Thursday, 1 November 2012

HBC - Jazz On Its Ear

Album Review
Scott Henderson, Jeff Berlin, Dennis Chambers - HBC
Genre: Jazz Fusion

When you first scout out this album, it'll tell you it fits in the genre of Jazz fusion, but really it's a whole lot more. The diverse stylings of these three musicians coax the tunes in every direction imaginable, yet never do they stray completely from the improvisational, inspired feel of their mother Jazz. It's either a blessing or a curse that I know little of these men's previous works, or the places whence they draw their inspirations. Though extra insight and knowledge would make me a more experienced listener, it would spoil the pure, child-like wonderment I feel every time I listen to something that's being released this deep into an already long-standing musical history.

Hey, I'm just a listener.

At over ten minutes in length, Actual Proof is definitive fusion. Berlin's bass and Chambers' drums argue in excitable staccato rhythm with each other. Henderson's sharp, raunchy guitar takes the opening song to the edge of prog rock. Just after six and a half minutes into this piece, Berlin's rapid-fire bass stops you in your tracks and turns your ears to the speakers like a puppy when someone picks up a can opener. Something you need, something you hunger for has just come to life. As lovers of bass, we're all going to be stopping to pay attention when the scent of this special treat fills the air.

Mysterious Traveller easily stands out as my favourite right from the get-go. It's ethereal, sweeping, thunderous, cosmic, experimental, all the things I love in music. Add to that some real hard-nosed riffs and rhythms, and I'm right there; wherever this Traveller wants to go, cut me a ticket and let's ride! Berlin's bass is scary and growly, and makes you a little anxious of the destination, but you'll still dive in head first. Once again, Henderson gives us a lot of serious howl from his guitar, and Dennis Chambers lays down some big, bad drums. Think of this one as the Jazz trio's answer to Edgar Winter's "Frankenstein". At the end, it steers into the stars and lays you to rest in its wake. Nice.

Footprints is much softer than the two previous songs. It almost has the feel of a Holiday song. Hey, it's the most wonderful time of the year. Hotcha! Smooth, gentle, thoughtful, and, yes... Christmas-y. People might think that's a strange analogy, but the comparison popped into my head from the first note, so it must be stored somewhere there in my music memory. Of course, this one's not a waltz, so I simply relaxed and bopped along in my seat. Wonderful featured solos all around! Chambers blows it up with his drums. Chops aplenty!

D Flat Waltz. Big and dangerous! Bass that thunders to the heavens! A twelve minute odyssey that reminds me that you don't always need a whole bunch of instruments to create full sound. The spaces here are filled out and busy with plenty of flavours to keep those ears happy! Three men, each occupying the perfect place. You say, "I hear bass, I hear, guitar, I hear drums." But the whole ends up being so much bigger than the sum of its parts!

The Orphan is on whole 'nother plane to the rest of the songs. At just over three minutes, it's also one of the shorter tunes. But in that small space, Jeff Berlin's bass sings a melancholy tune that stirs serious emotions in the listener. The sad, pleading voice in the middle is accompanied by clapping (or slapping); as this song ends, you wonder what becomes of the Orphan. And you worry.

Sightseeing. After blinking away the situation of The Orphan, we are whisked back into the jazzy tunes. I wondered why The Orphan was placed in the middle of the roster like that, but as I listen to Sightseeing, I can almost understand it - Sightseeing sounds different when you listen to it on its own than when listened to right after The Orphan. It's like an extension. It fits. After Sightseeing was over, I noticed that I hadn't listened to bass, drums, and guitar; I had listened to a story. That's when you know an album is reaching you - when you let go the notion of listening critically, and start listening with your soul. There's a lot of skill in this project, both as music, and as a story told in a specific order. I am very appreciative of that effort.

Wayward Son Of Devil Boy is a sizzling groove that sends you into a basement lounge somewhere in the middle of the night. Smoke filled, low lighting, maybe a few dangerous hood-types lurking in corners. Scott Henderson owns this piece with his guitar. Bass and drums serve as complement to his limelight. And what a showcase it is, too! Talk to me, Mr. Six-string!

Threedom, the other short piece on the project, is a rich bass solo that boggles the mind in its depth and intensity. Only skill and a real musical heart can make a bass sing like this! My only criticism (and yes, it happens) is that I've never been a big fan of a lot of zipping finger noise on bass strings. It's real and it's natural, but it kind of distracts from my enjoyment if it's too loud in the music. But zipping aside, it's an absolutely beautiful bass number!

Stratus. The closing number brings us back to the trio at its finest. Rock, Jazz, Prog, it's all on stage for the finale. I get a little "Ball Of Confusion" off this one, bass-wise. And that's good. Dennis Chambers' drumming is subtle and encouraging, and then goes wild toward the end. A superb finish to a tasty meal.

All in all, this was a remarkable outing. So, is my naiveté about the music and history of these men a blessing or a curse? All in all, I think it turns out to be a blessing. Now I can go find more to listen to!

Um, but not today... my ears are full.

© 2012 CL Seamus for Thunder Row

Thursday, 4 October 2012

Alberto Rigoni - The Wisest Of Them All

Album Review
Genre: Progressive Rock

Whenever I listen to a concept album, I always want to dive deeply into the story, the meaning and the journey of the whole thing. By the time I write the review, I don't want to focus solely on the musicianship, but on the impact the album has on me through its telling. I also like to read other people's reviews; this helps me understand how the music reaches them. In the case of Alberto Rigoni's new retro-prog album, "Three Wise Monkeys", I'm (so far) noticing a lack of feedback from reviewers on how the story made them feel. What did they take away from the message? There's plenty of (well-deserved) praise to be found for the quality of the project as a musical endeavour, but I'd love to hear what others are feeling in their hearts and minds. After all, music should move us and take us places!

Anyway, though I DO have a take on the album as a musical accomplishment, I'd like to express a few thoughts up front about what the story means to me. First of all, a good prog album will usually tell a story from the vantage point of one (or all) of the three forms of conflict: man against the world, man against his brother, and man against himself.

Three Wise Monkeys makes me imagine a man, standing before the Toshogu Shrine in Japan. He looks at the panel which depicts the three monkeys: Mizaru, who covers his eyes, Kikazaru, who covers his ears, and Iwazaru, who covers his mouth. The man contemplates the meaning of the message. To see no evil, to hear no evil, and to speak no evil. What does it mean? To be a moral man? To stay away from evil things and walk in the footsteps of righteousness? This interpretation is a common one, and many who view the panel will adopt it as their own. To be decent and God-fearing.

The other interpretation is a little more sad and sinister, and it is here where we find that the man standing before the shrine is Alberto Rigoni. This interpretation says that Man sees a world of evil and cruelty, but intentionally covers his eyes, his ears, and his mouth, so that the evil will not penetrate his consciousness. The ostrich with its head in the sand, seeing injustice, but taking no stand. Man against the world, man against his brother, and man against himself.

With his musical stories, Rigoni will always ask the questions, and as long as he continues to do so, we, as listeners, will always have meaningful prog music over which to mull and consider the state of things.

An excerpt of the lyrics from the title track, Three Wise Monkeys, says...

Three wise monkeys' golden rule - looking the other way 
Pretending that you are a fool, 'cause you don’t wanna play 
Willfully turning a blind eye to all immorality

And from the angriest song on the album, Blackened Tornado...

I'm a victim of my own thoughts 
My mind is sick and I can't go on
I can't see what's reality 
It's like a nightmare living in a dream

The album's powerful message about Man's refusal to see, hear, or speak when something terrible is happening leaves me with a chill when I look in the mirror. Where do I sit in the row of monkeys?

What's calming about a concept album is when it offers music of solution and change. The song, Between Space And Time, gives the listener a gentle reprieve and reminds us that the Universe always seems to know what's what, and will hopefully guide us to the right places. The opening number, Toshogu Shrine, where the man stands and sees the monkeys, also offers us a place of calm.

A good concept album should make us think, even if the events within aren't our own. For the duration of the music, they become our own, and that is the starting point for uncovering our eyes, ears, and mouths.

Alrighty then. Folklore and story aside, let's examine the music itself. In the first section, I referred to the genre as "retro-prog." I've seen this term used a couple of times on websites; it defines the type of music traditionally called "progressive" but which also feels very retro, like 70s music, mostly. Three Wise Monkeys feels exactly that way. I hear Supertramp doing "School." I hear Rush (no particular song, just the feel); I even pick up a little taste of Queen - something like, say, "Flick Of The Wrist." That's the kind of diversity you hear in this album. Heavy bass, angry, aggressive lyrics, always on the brink of Armageddon. Mixed in with the heavy metal flavour is a delicate, sweeping melodic element, Oriental in places. Every song fits in exactly where it should to tell the story, and every song is a true delight. Experimental and soaring.

The three songs of the monkeys, Mizaru, Kikazaru, and Iwazaru, are my fave pieces in the concept theme, and come together as a trio of bass delights that will chill you to the bone. Put your headphones on and try NOT to be amazed! The most beautiful song in the collection is Between Space and Time. Gorgeous!

Rigoni's bass playing is magnificent. Subtle, grinding, thunderous, melodic; he knows every inch of the instrument and coaxes it into creating every sound a bass can make. He makes it sing like angels, growl like devils, bark like a dog, and howl at the moon! The rest of the band rounds out the project with feeling and artistic unity. As one, they surround Rigoni's bass playing with depth and meaning. Vocalists Göran Edman and Jonas Erixon, both tasked with giving voice to the story, are spot on in their angst-laden delivery of the concept's troubling questions. Add to this the driving drums, screaming guitars, and the gentle keyboard interjections, and we are treated to a truly intense musical odyssey!

Rigoni is right at home as both leader and follower. Though his bass playing is the featured star, he takes no spotlight away from the other musicians. You never say, "This is Alberto Rigoni with some guest musicians." It is a fully realised group effort, with every man holding his own and shining when the moment is right.


Göran Edman (vocals on track 3)
Jonas Erixon (vocals on tracks 5, 7, 9 & 10)
Kevin Moore (keyboards on track 2)
Federico Solazzo (keyboards on tracks 5, 6 & 9)
Mistheria (keyboards on tracks 8 & 10)
Alessandro Bertoni (keyboards on track 3)
Tommy Ermolli (guitars on tracks 2, 3, 5, 9 & 10)
Simone Mularoni (guitars on tracks 7)
Mark Cross (drums on track 7)
Paolo Valli (drums on tracks 2 & 9)
Paco Barillà (drums on track 3 & 10)
Sebastian Persini (drums on tracks 5 & 6)


01 - Toshogu Shrine
02 - Mizaru
03 - Three Wise Monkeys
04 - Kikazaru
05 - Blackened Tornado
06 - Iwazaru
07 - Free Falling
08 - Between Space and Time
09 - Coming Home
10 - Believe

This latest album is (so far) the pinnacle of Rigoni's recordings. He has matured into a true bass tour de force. Three Wise Monkeys is retro, progressive, thoughtful, and oh so delicious to the ear of any bass lover! Molto meraviglioso!!

© 2012 - CL Seamus for Thunder Row

Click HERE to order your digital copy, or a CD DigiPack, signed by Alberto himself!!


Sunday, 23 September 2012

An Evening With Kai Brant

Album Review
Kai Brant (featuring Martin Motnik) - The Way You Look Tonight
Genre: Jazz

In this new compilation of standards from stage and screen, Kai Brant tackles some of the biggest, most classic songs ever written. If you recognise the line-up, you might find yourself feeling a bit old, but Brant's voice and stylings make you feel young again - like it's the first time you're hearing these saucy old-time ditties. Brand new, all over again! Add to it the brassy tones of Martin Motnik's fretless bass, and you have a collection of tunes well worth an all-night listen. And maybe into the next day, too.

Brant sings the standards true; the melodies are as they should be. That soothes me with a real sense of comfort. When I hear a classic being sung anew, I want to be able to sing along with familiar confidence. Brant delivers all the necessary attitude and experience, and I go right back to the olden days, smiling that the lady has done right by these timeless tunes.  Yet, there are those moments when she strays just enough from the path to add some real kink to the story-telling. When she throws in a change, and I continue to sing the original melody, she and I come together in vocal harmony, and it draws me even further into the experience. I become part of her performance. It's as if she chooses new and different tones for the sole purpose of inviting me in.

You and me, Kai Brant. You and me. Let's shake it out a bit with "The Way You Look Tonight." Attitude rubs off, don't you know?

Featured bassist, Martin Motnik's choice of a fretless electric instead of a stand-up brings an entirely new feel to the music. He's got his mwah on big time, but since Motnik plays the stand-up as well, the mwah is guided by the hip-swaying authenticity of the big bass, and it works. Oh yeah, it works. Such a noticeable presence to complement Brant's voice. I swear to you all, on the last track, George Gershwin's 's Wonderful, Motnik's bass actually seems to pronounce the lyrics during his solo in the middle. The fretless just sings sweetly to us. Listen to it and tell me you can't hear it singing 's Wonderful.

Add to the atmosphere some fine, delicate piano and jazzy snare brushes, and you have a special evening before the fire, slow dancing with the one you love. Close your eyes and you're there!

Here's the album's line-up:

01 - Whatever Lola Wants, Lola Gets
02 - Summertime
03 - The Way You Look Tonight
04 - Manhã De Carnaval
05 - Why Don't You Do Right
06 - My Funny Valentine
07 - Feeling Good
08 - Besamé Mucho
09 - Autumn Leaves
10 - 's Wonderful

If you know these tunes, you probably already have a favourite singer and a favourite way you remember each one. Do you prefer Dinah Shore? Ella Fitzgerald or Eartha Kitt? Maybe a newer version. Maybe some Norah Jones? Pick any of the classy ladies (and sometimes men) who have delivered these numbers throughout the years. Kai Brant and her performances on this album are destined to find their place on that exclusive list.

I'm known to say things like, "I love the Eartha Kitt version of Whatever Lola Wants, Lola Gets", but from the first listen of The Way You Look Tonight, I will now add to my critique, "Have you heard the Kai Brant version?"

She's a new standard with the standards!

I recommend "The Way You Look Tonight" to all lovers of beautiful music and beautiful voices.

© 2012 C.L. Seamus for Thunder Row

Visit Kai Brant online.

Saturday, 22 September 2012

Brad Russell - Let's Hear It

Album Review
Brad Russell - Let's Hear It
Genre: Rock

Brad Russell's debut solo album, "Let's Hear It" (featuring Joe Satriani and Gregg Bissonette) is six mind blowing tunes that just might change your mind about the role of the bass as a support-only groove. Russell puts his 4-string Warwick through a gruelling pace as lead instrument, with his tremolo bridge, effect pedals, loopers, and all! The result is a barrage of thunder-laden bombshells that are guaranteed to resonate deep down in the heart of bass players everywhere.

Though Russell's website lists the impressive roster of musicians with whom he has worked, this is his first voyage down the solo road and every song on "Let's Hear It" is a smoker. Get ready for the bass like you've never heard it before!

Opening song, Seven Shred, explodes out of the gate with an intensity that leaves you demanding more! It's hard and heavy on the bass, but also has a tasty melody to flesh out that thunderous bottom end. Bissonette on drums is a wonder on every song, but this one is my fave of all his performances on the album. It demonstrates the real meshing between drums and bass.

Second up is the bassiest, most aggressive version of Michael Jackson's Beat It that you'll ever hear!

Third song, Zattack, is unbelievable; it starts with a serious riff-off between Russell and Satriani - a scorching contest that reminds me of the Butler/Iommi showdowns on N.I.B. After that, Russell shows us big-time what a bass guitar can do on its own.

Here's a video of the solo bass version.

Brothers is what I call the "ballad" of the album. Slow and psychedelic, very sweeping. To me, Russell is what David Gilmour would sound like if he played bass. There's also a magnificent, crying guitar solo by Kevin Russell. To these ears, this song is the most emotional, fiery piece of the album.

Next is Hello Jeff , which starts out with a fast and funky slap, but then eases on down to a very growly, teeth-grinding bass mix. The sounds go back and forth in grove after groove of pure foot-stomping thunder! It's also another of those great partnerships between Russell and Bissonette.

Closing up the session is Native Tongue, featuring Steve Kindler on the electric violin. What a great add-on to an already mind-bending sound. The bass in this song is melodic enough on its own; blend in that violin and you have a soaring finale to an album of delicious bass creations that set the bar higher (and lower) than it's been before!

I highly recommend wrapping your ears around Brad Russell's "Let's Hear It".

Available on Digital Nations, Amazon, iTunes, and wherever the thunder rolls!

© 2012 CL seamus for Thunder Row


Brad Russell's YouTube Channel - he features videos as well as some helpful bass tips! Be sure to drop by!

Thursday, 7 June 2012

Miscellaneous Bass Gear

Here are some of the various products in my bass gear collection.

Nothing fancy here. Standard tuner.

It attaches to the bass with a Planet Waves adapter - the kind with fancy compression springs that hold it in place.

You can read my report on Planet Waves compression spring jacks on Thunder Row.

I got my thumb-rests from Guy Lewis in the UK. I have two - one on the Soundgear and one on the Jet King. Though they are both ebony, the one on the Jet King has been painted white to fit the decor.  Highly recommended!

Again, nothing fancy here. Cheap, $20.00 metronome. Ticky-tocky, ticky-tocky.

I have quite a few cables - mostly just generic - but the two fancy-schmancy ones that I use all the time are the Core One Bullet Cable (above) and the Planet Waves (below). My Planet Waves is the one in my Thunder Row review HERE (Except mine has straight ends, as in the pic below).

The Bullet Cable is a coiled cable and I love this thing to death! My review of this one is also on Thunder Row.

I use Wedgie rubber picks. Good solid feel. I've tried thin nylon picks, but I don't like the cold, harsh sound they make.

I also have this little doo-dad whatchamacallit that you attach to the headstock. A place to store the Wedgies when not in use.

I use the Hercules Ultimate stand. It's pretty heavy duty.

This next one is a little gem called the Cable Caddy. You use it to hook your cable to your strap. It relieves the pressure from the cable jack so that the wires don't separate from bending.

You're supposed to link it up like in the first example (above), but since I usually play sitting down, and often don't wear a strap, I load the end that is supposed to go onto the strap onto the tail-pin instead. It serves exactly the same function. Instead of looping the end of the Cable Caddy over itself as in the picture above, you just loop the slotted opening over the tail-pin, exactly as if it was the end of a strap. The snap in the middle allows you to remove the cable and leave the tail-pin half attached to the bass for next time. This is a great little gadget. Works very well. Keeps the weight of the cable completely off the jack. Cost me about $3.00.

My strap is the Neo-Tech Mega Bass Strap. As I said before, I don't always wear a strap, but when I do, this is my baby. Very comfortable. Takes the weight of the instrument off your shoulders. As well, instead of having plastic rings or clips at the adjusting end (everything is sewn and woven in place), there is no risk of breaking the plastic clips that hold a lot of straps together.

To clean the strings, I use Bass Brites. Fantastic product. I did a feature on this product on Thunder Row. Check it out HERE.

My Bass Strings

I've tried a few different types of strings and found some faves.  These are the top of the pile.


DR Neon Strings - Orange/Yellow/Green/Pink
Gauge .45 .65 .85 .105

When they first came out, a lot of people thought the DR Neons would be a gimmick - just a "toy" string made to glow under black light. The DRs are actually high quality nickel wound and won best in show (strings) at the January 2011 NAMM show. They squeak a little when you're breaking them in, but it fades away soon enough.

Read my review of DR neon strings here on Thunder Row.

DR Extra Life Strings - Black Beauties
Gauge .45 .65 .85 .105

These are great - like their brothers, the Neons.
They feel good - I'd say they have a slightly sharper tone than the Neons.

D'Addario Flatwound Chromes
Gauge .50 .70 .85 .105

Flats are always a heavy, thumpy sounding string - they don't have a lot of treble definition, but you can get them to growl by upping the treble on the amp. I use the OVERDRIVE feature to wake up the bark on these strings.

But sometimes, thumpy and dark is exactly the sound a person needs. There's less noise on these strings than with a roundwound. No zipping or clicking. Sometimes I get experimental and play this bass with a violin bow. You don't want to do this with roundwound strings - it will eat through the hairs on your bow.

D'Addario Half Rounds
Gauge .45 .65 .80 .100

Very interesting feel and sound on these. They're as smooth as a regular flatwound string, but have more punch, like a traditional roundwound. They start out as a roundwound string, but then the manufacturer grinds off the textured surface of the windings, so the outside is flat.

As with the Chromes, they are not coated, but with a slick, polished surface, they don't really need it.

Friday, 1 June 2012

Miles Mosley is a Bear

Album Review
Miles Mosley - Bear
Genre - Alternative

I love Alternative music for many reasons, the most notable of which is that you never know what you're going to get. If you buy a Country album, you can be reasonably certain that no matter how different or unique are the songs, all of the cuts will be in the Country style. Same goes for Blues, Pop, Jazz, Heavy know what you're going to get.

Alternative music comes close to reminding me of movie soundtrack music. It can be anything and go anywhere. There are no rules.

While listening to Brian Bromberg's Bass on The Broadband, I was very glad I stumbled across the music of Miles Mosley. They played the title song from his solo bass album, "Bear" and I was hooked. I turned into Wil Smith from Independence Day. "I have GOT to get me one-a THESE!"

I've never heard anything like this before! If more people put this kind of intense feeling into their music, we'd never have time to do anything but listen! Obviously, Bass on The Broadband knows this. Wow! And thank you!

Let's go exploring. First off, who is Miles Mosley?

From Wikipedia:

"Miles Mosley is a vocalist, bassist, guitarist, pianist, composer and arranger from Hollywood, California. He was named after Miles Davis.

"Miles Mosley was trained in classical music and jazz at Colburn School of Music in downtown L.A. Mosley has studied with some of jazz's finest musicians, including John Clayton, Ray Brown and Al McKibbon. He claims he picked the upright bass because it was the only instrument at his school that he did not have to bring home with him. Mosley's style has often been described as brothel jazz; Mosley himself describes it as if Jimi Hendrix played upright bass in Prince's band.

"Throughout the years Mosley has written, composed, performed live and appeared in videos for various artists including Chris Cornell, Jonathan Davis, Everlast, Terrence Howard, Joni Mitchell, Lauryn Hill, Gnarls Barkley, Jeff Beck, Common, Christina Aguilera, Lesa Carlson.

"Mosley has released a number of albums containing his own solo work. In addition, he has worked for Creative Counseling Network, a non-profit organization that provides access to the arts for under-served young people."


To the album itself...

"Bear", by Miles Mosley is an incredibly diverse collection of tuneage. Within the fourteen tracks, there's rock, soul, funk, jazz, salsa, classical, stage-theatrical, romantic balladry, and even a smattering of rap (yes, I know what you're thinking, but it really works). If someone asks about the genre of your new album purchase, just shrug, lower the brim of your fedora, and say with a grin, "Hey,'s Miles Mosley."

I usually like to run through each of the tracks and give kind of a blow-by-blow feel for each song. I've decided to skip that. This is the first time I feel it would spoil the surprise. Heh, heh. You need to hear this one for yourself.

Suffice to say that you are in for a monumental treat of bass theatrics. At times, a stand-up bass played with a bow, and wired through enough electronics to power your electric toothbrush for a week! Then there are the parts where it's just the pure, vibrating wooden beauty of the raw bass - where you can hear the strings shake and Mosley's fingers whap and pound against the fretboard.

He is a dramatic and intense musician, and I wish we had more of this. Here are a couple of videos samples of songs from "Bear".

To me, the most jaw-dropping pieces are the title track, "Bear" (a dark sampler of what bears must sound like - grizzlies, angry men, a bad day at work), "Take Me Home", "Princess Beth and the Cellar Door" (one of the finest bass melodies I've ever heard), "Bravery", "Marching", "Rise" (a pure study in the most dangerous and troubled mood a bass can project), and "Shine" - Mosley's take on "Maria" from West Side Story. All done up and fancy, with horns and soul and style.

Track Listing:

01 - Bear
02 - Photograph
03 - Voodoo Child
04 - Can Can
05 - Back it Up
06 - 1000 X's
07 - My Customers
08 - Take Me Home
09 - Princess Beth and the Cellar Door
10 - Bravery
11 - Marching
12 - Clarity
13 - Rise
14 - Shine

Bass lovers, give your ears a gift - try out Miles Mosley's "Bear". They will thank you a thousand times over!

© 2012 CL Seamus for Thunder Row

Bear is available on iTunes and Amazon. Visit Miles Mosley on the internet.

Monday, 28 May 2012

Martin Motnik Interview

My Thunder Row interview with bassist Martin Motnik!

TR: As I listened to Bass Invader, the immediate thing that struck me was the clean and precise sound of the digital processing. On the other side of things, I've also seen the videos of you playing the upright live on stage. You obviously have a taste for both the traditional and the modern. Do you have a preference in sound?

MM: I prefer my sound to be as transparent as possible, to give the listener the opportunity to distinguish between all different instruments and hear what each instrument is doing. That goes through all styles of music, be it jazz with the upright bass or heavy rock with a distorted electric bass. That is my overall goal when I perform live or record in the studio. Other than that, I don't have one specific sound that I prefer since I like playing many different styles that require different sound settings. Whenever I play a certain style of music I try to find a sound that matches its character, and supports and complements it. I'm not set on one specific sound, the most important thing is that the music as a result sounds as good as possible. 

TR: What is the most valuable thing in each type of sound...the digital versus the analog?

MM: I like the clean sound and the editing possibilities of digital equipment. I'm a techie and a perfectionist, so I appreciate the possibilities that the digital recording technology offers. I can re-record takes until I have them sound like how I want them to be, and I have total control over the sound and the mix of the music. Of course I like the organic and warm sound of analog equipment, and usually that is what my favorite digital effects are based upon. But I love the convenience of digital gear.

TR: Give us an example.

MM: A digital pedalboard, for instance, can be set up at home, and you will have the same sound wherever you play. You can switch to completely different sounds in an instant, and recall it if the knobs got twisted during transport. Settings on analog pedals can change during transport, and on stage you end up with a completely different sound. But analog pedals often give you a more intuitive and more direct control over the sound. So it's a trade-off. Sound-wise, I think digital equipment has come a long way in sounding really good and authentic.

TR: What made you choose to do the covers on your album? I love your version of "Disease".

MM: Thank you very much! The songs that I chose are songs that I personally like a lot. I'm a huge Matchbox 20 fan, and I would love to meet Rob Thomas one day and have him sing on one of my songs. Anyway, since I don't trust my own singing, I decided to use my fretless bass for the melody and tried to emulate the feeling of "Disease" that way.

For the other songs, I wanted to present a variety of styles and playing techniques, so I picked songs that would reflect this effort. I'm also a fan of shredding guitars, so I decided to cover "King of the Monsters" by Racer X, who have Paul Gilbert as their guitar player. I played the song on my six-string bass and covered it note-for-note, only one octave lower.

TR: It was great! I loved it. One of my faves on the album.

MM: When I was done recording, I got the idea to email Paul and ask him if he would like to play and record his solo for my record one more time. My plan was to pan his solo on one side and mine on the other and have a unison bass-and-guitar shredding solo. However, at that time Paul was just getting ready to go on tour and didn't have time to record. But he listened to my demo and wrote back: "You don't need me. It sounds good as it is." It was the best worded rejection I ever got!

TR: Where did "Stages of Ages" come from? When I hear a song like this, I imagine a man trying to make up his mind about the directions in which his life is going. Something bad or good happening - creating a turning point.

MM: That's a very close interpretation of what I had in mind. I didn't think of one particular moment, but more a journey through someone's life. But it could also mean contemplating and looking back at your life, or looking ahead, planning and making up your mind, as you said. That's the beauty about instrumental music, it leaves a lot of room for personal interpretation.

TR: Simpsons fan too, are you? Loved your cover of the Main Theme! What made you decide to include it?

MM: I'm a huge Simpsons fan, although I don't watch it a lot anymore since I quit subscribing to cable or satellite TV. Too many commercials and too little quality content. But I love the humor and the wit that's behind the show. Also I admire well-established film composer Danny Elfman, the writer of the Simpsons theme, and his unique compositions. There's a certain quirkiness in his music that you would not expect from a mainstream composer, but it totally suits the themes of the shows he's composing for.

TR: Tell us about how it was recorded.

MM: I had a lot of fun transforming the orchestra arrangement onto different bass tracks, and I ended up using 23 tracks to emulate the different orchestra instruments. For instance, I used distortion and a pick for the fast violin runs, and my fretless bass for the horns. It was a lot of fun figuring that out.

In 2006, Fox held a competition among 16 Springfields across the United States to host the American premiere. Each Springfield produced a film, explaining why their town is the "Real Springfield", which was decided by a poll on the USA Today website. I got contacted by a representative of Springfield, Oregon who told me that they were using my version for their film. I was very proud of that, especially since the creator of the Simpsons, Matt Groening, is from Oregon.

TR: Did yours win?

MM: Unfortunately the most votes went to Springfield, Vermont, with "my" Springfield being close behind. I was bummed, but Matt Groening later admitted that the one in Oregon was in fact the Springfield that had inspired him.

TR: I wanted to switch gears here and ask a few questions about your recording techniques. There’s been somewhat of a resurgence in vinyl recordings lately.

MM: I still remember riding my bicycle to the record store to buy new records, and I have a fond memories of vinyl records. Listening to music back then was almost like a ritual, having to flip the record, dusting it off and keeping the needle clean, and really being able to study the artwork of an album cover and actually read the lyrics and the liner notes. I have good eyes, but the size of CD booklets can be a pain when you want to read the text or study the artwork.

TR: I heard that! Would you record an album on vinyl, using little or no digital processing?

MM: I am happy that there's new recordings that are being released on vinyl, and I can imagine to release a vinyl record myself. I don't know if I could completely refrain from using digital processing, especially since most recording equipment these days is digital. But depending on the music I wouldn't have a problem steering clear of digital processing and just record analog, as pure and unprocessed as possible. I think recording a jazz concert and releasing it on vinyl would be fun.

TR: Where do you think the processing of recorded music can go from here, technology-wise?

MM: Technology is a tool that supports my creative process, but making music itself is still a craft that has to be developed and maintained. Technology should never replace practice. That being said, as long as you have your playing down, technology can be a fantastic creative instrument in itself that can help you to express your ideas and experiment with sounds that would otherwise be very difficult and expensive to achieve.

TR: Such as?

MM: I'm thinking of a leslie effect for instance, which can sound great for guitars and which is easily available as plug-ins. That's great, because how many people do actually have one of those beasts at home?

TR: Exactly.

MM: But back to your question: where do I think technology can go? I think the sky is the limit. There are fantastic companies out there that are allowing people to bring their music to a totally new level. I think the creative processes of composing, recording and performing will grow together, thanks to technology. Many DJs are already using computers to create new songs on the fly during their performances. I think this principle will more and more be adapted by live musicians.

TR: Talk about the difference between creating music live on stage versus your studio work.

MM: I love working in the studio, and I'm lucky I get to spend a lot of time there. I do, however, do a lot of my studio work by myself, in my own studio when I'm recording bass tracks for people that send me songs over the internet, through my Studio Bassist website. I enjoy working in the studio a lot, and the process of creating audio tracks gives me a sense of achievement. It's also a very controlled environment in which you can work on the music until you are completely satisfied.

TR: I sense a "but" coming.

MM: can get lonely sometimes. Playing live on the other side comes to life from the interaction with other people and the moment itself. It is often very spontaneous, and you never know exactly what to expect. That's the beauty of it. My best days are when I have spent the day working in the studio, and at night I am playing a gig. That's when both my desires are being fulfilled, my passion to record and my love to play out live and interact with other musicians and the audience.

TR: How did you become involved with Gregg Bissonette and Mattias Eklundh? 

MM: One day I was browsing through the internet and accidentally stumbled across Gregg's website which had a little link saying "Hire Gregg for your CD". I knew of Gregg ever since he was playing on David Lee Roth's records "Eat 'em and smile" and "Skyscraper", which were very influential records for me; after all Billy Sheehan is my biggest influence, and those records were my introduction to him. So now I suddenly saw the chance to work with the same drummer as Billy, which was very exciting. I was thrilled when I received an answer from Gregg only a couple of days after I had contacted him, and he said he was going to play on my record.

TR: Were you pleased with what he brought to the table?

MM: Gregg totally brought the songs to a new level, he has a fantastic feel for music and a fantastic groove, and he made my songs really come alive. So this is how I ended up recording an album with Gregg Bissonette. By the way, meanwhile I have actually played on two records with him; my good friend Ralf Jung, who works as a worldwide clinician for DigiTech, recorded his own solo album "The Art Of Pop" a few years ago, and while asked me to play the bass parts, he asked me to get him in touch with Gregg for the drums. Gregg again agreed to do it, and so Gregg and I played together on Ralf's CD. It's a fantastic melodic instrumental rock album, in the style of Joe Satriani and Eric Johnson.

TR: And Mattias Eklundh?

MM: Originally I wanted to make "Bass Invader" a bass-and-drums-only album, but then I heard Mattias on a Favored Nation (Steve Vai's record label) compilation CD, and was intrigued by his unique sound. He has his very own technique of creating ultra-high harmonics by hammering the strings with his left hand and then use the tremolo bar to bend the notes, and it sounds like he uses some kind of a sound processor, but he doesn't.

TR: Wow.

MM: When I met him in person at the Musikmesse in Frankfurt, I had the idea of having him on a couple of tracks and feature his outstanding technique on my CD. I always try to push the limits on what you can play on a bass, and he does the same thing on guitar, which is why I related to him. I asked him to play on my version of YYZ, but to put his own fingerprints on it, which he totally did.

TR: We posted that video some time back on Thunder Row. I loved it!

MM: Some Rush fans might not be too fond of that, but I like it a lot and it turned out exactly as I was hoping it would.

TR: How was Bass Invader recorded? Did everybody record their parts separately and then send them for mixing?

MM: The whole album was recorded in 5 months, between January and May 2005. Back then I was living in Munich, Germany and had a recording system set up in my apartment. I composed and recorded the songs at the same time; when I had an idea I would record it right away and develop the song based on that idea. I would also program the drum tracks on my computer to have something to play along with. I would work on one song until it was finished, and then move on to the next one.

TR: At your own pace and when the inspiration hits.

MM: It was a very easy process, and it felt very natural. When I was done recording the songs, I separated the programmed drum tracks and the bass tracks and sent all files over the internet to Gregg and his brother Matt who, besides being an amazing bass player, is Gregg's recording engineer. Matt's house in Anaheim, CA is where one of Gregg's drum kits is set up and miked all the time, for recording sessions like these. Gregg played on the songs after my tracks were already recorded, and so I was astounded when I received the real drum tracks and heard how organic his drums would blend with my bass tracks. It was like we had played in the same room at the same time.

I also had sent the two songs I wanted Mattias to play on, "YYZ" and an original song called "Bee On Speed", to his house near Gothenburg, Sweden which is where he recorded his guitar tracks. He then sent me his files back and I put those into my recording program. Again, I was extremely pleased how those tracks would fit into my arrangements. When I had all tracks together, I went to Frankfurt, Germany where my brother Frank works as a recording engineer, and who mixed and mastered the CD. So it has been a remote recording process which was mainly possibly because we have the Internet. I feel very blessed that such a thing is possible. 

TR: I love the theatrical depth of your songs. You seem to have a soaring imagination when it comes to composing for the bass. Where do you get your inspirations? What’s going on in your head when you sit down to compose?

MM: I can work very goal-oriented, so when I say "Today I am going to write a song", I can generally come up with something. I usually sit down with my instrument and jam around until I come up with a lick or a riff that I like, and then develop something based on that idea. What I come up with however is usually inspired by something that is happening in my life or around me.

TR: I've heard that from many musicians...that they are not so much inspired by other artists, but what they see and what they're going through every day.

MM: If I watch an interesting movie or listen to a documentary, that might set the mood for what kind of music I write. I'm getting my inspiration from all sorts of things, I try to be very open minded and am eager for knowledge. So the inspiration doesn't only come from music, but pretty much from everything that happens in my life. This is what I then try to project onto my music.

TR: Which musicians have influenced you most in your playing and composing?

MM: When I started playing bass, I was mainly influenced by Billy Sheehan. I liked his melodic playing, his energetic sound, and the way he presented the bass as an equal instrument and not just a "big low-sounding guitar in the background". I studied particularly his tapping technique and his three-finger picking, and I implemented those things in my own playing. I also admire Level 42's Mark King a lot, who is a master in slapping. Unfortunately my talent in this field is rather limited, so I could never get anywhere close to his performance, but I admire everybody who can swing a serious thumb.

TR: Who else?

MM: When I think of other names, I of course admire Geddy Lee, John Entwistle, Jaco Pastorius, Pino Palladino and then many others I can't think of right now. Every time I see bass players, I watch them play and make sure I learn something from them. When it comes to composing however, I can't really name one specific influence. I like listening to different styles of music. To me it's very important that a song touches me. Also if a song strikes me as being catchy, I analyze it to find out what makes it so, be it a pop, rock, jazz, funk or classical tune. Unfortunately, I haven't had the chance to watch too many other composers work, so I just do what's in my heart and try to come up with something I don't mind listening to even a few days later.

TR: Do you have a musical mentor?

MM: I am a self-taught musician who has been studying other bass players mostly from records, videos, live concerts and books. I wish I would have had a mentor, but the opportunity didn't present itself unfortunately. Nowadays, I think I would consider former Scorpions guitarist Uli Jon Roth a mentor, since I had the chance to closely work with him on three tours so far. He has given me some very useful tips on my playing, not so much technically but more on the overall approach towards music and the spiritual aspect behind it. He is most definitely a major inspiration. 

TR: Is anyone else in your family musical?

MM: My parents don't play any instruments, but my brother Frank plays guitar and keyboard. I started playing flute when I was 6, and nagged my parents to buy me an acoustic guitar when I was 8. By the time I was 10, I had saved up some money, and Frank talked me into buying an electric guitar. My parents and I went to the music store and bought a black Stratocaster copy, but the result was that my brother kept playing that electric guitar almost all the time, so I couldn't use it.

TR: You had been hoodwinked.

MM: Of course I would complain about it to my mom, but it didn't help much. A couple of years later however, my brother joined the military and used the first money he made to buy me a white Squier Precision bass. He brought it home and said: "Here, try this out." I think he wanted to form a band and was trying to make me his bass player. But when I took the instrument and started to play it, I instantly fell in love with it and wouldn't put it down anymore for anything except sleeping, eating and (reluctantly) going to school. So even though he tricked me into buying an electric guitar for him, I am extremely thankful for guiding me to the bass guitar, since there's enough guitar players out there anyway. (laughs)

TR: Truth.

MM: I then took a couple of bass lessons in a local music shop, but my teacher didn't play bass but guitar, so I would usually just jam with him for until I decided I was not really getting my money's worth. After that, I mostly played along with records and experimented to see what sounds I could come up with. When I was 16 I started my first band, and never stopped playing with other musicians since. Playing with others is, in my opinion, the best school of music you can get, since making music is a social event and a form of communication. I think I learned the most by watching and playing with other musicians.

TR: You're from Germany. What are the biggest differences between music in Germany and North America?

MM: I would describe Germany as being a musically divided country. There is one half -- usually more the older generation, although there's a retro-movement of younger folks -- that is very much into "Schlager music". That is the German version of easy-listening music, sometimes even country-ish, with German -- and usually kitschy -- lyrics. Then there's the other half that prefers more modern-sounding, often US-oriented music with English lyrics. This description of the German music scene is certainly a total generalization, and there's lots of smaller groups that prefer some completely different styles, but for the most part that's the gist of it.

TR: Which were you?

MM: I always belonged to the second group and have been into American rock music. I probably grew up listening to a lot of the same music that many American kids grew up with, and I wanted to move to the U.S. ever since I was a teenager, so I am very happy to be living there now. After living in the States now for a while, I've noticed a huge variety of musical styles, actually a much wider one than in Germany.

TR: Why do you think that is?

MM: I think that is because the U.S. is a land of immigrants, and every culture brings their own music with it. So I think there is a broader variety of music in North America than in Germany, which is very interesting and educating for me as a musician. But I do also still follow the German music scene.

TR: Any one in particular?

MM: My former band Eisbrecher is experiencing a significant amount of success now, which I am very happy about. They're still mostly known in Europe, but they have been signed by Sony Music recently, and went on tour to support Alice Cooper. Their sound is comparable to Rammstein, a new kind of Heavy Metal with German lyrics. I don't listen to that style of music a lot, but every once in a while I do enjoy putting a record of either one of them on. Then of course there's the Scorpions, that have been the most successful German band, and a staple of my music upbringing. We had most of the Scorpions records albums in our household when I grew up, and I remember playing along with their songs.

TR: Let's talk a bit about gigging. Ever have a bad gig?

MM: My worst gig was actually one where I didn't even play, at least not for the majority of the gig. It was my first real out of town gig, a big religious convention in Berlin, and I was 16. I was playing with a church band and choir, and we pulled up in front of a big church to play a service in front of about 1,000 people. We all helped unloading the equipment from the bus' luggage compartment, but since I had my two basses in gig bags, I had left them inside of the bus to pick them up later. After we had the equipment inside the church I wanted to go back to pick up my basses, but I noticed that the bus was gone.

TR: Uh-oh!

MM: It was not allowed to park in the nearby area, so the driver had to find another spot and wait to return after the gig. This was before cell phones were around, so we had no idea where the driver went and how we could get ahold of my instruments. So I ended up having to watch my band play without me, while the keyboard player tried to pick up the slack for me as good as he could.

TR: How did you feel?

MM: I was devastated! The bus driver then arrived about 15 minutes before the service was over, so I ran inside and grabbed one of my basses, and was at least able to play the last 2 songs along with the band.

TR: Lesson learned?

MM: Always know where your gear is, and always ask for the bus driver's phone number. 

TR: Best gig?

MM: That is a more difficult question to answer. I have played a few gigs with some fantastic musicians that were very inspiring and lots of fun. But I think the single most emotionally touching gig was with my former original band, What4. We were booked to play at a big street festival, and we had a prime time slot at 9pm on a Saturday night. The band was still quite unknown, but we had a little following of local fans that would usually show up at our gigs, and so they did that evening.

TR: How did it go?

MM: As the gig went on, we got a progressively bigger crowd. Then at one point we played a song that I had written, and that apparently must have had a chorus that is very easy to remember. Because when the chorus came around the second time, almost the whole audience started to sing along the lyrics. I got the goose-bumps and had to concentrate very hard to stay focused on playing. It was the first time that I heard a crowd sing a song I had written, and it made me extremely proud.

TR: The audience plays a big role in making a good gig. What else comes into play?

MM: I wish there was a recipe for a good gig, then I would apply it every time I'm playing (laughs). But seriously, a good gig is usually a combination of many little things falling into place. The sound is right, the band has a good energy, a crowd is present and receptive, and everybody has a good time. It doesn't mean nothing goes wrong; sometimes it's even a little incident or mistake from which you recover quickly and without much fuss that makes a gig a very positive experience. On the other side, a bad gig can seem like a good one on the outside, but it's the little things that drive you nuts. You have problems with your equipment, there's be a constant feedback through the monitors, you keep missing cues or someone in the band just can't keep their head straight. It's usually a strange mix of things that determine whether a gig is going to be good or bad, and it's usually the things that are out of your control. The most important thing when playing live however is to be well prepared. That way, whatever happens, you will always be able to say that you did your best.

TR: Which people (that you have not played with) would you like to team up with?

MM: I have two guitar players on top of my list that I would love to play with: one is Steve Lukather and the other one is Paul Gilbert. I'm a huge fan of both of them, and I would love to jam with them, or even better go on a tour with them. Or who knows, maybe I will hire them to play on my next CD.

TR: I’m impressed with your recording and performance credits.

MM: I'm impressed too. (laughs) I look at the list of people I worked with so far and go: "Wow, I can't believe I played with all these great people." Many of them are heroes I've admired since I started making music.

TR: Which ones stand out in your mind as very special experiences?

MM: It's hard to pick one particular person or incident, since every one of them has given me inspiration. But a very special moment was when I got to play with Walfredo Reyes Jr. (drummer for Carlos Santana, Steve Winwood, Jackson Browne, Christina Aguilera, Ricky Martin and many more). I was working in a music store in Munich at that time and was supposed to mix him during one of his drum clinics. When he arrived I asked him if he had backing tracks he was going to play with. But Walfredo said "I don't use backing tracks. In fact, I usually pick a couple of guys from the music store and jam with them on stage." So it happened that I ended up on stage with him, doing some awesome drums and bass jamming, with a co-worker who played congas. There were some really magical moments happening, and I'm glad I captured that on video.

TR: About your basses. We've had some interesting conversations on Thunder Row about Ritter basses - in particular, the Cora, sister to the Roya. To me, both are flamboyant, delightful creatures. Tell us about your bass of choice, the Roya. What makes this one special to you?

MM: First of all, the beauty of a Ritter instrument is just outstanding. That's what caught my attention when I walked through the halls of Musikmesse Frankfurt in 2004 and discovered Jens Ritter's booth. I wasn't actually looking for a new instrument, since I was playing a six-string "esh" Sovereign bass which I was very happy with. ("esh" is another German brand, that later went out of business due to quality and management problems; the name however has been bought by another company, and now they're available again, and they are great instruments too). But when I tested one of Jens' basses, I realized not only do they look beautiful, but they also play and sound fantastic. Jens and I then had a conversation, and two weeks later I visited him in his workshop, which is only 10 miles away from where I'm from. So being from the same area, we instantly had another connection besides our fascination for basses.

TR: How did this meeting go?

MM: We talked about my requirements, and Jens showed me the different models that he builds. Even though I was very intrigued by his extravagant designs like the Jupiter or the Raptor, I decided to go with the Roya shape, since it was to me the most versatile shape and suitable for most musical styles. Also, since I needed a bass that could optically fit in with the different acts I'm playing with, I decided against using one of his very beautiful colors or finishes that usually make his basses even more spectacular and asked him to use his "Futura" finish, which is a matte black. After we decided on the specs and he started building it, I would stop by his workshop every once in a while to document the creation of my instrument. I took pictures of the different stages of the building process, from the bare wood to the soldering of the electronics, to the finished instrument. The whole process can be seen on my website; in the "Gear" section is a link that says "Bass in progress".

TR: I've seen it. Beautiful!

MM: Just to observe the creation of your own personal instrument makes it very special, but more so since it just completely supports me and my playing style. Jens really regarded every request I had and built the bass exactly how I wanted it. So it plays great, and every sound guy loves the clarity and precision of the sound. I feel very blessed to be able to play his instruments. And we have a very nice collaboration, as I keep providing him with feedback about my basses which hopefully contributes to further improve his instruments.

TR: Improve? On those beautiful Ritters? Can that be done?

MM: In fact, in 2007 I asked Jens to build me a Roya 6 string bass, but with the fretboard width of his 5 string basses. It was planned as more of a solo instrument, on which I could play chords or some shredding solo lines with distortion, but also to be comfortable just playing bass lines with the wide register of a 6 string without the intimidating neck width. Jens was a little skeptical in the beginning, but he decided we would give it a try. When he was done, we were both excited about the result. The bass plays extremely easy, skipping strings is super-fast due to the narrow string spacing and the narrower neck even makes playing long gigs easy.

TR: Okay, maybe it can.

MM: In 2008 I brought that bass with me to the NAMM show in Anaheim and played a few demo shows at the Ritter booth. Between the shows I would just put the bass on display between his other basses. I would then usually just wander around through the halls and go exploring. One time when I came back to the booth, Jens came up to meet me and said: "Phil Lesh from Grateful Dead is playing your bass right now. I hope you have no problem with that?" I said: "Sure, that's great." When I walked up to Phil, he looked at me and said: "Is that your bass? This is the best playing 6 string bass I have ever tried". Jens then told me that Phil is going to order one of his basses, with the custom string spacing that I came up with. I felt very honored, and we took a couple of pictures together. Later I found out that Jens had built a total of 10 signature Phil Lesh basses, named the "Eye Of Horus", with the same neck width as my six string that he had tried.

TR: I am shocked! To me, the Eye of Horus is one of the best basses in the world! Very impressive that you played a part in its design.

MM: It's an amazing feeling that I was able to inspire a true legend.

TR: No kidding! And what about your Ibanez?

MM: The Ibanez acoustic bass is a solid instrument that I bought at the peak of the whole "Unplugged" wave. You just had to have an acoustic bass as a bass player, and the Ibanez was what I went with. It was more a budget decision than anything else, but it serves me well and it sounds actually really good. I modified it a little bit and installed a Fender thumb rest above the E string, since I didn't know where to put the thumb of my right hand when playing the E string (on the electric bass I usually rest it on a pickup).

TR: I have after-market thumb rests installed on both of my Ibanez basses too.

MM: I should actually tell Ibanez about that idea, since I think it's quite useful.

TR: What’s your preference in stand-up basses?

MM: My stand-up bass is nothing special, except that it's white. After I moved to the U.S., I realized that I needed to expand my repertoire and have a stand-up bass to get traditional jazz gigs. That's why I went ahead and purchased an inexpensive bass to get me started. Luckily I bought it in a store that is owned by a good luthier, and he did a great job in setting it up. I then installed a Schatten active pickup, and that was it. If I get to buy another stand-up bass however, I will probably buy a Chadwick folding bass. I visited Charlie Chadwick last year in Nashville, and I was amazed by his concept. His bass literally sets up and breaks down in less than 3 minutes and fits into a case that's not larger than a standard suitcase. Whoever traveled with a stand-up bass before will know what a pain that is, and will appreciate the concept. And the basses sound and play fantastic too.

TR: What about the rest of the rig? Amps, cabs, etc…

MM: I am lucky to be partnering with some really fantastic companies whose gear I'm using. I use Gallien-Krueger amps and cabinets, Line 6 effects, Elixir strings and cables and Gator cases. I've been very happy with all those companies, and we maintain a very fruitful partnership. It's important for me to play and promote brands that I really support, and I have declined offers from other companies that had offered me endorsements, either because it would not have been any improvement or because their products didn't resonate with me. Besides, the companies I work with supported me from the beginning and were very helpful, and I feel loyal to them. My gear changes occasionally, but I usually list my current set up on my website.

TR: You’re playing in Las Vegas now. What’s that like?

MM: Las Vegas offers a lot of opportunities for musicians to work. There's still many places that have live music, even though it's not as many as there have been, but the ones that do actually pay fair rates. A while ago I had also passed the audition to join the cast of Cirque du Soleil, but I haven't started playing shows with them yet.

TR: What sorts of shows are you doing?

MM: I am playing in a couple of bands, ranging from the jazz trio I have with my wife, Kai Brant, over top 40 and rock. I perform mostly in the lounges of the casino hotels on the strip. It's fun work because the people in the audience typically come into town from all over the world to have a good time. So the people are usually in a good mood which makes playing a lot of fun. Many musicians I know have moved from California to Las Vegas because there is more work and the living expenses are so much lower.

TR: Tell us about the new CD you’re working on. Your wife is on board.

MM: Right now my wife and I are finishing up her new jazz CD called "The Way You Look Tonight". Kai has a very delicate and touching voice, and it's a pleasure working with her.

TR: What's the album like?

MM: We chose 10 jazz standards and arranged them to support her sultry voice, and I also had the chance to finally utilize my fretless bass again, since I had neglected it a little bit in the past. I played fretless bass on all the songs. After that CD is released, which will be this summer, we want to focus on our original project in which we will synergize our interests and talents. Me, coming from a rock background and being a technical player, while my wife is a singer-songwriter, a producer and programmer, should result in a very interesting mix. We call the genre we are seeing ourselves in "Cyber Rock". More info and hopefully some samples should be available very soon.

TR: What else do you have going on right now?

MM: There's my instructional book that I've started working on a few years ago, based on the songs of "Bass Invader". The book is planned to be catering to the advanced bass player, and I will be explaining the different techniques that I'm using, like pinched and hammered harmonics, three and four finger tapping or chord playing.

Working on the book is unfortunately not progressing fast enough, due to my other commitments, but eventually it will be done, ideally in combination with an instructional DVD. I also usually announce all releases in my newsletter which can be subscribed to on my website. Every subscriber also gets a free mp3 of one of my songs, and I also give out other free songs, behind-the-scenes videos and other perks to my subscribers. It's a great way to stay in touch.

TR: Thanks for talking with us, Martin.

MM: You're quite welcome.

Readers, make sure you visit Martin's Website, and check out his YouTube Channel. Lots of great videos!

Okay...since you insist, another couple of videos...

This next one features Martin on his white upright and his wife, Kai Brant, on vocals.

Bass Invader is available on Martin's website. A list of other dealers is available there as well. It's a great album - I highly recommend it.

© 2012 CL Seamus for Thunder Row