AAJ: I saw Tower of Power for the first time ever at the end of and they were just amazing, so much energy!
GW: Was it Garibaldi on drums? AAJ: Yeah, it was. GW: Oh, so the real thing. What about Jaco Pastorius? GW: You can't deny his influence, you can't deny his personality and I had to learn what he was doing but my attitude towards influences is that you have to go through them and a lot of people stop when they get to Jaco and don't go any further. I'm not trying to say I've gone further, but I adopt what people are doing and understand it and get inside of it deeply in order to choose my own identity.
A lot of people go to the surface of what he's done and get that in their fingers but they don't really get inside it and go through it. AAJ: Your top three rhythm sections? AAJ: The influence of Weather Report in your music over the years is clear; Joe Zawinul once said he reckoned Miles had learned more from him than the other way round, what's your take on Zawinul's influence in the last fifty years?
GW: I think maybe that was one of the reasons they split Weather Report up and decided to put their names in front of what they were doing instead of as an afterthought.
Personally I think Zawinul's contribution to Weather Report was way underrated, he was involved in every aspect, obviously the compositions but also in the mixing, he was like the bandleader and I think that part is missing from a lot of people's understanding of what Weather Report was.
AAJ: You've also played with Wayne Shorter, which was about twenty years ago; what was that experience like? GW: I had the best seat in the house. It was amazing.
It was after that gig that I really started seriously composing. It definitely inspired me to start doing it myself. GW: Send me one of those. AAJ: You didn't get a copy, what?
You're kidding? GW: I emailed the company and he said, "Yeah, I'll send you one, and he never did. Imagine that. AAJ: I can hardly believe that. GW: The concept of it would probably be great for the audience but logistically, and I'm not against celebrating Weather Report as history, but if you look at the reality of it, the travel, the rehearsing and getting to play one or two tunes Thanks for pouring a bucket of cold water on that. Let's talk about the Gary Willis bass produced by Ibanez.
It was two years in the making and you have described it as "perfection. What specifically do you love about it? GW: I love what it has become. When we first put it out there were little things that I took care of that were kind of impossible for a production, factory-made bass to have, and so there are touches I chalked up to my own pickiness, because I require really specific action, and the way that I play puts a lot of demands on how the bass is set up, so I thought these were setup elements and not necessarily manufacturing elements.
But since last year they started making the bass hand-made from beginning to end and prepared all those details. So like I said, the bass is perfect and I'm really honored and absolutely amazed that the bass is off the shelf exactly like I want it. AAJ: For most people who consider you to be a modern bass icon, it's hard to imagine you developing even more vocabulary as a bassist.
Do you think yourself that you've reached a certain limit in your own vocabulary on the bass? GW: I think different environments inspire a search for your vocabulary and I feel like I've got something to say as a musician. As long as I'm interested in exploring those environments and situations that that require a different take on how to play or say something as a musician then I'll always explore.
And the way the technology is changing I think it should continue to allow everyone to do that. This interview is dedicated to Joe Zawinul, who passed away a week after it was conducted. Zawinul, the greatest Austrian composer since Mozart. Showcase Buy Now. Featured Albums. Shop Amazon. Interview My Conversation with Matthew Shipp. Year in Review The Year in Jazz. Get more of a good thing Our weekly newsletter highlights our top stories and includes your local jazz events calendar. Connect Welcome!
Advertise Rates and Options Place Order. Sign in Sign up Email address. Password Reset your password Click the eye to show your password. This is a jazz music website—spammers will be deleted. Membership has its privileges. Learn more. First name and Last name. First name only. I recently took the plunge and bought a fretless Fanndec 5-string bass, by no means a top of the line instrument. The bass originally came with a set of roundwounds and upon reading about strings for fretless I changed the the strings to a set of Hot Wire half-rounds gauge.
After the restring I noticed the action to be a tad on the high side especially at the upper neck region and a bit of the characteristic 'mwah' sound had been lost mainly on the E and B strings. On further reading my general understanding is that the straighter the neck on a fretless the greater the 'mwah' so was going to tighten the truss rod and hence lower the action?
Also was going to file the nut down a touch if needed? Any advice on fretless setup would be much appreciated. Worth experimenting with string damping as well for a more thuddy upright sound. Cheers for that. The only other thing I am concerned about is that at the minute when I do the Gary Willis 'elbow first fret' relief test the A string sits on the fret board which would indicate the need for a bit of neck relief and hence raise the action higher?!
I'll have a read through those articles and ponder the next step. The "mwah" thing will be dictated by the action - the higher the action the less mwah. Also in my experience Status Half Wounds have a very strong fundamental and a bright toppyness but don't have as many middy overtones as some other strings which can make the mwah a little harder to hear. They're very good strings and I use them on one of my fretless basses, but you might find D'addario halfwounds are worth a try, definitely more middy.
Setup wise, sounds like the truss rod needs a tweak, best to tighten it in small steps, maybe a quarter turn at most and see what it does. You may be able to drop the action at the bridge end too, but get the neck adjusted first.
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