What it takes to be a session legend with Gail Ann Dorsey

[Music] guys we are here with the legendary you are a legendary Galen Dorsey here in New York she’s being cool enough to come along and bring your awesome bass as well which I’ll be asking you all about it steeped in history I’ve seen in like a ton of times I don’t be an internet stalking you and but obviously you know you played with a slew of artists yes I believe so I’m just checking right yes Lou of artists but how did you actually get into this racket in the first place well I’m one of those people that was played something else and and picked up the bass so that I could work I’ve heard that story many times now when I was a teenager in the 70s and I was playing I was a guitar player I love guitar guitars my favorite instrument oh yeah absolutely very much so and I was trying to get work I was 14 and I was trying to get work in the summer that wasn’t McDonald’s or flipping burgers or whatever and and I I went to the local music store they used to have little three by five cards on the board and the local music stores when there were local music stores in Philadelphia where I grew up and they people would write on the car what they need guitar and yeah and I noticed that every I would say 90% of that board said guitar player seeks either a drummer or a bass player and sometimes a keyboard player but mostly a bass player yeah and so I just thought I’m gonna have to play the bass because everybody’s a guitar player and they they’re looking for other people to play for them so typical of guitar players so anyway so I decided to play that I I I saw a phone number that looked like it was in my neighborhood cuz I’m a kid I’m fourteen you notice I can’t I don’t want to be going to some strange places on my own and I I called this number and it was four top forty works in the summer playing you know birthday parties and what weddings and and said Rolling Stones Bowie Queen like all the bands that I liked at the time so I took that number and I my sister my older sister’s girlfriend had a boyfriend who played the bass and he had a Rickenbacker I’ll never forget like a burgundy one and I I went and I asked her could I borrow her boyfriend’s bass and go to the audition my mother said to me if you get the job I’ll buy you a bass we didn’t have a lot of money or anything so I already had my guitar and so I said okay and I borrowed the space and I went to the audition and I got the job and then my mother bought me an Epiphone bass which I think I’m on my Facebook page there’s a photo of me with my 70s afro and this old home base which I don’t know anymore I gave it away when I went to college because I wasn’t thinking I wasn’t thinking that far about so and I thought oh I’m gonna just go back to playing guitar anyway but I didn’t was it just a stopgap yeah we just like it was yeah yeah and you know and I didn’t even take it that seriously you know I just thought okay I can do it it seemed obviously I could do it I got the job and then I got a little better at it and then I got my own bass and but I was still really my head was in guitar and and filmmaking and just other stuff singing as well more from my siblings yeah my they don’t they don’t play well might one of my brothers still plays he’s I’m the youngest of five kids so I was the baby and I was like the surprise baby too because I’m like seven years behind and then they get older and older so I was yes I was I was indeed but you know my mother did not regret it but yeah so my they just had brought all these great reckless into the house and one and one of my older brothers look played the coal goes and he played a little bit of bass a little bit and and I took clarinet in school which no I can actually can read the music on the clarinet but I can’t transfer that because I just can’t do the same thing but so I you know I just kind of learned by you know a lot of lot of kids played music in the neighborhood you know there’s a little kid across the street played drums two doors down there was a kid on a bit like there was just a thriving growing up in Philly and Philly he had the Philly sound was at its peak at that point and you know a friend of a friend new Sister Sledge Aaliyah so there were all these different you know Philly that that just music was just sort of part of my life since I can remember when you when you got my gig as well did you start learning you have to learn the bass yeah excited learning yeah learning rolling stones and you know this would have been 1976 so what was out then was was Ziggy Ziggy Stardust we used to play Rolling Stones Gimme Shelter all that kind of stuff probably some whoo things oh I know I remember doing and then I started singing I remember I had to sing Elvin Bishop that was that was like that one of the top 40 songs I sing and play that at the base I had a basement 50 amp did you ever go back like when did you when did you side oh yeah I feel like this bass thing or was it I didn’t really think I didn’t think about that until like the years later when I moved to London when I was 20 1920 make music I was trying to get a record deal I was living in New York City before that and I had been writing some songs on my little four track and so the bass at that point was just something I used when I was writing my songs so you played a key to music I’m gonna be a musician absolutely absolutely absurd you have got to college to do anything else I went to college to be a filmmaker yeah did he finish no I did I went to LA actually Valencia California a school called California Institute of the Arts which had different kinds of animation it was a school owned by Walt Disney yeah yeah but it had all these different you know theatres and music and and live-action film which was what I studied regular filmmaking animation not regular but non-animated and i did like three semesters there and realized that I did not have the temperament to be a filmmaker I might have had the skills I had a full scholarship to go I had was making super 8 movies all the while I was doing music and I got a full scholarship but film people were so cruel there the world the most well in my experience in my oh they would they would do anything to get their movie made they were mean they were horrible people I just and I was terrified I was like 17 18 ha ha ha you know I was 17 years old or 18 years I was like a kid and there was and I was the only female in my class oh you are so put it so and this was 1980 yeah so now would be a whole different story yeah loads I’m just I could bet on it that there’d be loads of women in film schools now all over the world back then and so that’s why I was like they were horrible to me Oh horrible they just I didn’t exist Jesus kind of objectify those I was interested in screenwriting anyway more than anything and I thought I can do this without going to film school I can be a you know in a cottage and you know Cape Cod or something so I just think I’m that I was like you know no films not from New York then I came to New York City and was full-time music hold on writing songs using the base to do that you know I had this Kramer Bay I bought a bass that Manny’s which no longer exists here in New York it’s been gone a long time I bought this bass called the Duke by Kramer Kramer bass it looks like a Steinberg oh yeah and you know and I used that on my for track demos and everything and then I I had a bunch of songs and I wanted to you know I was going around in New York and my music that I write is not really like kind of urban music it’s not like R&B or really what they would call black music or whatever they call it and I was having trouble in this country getting people to like get it yeah you know so I went I had an opportunity to go to England I had a friend from college who was from London from Finchley and I went and hung out there for a while and and took my music and there was better response for it in the usual way so I ended up staying you know because I think in Europe and still to this day I think in Europe and-and-and the UK and other parts of the world artists who are not white or like like a whatever whatever whatever your ethnic background if it doesn’t you know fit with a particular kind of music it doesn’t matter I guess people just like the music whether you’re Indian or you’re black or you’re white or you you know this is what you do I love that song you know I don’t care if they’re whatever Aborigine it could be anything yeah but in the States it was very much about how they were going to market it okay and if you were on the cover and then people put it on and it was you were a black woman and it was rock or it was it would be like they can’t would that and I couldn’t you know so that’s why I went to the UK and and and I and it was right place at the right time and I I started taking my music around and you know I’m playing with other bands there in the UK and playing in pubs and things like that and and eventually just met all the right people who do you think was the first kind of like I don’t want to call it a step into sounds awful doesn’t it but who is that first person that you met that could you know he is now deceased he’s a very famous British jazz drummer his name’s John Stephens he has a son named Richie Stevens who’s the drummer in London Richie is real into funk he’s a great funk John incredible like like funk soul drummer John Stephens was running a program called the Jack London jazz center I think it was called the joy I forget the name of a now and but he he hired me to be a part of this this this thing he’d started the office I think was in Covent Garden but we it was a group of musicians Courtney pine was in this like he was one of the people that was hired at the same time as myself and we went around to different community centers all around London different areas hackneyed you know and taught what John called the rhythm tree it was like this jazz in profit and I’m not a jazz person I was learning things about jazz I didn’t know much about jazz you know I’d like to listen to it but it wasn’t something I felt that I was capable of playing or knowledgeable enough to attempt to play very well so John was teaching this thing though it was like we would go around to these centres and we would give out instruments we have tambourine or trumpet like we just let this big box full of stuff to make noise with and then we would get people from the community you know young young Oh whoever wanted to come was was came to this come join in and he would teach like what he called the rhythm tree and we would make these symphonies with these with the with the community group of people by I’m trying to remember how the rhythm tree goes basically it’s learning the patterns of rhythm when you say that when you do say that to against you know you oh but there’s a way you build it up like Houston there was a little diagram he would show and he would give everybody like a number you’re a two or you’re a six and this beat and you’re and we would go around and every time and he would count this thing and all the sixes would go bang on their tambourine or make a noise on the trumpet or just do that they didn’t have to have the skill they just needed to make the sound yeah so it was like this like this avant-garde like symphony of cacophony of like madness but with this weird rhythm like kind of mix hold it all together yeah yeah but it so it was making it was making something happen but it was like it was so cool so I was like my first but what came from that why I say John Stevenson God rest his soul and he was a great guy the second thing that he got me two very special things one was my first job with anybody really big which was singing in the Charlie Watts big band okay yeah we did I did the very first shows that he ever did because John Stephens was was a friend of Charlie Watts because they were big jazz drummer friends John was in the show as well they were the three drummers up there and so I was in that band as the singer because he knew I could sing as well I didn’t play basin and then he introduced me to his son Ritchie and Ritchie at the time had a band called well-read with with him and another guy another black guy in London and they had just got this big record deal on Virgin Records it was kind of R&B like Fox and so he said you need to meet my son where this is the work the same age and everything he was like you should meet my son and he’s got this band and then so I meet Richie and Richie says we got this big showcase to do for virgin that Rani’s will you play bass in that show and then that I played bass in that show of this really funky stuff which is not hard it’s not my forte but how did you kind of sort of decided that you were a bass player yet Oh were you just – well no at that point I was just a musician I was still trying to get my songs done I was still trying to get bass was still it was just something that I was you know that people were asking me to play yes again it was like it’s like it was out of it was beyond my control you know at that point it was like that’s what people needed yeah but we’re still looking for that place yeah it was still like old so I kept it yeah so I just kind of kept my hand in that I was like okay well that seems to be the thing that I can make a few you know a little bit of money doing I need to keep that base going but it mean meanwhile I’m still writing songs and playing guitar and singing and doing other things so he introduces me to Richie I do the showcase for well read on virgin all the virgin people are at the showcase the record labels so they’re like wow who’s that woman on the bass you know there were hardly any at that time on the base now there’s notes ladies let’s show them how to do it but they so then they were like oh well we want you know then they then virgin started to hire me for sessions that’s how I got the Boy George system was my first recording so anyway was doing some songs on the solo record for Boy George who Richie Stevens played drums for oh yeah so John Stevens I did I credit as the very first link that that just sort of he was the Domino they went yeah I mean good for anybody watching this or listening to this obviously Boy George was a singer club and this in this album I did was his first solo album and I don’t even remember if the tracks I played on even made it onto the record that was something I learned too about the music industry it’s like when I started doing sessions on people’s records you never know if the track you played on it’s gonna actually end up on the record yeah and sometimes and at first you know well for me I would be like oh what happened was it my fault but then I realize you know it’s many factors why record why song doesn’t end up it’s nothing personal usually so yeah so that was kind of how I started and I did that session for Boy George and then then the session scene was there yeah went into this recording studio didn’t go to somebody’s bedroom or somebody’s basement to make a record it was like full-on studio like where we are today with you know pianos and drums and everything Michael you know like like in the movies do you think those first the first things those first couple of gigs was Boy George and and Richard do you think that was like your entrance into the session scene yes and then did you start playing on other people yes virgins started to hire me on their own then they hired me to play for Donny Osmond that was the next thing so I did Donny Osmond then there was some other artists that I don’t remember their names because they never you know they didn’t make it so big but so and then and then I found this I don’t even know how I got that all for that but I was recommended for this band the thrashing doves which is where this bass came from oh really yeah yeah I I got it that was my first tour so I was doing did the Charlie Watts I did some stuff for well-read I did a bunch of stuff for artists at virgin yeah and then I got a call or some kind of connection to this new band that AM was throwing a bunch of money on they would really you know had high hopes for this and and they were great the songs were fantastic I still think they were great songwriters two brothers can and Brian Foreman and they had a band called the thrashing doves which I think was named after a Kerouac poem it was the name of something from some piece of literature and they they needed a rhythm section and they were about to do their first tour in the US which was small clubs some of them were opening for other people but a lot of it was just small clubs and I got hired that was my first tour I ever did in my life Wow yeah we opened we did some shows in England first we opened for Alison Moyet and we open for squeeze a couple of times and some things in Europe and then we went and did our little my first bus tour you know and I didn’t have I still only had that crappy kramer bass well I won’t say it’s crappy it was okay but ahead it’s had its ups and downs so when I was doing these sessions for George and other people I was hiring a stingray I would say to the studio can you hire me a stingray for John Henry or wherever yeah because I knew I loved this bass you know as a kid I’d liked it visually I always thought it was I still think it’s the coolest looking of a it’s great looking this but so I wanted one of my own I was like I’m going on my first tour now I’m really a bass player like I can’t like think that was this well it was because it was something that was like this it was a long period of time I was doing shows every night uncle’s like okay I think this is where I belong and then I start you know you start to note I started it took me a while to kind of fall in love with the instrument it wasn’t like love at first sight like guitar for me was love it but the base was it grew on me you know and so I ended up you know getting this base for the tour which I bought it but they were like no we’ll get it for you as a gift yeah so this is this base which has been with me on every job since since the thrashing doves it has been on every record I’ve ever done every tour I’ve ever done except for like a handful like two or three so it’s been with me on like every journey I always bring it and play it and it’s just it’s like the one thing that’s been the steady companion I’m a super geek right just well we’ve got the opportunity okay like what settings do you know you use because okay I’m really crap when it comes to music man bases interesting I’ve got the jazz thing down and the jazz bassist B bases I always get really confused about the well do they do they’re very different this one is what they what they call this was like an 85 86 model yeah which they had they told me was it’s a passive base but it has active EQ I don’t understand much about technical things so I don’t really know exactly what that means yes I do have a classic stingray V issue now which is just like the three knobs it’s like very very basic and it is definitely not quite as bright as this one can get or there’s a slightly different tone I like in the 80s everything was much brighter on the bass when I first started I usually change yeah very much so I even now that I actually play flat wounds actually most of the time now but this one has always had round wounds and I just kind of keep it that way it’s just kind of look or something good luck it’s just you know it belongs there but I would in the 80s I’d have this this pretty pretty bright like I’d have the bass probably full up the mid scooped out you know that kind of a lot of things in the 80s I played with a pick I don’t have one so it would be that real but but now instantly when I pick up any bass treble completely off maybe maybe a little bit of mid maybe if I need it to bite a little bit and full on bass yeah yeah yeah and I actually you know we were talking about Anthony Jackson earlier and I I met him once at some bass Fair in New York City many years ago and we were talking in the hallway and I think we were talking about Nathan actually and some other bass players and I said something about I think we’re talking about the touch or something on the bass and I play really like salt like I don’t play very hard I work with Lenny Kravitz now and I play much harder because his thing is very you know is that really you got a really like dig and it’s very yeah it’s not the right base for this but I play a jazz bass with him yeah it’s much more suitable to what he’s doing he’s got the he wants that old retro kind of vibe you know some some songs I can do stingray on it but for the most part it’s jazz or P bass was he did he ask you to play jazz this is what does he does he cuz he like obviously he plays bass on his own he got like a really good intuitive vibe for exactly what the sound he he knows exactly what he wants he’s done in a few yeah he’s one of the few artists that you know and and I was talking to Nick earlier like I don’t mind if people want something I want to try and give it to them you know and and and all the like when I’m learning something how someone else played something or what tone they get that’s a challenge for me to find that and give it to them and to me that’s just a learning experience doesn’t mean that’s the way I would play I want to play it yeah but if it works with the song I’m happy I always say serve the song get your out of the way and just serve the song yeah you know and that to me is like just you know I’m happy if I’ve achieved that at the end of the day but I play really light you know and Anthony Jackson was saying to me so though you shouldn’t be worried about that there’s a lot of bass players that have a really light touch but they still have a big can have a big sound yeah so in general I will have full on bass maybe a little bit of mid maybe the mid is centered and boost it a little bit if I need to so right now I’ve got no treble on this the middle is kind of just just boosted over the middle like the myth knotch yeah and then to me that’s the tone and I play softly I don’t really I used to play more with nails even in the 80s everything was so bright when did you when did your change was it it wasn’t sort of like you weren’t like oh it was over a period of time and the song the material that I was asked to play was changing the sound of records was changing you know from the 80s to the 90s there’s a very different tone that was happening with basses guitars and you know then grunge came I was you know then I’ve got more pedals involved and I start having and with Bowie I I had so many different variations of different pedal boards and and lots of different bases to cover his gamut of sounds over the years basis sort of pale ya know from like let’s dance era you know which was again that very bright brighter sounding bass which I used to use my MT DS for yeah and then you know then there’s the old stuff hanging out to yourself Ziggy oh that was I would use of Maryland for that pretty much yeah yeah I have a 59 P bass and and I got that while I was out on tour with David in the late 90s and I did use it on some songs but I didn’t think many Fender didn’t feel to these isn’t it like a pee how did look up with David Bowie like come about it called me on the phone right Dave I was playing with Tears for Fears at the time it was was when Rowland and Kurt had had a split breakup for a short period of time and I had just done a tour with Roland I had sort of take Kurt was the bass player in the band and so I kind of took his place for a little while and then I was going to do another solo album which would have been my third at that time so and Roland was interested in producing it so we were writing together and I was at his house and bath in England I really yeah I was a I was like back was the Peter Gabriel’s down there there I used to see them in the restaurants when we go eat but yeah rolling there’s down there and I think he grew up down there actually him and Kurt and anyway I was at staying at his house for like a month or something we were just writing songs and playing tennis we were both tennis freaks at the time he had a court and I was jealous we write songs and play tennis in the afternoon but I was there working on songs and and literally the phone rang at the house his wife came over to the studio and opened the doors and said David bow he just called on the phone I was in the kitchen you know feeding the baby and like I nearly dropped the kid I was like what and she’s like no he just called he’s gonna call gave him the number he’s gonna call the studio in five minutes I was like and then I thought it was a joke somebody from some one of my mates from London his joke on me so the phone rang I went to pick it up and he was like hello this is David Bowie and I was like who is this and he’s like now love it’s it’s really me and I was like you know I just it took me like about a minute I just didn’t believe it and then I realized god that’s it it’s interesting to know that like these guys are actually still it wasn’t the management company phone no it was him on the phone well he’s he’s a rare bird and that’s in that instance because most times I get a call from someone’s manager was someone something so a friend of someone like like I like Prince asked me to play guitar for him once it’s more not base but guitar yeah and Rhonda called me all right okay pence was wondering if you he’s putting together one of his different group one of his girl groups or something and I said you know I’m not that good on the guitar right now like I’m not ready to to subject myself to Prince but you know so sometimes most people someone else calls on but I’ve know that over the years of knowing David Bowie he always called everybody if he wanted to if he wanted you to do whether you were designing shoes for him or making sunglasses or yeah cuz he call and tell you exactly what he wanted straight up them and what was it was it for an album or photo this was for the tour with Nine Inch Nails he was doing like a double – yeah right in he’s that’s what he said he said he said where are you now and I said well I’m in the studio working on a solo album and I don’t know you know he said well this is only gonna be six weeks we’re doing six weeks in the States with Nine Inch Nails and then you can go back and finish it right there and then 20 years that tour just kept going you know six weeks came and went and then it was like well we’re gonna now we’re gonna do now it’s the you know that now it’s a new album and I said that rollin was like you gotta go how can you be massive at the time wasn’t it it was like it was a huge deal yeah how did it feel getting the call just shocking I mean I just couldn’t believe it I went back to knee I had moved back to New York at that time so when I was at the Ed Rowland’s house I was kind of going back and forth between between New York and there and so I went back home to New York and I just like told all my friends I was like I would say Rowland’s house and Bobby called and I’m gonna do this total you know that was I think it was in May I’m sure I wrote it down in a journal I hope I did do you journal sometimes I have gaps I wish I didn’t but I do have gaps but I have there’s a period of time where I wrote a lot I’m trying to get back into it now started again recently before I’m too old to remember it but I just you know I was just over the moon I was scared to be honest because you know I just people like him and Frank Zappa you know they have this stigma attached to them if you’re well if you were one of their band members you know it’s like a big deal so in my mind it was like I felt like okay I’m a decent bass player but I’m there like I honestly thought in my head I’m never going to be at the level this is like yeah I’m never gonna be at that level to play with the David Bowie’s of the world or the Elton John like that the big artists like to me they were on this level that I was never gonna reach like Tears for Fears for me was amazing that was that’s huge that is huge and actually what I love to service and I loved them too and I have to say that was one of the best bands I ever played that was just and rolling was amazing he’s an amazing songwriter he’s amazing producer I mean the music the music going on in that group is just off the hook and I and in some ways I look looking back on my life I think that was like a like a gift because getting that gig prepared me for Bowie if I had gone to Bowie from whatever I was doing before Tears for Fears which I don’t even remember what it was but just there was something about having just done a tour with them and an album and a bunch of videos yeah I had I had gone up to this other like kind of level where I was ready to jump in to the next night I could good feel for ya but if I didn’t have that education and I still I tell rollin this to this day it’s like you know like I’m so grateful for the time I spent with with that band probably more than any other in a way cuz it was just it was a turning point in my playing in my challenging of myself my ability to sing and play at the same time all these things were getting you know I was getting prepared for what I didn’t know was to come yeah and so I was yeah and then I jumped into that and I was terrified I really you know I had Carlos Alomar Reeves Gabrels Mike Garson all these people whose names I’d read on Bowie records for years and suddenly I’m in the room with them in rehearsal and I’m thinking I can’t you know I was ready I was on the verge of tears like every day because he’s thinking I was going to be asked to play something I just couldn’t play yeah how challenging was it it was very challenging but what was what made it good was that and I think if it was another artist that probably would have been different he was so gracious if he had had a tantrum or was like you know weird about anything like he was so easy about everything he just left you to it yeah so the only pressure was the pressure I was putting on myself like and I think he was very clever about and sometimes I think I wonder if he really does that on purpose in a way it’s like it’s like sometimes the best way to get a result from someone is not to like scream at them or be like you better you know but it but just to just assume that they’re just going to be fine and like what are you worried about yeah and so I just went back to my hotel and I had all the songs we were going to learn and I just I crammed until I fell asleep I probably Marilyn and I were probably just lying on I wake up and on that okay well you just give him up for the first two were you just given like and that first tour was the outside album which was this weird album yeah that had this weird and it had a lot of fretless bass I don’t play for this I didn’t even own one I do now yeah in fact a really nice MTD fretless that Michael Tobias built for me we went he’s my neighbor so I went to the workshop picked out the wood the neck everything and then watched him build it in front of my eyes this beautiful bass I do play it on the on the next day albumen and some of the later Bowie tours it has the fret markings otherwise I can’t scream but so I had to learn you know I got my pedals together so I could recreate the fretless sound and all that kind of stuff you just give us a cassettes to listen to cassettes you’re right and it was cassette command when he couldn’t rewind for a cassette tape remember that and yes yeah I could only fast-forward yet to turn them around fast-forward it and enter background I still have a cassette players in pretty much every room of my house I’ve got bags of cassettes I took my I’m good exactly oh you’ve gotta get one don’t tell me you know now I never let go of any of that stuff ever I’m very old-fashioned in that respect when you when you were given the cassettes were you given like was it the stems you were given so you could listen to the many works Lenny works Lenny Kravitz works with like stems wouldn’t when I’m learning new stuff from him he was he has tracks where he has the bass on the left and then the rest of the track on the right and so if I can put it in my laptop or whatever and make the balance figure and then I can put it all the way over to the left or right or whatever and then play along with it so that’s really handy but David would just give you the song you just go and I write out my little bastardize charts that I write out that I can understand that to follow because I was like I can’t make a mistake I’ve got Carlos Alomar is over there like you know I can’t you know I have to do this I have to and I would just study and study and study and be very scared and worried and study and worried and Morse and then God he would change the key sometimes a lot of it was not in the original key so that was hard because I’d learn it off the record and then I have to figure out how to transpose it and I would but then I’d hope that he didn’t tweak it you know another half to step up with him sometimes I would write a chart three different charts for each what just in case he was good so I just studied and studied and you know it I just feel like he knows he really knows who he’s hiring yeah and I’ve noticed that all across the board from like who’s doing close or who’s doing lights or whatever he knows he has researched what your skills are probably better than you like a fool he knows exactly yeah he’s not relying on management companies to go and do it for it oh not at all not at all they have nothing to do the all they do is you know sort out the logistics of things they’d have nothing to do with it the creativity and no because if I sing good like kind of in like a singular vision of what he wanted he knows exactly he always knew from the ground up you know from what you’re gonna wear to what just everything he was the ultimate artists in a just unbelievable and how long were the rehearsals for did you have like did you really yeah two or three months and we and he worked at a very normal like kind of paste like you you could plan your life around it and do think he would be we were he lived here in New York City we worked in New York City all the time and we would do Monday through Friday maybe a Saturday maybe from like 10 o’clock to 6 o’clock so it wasn’t like crazy yeah yeah no crazy go home to his family’s like us going home to dinner now yeah and so you know he might come like we would get in or you know I would sometimes come in at 9:00 and I would program my pedals for the songs or just test out stuff and people bringing amps in and gear and so there would be like this morning that where we would have time all of us would have time to noodle and screw with our gear and mess with amps and whatnot and then he would maybe come in at about 11:30 or so and start singing sort of I didn’t your thing was like a musical director for the was it kind of like a guy that was like no he had there was a he always had a musical director someone in the band had that role yeah Jerry Leonard did it there was a guy named Peter Schwartz was the first one on the first two I ever did who else was doing it I can’t remember now but the walls always said there was someone who yeah who would organize us who would say okay this is what songs David’s called me last night these are the songs he wants to do today so that that one person would organize the day’s rehearsals so we knew that when he arrived this is what he would want to sing today or work on or what have you so what about with Lenny Kravitz is it I could seem like how to deal with Lenny no rock and roll no Craig Ross is okay yeah but his work ethic is very different it’s rock and roll it’s like it’s 11 o’clock at night let’s keep going I feel like playing now it’s a hang it’s like it could be it could go till 3:00 in the morning it could be an hour that day it could be six hours that is it’s very up in the air yeah sadly the bassist actually that that I was just playing the bass line here a little while ago on are you gonna go my way yeah what he was ill his bass player Tony bright was playing bass with him I think and he had some issues he wasn’t he wasn’t well and it’s a very odd story because I was my mother passed away in 2011 and I was in Philadelphia and it was the day before her funeral the day before we put her in the ground yeah and I was like that it would had been a week of like she was sick and then she finally went to speak you know so I was just like stressed out I just come off of a tour with Olivia newton-john I was like jet Li I was in Australia and I I’m in a Starbucks I can remember so clearly on Walnut Street in Philly and my phone rings and it’s Craig Ross who recently had just done an album with an artist called IO Craig Craig and I just done her album in New York City in that like October or something and this was June and so Craig cause I’m like hey Craig what’s up you know he’s like we need a bass player would fulfill any like we’re just about to do a tour and like our bass player can’t can’t do it at the last minute and we wondered if he’d be up for it I was like yeah I’d love to like you know I’m I’m burying my mom yeah can I get back to you like in a couple weeks or something he was like no we need you now like like how soon can you get sorry so I think about that and I was like well let me deal with what I got at least give me like two or three days yeah deal with this and then I’ll get down to Miami they were rehearsing in Miami and so sure enough I buried my mom and about three days later I got on a plane to Miami and I’ve been with them ever since give it any material to learn before you are down there no I went down and then that was like a crania usually I’m you know I’d listen to the records or whatever but I kind of had to learn this stuff on the spot you know like you know so I knew his songs I knew yeah but but he really wanted them played like him and he wanted the sounds you know so that was a challenge because I was I just you know obviously my head was it’s reeling from having just lost my mom but yeah but I so I was like okay I just got to figure out this situation and it took a while and then we went through a bunch of different bases because I brought my bases down but they weren’t the right tone and so the bass I played with landing is a 61 jazz bass which is his it’s not mine yeah we put it was purchased for me to play on the road because a lot of his really amazing bases I’m een just racks and racks and racks of but the little the the old basis that he had down in the Bahamas where his studio is where he doesn’t take them out on though they’re just too old and you know valuable yeah so we had to get one for me that was gonna be go out in road and I still play that one it’s that beautiful bass so I have to say 61 one year older than me Oh 61 jazz and swipe I know the tortoiseshell rosewood neck just spectacular tone you can’t you know they brought in about 4 different ones I’ve chose a jazz bass with him because I wanted to have the more narrow neck for more he’s got slapping stuff and stuff which I don’t do that much anymore but mm so I preferred that to the P bass yeah and and it’s a great day so that’s what I play this what’s your favorite Lennie what favorite letter to you favorite Lennie – yeah it’s example it’s actually one of the slow ones who’s that song called believe oh yeah yeah it’s a Kraken – oh that’s a pretty turned [Music] I’m yours you and me better job if you want you got to believe you he’s got all those great fields if you want it you got to believe if you want it you got it you just got to believe believe in yourself cuz it’s all just a game we just want to be loved I love that song it’s about that rocket yeah I’m a melody you know some of the funky stuff is like I think I enjoyed playing that more when I was younger you know yeah but it’s not but I it’s it keeps me on my toes do you play live it’s good what shall be mr. Don I’ve got no idea I’m gonna play after this engine okay yeah it’s really I have to say there’s a lot of things and there’s a new album coming I haven’t even heard it yet I will soon because we’re starting rehearsals and everything he plays bass and drums on all he’s that because of his writing style did you just kind of sort of like immerse himself it’s that yeah yeah he works for you you know he’d love he’s a studio rat – it’s like he doesn’t really like touring very much I don’t think I mean enjoys are good when you have a good night you’ll get in that studio he won’t want to come out no matter what like the studio lifestyle is like the thing isn’t it and then that there’s that control that he has in the studio that’s hard to have life you have to relinquish a certain amount of that control than he hates it let’s go a few next anyway open the tour you’ve got your I don’t think well yeah that’s gonna be a little late I feel really bad I’ve been promising a new album for so long now and I’m I was so close and then I just got the call a couple of weeks ago that our rehearsals are gonna start soon for Lennie so I’m not quite ready and that’s going to take me out for at least six or seven months now yeah but when that is done I will be right back in the studio finishing up my album some people came I only have only on Facebook I have a Facebook I don’t have you can go to Gale and Dorsey calm and as to ends with noe and I and it will take you to my Facebook page which I post whatever I’m doing and you can send me messages or whatever I just started Instagram like last year seems cool getting into it yeah I haven’t done many posts but it’s it my friends tell me you have a lot of followers for you don’t ever do anything I don’t know I it’s all too much for me how to play my instrument but you know every now and then I’m inspired to but I on this tour I’m gonna be really much more active on Instagram I’m gonna do it I’ve made a vow to not be an old fuddy duddy my dad’s a massive fat I’m gonna call it appreciate that’s nice to meet you too you know I go on to your site and I learn some things and and thank you know I do and I and thank you for doing that you know thank you for being there for the bass community and just four musicians in general yes thank you it’s a wonderful thing you offer so guys gerund or Z

Facebook Chatter