass players, so we had to figure something out. I still write most of my songs on guitar, but I’ve grown to love playing the bass. 

How did you learn to play, James?

I took guitar lessons growing up and spent a lot of time just learning tabs or playing by ear and kicked around as a frontman in a handful of bands playing at the local coffee shops or rec centers. Once I transitioned to bass, I really just tried to apply what I knew about guitar and stumbled through it till it sounded right. I’m still learning every time I pick it up, honestly. 

You are also a songwriter, recording engineer, and a fantastic singer, did you get formal training for this? 

Thank you, that means a lot!  I had a couple of voice lessons when I was in my early teens, but didn’t really like the instructor. I did however take a few lessons recently through ACC that I enjoyed and think really helped my technique (Shout out to Adam Roberts!) I was not a naturally gifted singer, which is a nice way of saying I was pretty awful, but I just kept at it. 

As far as recording and producing, I just watched a lot of YouTube videos and asked people who know more than me when I had a question. Whenever I feel like I’m not progressing, I just pull up tracks from a couple of years ago, cringe, and feel better about where I’m at but I’ve got a long way to go. Fortunately, we’ve got some amazing producers I can pass everything over to once I get the songs as close to finalized as I can. 

Describe your playing style(s), tone, strengths and/or areas that can be improved on the bass.

I honestly don’t know what my style would be considered. We’ve got so many styles that we play and fuse together that I just try to do what works song by song.  I don’t have too many tricks in the bag and just keep it simple and focus on what’s going to sound good in the overall mix. I think my strength lies in thinking about the song as a whole and what each instrument is doing, so I can compliment everything else that’s going on. What could be improved is absolutely everything, but that’s the great thing about music (and kind of anything really). 

Who were your influencers in terms of other musicians earlier on or now that have made a difference and inspired you?

My dad exposed me to a lot of music early. I was playing a toy guitar while watching a VHS of Stevie Ray Vaughan and Double Trouble live at SXSW on repeat at 4 years old saying I wanted to “do that” when I grew up. I was the only kid in daycare that had his own CDs that weren’t kid’s songs. I was listening to Led Zeppelin, Hendrix, and The Doors when I could barely talk. I would make up songs and sing them into my Panasonic slimline tape recorder and take it to my preschool to show my friends. As I got older went through a bunch of music phases. Metal, grunge, rock, punk, hip hop, reggae, ska, etc. Whatever I heard that I connected to I’d dive in and learn as much as I could about it. I was always in bands and I think I kept picking up different styles along the way and kept combining my different elements and I think that’s evident in Audic’s diverse sound. 

Tell me about Audic Empire and your new release Take Over! Can you share some of the highlights you and the band are most proud of?

Takeover was an interesting one. I basically built that song on keyboard and drum loops and wrote and tracked all my vocals in one long session in my bedroom studio kind of in a stream-of-consciousness type of approach. I kind of thought nothing would come of it and I’d toss it out, but we slowly went back and tracked over everything with instruments and made it our own sound. I got it as far as I could with production and handed it off to Chad Wrong to work his magic and really bring it to life. Once I got Snow Owl Media involved and we started brainstorming about a music video, it quickly turned into a considerably larger production than anything we’ve done before and it was such a cool experience. I’m really excited about the final product, especially considering I initially thought it was a throwaway track.

Describe the music style of Audic Empire for us. 

It’s all over the place… we advertise it as “blues, rock, reggae.” Blues because of our lead guitarist, Travis Brown’s playing style, rock because I think at the heart we’re a rock band, and reggae because we flavor everything with a little (or a lot) of reggae or ska. 

How did you find Bergantino Audio Systems?

Well, my Ampeg SVT7 caught fire at a show… We were playing Stubbs in Austin and everyone kept saying they smelled something burning, and I looked back in time to see my head, perched on top of its 8×10 cab, begin billowing smoke. We had a tour coming up, so I started researching and pricing everything to try and find a new amp. I was also fronting a metal band at the time, and my bass player’s dad was a big-time country bass player and said he had this really high-end bass amp just sitting in a closet he’d sell me. I was apprehensive since I really didn’t know much about it and “just a little 4×10” probably wasn’t going to cut it compared to my previous setup. He said I could come over and give it a test drive, but he said he knew I was going to buy it. He was right. I immediately fell in love. I couldn’t believe the power it put out compared to this heavy head and cumbersome cab I had been breaking my back hauling all over the country and up countless staircases.  

Tell us about your experience with the forte D amp and the AE 410 Speaker cabinet. 

It’s been a game-changer in every sense. It’s lightweight and compact. Amazing tone. And LOUD. It’s just a fantastic amp. Not to mention the customer service being top-notch! You’ll be hard-pressed to find another product that, if you have an issue, you can get in touch with the owner, himself. How cool is that? 

Tell us about some of your favorite basses.

I was always broke and usually working part-time delivering pizzas, so I just played what I could get my hands on. I went through a few pawn shop basses, swapped in new pickups, and fought with the action on them constantly. I played them through an Ampeg be115 combo amp. All the electronics in it had fried at some point, so I gutted it out and turned it into a cab that I powered with a rusted-up little head I bought off someone for a hundred bucks. My gear was often DIY’d and held together by electrical tape and usually had a few coats of spray paint to attempt to hide the wear and tear. I never really fell in love with any piece of gear I had till I had a supporter of our band give me an Ibanez Premium Series SDGR. I absolutely love that bass and still travel with it. I’ve since gotten another Ibanez Premium Series, but went with the 5-string BTB.  It’s a fantastic-sounding bass, my only complaint is it’s pretty heavy. 

Love your new video Take Over! Let us know what you’re currently working on (studio, tour, side projects, etc.)

Thank you!! We’ve got a LOT of stuff we’re working on right now actually. Having 2 writers in the band means we never have a shortage of material. It’s more about getting everything tracked and ready for release and all that goes into that. We just got through filming videos for 2 new unreleased tracks with Snow Owl Media, who did the videos for both Love Hate and Pain and Takeover. Both of these songs have surprise features which I’m really excited about since these will be the first singles since our last album we have other artists on. We’ve also got a lot of shows coming up and I’ve also just launched my solo project as well. The debut single, “Raisin’ Hell” is available now everywhere. You can go here to find all the links distrokid.com/hyperfollow/jamestobias/raisin-hell

What else do you do besides music?

For work, I own a handyman service here in Austin doing a lot of drywall, painting, etc. I have a lot of hobbies and side hustles as well. I make custom guitar straps and other leather work. I do a lot of artwork and have done most of our merch designs and a lot of our cover art. I’m really into (and borderline obsessed) with health, fitness, and sober living.  I have a hard time sitting still, but fortunately, there’s always a lot to do when you’re self-employed and running a band!

Follow James Tobias:

jamestobiasmusic.com
Facebook.com/james.tobias1
Instagram.com/ru4badfish2
TikTok.com/@jamestobiasmusic
audicempire.com 

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Interview With Bassist Edmond Gilmore

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Interview With Bassist Edmond Gilmore

Interview With Bassist Edmond Gilmore…

I am always impressed by the few members of our bass family who are equally proficient on upright as well as electric bass… Edmond Gilmore is one of those special individuals.

While he compartmentalizes his upright playing for mostly classical music and his electric for all the rest, Edmond has a diverse musical background and life experiences that have given him a unique perspective.

Join me as we hear about Edmond’s musical journey, how he gets his sound and his plans for the future.

Photo, Sandrice Lee

Follow Online

facebook.com/EdmondGilmoreBass
instagram.com/edmond_gilmore/
youtube.com/channel/UCCYoVZBLXL5nnaKS7XXivCQ

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Checking in with Bergantino Artist Ricky Bonazza

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Ricky Bonazza

Holly Bergantino talks with LA-based bassist/producer Ricky Bonazza about his path from Vicenza to Los Angeles to keep the spirit of rock ‘n’ roll alive!

Photo provided by Bergantino Audio Systems.

Ricky Bonazza has been chasing his dream from a young age. Growing up in Vicenza, Italy and now living in Los Angeles, he’s the embodiment of the hard-working, never-say-die rock and roll spirit.  Ricky relocated to Los Angeles to pursue his dream as a professional musician and artist and he’s been going strong ever since!

You have been touring like a madman, playing arenas and some of the biggest music festivals in rock and metal. Tell us about this experience and how it feels going from small clubs onto the big stage.

It‘s surreal! Wacken is one! I have never seen a festival of that size holding like 70,000 people. My first tour with the Butcher Babies, we played Rocklahoma and due to a storm, the band got moved to play as the closing act right after “Slipknot”. Both stages were right across from each other so when Slipknot finished, the crowd basically just turned around and watched our set. It was a big party and people as far as the eye could see. I will say this about clubs though, there is just an unbelievable energy playing smaller venues. A packed club with 200 people can be just as crazy and energetic as a crowd of 20,000 in my opinion. So I really enjoy both. 

Would you share some of the highlights of your career over the past four years that you are most proud of?

I am really proud to have this great opportunity to tour the world as a professional musician. It’s surreal sometimes the places music and tours are taking me. I think to myself that so many people are actually paying a lot of money to see the world. I get to travel as part of my job and in doing so I get to explore and see many different countries and cultures. It’s something I am extremely proud of. Playing these massive festivals all over the world such as Graspop, Aftershock and obviously Wacken, which is every rock and metal musician’s dream to play, is huge for me. 

Becoming a voting member of the recording academy and with that helping to shape the future of music is also a big achievement for me.

You are also deeply involved behind the scenes in the music industry, especially as a voting member of the Grammys Recording Academy. Could you share a particularly memorable moment where you felt your contributions had a significant impact on an artist’s career or on the broader music community?”

Yes, this year a fairly newer metal band called “Spiritbox” got nominated for a Grammy. They competed against titans like Metallica and Disturbed. The fact that a new band like that made it to the final nomination, and the fact that new generations bands like “Architects”, “Sleep Token” etc. were in the run too, I feel like we were instrumental and shaped the pavement for new bands in rock to have a shot at the Grammys.

Throughout your career, you have earned the respect and endorsement of prominent guitar and accessory companies like Bergantino, EMG Pickups and D’Addario strings. Could you tell us more about these partnerships and how they came about?

Yeah for sure. I was introduced to Jim Bergantino by my good friend Matthew Denis who also uses Bergantino gear at a NAMM show. We have accomplished a lot in spreading the word and showcasing what the Bergantino Forte HP amp can do in various styles of music. All of us complimented and supported each other. With EMG my friend Jason Klein and Luis Kalil put me in touch with Tommy from EMG Pickups. We produced a series of videos together highlighting some of their signature pickups, we have an amazing relationship and they have been great to me. I am stoked to have earned this kind of respect and trust from these companies.

How has your playing evolved over the years, and have you made changes from your start until now? If so, can you describe the changes? 

Yes, I started incorporating a lot of slap. I honestly couldn’t really slap before the pandemic haha. When I started doing a lot of video covers during covid, I studied bass players like Les Claypool, Marcus Miller and Flea. Also in the very beginning, I was mainly a finger player. Over the last years I really developed my picking technique and love to incorporate that way more in my playing, especially if the song dictates it.

What are you working on now?

I am working on my solo project, where I am planning to release music very soon. I have a single ready to go, featuring some incredible guests and just recently signed a distribution deal with Bloodblast.  I am also writing new stuff with the Butcher Babies and that’s pretty exciting too.

When you are not playing shows around the world you are very active in the studio as a producer and writer, can you tell us about some of the collaborations and projects you have been involved in?

Yes, one thing I am really proud of is the recent Butcher Babies albums, which I had the pleasure to help write and record. Songs like “Red Thunder” had an amazing response and actually even made it into rotation at Sirius XM Liquid Metal” and peaked at number 10 of the iTunes Metal charts. I wrote a lot for music libraries here in Los Angeles and recently got a song placement with NBC Sports, which was for the 2022 “Lucas Oil Pro Motocross Championship”. So that was a cool collaboration I did with “Megatrax”.

Tell us about the Butcher Babies, Lots of good things have happened here.

Yeah totally! It’s been quite busy over the last 2 years. Lots of writing and even more shows. I think last year we did close to 90 shows. We toured with some incredible bands like Fear Factory, Amaranthe, Lacuna Coil, Mudvayne and Coal Chamber. We also did all of these awesome festivals in Europe and the US like Wacken, Graspop all that fun stuff haha. We released 2 albums “Eye For An Eye” and “Til The World Is Blind” which I am really proud of. This year it’s gonna be more or less the same show-wise. 

Tell us about the Bergantino Forte HP bass amplifier.

I have had this amp for four years now and was just blown away by it. The sound, the features, everything. It has pretty much has all of the components I want from a bass amp. It is very versatile, clean, thick and powerful. It really just sounds so organic and real. I use it for everything from Metal to Funk and Pop.

What settings do you use the most on the forte HP? What are your favorites and why?

Honestly, all the EQ’s are on 5 o’clock, punch mode enabled, and a bit of compression.

On the drives there are different firmware downloads Bergantino offers. I use Matts tube screamer and another one called the MF360 fuzz that Jim sent me back in the day, it sounds sick. 

Tell us about your favorite bass or basses.

Fender and Fender. I have been playing Fender all my life! At the moment, there’s really nothing else for me. I have tried all kinds of basses. I dig the Dingwall stuff a lot, but at the end of the day, Fender just does it for me. I just wished they did long or multi-scale basses! Haha

How did you learn to play the bass guitar, Ricky?

I honestly just started by playing along to Iron Maiden songs. I would also put on the metronome and just start playing the parts and then unintentionally developed a technique. I remember one person telling me that Steve Harris was playing with 3 fingers, so I started practicing with 3 fingers only to find out years later that Steve only plays with two haha. 

Are there any other instruments you play?

Yes, the drums. I never gave up on my dream of playing drums haha, so I learned that a little bit along the way. I also play guitar. I play both of those instruments well enough to write and record my own songs, but not sure if I would ever dare to go out and do it live.

Who are your influencers?

Steve Harris is definitely my biggest influence. Duff McKagan has always been one of my favorites. Jason Newsted, Rob Trujillo, Geezer Butler, Frank Bello, Geddy Lee and many more.

Favorite thing to do besides play bass?

It’s honestly writing and producing music. The studio is my happy place when not on the road. It’s definitely a dream to do that full time at some point. We’ll see what happens.

We see Instagram stories of you when you visit your grandmother in Italy cooking up a storm for you. What is your favorite dish that she makes for you? 

Haha, that’s amazing you ask this question! Yeah she’s 86 and kick butts like it’s no big deal. Her Spaghetti’s are definitely my favorite, followed by her homemade (obviously) Ravioli. The funniest thing is every time I post her on my IG stories. she gets the most views of all, I could post me playing the craziest shred video of all time and she would still get more views!

Your story and dedication to your craft inspires a lot of people, especially the younger generation of musicians. Do you have any words of advice for them?

As Arnie would say, don’t listen to the naysayers. If you are serious about becoming a professional musician you should pursue it. It’s not going to be the easiest route but it’s going to be the one that fulfills you, and something that always helped me out was a quote from Denzel Washington saying, without commitment, you’ll never start and without consistency, you’ll never finish.

Follow Ricky Bonazza:
Instagram: @rickybonazza
Facebook: /ricky.bonazza
YouTube: @rickybonazza8011

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