Your Bass Community: Getting One, Keeping It

by S. K. Wallace

A few days ago, Bluesman (and Bass Sessions reader) Dangerous Dan (a.k.a. Danny Earnest) asked me point blank, "How do you know and write about so many bassists?" and it made me stop and think: How do I get to do this? I know a lot of bassists, and remarkably enough, they will return my calls and e-mails and agree to interviews, but why? Fundamentally, it gets down to one thing: I have a Bass Community. Where some might prefer the term "network," I avoid it because there is a connotation of almost frenetically using and maybe even exploiting people to get ahead and establishing contact and interacting solely for that purpose, without regard for or appreciation of people for their own humanities' sakes. While not all-inclusive, here are some of my time-tested and proven techniques for cultivating and maintaining a strong Bass Community.

Start where you are. Hopefully, wherever you are, there are other bassists: bass teachers, bass students, jazz bassists, rock bassists, R&B bassists, country bassists, and these bassists most likely know other bassists. I don't care whether you personally dig his or her genre, style, or rig... If there is a bassist playing at church, the local college or university, the neighborhood bar and grill, an outdoor concert or festival, wherever, make a point of getting to know him or her. Briefly (don't ever monopolize musicians or detain them if they're trying to regroup or get away) introduce yourself during a break or after the gig and try to learn something about the bassist. If you can honestly do so, compliment some specific aspect of his or her playing. We bassists are generally pleased to learn there was another bassist in the house and that someone was actually listening to what we were doing. You'd be surprised what doors might be opened by the simple act of establishing rapport with local or regional bassists.

Expand your horizons. Some of my best contacts have been made at music camps, conferences, workshops, and seminars. These forums are a chance to be around all sorts of bassists, including some incredibly outstanding ones, both well-known, and maybe not-so-well-known, but interesting and great, nonetheless. It's also in a completely different context from watching someone perform onstage in a concert. In addition to getting fairly intensive instruction from bass greats, you might have opportunities to just hang out with them, ask questions, and maybe even take private lessons. If you don't have a week to commit to a camp, some of these are in 3-day, long-weekend format. For starters, you might try looking into the National Guitar Workshops (they include electric bass classes), Gerald Veasley's Bass BootCamp, or Victor Wooten's Bass and Nature Camp.

An additional resource is the literally global access you have to bassists via the internet. Many bass greats have websites and welcome correspondence, provided the privilege isn't abused. Check out Erik Scott's (cf. February '06 Bass Sessions interview) awesome new website, www.ErikScottBass.com. There are also opportunities to receive on-line bass lessons, and your instructors and classmates can become part of your Bass Community. One online instructional site to consider is www.MusicDojo.com that features internet courses taught by Adam Nitti, Anthony Wellington, and others. I include readers who've corresponded with me as part of my Bass Community, and I have the honor of being part of theirs.

Tune out WIII-FM. It's been said that everybody has a radio station called WIII-FM or "What Is In It For Me?" playing in his or her mind. When interacting with members or potential members of your Bass Community, it is imperative to turn down and tune out that kind of thinking (outside of the obvious, reasonable expectations in classes, lessons, or other instructional situations.) For instance, a person we will refer to here only as "Bassist X," was recently musing obsessively about approaching various bass luminaries that would be present at a major bass event to ask them to "contribute" their talents (free of charge) to some rather vague recording project. [Just go to your CD cabinet or flip open some recent copies of any mainstream bass publications, including this one, and I promise you'll come across some of the "targets" he had in mind.] This led to some rather high-pressured and obnoxious approaches. I don't think he ended up with any takers (or rather givers) for his "offer," and if anything, he probably alienated these people and made them run in the opposite direction. Cultivate a friendship or at least an amiable acquaintanceship before asking for favors, and, even then, be careful. Furthermore, see what you can contribute to others in your Bass Community.

Don't take people's names in vain; don't use them for ill-gotten gain. Ol' "Bassist X" strikes again! Somehow, in spite of himself, he got the opportunity to be interviewed by a very close colleague in the world of bass playing and bass journalism. "Bassist X" decided this was something of a status symbol (and apparently it was), and before the interview even took place and without the writer's knowledge, "Bassist X" went and bragged to a prominent member of the writer's Bass Community. Apparently he didn't just get his foot in the door: On par with "Bassist X's" characteristic style, he kicked it down. "Bassist X" ended up materially capitalizing on the situation (far beyond what the writer has profited to date all total) simply by dropping the writer's name and falsely implying an endorsement. It's "Bassist X's" good fortune, but his tactics were completely uncool, and consequently, he forfeited any future dealings with that writer and publication.

Respect the artist. Often, performers get a bad rap for being closed, guarded, maybe even standoffish or aloof, but given the above two examples, do you think they might have very good reasons for being that way? Imagine how you'd feel if 75% or more of the people with whom you were in contact were trying to get something from you? ...if you always had to wonder, what do they want? What are they up to? Respect the needs for space, privacy, and boundaries of anyone you'd like to be a part of your Bass Community. If possible, take time to get to know people on a human level, beyond the stage persona and performer status. Protect and value any information he or she shares; respect and keep confidences.

However you go about it, you need a Bass Community. It will add quality to your bass playing experience and growth and possibly allow you to contribute to those of others. Hopefully, these ideas will help you start one or enhance the one you already have.