Billy Sheehan (Part I)
Exclusive interview with FBPO’s Jon Liebman
FBPO: The new one, Krush, is the sixth, according to your record company.
BS: So we’ve done this a lot and through the years evolved with it. Playing together live at first was a great experience for me. My whole life, I’ve played in rock bands. I’m lucky to have played with some great drummers, mostly rock and rock-oriented. Dennis came in with that feel that he has and his utter mastery of timing. It just changed my life. It was an incredible, incredible experience for me. I’m a better bass player because of Dennis Chambers, that’s for sure. The world is a better place because of Dennis Chambers. I think very highly of him. His contributions to this project are great.
FBPO: The first thing that got my attention with Krush was the relentless energy put forth by everyone. How do you do that?
BS: Well, I don’t know. I just love to play. When I’m playing and when I’m on stage, the world just fades away. You feel no pain. I never had any natural talent or natural ability. I pursued it because I loved it so much and I love playing so much and I love music so much. It’s natural to pursue it with vigor, with energy and enthusiasm and I get such joy out of it. My iTunes, as of this morning, has up to about 182,000 songs, over a terabyte of music. One of my favorite things to do on a Friday or Saturday is have some friends over, pop open a bottle of red and go through the iTunes and listen to some amazing stuff and turn people on to some great music that they may not have known about. It’s a passion of mine. People say to me, “Outside of music, what do you do?” Well, not too much! So that energy you get when you’re playing comes out.
Generally, when I do a track for somebody, if I’m in the studio, I like to go in the control room so I can hear everything really well. Suddenly, the energy level of the room as I start to play just gets crackly and tingly and I break out in a sweat. Even if it’s a ballad, I just get locked into it and put as much of myself into it as possible. The Niacin stuff, therefore, some of it being pretty daunting, really took some work and that energy found its course and ended up in the zeros and ones of that CD.
FBPO: I just took a peek at the interview we did on “For Bass Players Only” on January 31, 2011, and you claimed to have had 67,771 songs on your iTunes, 340+ gigabytes with more to come.
BS: I’ve tripled it. That’s hilarious! It’s all over the map, what I have. I’ve got a bunch of Jackie Gleason records from The Honeymooners, great lounge music and great arrangements, amazing songs. And Barney Kessel, an unbelievable guitarist! Just amazing, mind-blowing stuff. I also have a huge collection of garage rock from the ’60s. I can’t believe how many bands there were that recorded and put out records. I mean there were tens of thousands it seems, just an amazing amount of music. And not only in America. I have garage rock from Indonesia and Thailand and Korea and Finland and Africa and there’s some hilarious stuff. Incredibly bad, but so bad that it’s good. There is a bass in tune on about four or five percent of it. Every bass is miles out of tune!
FBPO: Strangely enough, I am familiar with that Jackie Gleason series that you were talking about.
BS: Yeah. It’s quite amazing.
FBPO: I met Barney Kessel once too. I was really into guitar before I got into bass. I saw him with a trio called “The Great Guitars,” with Charlie Byrd and Herb Ellis.
BS: Wow! That’s a trio!
FBPO: It was great. I went up and talked to him afterwards. I was 18 years old or so, so you’re bringing back some good memories. I want to ask you about the instrumentation here, the B3 trio. When I think of an organ trio, a lot of times it’s without a bass because the organ player takes care of most of that bottom end stuff with his feet, with the pedals. You and John do a great job of staying out of each other’s way. Did he have to alter his playing for his setting?
BS: Well, he didn’t use the kick pedals with his B3. He was mostly just a top player. Some guys do left-hand bass or do it with their feet. I grew up with a guy who was blind and he played feet. I was actually playing guitar at the time with him, when I was very, very young, so there wasn’t any concern about getting in the way of the bass player. Jimmy Smith, I think he did all the bass with his feet as well. It’s an interesting thing. It’s a choice. I think it frees him up to concentrate more on what’s going on with his hands than have to multitask.
FBPO: Are there any overdubs on that keyboard album? I’m just picturing this octopus with hands and arms all over these different keyboards!
BS: When we play live, he’s got everything in one big stack, one big pile, so he can jump from synth to keys. He’s also got the B3 MIDI’d. There’s a special MIDI controller built in to the B3, so when he plays something on the B3, it triggers whatever else you plug it into. Whether it’s a string thing or whatever else is going on, it can all be driven from the B3. It all works out really well.
FBPO: I wonder what Jimmy Smith would’ve thought of that!
BS: [Laughs] I’ve got tons of Jimmy Smith, too. Some great, great Jimmy Smith and Wes Montgomery.
FBPO: You are speaking my language!
BS: Oh yeah!
FBPO: Another thing that’s obvious to me is that this band, on this album especially, is very well rehearsed. It doesn’t sound like three guys just going into the studio to jam. There are some pretty intricate arrangements and complex rhythms, including a lot of unison lines and even a few tongue twisters with the bass and the keyboard. Who does most of the writing for Niacin?
BS: It’s split pretty much between me and John. It’s funny because my bass lines are not characteristic of what he plays on keyboard, and vice versa. So when I have to play his lines, a lot of times he’s on the keyboard and I’m on the fretboard and it doesn’t translate at all. It causes me to have to do some Olympic feat to try to play that line on the bass and sometimes it’s tough. But we never back down from it. Once we get something on there that’s possible, we just keep drilling at it until we get it.
I’ve done some bass stuff that’s for the keyboard and they both have their advantages. You can do some things on one that you can’t do on the other, and it’s difficult. Like some of the fast picking, single notes that you can’t do on the keyboard because you can’t hit one key that many times that fast. So there are a lot of things that don’t work on keyboard, but we shoot for it anyway. We come up with things. We’ll say let’s do this line here and later on John will try it. If it’s a written line, he’ll try and learn it and I have to piece him through it, piece by piece. Then he says the same thing with me, he goes, “Here’s the line, and it’s going to go like this.” He’ll send me usually a folder of the track slowed down so I can hear what the actual notes are and really pick it off. Then I’ve got to figure out my fingering patterns, how to get those notes off the fretboard and pick them as well. Now, I’ve got to get them up to speed. So, it’s quite a process sometimes just to do it and requires a lot of work. None of these Niacin records are just tossed together. There’s a lot of hard labor that goes into them.
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FBPO: That’s very obvious. Another thing I really like is how you play around with different meters. There’s a tune called “Tone Wheels” that goes from 7 to a bar of 4 then back to 7 and then two bars of 4 and then repeats that pattern over and over again.
BS: Well, in my early days, way early on, one of my favorite artists was Frank Zappa and he did a piece called “Flower Punk” off of We’re Only in it for the Money. The verses are in seven and the in-betweens are in five. It’s an amazing song and I remember it was one of my first introductions to odd time, besides Dave Brubeck and the popularists that would do odd times, bands like Chicago and Blood, Sweat & Tears. I remember in a couple of introductions, there was a whole section of nineteen, like Don Ellis.
FBPO: I was just going to say you reminded me of Don Ellis when you said that!
BS: Yeah. He did the same thing. I think Chicago may have been inspired by that. Who knows? Then there was the King Crimson and Genesis era. The time changes always seemed smooth to me. They never felt herky jerky. They seemed to go smoother. I know it was in odd time, but it wasn’t strange. It fit.
So when Dennis comes on the scene, I enjoy doing odd times with him because he makes it feel just sweet. It doesn’t feel like somebody throwing you a curve. The transitions are smooth and they’re nice and it’s not herky jerky. I enjoyed playing odd times, but I hated to be stiff or feel like I’m walking on broken glass, not a pleasant experience. It becomes more of a challenge to see if you can do it, rather than music that the audience is going to enjoy. I prefer to make music the audience is going to enjoy. With Dennis, I think it’s a pretty safe bet that when we do some odd stuff, it’s going to be smooth. When we write, and we write a couple of things in sevens and fives and whatever else, we’re always confident that Dennis is going to treat it in a way that it’s going to be smooth. We don’t back off from doing some adventurous changes.
FBPO: “Car Crash Red” is a driving, eighth note, feel-good, hardcore fusion tune, which, to me, is another example of playing those intricate unison lines. One thing that got my attention in that song was, for a minute, I thought you’re going into Edgar Winter’s “Frankenstein.” Was that just a coincidence or were you having fun with it?
BS: Absolutely, we were having fun with it! It’s funny because I did a tour in Italy with the guitar player who played with this giant Italian artist named Vasco Rossi. He’s like the Mick Jagger of Italy. The guitar player, Stef Burns, wanted to do a little tour, so I went out with him. It was mostly instrumental stuff, but we sang too. We did a guitar-based version of “Frankenstein” and it’s hilarious because there are some tricky lines in there. There are sax and/or keyboard lines that aren’t really designed for fretboards. We’ve always threatened to do that as an encore with Niacin, so we always kind of throw that in, as well as snippets and pieces of other things that we loved. Edgar Winter also happens to be a friend. I see him around town here once in a while. He is still as great as ever. What a voice! His sax playing is unreal. Great guy, too, so we give him a little nod there.
FBPO: One thing that surprised me quite a bit on Krush was Return to Forever’s “Majestic Dance” from The Romantic Warrior. Man, I used to play that album to death back in the seventies. I had it on cassette!
FBPO: The original was a guitar feature by Al Di Meola.
FBPO: I love how you adapted that to your organ trio setting.
BS: Yeah, we’ve done some guitar-centric things. We did Van Halen’s “Mean Street” and a B3 version of King Crimson’s “Red.” We always try to throw something in that would be a bit of a left turn, a bit unexpected, so the normal track you might expect us to go to would be a little bit more keyboard-oriented than the guitar one. I just happen to love that piece so much that I made the argument for it and finally won and we did it. I just love when the B3 takes over some guitarish stuff because of its grind and the distortion stuff. It’s really just an incredible instrument. The lines in it are pretty wild, too.
BS: They were important to me as a player for a long, long time, so I kind of knew pretty much how the thing went. It wasn’t a huge mystery to me, but I did have to sit down and really fine-tune and pick it apart to make sure I got things right for any purists out there that were gonna get pissed off at me if I missed it! So I had to kind of do a little dance between Stanley’s line and some of Al’s stuff. Initially I was going to do the guitar solos that are in between those first couple sections, but they’re just blazing fast and I ran out of time so I go, “John, you take this one for me, okay?” [Laughs]
FBPO: Speaking of suprises, I certainly didn’t expect this album to sound like Talas or David Lee Roth or Steve Vai or Mr. Big, but there is a tune called “Electrocity” and, I don’t want to blow your image, Billy, but it’s jazz. It’s pure, unadulterated, foot-tapping, finger-popping jazz!
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BS: Well thanks to Dennis’ relentless grooves, it helped me jump onto that moving train and ride it. I love it! His swing, his jazzified approach. Dennis is a great rock player. A lot of fusion or jazz or funk guys are not rock players and they kind of look down on it, where Dennis loves it and he is a master at it. When he pops back to some of the things that he specializes in, a la this “Electrocity” song, riding along with him on that is just an amazing experience. I just hooked my chain on the back of that train and we went for a ride. It was very cool.
FBPO: Your name is not generally associated in that context. By the way, I didn’t expect that we’d be talking about Wes Montgomery and Barney Kessel – and certainly not Jackie Gleason! – but as far as bass players go, you don’t hear people say, “Yeah, the great jazz bass players: Paul Chambers, Ron Carter, Sam Jones… Billy Sheehan!”
FBPO: Maybe they should. You do some great walking lines. I love it! It was a big surprise.
BS: I’m glad you liked it. It’s funny. I’ve always been a rock player, but during a good portion of my very early years I was pretty jazzified. I was into it a lot, then a friend of mine called me to start doing some rock shows and I had so much fun I kind of moved off of it completely. I was into Herbie Mann and we did a little piece from Bitches Brew. It was just bass, sax and drums. We were in high school in Buffalo and we would do some Frank Zappa stuff. We were heading that way. Then suddenly I went out and did a rock show and saw the girls screaming and I said, “Well, maybe this’ll be better.” I would never pretend to be really fluent in that genre because there are just so many great masters that I wouldn’t be foolish to think that I’m in that club, but it was nice to look in the window at least.
END OF PART I
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