BassPlayer 2017-03

CS
Oskar Cartaya
led to my producing Two Amigos for GRP in 1990, with [flautists] Dave Valentin
and Herbie Mann.
What brought you back to Los Angeles, where you’ve remained ever since?
A relationship I was in ended, so in late 1993 I came to L.A. just for the weekend,
but when I called friends, they had gigs and sessions for me. My car sat at
JFK for three months. Even the Northridge earthquake didn’t dissuade me! I
went back to New York and got my stuff and moved to L.A. in early 1994. Soon
after, Herb Alpert called me to write and produce his Passion Dance album, and
I’ve had the tremendous good fortune to remain busy to this day.
How have your roots in Latin bass impacted your overall style, and
what insight can you share?
I think of the instrument as a melodic drum, which is the traditional concept.
In Latin bass, your rhythmic sensibility comes first. That’s primarily how
you create a push-and-pull tension in the music, although you can accomplish
it melodically, too. When I play other styles, I may draw from that knowledge
and move something over by an eighth-note, and the band will react. That’s no
different from an Anthony Jackson or Charlie Haden bringing their R&B or jazz
knowledge to the Latin gigs they’ve done, contributing something new to the
genre in the process. But I’ve worked hard to learn other styles authentically,
as well. My list of credits proves I can play bass in any language, and that’s what
all bassists should strive for.
Victor Wooten AD 17.qxp_Layout 1 1/18/17 I do 11:28 have a AM tip Page I like to 1 share when I’m asked how to play bass in a Latin
rhythm section, where so much is going on: Think of all the percussion
instruments as part of an elaborate drum kit—
the congas are the bass drum, the timbales can
be the hi-hat, the bongo cowbell the snare, and so
on. In other words, listen to and play to the overall
groove as a whole, just as you play to a drum kit
without consciously breaking down and following
each part of the kit individually.
Any other thoughts or words of advice?
I’ve always taken immense pride in my heritage
and in helping to set a precedent for others with
similar backgrounds to follow. I can remember sitting
on my porch as a kid and playing along with
records by artists whom I would eventually get to
work with. I’d like any young bassist in any rural town
anywhere in the world to know that you can do it,
too. Limitations only come from within, so dream
big. In everyone’s career, luck and talent will meet
at some point. The key is to be as prepared as possible
on the talent side so you can take advantage
when that moment of luck and opportunity arrives.
Having this album project come together, I feel like
I’m entering another period of good fortune, and
I’m going to make the most of it. BP
Berklee Summer Programs:
VICTOR WOOTEN BASS WORKSHOP
Friday, June 16–Sunday, June 18, 2017
Victor Wooten, a bass virtuoso who has won five Grammys, and renowned longtime
collaborator Steve Bailey, Bass Department chair at Berklee College of Music, will help
you make your bass lines groove like never before as you learn cutting-edge concepts
from Berklee and the Victor Wooten Center for Music and Nature.
berklee.edu/summer