Ed Friedland
Publié : 15 mars 2006, 23:40
Voici le dernier entretien avec Ed Fiedland, pour les plus courageux car c'est encore en Anglais, incessamment sous peu, on aura grâce à notre maestria une traduction en français de super facture !!! en attendant enjoy !!
Hello Ed, what were the critical aspects of your musical development (other musicians, specific books, getting to know a standard, a personal revelation, a certain practice method, etc.)?
I started out as a guitar player like a lot of bassists, and I learned most of what I knew from listening to records, and copping licks from friends. When I switched to bass, it was to study classical upright, and it really helped to know the layout of the strings. My background of "jamming" on guitar made it easier for me to transition into jazz because I already had the concept of improvising worked out. Of course, the music was much more difficult.
My musical life as a bassist really began at Berklee, I learned so much there, and when I left and started to gig full time, everything started to make sense to me. So much of what you learn in school is confusing until you've had to put it together on a gig, I feel like my "on the job training" was pretty significant to my development.
Practice methods? Well, I wish I could tell you I am (or at least WAS) a diligent practicer - that I spent 8 hours a day in a methodical, focused manner to get where I am today. Truth is, I've always been a lazy guy, and much of what I have I owe to a strong innate sense of musicality. Sure, I've practiced over the years, but not in the way most people think. I'm very internal in my methods, I think a lot about what I want to know, listen alot, then, when it's time to put it together on the bass, it's just a matter of mechanics. Of course, this works for ME, I don't think anyone should follow my example, they need to find out what type of learner they are and figure out a practice regimen that works for them.
Ø If I want to go out and buy a CD or a method of yours tomorrow, what do you recommend I listen to?
I have yet to put out a CD of my own, and frankly many of the CDs I've played on I don't recommend! I get hired as a sideman to play on all kinds of weird stuff.... Because I don't live in a major city, my "clients" have not been anyone you've heard of, or might even want to hear of! That's the reality of the working bass player. You get a call, you take it, and you do your best regardless of the material.
Methods, now that's another story! I'm very proud of all my books and dvds. It would be hard to recommend one because they are all so different, it really depends on what you're interested in. My first book, "Building Walking Bass Lines" has been translated into French, it's called "Construire des Lignes de Walking Bass". My two newest books "Blues Bass" (Hal Leonard) and "The Way They Play - The R&B Masters" (Backbeat) are very cool. I'm very happy with them.
Ø Are there still musicians that you listen to who give you strength and energy? Could you talk about that?
I have bizarre listen habits. But John Coltrane, Miles Davis, Bill Evans, Neils Henning, Eddie Gomez, Buck Owens, Merle Haggard, Professor Longhair, James Booker, Jimmy Vaughan, Dr. John - these guys always give me a thrill!
I find I don't listen to a lot of bass players, though I'm aware of most of the people out there. I love Victor Wooten, Michael Manring, Otiel, Matt Garrison, all those guys. They are incredible players and all have their unique way of taking the bass to a new place. I've seen them all play many times, and at this point feel like I understand what they are doing and saying with their music. But I don't listen to them in my free time. Maybe it's because I want to diminish their influence on my own direction, but also because I'm a bit burned out on the whole "bass player music" thing. There is so much incredible music out there from the past that I haven't heard yet. I'm more into discovering something old that I've never heard than listening to the newest thing. Plus, I like so many different kinds of music, mostly what you'd call "Americana" (blues, country, r&b, rock) so I very rarely listen to jazz anymore. After all these years, it resides permanently in my head. Push a button, and "A Love Supreme" will play inside my brain, start to finish!
Ø Could you describe a typical week in your life (your interactions with other musicians, your courses, rehearsals, > practice)?
Monday through Wednesdays I stay home and do my work as Senior Editor of Guitar World's Bass Guitar magazine. This involves writing stories on players, product reviews, editing columns, recording audio for product samples, recording written exercises for columns. Thursday and Friday I go to town and teach private students, about 16 a week. Usually Friday I have a gig, and/or Saturday. I'm not gigging as much as I used to, mostly by choice. Right now, I live 75 miles from town in the mountains. It's heaven really, but it makes me less interested in picking up gigs. These days, I mostly play with my band, Big In Vegas, it's a roots Honky Tonk country band. Most people think it's strange that I play country, but honestly, I enjoy it more than anything. As I get older (47) I am less interested in virtuosity and cleverness in music. I like songs that say something, that speak to my heart. The great old country music does that for me, same with blues and roots R&B. I can still play all the fast, intricate jazz stuff, but unless I'm playing with world class players, it's just dull. I don't want to play in a lounge behind some mediocre tenor player that thinks he's Sonny Rollins, or in a restaurant where the main objective is not to disturb the patrons digestion! I've had enough of that. I'll still play jazz concerts when they have an artist coming in from out of town, but the whole local scene is just too uninteresting.
Ø What is your preferred ensemble – the trio or the quartet? Do you think a certain ensemble works best or does it depend on your > mood?
Well, that depends on what kind of music you're talking about. And most importantly, who is playing. I've spent a lot of time doing the jazz piano trio thing, and I love that. Especially if you've got great musicians that understand the Bill Evans concept. That's something I really enjoy doing. A quartet behind an amazing horn player can be lots of fun too. But I don't like playing with people that are too into themselves. As a bass player, I may be more sensitive to it than others. Many times horn players, or soloists play from a very selfish place. "It's all about me" they think. As an accompanist, that gets old real quick. I detest selfish musicians that play as if they were the second coming of Coltrane. No one is so good that I'll want to play behind 5 choruses of their solo. And I've always found the BEST players know instinctively when to shut up.
My preferred ensemble right now is guitar, steel guitar, bass, and drums, your classic country music quartet!
Ø Along the same line, do you have a favorite tempo? What keys do you like to play in?
I'm not a huge fan of playing real fast. It seems in jazz there is a stage when horn players want to practice their up tempo chops. They should get some Jamey Abersold records and leave me out of it! It's a typical show-off thing. It very rarely grooves or feels good to play at 300bpm or more, they just like to do it because it's a chops thing. Chops bore me. Let me hear some MUSIC. Anyway, that said, I do tend to like medium and medium-up tempos. Ballads are fun too if everyone is willing to let it breath. Too often, you play a ballad and the horn player starts in with the double-time thing. It pisses me off, the guy's had ALL NIGHT to play that way, now, let's play some WHOLE NOTES eh?
I'm comfortable in most keys, I'm not drawn to play in Gb, or B, but if I have to, I can.
Ø Do you consider the bass as a rhythm instrument or do you also find appeal in freeform soloing and chord-playing?
I think bass is PRIMARILY a rhythm instrument, and certainly that is the typical use. I've done the solo bass thing, and it's fun... but I'm not pursuing that now. I do use chords a lot in my 6-string jazz approach, and when I play piccolo bass, I play chords at least half the time. I feel that I'm as much of a soloist as any horn player, but I have a much more important job too. No one cares how great you solo if you screw up the form of the tune or drag the tempo. As far as "free form" music goes... I'm not real into that, as I find it is largely shapeless and under developed. There are very few people that create music of value in the "free jazz" realm. Most of it is pretentious posturing, they get by on attitude and "concept". There are of course exceptions, for example Tim Berne and Mike Formanek, and some others. I spent a lot of time early on in my career playing "free jazz" - that was because I didn't know how to play over chord changes! I think more often than not, '"free jazz" is a refuge for scoundrels and fakers.
Ø Where do you think Coltrane’s experiment with two basses in one band could lead music?
Well, have you ever seen Spinal Tap's video of "Big Bottom?
Seriously, it's been so long since Trane did that, and it seems that the two bass format has not really caught on in a big way. I can't say that this has had a major impact on jazz. It only seems to work when the bassists split up the work, one plays bass, the other does something else. Like Renaud Garcia-Fons, brilliant stuff, but he's not playing bass really, he's the soloist who happens tobe playing bass. I play with a bass player when I play piccolo bass, but then, at that point, I'm NOT a bass player - I'm a guitar player. I think it can be done tastefully, but I also detest those obligatory 7 or 10 bass jams they have at the end of every bass event. Maybe I've seen too much of it, in fact - I KNOW I've seen too much of it. I am very jaded and bored with the whole thing, but then, there are always new players that have never experienced it, so I won't tell them to stop doing it!
Ø What advice would you give to young musicians reading this?
Don't let popular opinion effect your vision too much. If you want to play pop music but your jazz buddies think that's lame, screw them! If you want to play jazz, but people tell you there's no money to be made, screw them! If you want to play country but people think you should play more complicated music... you get the picture. Find out what makes you happy, and pursue it.
On a practical level, as a bassist - get functional first. Don't be too concerned with how brilliant you think you are, or want to be. Learn how to keep the form of the tune intact, keep the time and groove happening, construct bass lines that are relevant to the music being played. Listen to all kinds of music, not just the stuff that you like. You can learn something from every type of music.
Ø Do you think there are any solutions to the crisis in the recording industry, the struggle of those who try to make a living as musicians, and the digitalization of music?
Yes, learn what the digital technology can do for you. I've always been interested in music technology, and I've tried to stay current with what's out there. For instance, I've just recorded an album with a singer from another city. The producer emailed me the tracks - minus bass as an MP3. I opened the mp3 in Pro Tools, recorded the bass at home and sent them the track online. I did a whole record and never saw the people (in this case, it was a blessing!)
As far as the recording industry, it's become a bloated, overfed monster that will ultimately fail if it doesn't change with the times. Digital technology has made it possible for artists to create and produce their own music at very high production values. You can make your own record, and sell it online without having a record deal. It's good, and bad, but the tools are available to everyone. The old paradigm of getting signed to a major record label is fading. Think about how many bands put out one record (usually their best) only to make a second record that sucks because some record executive thought he could "make something out of them." Either that, or they don't get to make a second record because they didn't sell 5 million copies.
Ø Do you think the internet can provide a forum for a musical counter-culture or open new possilbities for musicians, or do you think the web will alienate us even more?
Absolutely yes! It's obviously right here in front of us. How did you find me? Online. This would have never happened without the internet. I think the quality of communication is more important than the medium. The problem with the internet is many people don't take the time to consider what they are saying. They just post these little chatty messages back and forth, there's no real communication. I've been online since 1992, and I've developed some strong relationships with people, answered thousands of questions, and learned new things. It's the message, not the medium.
Ø Without getting into a deeply philosophical debate, do you think musicians have something to say about the world’s troubles: global warming, conflicts, economic struggles?
I think all sorts of people have things to say. If a musician feels compelled to express their concerns through their music, they should do that.
I think you've asked some very interesting questions, so I guess that's it! Thanks for being interested in what I have to say, please send me the link when you put it online, I'd love to see it!
http://www.edfriedland.com
Hello Ed, what were the critical aspects of your musical development (other musicians, specific books, getting to know a standard, a personal revelation, a certain practice method, etc.)?
I started out as a guitar player like a lot of bassists, and I learned most of what I knew from listening to records, and copping licks from friends. When I switched to bass, it was to study classical upright, and it really helped to know the layout of the strings. My background of "jamming" on guitar made it easier for me to transition into jazz because I already had the concept of improvising worked out. Of course, the music was much more difficult.
My musical life as a bassist really began at Berklee, I learned so much there, and when I left and started to gig full time, everything started to make sense to me. So much of what you learn in school is confusing until you've had to put it together on a gig, I feel like my "on the job training" was pretty significant to my development.
Practice methods? Well, I wish I could tell you I am (or at least WAS) a diligent practicer - that I spent 8 hours a day in a methodical, focused manner to get where I am today. Truth is, I've always been a lazy guy, and much of what I have I owe to a strong innate sense of musicality. Sure, I've practiced over the years, but not in the way most people think. I'm very internal in my methods, I think a lot about what I want to know, listen alot, then, when it's time to put it together on the bass, it's just a matter of mechanics. Of course, this works for ME, I don't think anyone should follow my example, they need to find out what type of learner they are and figure out a practice regimen that works for them.
Ø If I want to go out and buy a CD or a method of yours tomorrow, what do you recommend I listen to?
I have yet to put out a CD of my own, and frankly many of the CDs I've played on I don't recommend! I get hired as a sideman to play on all kinds of weird stuff.... Because I don't live in a major city, my "clients" have not been anyone you've heard of, or might even want to hear of! That's the reality of the working bass player. You get a call, you take it, and you do your best regardless of the material.
Methods, now that's another story! I'm very proud of all my books and dvds. It would be hard to recommend one because they are all so different, it really depends on what you're interested in. My first book, "Building Walking Bass Lines" has been translated into French, it's called "Construire des Lignes de Walking Bass". My two newest books "Blues Bass" (Hal Leonard) and "The Way They Play - The R&B Masters" (Backbeat) are very cool. I'm very happy with them.
Ø Are there still musicians that you listen to who give you strength and energy? Could you talk about that?
I have bizarre listen habits. But John Coltrane, Miles Davis, Bill Evans, Neils Henning, Eddie Gomez, Buck Owens, Merle Haggard, Professor Longhair, James Booker, Jimmy Vaughan, Dr. John - these guys always give me a thrill!
I find I don't listen to a lot of bass players, though I'm aware of most of the people out there. I love Victor Wooten, Michael Manring, Otiel, Matt Garrison, all those guys. They are incredible players and all have their unique way of taking the bass to a new place. I've seen them all play many times, and at this point feel like I understand what they are doing and saying with their music. But I don't listen to them in my free time. Maybe it's because I want to diminish their influence on my own direction, but also because I'm a bit burned out on the whole "bass player music" thing. There is so much incredible music out there from the past that I haven't heard yet. I'm more into discovering something old that I've never heard than listening to the newest thing. Plus, I like so many different kinds of music, mostly what you'd call "Americana" (blues, country, r&b, rock) so I very rarely listen to jazz anymore. After all these years, it resides permanently in my head. Push a button, and "A Love Supreme" will play inside my brain, start to finish!
Ø Could you describe a typical week in your life (your interactions with other musicians, your courses, rehearsals, > practice)?
Monday through Wednesdays I stay home and do my work as Senior Editor of Guitar World's Bass Guitar magazine. This involves writing stories on players, product reviews, editing columns, recording audio for product samples, recording written exercises for columns. Thursday and Friday I go to town and teach private students, about 16 a week. Usually Friday I have a gig, and/or Saturday. I'm not gigging as much as I used to, mostly by choice. Right now, I live 75 miles from town in the mountains. It's heaven really, but it makes me less interested in picking up gigs. These days, I mostly play with my band, Big In Vegas, it's a roots Honky Tonk country band. Most people think it's strange that I play country, but honestly, I enjoy it more than anything. As I get older (47) I am less interested in virtuosity and cleverness in music. I like songs that say something, that speak to my heart. The great old country music does that for me, same with blues and roots R&B. I can still play all the fast, intricate jazz stuff, but unless I'm playing with world class players, it's just dull. I don't want to play in a lounge behind some mediocre tenor player that thinks he's Sonny Rollins, or in a restaurant where the main objective is not to disturb the patrons digestion! I've had enough of that. I'll still play jazz concerts when they have an artist coming in from out of town, but the whole local scene is just too uninteresting.
Ø What is your preferred ensemble – the trio or the quartet? Do you think a certain ensemble works best or does it depend on your > mood?
Well, that depends on what kind of music you're talking about. And most importantly, who is playing. I've spent a lot of time doing the jazz piano trio thing, and I love that. Especially if you've got great musicians that understand the Bill Evans concept. That's something I really enjoy doing. A quartet behind an amazing horn player can be lots of fun too. But I don't like playing with people that are too into themselves. As a bass player, I may be more sensitive to it than others. Many times horn players, or soloists play from a very selfish place. "It's all about me" they think. As an accompanist, that gets old real quick. I detest selfish musicians that play as if they were the second coming of Coltrane. No one is so good that I'll want to play behind 5 choruses of their solo. And I've always found the BEST players know instinctively when to shut up.
My preferred ensemble right now is guitar, steel guitar, bass, and drums, your classic country music quartet!
Ø Along the same line, do you have a favorite tempo? What keys do you like to play in?
I'm not a huge fan of playing real fast. It seems in jazz there is a stage when horn players want to practice their up tempo chops. They should get some Jamey Abersold records and leave me out of it! It's a typical show-off thing. It very rarely grooves or feels good to play at 300bpm or more, they just like to do it because it's a chops thing. Chops bore me. Let me hear some MUSIC. Anyway, that said, I do tend to like medium and medium-up tempos. Ballads are fun too if everyone is willing to let it breath. Too often, you play a ballad and the horn player starts in with the double-time thing. It pisses me off, the guy's had ALL NIGHT to play that way, now, let's play some WHOLE NOTES eh?
I'm comfortable in most keys, I'm not drawn to play in Gb, or B, but if I have to, I can.
Ø Do you consider the bass as a rhythm instrument or do you also find appeal in freeform soloing and chord-playing?
I think bass is PRIMARILY a rhythm instrument, and certainly that is the typical use. I've done the solo bass thing, and it's fun... but I'm not pursuing that now. I do use chords a lot in my 6-string jazz approach, and when I play piccolo bass, I play chords at least half the time. I feel that I'm as much of a soloist as any horn player, but I have a much more important job too. No one cares how great you solo if you screw up the form of the tune or drag the tempo. As far as "free form" music goes... I'm not real into that, as I find it is largely shapeless and under developed. There are very few people that create music of value in the "free jazz" realm. Most of it is pretentious posturing, they get by on attitude and "concept". There are of course exceptions, for example Tim Berne and Mike Formanek, and some others. I spent a lot of time early on in my career playing "free jazz" - that was because I didn't know how to play over chord changes! I think more often than not, '"free jazz" is a refuge for scoundrels and fakers.
Ø Where do you think Coltrane’s experiment with two basses in one band could lead music?
Well, have you ever seen Spinal Tap's video of "Big Bottom?
Seriously, it's been so long since Trane did that, and it seems that the two bass format has not really caught on in a big way. I can't say that this has had a major impact on jazz. It only seems to work when the bassists split up the work, one plays bass, the other does something else. Like Renaud Garcia-Fons, brilliant stuff, but he's not playing bass really, he's the soloist who happens tobe playing bass. I play with a bass player when I play piccolo bass, but then, at that point, I'm NOT a bass player - I'm a guitar player. I think it can be done tastefully, but I also detest those obligatory 7 or 10 bass jams they have at the end of every bass event. Maybe I've seen too much of it, in fact - I KNOW I've seen too much of it. I am very jaded and bored with the whole thing, but then, there are always new players that have never experienced it, so I won't tell them to stop doing it!
Ø What advice would you give to young musicians reading this?
Don't let popular opinion effect your vision too much. If you want to play pop music but your jazz buddies think that's lame, screw them! If you want to play jazz, but people tell you there's no money to be made, screw them! If you want to play country but people think you should play more complicated music... you get the picture. Find out what makes you happy, and pursue it.
On a practical level, as a bassist - get functional first. Don't be too concerned with how brilliant you think you are, or want to be. Learn how to keep the form of the tune intact, keep the time and groove happening, construct bass lines that are relevant to the music being played. Listen to all kinds of music, not just the stuff that you like. You can learn something from every type of music.
Ø Do you think there are any solutions to the crisis in the recording industry, the struggle of those who try to make a living as musicians, and the digitalization of music?
Yes, learn what the digital technology can do for you. I've always been interested in music technology, and I've tried to stay current with what's out there. For instance, I've just recorded an album with a singer from another city. The producer emailed me the tracks - minus bass as an MP3. I opened the mp3 in Pro Tools, recorded the bass at home and sent them the track online. I did a whole record and never saw the people (in this case, it was a blessing!)
As far as the recording industry, it's become a bloated, overfed monster that will ultimately fail if it doesn't change with the times. Digital technology has made it possible for artists to create and produce their own music at very high production values. You can make your own record, and sell it online without having a record deal. It's good, and bad, but the tools are available to everyone. The old paradigm of getting signed to a major record label is fading. Think about how many bands put out one record (usually their best) only to make a second record that sucks because some record executive thought he could "make something out of them." Either that, or they don't get to make a second record because they didn't sell 5 million copies.
Ø Do you think the internet can provide a forum for a musical counter-culture or open new possilbities for musicians, or do you think the web will alienate us even more?
Absolutely yes! It's obviously right here in front of us. How did you find me? Online. This would have never happened without the internet. I think the quality of communication is more important than the medium. The problem with the internet is many people don't take the time to consider what they are saying. They just post these little chatty messages back and forth, there's no real communication. I've been online since 1992, and I've developed some strong relationships with people, answered thousands of questions, and learned new things. It's the message, not the medium.
Ø Without getting into a deeply philosophical debate, do you think musicians have something to say about the world’s troubles: global warming, conflicts, economic struggles?
I think all sorts of people have things to say. If a musician feels compelled to express their concerns through their music, they should do that.
I think you've asked some very interesting questions, so I guess that's it! Thanks for being interested in what I have to say, please send me the link when you put it online, I'd love to see it!
http://www.edfriedland.com