A Quote by Eberhard Weber
I realized pretty soon that I have to do more than just play bass in the background way. So, I developed a kind of playing which only a handful of musicians accepted.
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In 1972, I got my first electric bass and started playing the kind of instrument I play now. I found that the majority of musicians couldn't bear that. They are not used to listening to the bass because they think the bass is in the background to support them.
The bass and drums are the engine, and the key to good bass playing is it's not what you play, it's what you DON'T play that counts. You leave the spaces, they're more important than anything.
Luther Vandross and I met in Roberta Flack's band. He was singing background, I was playing bass, and Roberta was beautiful. She's like the mom to all these young musicians in New York. At that time that I met Luther, I was a musician snob. For me, the singers were just the people out in the front to keep the audience entertained. While the musicians did the real work.
The bass, no matter what kind of music you're playing, it just enhances the sound and makes everything sound more beautiful and full. When the bass stops, the bottom kind of drops out of everything.
When you have an acoustic bass in the ensemble it really changes the dynamic of the record because it kind of forces everybody to play with a greater degree of sensitivity and nuance because it just has a different kind of tone and spectrum than the electric bass.
I don't look at my instrument as having one specific role; I was raised to go as far as you can. But Raphael Saadiq hated my bass. He told me to throw it away. And playing in Snoop's band, there was a time when my bass was more annoying to everyone than helpful. They would get on my case: 'Can you make your bass sound like more of a bass?'
I guess I just developed more of an interest to actually be a part of the design, picking out the fabric and just being more involved. I never really considered myself a fashion person, but then I just realized that fashion is just another way of self expression and that's pretty much what I'm most passionate about.
In terms of playing, of course, Europe is definitely more finesse than playing in the WNBA. I think they're more skilled in terms of the overall ability. And here in the States, in the WNBA, we just kind of play off athleticism and just play.
I hate playing the bass, bro. I've been playing the bass because it's there and I don't want anyone else to play it.
Players get to that intermediate level where they can already play pretty good, and that's kind of a dangerous period because they tend to start playing only the things that they can play, rather than the things they can't.
It's been fun to just play bass in a band and play live but be in the background.
You get this really cool groove when you're playing just piano, bass, and drums where everyone's sort of feeling each other's space, which is the only way to put it, but it really is true, and everyone's sort of sitting in their own pocket. It's kind of jazz-like.
It's really hard for me to sing and play bass. Unless you're singing something that's kind of in rhythm with the bass, the melodies, it's just difficult.
I stepped back from being out front to playing bass. So we started switching: I'd play bass on one song, we'd switch on the next song; I'd play piano... we'd play mandolin.
Bands can become absolutely huge and actually be pretty terrible musicians, and bands can be the most amazing songwriters and musicians in the world and never play for more than 10 people. With that in mind, getting successful doesn't mean anything.
That was the reasoning behind learning to play bass, and then after that it was more like it was neat to play songs together - for me to play bass and for him to play guitar.
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