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Jack Daley is a world class bassist and up and coming record producer.for the past 20 years he has played on countless records and toured the world with lenny kravitz and many others
Jack Daley is a world class bassist and up and coming record producer.for the past 20 years he has played on countless records and toured the world with lenny kravitz and many others
October 2008 Judging Excellence
October 2008 Judging Excellence
JOHN CAREY INTERVIEWS BASSIST JACK DALEY by
Saturday, April 19, 2008 (JC) 1. You have had a career that most sidemen and session players could only dream of having. You are Lenny Kravitz's first call bassist and you've worked with everyone...
Saturday, April 19, 2008 (JC) 1. You have had a career that most sidemen and session players could only dream of having. You are Lenny Kravitz's first call bassist and you've worked with everyone...
JOHN CAREY INTERVIEWS BASSIST JACK DALEY by
Saturday, April 19, 2008 (JC) 1. You have had a career that most sidemen and session players could only dream of having. You are Lenny Kravitz's first call bassist and you've worked with everyone from Joss Stone to Michael Jackson, Alana Davis to Chaka Khan. What were some of the stepping stones that led you in the direction towards many of these highly sought after gigs? (JD) I think like most of us players I started playing at a fairly young age. At ten years old I wanted to play drums although my mother was not that excited about my choice. After leaning up against her airline record player while listening, or I should say feeling 25 or 6 to 4 by Chicago, I was hooked. I grew up in upstate New York and caught the music scene of the 70's. I started playing clubs at sixteen and it was a great time to be playing bass. There were so many great bass players to checkout and I think it was really the peak for great session musicians. Also the disco craze was blowing up and it had some ridiculously funky parts to checkout. I played in some of the area's best bands playing everything from The Who to Chic to Autumn Leaves and everything in between. It was a great learning period. In the 80s when the MTV craze hit I started a band that captured the vibe of all the new bands riding that wave. Somehow, by default, I ended up being the band's most obvious frontman. So, along with my brother Frank who is a great guitarist, I locked myself in a studio in Saratoga, New York for about three years developing my studio chops and writing material to get a record deal. Again this was a great learning period, not only technically, but musically because when you realize as a producer what type of bass playing makes the best sounding record, it is a bit different than the perspective of most bassists. I just think sometimes when you're only dealing with the bass part it's hard to step back and be objective. I spent three years in that studio and just got up one day thinking I have to move to New York City now! That same day a long time friend called me and said his bassist flipped out and he needed someone. I showed up, nailed the audition and got some very encouraging advise from the guitarist in the band, Ronny Drayton (a total badass). He said, "move here man, you'll get tons of work". I never left. Ronny was on the money. Within a year I was in thirteen bands playing funk, rock, blues, singer-songwriter gigs, you name it. I did it. My approach was to take any gig that I thought I would sound good doing and it would give me exposure to the most musicians possible, and give me the best chance to be recommended if a good gig came up. It also helped me to pay my rent. And once again this was a huge learning period for me being exposed to so many great musicians, artist, and singers. This was also when I realized that I was a much better bassist than I would ever be a singer. Besides that, when I play bass I make the worst bass player face. Combine that with me struggling to hit the notes and it just ain't pretty. (JC) 2. You are known as a bass player who plays many genres of music, but you have been often called for a lot of rock-R&B oriented bass playing. Is rock-R&B music what you enjoy playing the most or is it simply the work that found you, so to speak? (JD) Well as I said before, when growing up in the 70's, it was songs like Skin Tight, by the Ohio Players, For the Love of Money, by the OJays, Lowdown by Boz Scaggs and anything by Chic that really caught my ear first. I believe that's where my interpretation of groove comes from. It was a bit later that I really started checking out more rock players guys like John Entwistle, Paul Mcartney, and of course John Paul Jones. So yeah, I think rock and funk are really the two genres that I have spent most of my time playing, so it makes sense. That is also why I was so well suited for the Lenny gig. Most people think of that as a rock gig which it is. But, Lenny feels everything from the perspective of a funk musician and that is really the heart of his music. (JC) 3. I heard that your 1966 Fender jazz bass is your axe of choice. Is this true and if so, what attributes does the bass have that attracts you to it? Are there any other basses that you just can't do without? (JD) You know I love them all; basses are just so cool. My two longtime companions are my black 1966 Fender jazz bass. I don't know what it is but I've never played a bad 1966 jazz bass, crazy! I have a great 1965 candy apple red Fender Precision bass that I have used on many records. It's also killer. I have a great 1973 Rickenbacker that I love, and I just received a bass from a new company called Henman Bevilaqua. It's very cool and combines some vintage vibe with some very cutting edge technology. I'm really enjoying getting to know this one. The other instrument that I'm thrilled with is my black Hofner Club. It was the very first black Hofner made custom for me. I've got a thing for black. (JC) 4. I first discovered you when listening to an Alana Davis CD (Blame It on Me) and your playing literally blew me right out of the water. That record continues to inspire me to this day, and the bass lines remain fresh, solid and funky no matter how many times I listen to it. What are some of the ways that you come up with a bass line when a new song is presented to you in a studio situation? (JD) First of all, thank you so much for saying that, I really appreciate it. Playing with Alana was always a true joy. I worked on all three of her records and loved every minute of it. I just don't understand why she is not a huge star. She really is a great talent. Some of my favorite bass lines on her records were really very spontaneous. The way she sings really connects for me, and we would sometimes demo her songs at the producer, Ed Tuten's, loft. Ed is a great producer and he's not afraid to keep a first take. Alana's voice is so inspiring to me and her pocket is so deep that it feels like my bass is playing itself. Many of those bass tracks that were literally first takes that made the record. I should also mention the drummer on those records Nir Z is one of my favorites to track with.. (JC) 5. What "business" advice can you give those that are already competent bass players working in NYC, but are seeking work with higher profile bands and artists? (JD) Well I know it's not easy, but referring to something I said before: get out there and play with everyone that you can shine with. When the Lenny gig came up, I came home to about fifteen calls on my machine (pre cell phone). That is because I had made a lot of friends playing around the city. Also show up on time, be prepared, and try not to loose your cool (I'm actually reminding myself on that one). Also (and this is very important) have fun! If music is not gonna be fun you might as well work for the man. At least there you'll get health insurance. www.MySpace.com/jackpdaley Jack Daley is a bassist, session musician, music director, and producer. He has worked with Lenny Kravitz, Joss Stone, Michael Jackson, Janet Jackson, Queen Latifah, Shabba Ranks, Avril Lavigne, Daryl Hall, Alana Davis, Chaka Khan, The Temptations, Natalie Merchant, Iggie Pop, James Brown and Mick Jagger to name a few. Bassist: Jack Daley Interviewed by: John Carey www.JohnCarey.netInterview with bassist, Jack Daley, by John Carey (JC) 1. You have had a career that most sidemen and session players could only dream of having. You are Lenny Kravitz's first call bassist and you've worked with everyone from Joss Stone to Michael Jackson, Alana Davis to Chaka Khan. What were some of the stepping stones that led you in the direction towards many of these highly sought after gigs? (JD) I think like most of us players I started playing at a fairly young age. At ten years old I wanted to play drums although my mother was not that excited about my choice. After leaning up against her airline record player while listening, or I should say feeling 25 or 6 to 4 by Chicago, I was hooked. I grew up in upstate New York and caught the music scene of the 70's. I started playing clubs at sixteen and it was a great time to be playing bass. There were so many great bass players to checkout and I think it was really the peak for great session musicians. Also the disco craze was blowing up and it had some ridiculously funky parts to checkout. I played in some of the area's best bands playing everything from The Who to Chic to Autumn Leaves and everything in between. It was a great learning period. In the 80s when the MTV craze hit I started a band that captured the vibe of all the new bands riding that wave. Somehow, by default, I ended up being the band's most obvious frontman. So, along with my brother Frank who is a great guitarist, I locked myself in a studio in Saratoga, New York for about three years developing my studio chops and writing material to get a record deal. Again this was a great learning period, not only technically, but musically because when you realize as a producer what type of bass playing makes the best sounding record, it is a bit different than the perspective of most bassists. I just think sometimes when you're only dealing with the bass part it's hard to step back and be objective. I spent three years in that studio and just got up one day thinking I have to move to New York City now! That same day a long time friend called me and said his bassist flipped out and he needed someone. I showed up, nailed the audition and got some very encouraging advise from the guitarist in the band, Ronny Drayton (a total badass). He said, "move here man, you'll get tons of work". I never left. Ronny was on the money. Within a year I was in thirteen bands playing funk, rock, blues, singer-songwriter gigs, you name it. I did it. My approach was to take any gig that I thought I would sound good doing and it would give me exposure to the most musicians possible, and give me the best chance to be recommended if a good gig came up. It also helped me to pay my rent. And once again this was a huge learning period for me being exposed to so many great musicians, artist, and singers. This was also when I realized that I was a much better bassist than I would ever be a singer. Besides that, when I play bass I make the worst bass player face. Combine that with me struggling to hit the notes and it just ain't pretty. (JC) 2. You are known as a bass player who plays many genres of music, but you have been often called for a lot of rock-R&B oriented bass playing. Is rock-R&B music what you enjoy playing the most or is it simply the work that found you, so to speak? (JD) Well as I said before, when growing up in the 70's, it was songs like Skin Tight, by the Ohio Players, For the Love of Money, by the OJays, Lowdown by Boz Scaggs and anything by Chic that really caught my ear first. I believe that's where my interpretation of groove comes from. It was a bit later that I really started checking out more rock players guys like John Entwistle, Paul Mcartney, and of course John Paul Jones. So yeah, I think rock and funk are really the two genres that I have spent most of my time playing, so it makes sense. That is also why I was so well suited for the Lenny gig. Most people think of that as a rock gig which it is. But, Lenny feels everything from the perspective of a funk musician and that is really the heart of his music. (JC) 3. I heard that your 1966 Fender jazz bass is your axe of choice. Is this true and if so, what attributes does the bass have that attracts you to it? Are there any other basses that you just can't do without? (JD) You know I love them all; basses are just so cool. My two longtime companions are my black 1966 Fender jazz bass. I don't know what it is but I've never played a bad 1966 jazz bass, crazy! I have a great 1965 candy apple red Fender Precision bass that I have used on many records. It's also killer. I have a great 1973 Rickenbacker that I love, and I just received a bass from a new company called Henman Bevilacqua. It's very cool and combines some vintage vibe with some very cutting edge technology. I'm really enjoying getting to know this one. The other instrument that I'm thrilled with is my black Hofner Club. It was the very first black Hofner made custom for me. I've got a thing for black. (JC) 4. I first discovered you when listening to an Alana Davis CD (Blame It on Me) and your playing literally blew me right out of the water. That record continues to inspire me to this day, and the bass lines remain fresh, solid and funky no matter how many times I listen to it. What are some of the ways that you come up with a bass line when a new song is presented to you in a studio situation? (JD) First of all, thank you so much for saying that, I really appreciate it. Playing with Alana was always a true joy. I worked on all three of her records and loved every minute of it. I just don't understand why she is not a huge star. She really is a great talent. Some of my favorite bass lines on her records were really very spontaneous. The way she sings really connects for me, and we would sometimes demo her songs at the producer, Ed Tuten's, loft. Ed is a great producer and he's not afraid to keep a first take. Alana's voice is so inspiring to me and her pocket is so deep that it feels like my bass is playing itself. Many of those bass tracks that were literally first takes that made the record. I should also mention the drummer on those records Nir Z is one of my favorites to track with.. (JC) 5. What "business" advice can you give those that are already competent bass players working in NYC, but are seeking work with higher profile bands and artists? (JD) Well I know it's not easy, but referring to something I said before: get out there and play with everyone that you can shine with. When the Lenny gig came up, I came home to about fifteen calls on my machine (pre cell phone). That is because I had made a lot of friends playing around the city. Also show up on time, be prepared, and try not to loose your cool (I'm actually reminding myself on that one). Also (and this is very important) have fun! If music is not gonna be fun you might as well work for the man. At least there you'll get health insurance. www.MySpace.com/jackpdaley Jack Daley is a bassist, session musician, music director, and producer. He has worked with Lenny Kravitz, Joss Stone, Rob Thomas,Five for fighting , Michael Jackson, Janet Jackson, Queen Latifah, Shabba Ranks, Avril Lavigne, Daryl Hall, Alana Davis, Chaka Khan, The Temptations, Natalie Merchant, Iggie Pop, James Brown and Mick Jagger to name a few. Bassist: Jack Daley Interviewed by: John Carey
Saturday, April 19, 2008 (JC) 1. You have had a career that most sidemen and session players could only dream of having. You are Lenny Kravitz's first call bassist and you've worked with everyone from Joss Stone to Michael Jackson, Alana Davis to Chaka Khan. What were some of the stepping stones that led you in the direction towards many of these highly sought after gigs? (JD) I think like most of us players I started playing at a fairly young age. At ten years old I wanted to play drums although my mother was not that excited about my choice. After leaning up against her airline record player while listening, or I should say feeling 25 or 6 to 4 by Chicago, I was hooked. I grew up in upstate New York and caught the music scene of the 70's. I started playing clubs at sixteen and it was a great time to be playing bass. There were so many great bass players to checkout and I think it was really the peak for great session musicians. Also the disco craze was blowing up and it had some ridiculously funky parts to checkout. I played in some of the area's best bands playing everything from The Who to Chic to Autumn Leaves and everything in between. It was a great learning period. In the 80s when the MTV craze hit I started a band that captured the vibe of all the new bands riding that wave. Somehow, by default, I ended up being the band's most obvious frontman. So, along with my brother Frank who is a great guitarist, I locked myself in a studio in Saratoga, New York for about three years developing my studio chops and writing material to get a record deal. Again this was a great learning period, not only technically, but musically because when you realize as a producer what type of bass playing makes the best sounding record, it is a bit different than the perspective of most bassists. I just think sometimes when you're only dealing with the bass part it's hard to step back and be objective. I spent three years in that studio and just got up one day thinking I have to move to New York City now! That same day a long time friend called me and said his bassist flipped out and he needed someone. I showed up, nailed the audition and got some very encouraging advise from the guitarist in the band, Ronny Drayton (a total badass). He said, "move here man, you'll get tons of work". I never left. Ronny was on the money. Within a year I was in thirteen bands playing funk, rock, blues, singer-songwriter gigs, you name it. I did it. My approach was to take any gig that I thought I would sound good doing and it would give me exposure to the most musicians possible, and give me the best chance to be recommended if a good gig came up. It also helped me to pay my rent. And once again this was a huge learning period for me being exposed to so many great musicians, artist, and singers. This was also when I realized that I was a much better bassist than I would ever be a singer. Besides that, when I play bass I make the worst bass player face. Combine that with me struggling to hit the notes and it just ain't pretty. (JC) 2. You are known as a bass player who plays many genres of music, but you have been often called for a lot of rock-R&B oriented bass playing. Is rock-R&B music what you enjoy playing the most or is it simply the work that found you, so to speak? (JD) Well as I said before, when growing up in the 70's, it was songs like Skin Tight, by the Ohio Players, For the Love of Money, by the OJays, Lowdown by Boz Scaggs and anything by Chic that really caught my ear first. I believe that's where my interpretation of groove comes from. It was a bit later that I really started checking out more rock players guys like John Entwistle, Paul Mcartney, and of course John Paul Jones. So yeah, I think rock and funk are really the two genres that I have spent most of my time playing, so it makes sense. That is also why I was so well suited for the Lenny gig. Most people think of that as a rock gig which it is. But, Lenny feels everything from the perspective of a funk musician and that is really the heart of his music. (JC) 3. I heard that your 1966 Fender jazz bass is your axe of choice. Is this true and if so, what attributes does the bass have that attracts you to it? Are there any other basses that you just can't do without? (JD) You know I love them all; basses are just so cool. My two longtime companions are my black 1966 Fender jazz bass. I don't know what it is but I've never played a bad 1966 jazz bass, crazy! I have a great 1965 candy apple red Fender Precision bass that I have used on many records. It's also killer. I have a great 1973 Rickenbacker that I love, and I just received a bass from a new company called Henman Bevilaqua. It's very cool and combines some vintage vibe with some very cutting edge technology. I'm really enjoying getting to know this one. The other instrument that I'm thrilled with is my black Hofner Club. It was the very first black Hofner made custom for me. I've got a thing for black. (JC) 4. I first discovered you when listening to an Alana Davis CD (Blame It on Me) and your playing literally blew me right out of the water. That record continues to inspire me to this day, and the bass lines remain fresh, solid and funky no matter how many times I listen to it. What are some of the ways that you come up with a bass line when a new song is presented to you in a studio situation? (JD) First of all, thank you so much for saying that, I really appreciate it. Playing with Alana was always a true joy. I worked on all three of her records and loved every minute of it. I just don't understand why she is not a huge star. She really is a great talent. Some of my favorite bass lines on her records were really very spontaneous. The way she sings really connects for me, and we would sometimes demo her songs at the producer, Ed Tuten's, loft. Ed is a great producer and he's not afraid to keep a first take. Alana's voice is so inspiring to me and her pocket is so deep that it feels like my bass is playing itself. Many of those bass tracks that were literally first takes that made the record. I should also mention the drummer on those records Nir Z is one of my favorites to track with.. (JC) 5. What "business" advice can you give those that are already competent bass players working in NYC, but are seeking work with higher profile bands and artists? (JD) Well I know it's not easy, but referring to something I said before: get out there and play with everyone that you can shine with. When the Lenny gig came up, I came home to about fifteen calls on my machine (pre cell phone). That is because I had made a lot of friends playing around the city. Also show up on time, be prepared, and try not to loose your cool (I'm actually reminding myself on that one). Also (and this is very important) have fun! If music is not gonna be fun you might as well work for the man. At least there you'll get health insurance. www.MySpace.com/jackpdaley Jack Daley is a bassist, session musician, music director, and producer. He has worked with Lenny Kravitz, Joss Stone, Michael Jackson, Janet Jackson, Queen Latifah, Shabba Ranks, Avril Lavigne, Daryl Hall, Alana Davis, Chaka Khan, The Temptations, Natalie Merchant, Iggie Pop, James Brown and Mick Jagger to name a few. Bassist: Jack Daley Interviewed by: John Carey www.JohnCarey.netInterview with bassist, Jack Daley, by John Carey (JC) 1. You have had a career that most sidemen and session players could only dream of having. You are Lenny Kravitz's first call bassist and you've worked with everyone from Joss Stone to Michael Jackson, Alana Davis to Chaka Khan. What were some of the stepping stones that led you in the direction towards many of these highly sought after gigs? (JD) I think like most of us players I started playing at a fairly young age. At ten years old I wanted to play drums although my mother was not that excited about my choice. After leaning up against her airline record player while listening, or I should say feeling 25 or 6 to 4 by Chicago, I was hooked. I grew up in upstate New York and caught the music scene of the 70's. I started playing clubs at sixteen and it was a great time to be playing bass. There were so many great bass players to checkout and I think it was really the peak for great session musicians. Also the disco craze was blowing up and it had some ridiculously funky parts to checkout. I played in some of the area's best bands playing everything from The Who to Chic to Autumn Leaves and everything in between. It was a great learning period. In the 80s when the MTV craze hit I started a band that captured the vibe of all the new bands riding that wave. Somehow, by default, I ended up being the band's most obvious frontman. So, along with my brother Frank who is a great guitarist, I locked myself in a studio in Saratoga, New York for about three years developing my studio chops and writing material to get a record deal. Again this was a great learning period, not only technically, but musically because when you realize as a producer what type of bass playing makes the best sounding record, it is a bit different than the perspective of most bassists. I just think sometimes when you're only dealing with the bass part it's hard to step back and be objective. I spent three years in that studio and just got up one day thinking I have to move to New York City now! That same day a long time friend called me and said his bassist flipped out and he needed someone. I showed up, nailed the audition and got some very encouraging advise from the guitarist in the band, Ronny Drayton (a total badass). He said, "move here man, you'll get tons of work". I never left. Ronny was on the money. Within a year I was in thirteen bands playing funk, rock, blues, singer-songwriter gigs, you name it. I did it. My approach was to take any gig that I thought I would sound good doing and it would give me exposure to the most musicians possible, and give me the best chance to be recommended if a good gig came up. It also helped me to pay my rent. And once again this was a huge learning period for me being exposed to so many great musicians, artist, and singers. This was also when I realized that I was a much better bassist than I would ever be a singer. Besides that, when I play bass I make the worst bass player face. Combine that with me struggling to hit the notes and it just ain't pretty. (JC) 2. You are known as a bass player who plays many genres of music, but you have been often called for a lot of rock-R&B oriented bass playing. Is rock-R&B music what you enjoy playing the most or is it simply the work that found you, so to speak? (JD) Well as I said before, when growing up in the 70's, it was songs like Skin Tight, by the Ohio Players, For the Love of Money, by the OJays, Lowdown by Boz Scaggs and anything by Chic that really caught my ear first. I believe that's where my interpretation of groove comes from. It was a bit later that I really started checking out more rock players guys like John Entwistle, Paul Mcartney, and of course John Paul Jones. So yeah, I think rock and funk are really the two genres that I have spent most of my time playing, so it makes sense. That is also why I was so well suited for the Lenny gig. Most people think of that as a rock gig which it is. But, Lenny feels everything from the perspective of a funk musician and that is really the heart of his music. (JC) 3. I heard that your 1966 Fender jazz bass is your axe of choice. Is this true and if so, what attributes does the bass have that attracts you to it? Are there any other basses that you just can't do without? (JD) You know I love them all; basses are just so cool. My two longtime companions are my black 1966 Fender jazz bass. I don't know what it is but I've never played a bad 1966 jazz bass, crazy! I have a great 1965 candy apple red Fender Precision bass that I have used on many records. It's also killer. I have a great 1973 Rickenbacker that I love, and I just received a bass from a new company called Henman Bevilacqua. It's very cool and combines some vintage vibe with some very cutting edge technology. I'm really enjoying getting to know this one. The other instrument that I'm thrilled with is my black Hofner Club. It was the very first black Hofner made custom for me. I've got a thing for black. (JC) 4. I first discovered you when listening to an Alana Davis CD (Blame It on Me) and your playing literally blew me right out of the water. That record continues to inspire me to this day, and the bass lines remain fresh, solid and funky no matter how many times I listen to it. What are some of the ways that you come up with a bass line when a new song is presented to you in a studio situation? (JD) First of all, thank you so much for saying that, I really appreciate it. Playing with Alana was always a true joy. I worked on all three of her records and loved every minute of it. I just don't understand why she is not a huge star. She really is a great talent. Some of my favorite bass lines on her records were really very spontaneous. The way she sings really connects for me, and we would sometimes demo her songs at the producer, Ed Tuten's, loft. Ed is a great producer and he's not afraid to keep a first take. Alana's voice is so inspiring to me and her pocket is so deep that it feels like my bass is playing itself. Many of those bass tracks that were literally first takes that made the record. I should also mention the drummer on those records Nir Z is one of my favorites to track with.. (JC) 5. What "business" advice can you give those that are already competent bass players working in NYC, but are seeking work with higher profile bands and artists? (JD) Well I know it's not easy, but referring to something I said before: get out there and play with everyone that you can shine with. When the Lenny gig came up, I came home to about fifteen calls on my machine (pre cell phone). That is because I had made a lot of friends playing around the city. Also show up on time, be prepared, and try not to loose your cool (I'm actually reminding myself on that one). Also (and this is very important) have fun! If music is not gonna be fun you might as well work for the man. At least there you'll get health insurance. www.MySpace.com/jackpdaley Jack Daley is a bassist, session musician, music director, and producer. He has worked with Lenny Kravitz, Joss Stone, Rob Thomas,Five for fighting , Michael Jackson, Janet Jackson, Queen Latifah, Shabba Ranks, Avril Lavigne, Daryl Hall, Alana Davis, Chaka Khan, The Temptations, Natalie Merchant, Iggie Pop, James Brown and Mick Jagger to name a few. Bassist: Jack Daley Interviewed by: John Carey
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