Artist Interview by: Fred Gerantab
Washington DC bassist/composer Joshua Bayer’s music is reflective of his personality: articulate, aware of his roots, but continuously in search of new ideas, savvy, and most of all true to his heart. His latest CD on Jazzheads records, Lines and Grooves, is not just what its title depicts, but a collection of compositions that holds depth and clarity. A highly regarded educator, Bayer serves on the faculties of revered institutions such as
The Washington Conservatory of Music, American University and the Peabody Institute of Music at John Hopkins Elderhostel. His love of teaching and learning is apparent, as each composition on Lines and Grooves is a discovery of something new while nodding to the traditional.
We were fortunate enough to catch up with Josh by phone, who gave me the run down on his approach, his thoughts on the learning process, and how to keep from getting stuck in the ho-hum idioms that too often plague today’s jazz recordings.
JazzReview: So, does it always start with a ‘line or groove’?
Joshua Bayer: No, actually it often starts with a melody or harmony, since I frequently play with guitar and piano. I think globally, it’s half or half. Sometimes a groove hits me, sometimes a melody hits, sometimes both.
JazzReview: Multi-instrumental, huh? You also play guitar and piano?
Joshua Bayer: Sure, piano since the age of three. My first lesson was right after my 4th birthday. I’ve been playing guitar for a while and often write stuff on guitar (or piano).
JazzReview: How did you end up gravitating toward the big bass?
Joshua Bayer: I was playing electric bass for quite a while and my teacher was pushing me toward acoustic bass. I had been listening to jazz for a while. I picked it up and found that it was the sound I was looking for. I admit, though, it’s very frustrating when you know how to play another instrument and you switch over. It’s such a huge instrument. You have to re-learn it, even if you can hear the music in your head.
JazzReview: Tell me about Lines and Grooves, how it came together, your selection of music for this CD. Was it thematic?
Joshua Bayer: Well, I was putting together tunes, waiting until I had (I do write quite a bit) 10 or 12 songs that I thought were good enough, that I’m pleased with. Also, the compositions have to me and other musicians, structurally and conceptually. I may write forty ideas, but only a few will make it. Songs on this record were written over a three-year period, and I’m already in the process of getting ready for another one. There are times you could be totally motivated to do it, but nothing comes out. I can drive myself crazy.
JazzReview: I know exactly what you mean. What about the players you chose for this album? They are all exceptional, particularly your drummer.
Joshua Bayer: Oh yeah, he [Luther Gray] is just the finest musician on the planet. He used to live in DC and now he’s in Boston. Marty Now, the sax player, these are all great players. They got into it so much. These guys I’ve developed relationships with over the years, you know, when you eventually you meet someone you click with. I met Luther first and have been playing with him a long time. The pianist and I met on a society gig and we’ve been playing together since.
JazzReview: Who are your influences on big bass? And what about outside the genre?
Joshua Bayer: On bass, definitely Paul Chambers, Neil Creaky (who played with Jimmy Smith). Outside of jazz, David Gilmore (Pink Floyd), Wes Montgomery, Debussy and Ravel, Anton Faber, Stravinsky. They were all so key in shaping today’s music.
JazzReview: What are you up to these days?
Joshua Bayer: Teaching a little more. That kind of blew up all of a sudden due to my schedule. I’ll be cutting back on that soon, playing more, doing more festivals, clinics and of course, writing. I’m also involved in American University’s faculty.
JazzReview: As an educator, how would you introduce someone to jazz?
Joshua Bayer: Well, a class is different than one-on-one. You really have to determine their interests, find the hook.. I find that the one thing I stress is improvisation in any style…blues, rock, whatever. Once people get hooked on improv and like to do it, the more knowledge they get. And the better their ear gets, they want to learn more things about jazz. You tell them, ‘Here’s how to play in one scale, now try two or three or four.’ We try and take that mentality on the road: one of practice and mental awareness.
JazzReview: How do you break out of the idioms? Your CD nods to the traditional, but there are definitely so many new ideas that keep it fresh and apart from much of what’s out there.
Joshua Bayer: It’s helped being a bassist as well as guitarist. But the soloists I like most are piano players and sax players. It also helps not to focus on one area too much. Sometimes you can let sound move from one place to another. I don’t try and catch myself, and staying away from the “isms” is hard, but sometimes they happen to be perfect.
Consciously not trying to sound like someone else and doing your own thing is the right way to go. Hopefully people are going to like it. If you try and cop an idea, it will sound like you’re trying to cop an idea, as opposed to using a concept. One thing I dug about Cedar Walton is, he would take what seems to be an intro and make it part of a tune. There’s a guitar player friend of mine who’s not only a great player, but he’s true to his own ideas.
JazzReview: What’s next? You mentioned you’re already preparing for the next record.
Joshua Bayer: I’m just trying to put a bunch of these new tunes together. I have some ideas I want to do, hopefully soon. I wrote 20 of them last week. I got to take it to the guys and see what they think. I value their opinions and if they can make it work, then it’s a go.
JazzReview: Thanks for your time Josh. It’s been a pleasure speaking with you.
Joshua Bayer: You got it, thank you.
For more information: http://www.joshuabayer.com
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