In this issue:  Breaking into Nashville: Moving to a new town | Interview: Bob Babbitt | Interview: Ernie Durawa | The Blues Scale With Added B5th Note | 

Bob Babbitt:

The Legend's Insights, Perspectives, and "Food for Bass Thought"

by S.K. Wallace

Background

SKW: Who and what were some of your early musical influences and experiences? How did you get started playing the electric bass? (I found it interesting that you played string bass in the school orchestra.)

Babbitt: Ray Brown, Charles Mingus, the original Motown Bassist James Jamerson, the left hand of keyboardist Les McCann, and the Principle Bassist for the Pittsburgh Symphony Orchestra Anthony Bianco who was also one of my first teachers...

For three years during high school, I played classical upright bass in the Pittsburgh Symphony Jr. Orchestra which featured the top high school musicians from all the schools in the area.

When I played the upright bass in the smaller groups, Pop/Jazz/R&B, other musicians would always say, "I wish I could hear you better." Then, one of my greatest experiences was when I first heard the electric bass. I could hear every note and decided that the electric was for me. My musician friends and I loved it.

SKW: What are your favorite career highlights?

Babbitt: Winning the Grammys® and the Lifetime Achievement Award with The Funk Brothers...

SKW: During your tenure as one of The Funk Brothers, did you have any idea of the profound impact you were having on Motown as it was happening real-time, or did the awareness come after the fact?

Babbitt: Never thought anything about the impact it was having. We all were happy to be playing and making a living as most of us were raising families at that time. Only after I had moved to the East Coast, did I then realize the impact that Motown had on the music world.

SKW: Did your career go according to plan?

Babbitt: They say that, along with your ability and talent, you have to be in the right place at the right time... They are right... This alone can affect your career plans. The people you meet will be a huge factor and can determine and possibly change any plans you may have in your career.

SKW: How did the Standing in the Shadows of Motown film affect your career, and how did it affect other aspects of your life?

Babbitt: If there were any music people who doubted [The Funk Brothers'] career because of the failure to receive recognition, the film helped tremendously. As far as other aspects of my life, many things are basically the same for me. I feel fortunate to be still able to satisfy artists when I am asked to record for them, and playing live has become so special to me. I love playing my bass, and it has kept me "young at heart."

SKW: What was the general vibe among the Funk Brothers before, during, and after the film project?

Babbitt: It was very positive and optimistic about their lives and the fact they were together playing again.

SKW: What are your current and/or future projects and activities?

Babbitt: The Funk Brothers will have a live DVD out next spring and will be doing more live shows. We will be inducted as a group into the new Musicians Hall of Fame located in Nashville, TN. Next year, we will receive the prestigious R&B Pioneer Award.

I will be involved in the Thom Bell documentary with the Philadelphia Symphony Orchestra next year. (After I left Detroit and moved to the East Coast, I did sessions for Thom Bell from 1973 to 1986.) I also will be in the studio producing some new artists as well as my own solo record.

Bob Babbitt Awareness Guide

SKW: What led to your writing the book, Bob Babbitt Awareness Guide for Bass Players and all Fellow Musicians?

Babbitt: I always wanted to write some type of a book. Because so many instruction books were available, I did not feel another book like that would be what to write. I noticed that there were no books telling what it was really like once you were out there in the streets looking for work... nothing telling you what it was like in the studio or playing live or how to deal with music people and what you needed to be aware of. So, that became the subject matter for the book.

Instruments/Rig/Gear

SKW: In the book (cf. pp. 41-45) I was impressed and found it refreshing that you personally don't seem caught up in the popular trend of excessive instruments and equipment (e.g. You take your "favorite 4-string and give them the ONE BEST BASS SOUND..." (p. 42). You mentioned that, in some circumstances, you don't hear an appreciable difference in sound when people use a bunch of gear versus a single amp or DI (p. 44). I'd be interested in hearing more of your ideas and opinions on this subject.

Babbitt: If producers are looking for something different for their projects such as an upright bass, five-string, or a fretless electric bass, they usually will let you know. It seems that most of the producers who will hire you for their sessions are hiring you because they want YOUR sound and YOUR concept of the feel of the song(s) they are recording. When I see or hear about bass players bringing so many basses to a session, I realize they are offering the producer different sounds, but I feel that those bass players really don't have one sound they are convinced will be that "One Best Bass Sound."

As far as equipment to make you sound better, like I say in the book, always take something with you to enhance your sound if you are not happy with it, but not necessarily a lot of equipment. As a bass player, YOU should know what satisfies your ears and how to get a great sound no matter what the circumstances are or what amount of equipment you have to work with. The one thing that I impress upon you in the book is that YOU must speak up if anything bothers you; it may be detrimental to your career if you don't.

SKW: Would you talk about the main instruments you play?

1. "favorite 4-string" [I know you play a Fender, but any details, specifics would be great.]

Babbitt: At times, I do play my Fender P-Bass that I played in the Motown sessions and also in the Standing in the Shadows of Motown film. My favorite 4-string at this time is my custom-made Toad "Killer" Bass. Specifics: I love it; producers love it, and The Funk Brothers love it!

1. upright [As someone who plays upright, too, I found it interesting that this was your preference in lieu of acoustic/electric.]

Babbitt: As far as I am concerned, the upright bass is a God-sent sound that in no way can be duplicated.

1. fretless

Babbitt: My choice is the upright.

1. others, if applicable

Babbitt: I have used a 5-string.

Bass Playing as Creative Problem-Solving

SKW: You mention taking risks and encourage people to try different approaches (even if it's "wrong") and you give some great examples (cf. pp. 44, 45). Would you further discuss this approach of creative problem-solving in bass playing? [e.g. Did you always have it, acquire it with experience, do anything specific to actively cultivate it? Any additional advice to people in how to go about developing or improving this ability?]

Babbitt: All bass players will run into situations where they have to figure out ways to make it through the rough spots. This may take some creative thinking, re-tuning, or fingering at different positions on the bass. One hundred percent concentration and focus along with determination are needed. One way to develop this when you are practicing is to learn to play a certain passage in all keys using both open and closed strings, to play them in the lower octaves as well as in the higher octaves, and to experiment using different fingerings and tunings for the notes.

For me, the biggest percentage of the time has had to do with the playing of certain intricate passages, regardless of reading or not reading. To find a solution as fast as I can, it may not necessarily mean finding the easiest way to play them. The fact that you are the bass player who was called to the job, that alone says your qualifications are held in high regard by the people who have hired you. They are paying you for your expertise and have confidence and trust in you that you will do the job. You can do it!

Finding One's Musical Identity

SKW: In the context of finding musical identity and encouraging the reader to "be yourself," on page 37, you wrote, "Remember what I said about Will Lee." Would you explain more about what you were referring to?

Babbitt: You need to find your own identity, but then I say that there are advantages to learning to play different styles because you will be more in demand. I was referring to Will Lee because he is a perfect example of the ultimate studio bass player and can be seen in action playing the different styles on the David Letterman Show.

SKW: How did you develop your own incredibly diverse musical identity? How did you avoid being pigeon-holed or limited to just one or a few genres?

Babbitt: By opening my ears up to the different styles and working on developing new approaches... By experimenting with mixing them together and constantly playing until the music just flows from your heart...

SKW: Do you have a favorite musical identity?

Babbitt: I do love playing the traditional Motown style and carrying on the style of the original creator, bass player James Jamerson.

Changes and Developments in Bass Playing and the Music Industry

SKW: What are the most important changes you've witnessed for bass players and in the music industry as a whole?

Babbitt: As far as bass players are concerned, the synthesized bass being used in today's music has made a serious impact, not only in the studios, but also when played or sampled in live performances. There are other instruments as well that are not the "real thing," that are being replaced with the "machines."

A lot of the lyric content in today's music is not very positive, and there is not much feel with the "machines." I can remember driving my car, listening to the radio, and wanting to pull over, stop, and get out dancing! Now, it is rare that I get that feeling when I listen. There are established artists and younger artists who are very creative and have a positive message. I hope that one day pop radio will open up to them and that we will see a change for the better.

SKW: [cf. p. 59] You recounted a discussion with some college-aged bass players who indicated they preferred playing "in the groove" over some of the more showy solo-bass styles. Realizing that these different approaches/applications aren't mutually exclusive, not an "either/or" choice, there seems to be a certain amount of debate and, sometimes, even division over which way is "better." Would you share more of your insights and opinions on this issue?

Babbitt: The most important role of a bass player is to lay down a foundation for the other musicians to build on. When the time comes, regardless of whether it is an intricate passage or a solo you are playing, you should be able to stretch out. As far as technique is concerned, you should play how you feel it should be played. There is no right or wrong way, and I do not think one or the other is better. You should be able to discern the obvious ways, but if producers or arrangers ask you to play a certain way, then that's a different situation. Remember, they are paying you. When I spoke of the synth bass being used in today's pop music, it could be because the majority of the synth bass sound is what a bass is supposed to sound like... not the slap, pop, tap sound. It's just a feeling I have, but it is "Food for Bass Thought."

SKW: What do you think the future might hold for someone currently attempting to pursue a career similar to yours? [Is such even possible? Why or why not?]

Babbitt: When bass players ask me for advice, the one thing I impress on them is, if this is what they strongly feel they want to do, just follow your heart and always satisfy your soul. Someone always comes along who will make your eyes pop out, and it could be you!

Closing Thoughts

SKW: I love the way you line out "Challenges versus Rewards" in the book... The following two particularly resonated with me.

"Challenge": "Projecting an Aura of Good about You" (p. 14) How do you personally project an "Aura of Good" about yourself?

Babbitt: First impression is important, and having confidence while being humble should be your top priority. A smile on your face and a handshake make a huge difference. To make people feel comfortable, to be willing to listen, and to take direction... This "Aura of Good" can be seen by all.

"Reward": "Feeling of Satisfying Your Soul" (p. 15) In your bass playing life, what has "satisfied your soul" the most?

Babbitt: Naturally, being presented with any type of award is very satisfying. To still be called to record for an artist without a doubt satisfies my soul. I would say the most satisfaction for me comes from seeing the fans, young and old, smiling from ear to ear and dancing in the aisles at The Funk Brothers shows. You can see and feel the love, and for me, this is the biggest and most satisfying reward a musician can ask for!

To learn more about Bob Babbitt, visit his website: www.BobBabbitt.com

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About the author:

S.K. Wallace is a bassist, acoustic and electric violinist, and chemistry teacher. She has been writing for Mel Bay's Bass Sessions® since 2004. She may be contacted at SKWBassist@aol.com.