International Musician And Recording World, December 1984

On Keyboards
By T Lavitz

A Bass-eye View Of Keyboards

This is the first in a two-part series on other musicians' viewpoints as far as keyboard players are concerned (this month, bass players; next issue's column will be devoted to drummers). I think you'll agree that each of the players interviewed here has the knowledge and the experience to help enlighten us all as keyboardists.

Curtis Lundy

Curtis Lundy's name may not be a household word, but he is well respected in the straightahead jazz scene. Having completed a three-year stint as Betty Carter's bassist, he lives in New York City, working and playing with the likes of Cedar Walton, Freddie Hubbard, George Coleman and, currently, the legendary Johnny Grifffin. Because Curtis plays the acoustic bass and likes more of an authentic, natural sound, he prefers playing with an acoustic piano as well. When asked how he feels about the pianist accompanying him during his solo or comping, he says he likes for them to treat him like any other soloist, leaving him room harmonically and "leaving some space." In his opinion, many piano players "need to do their homework, as far as listening"–good advise for all musicians. Curtis Lundy is one of the new breed of players who intend to keep musical tradition alive, and in this writer's opinion, he does a good job.

Andy West

Rock & roll may be on the other side of the musical fence from what Curtis Lundy plays, but, in talking with someone who knows it like his own backyard, is equally as important. In the Dregs, Andy West and I played together for years, and although the music may often have suggested intellectualism, nobody enjoys rocking out more, and we shared some special nights on stage. Recently I sat with Andy and picked his brain as to some of his ideas about keyboard instruments and players.

One thing, from a rock standpoint, is "defining the role of the keyboard player," he contends. "I feel that a keyboard player who doubles bass parts must be consistent enough with his left hand to do it the same way every time. Getting in each other's way is probably the biggest problem that a bass player faces in working with a keyboard player, because most keyboardists tend to play a lot of roots when playing by themselves and need to be aware and change their function from a one-man-band to a more tenor range." In other words, if you're in the bassist's range, play what is predetermined or get out of the way.

Sound can be as important as the notes, claims Andy. "The two timbres together have to equal one sound. Other than effects, the bass has its sound. Therefore, a great solo keyboard bass sound isn't always the answer in doubling. Also, jamming with the left hand is out. Of course, being an ultrabusy bass player like I am, I like to work with people who are more chord-oriented with their left hand and melody-oriented with their right. The thing I really like is a guy who has good control over his volume. A lot of people pay attention to the notes and not the dynamics, and I feel that it's critical." Andy also says, "I don't like people who play out of time with the rest of the band"–obviously time feel is essential in being musical. On synth sounds, Andy prefers subtleties, adding, "overwhelming woofy and buzzy sounds don't make it."

Jeff Berlin

Jeff Berlin is one of the finest electric-bass players today, blending rock and jazz better than a Bass-o-Matic. Having played with Bill Bruford's band for some time, he later became the bassist in Allan Holdsworth's group, and these are only a few of Jeff's credentials.

"At one time," he says, "there were very few bass players who would make a definitive statement as a solo player, but these days a lot more people are investigating that idiom of bass playing, and I think a lot of guys are already developing reputations as distinctive electric-bass soloists. As relating to keyboardists, since bass players are root-oriented instrumentalists, a good keyboardist can encompass a whole lot more tonality, obviously, and I don't really think that anything a pianist does in terms of harmonic content in a comping situation will really affect what the bassist plays if the bass player sticks to the root of the chord. Thus there is not much a keyboard player can do to get in the way of a bass player, because most competent keyboardists don't usually stick to the bass note anyway, they usually stick to upper structure, chord groupings and things like that.

"In soloing," Berlin continues, "a good keyboardist will define the chord changes for a bass soloist with sparse comping, a light, syncopated rhythm, and guide tones within the piano voicings to indicate motion that will define where the music is at the moment and where it will be going. A good keyboardist is empathetic and will be more in the same sort of direction as the bassist in the role of a supportive instrument." He goes on to say that "a cluster of notes may work on an acoustic piano yet may not sound as good on a synthesizer. Also, functions dealing with tonality are important." To Jeff, music is communication through conversation and therefore, "a musician must play with regard to what is happening around him. You don't speak through someone else's sentence."

Berlin is a fine musician who envies keyboardists because "it is visually set out in front of you and is a total instrument that encompasses so much of music." And like most of us, Jeff likes keyboards because "it's fun."

My thanks go out to Curtis, Andy and Jeff for their input. We'll take some verbal bashing from drummers next time.