Biscuit, Juice and Salt Bae

One thing I never realized about being a freelance and opening yourself up to various bands, is that it can wear one thin. Everyone expects you to give your highly devoted time to them, and as a good musician, you should. On top of that, making time for your own individual rehearsals is such a hustle, taking into consideration that I'm also an aspiring entrepreneur. Tiring as it may get, I still wouldn't trade it for anything. My ideal destination in my career life is one where I work numerous hours, tirelessly, at something I enjoy, with constant travels in between. I already have a room waiting for me in a hotel in Hong Kong for when that time comes. 😊 #lawofattractiontingz

Amidst this hectic week of early morning rehearsals and performances with various bands, I had an epiphany: the bass drum makes the bassline. During one of the rehearsals, our theme for the week was reggae. This band also thoroughly enjoys bass and drums solos so much that it's reached a point where we almost have no point for the keyboardist and lead guitarist, because almost half of the time the music consists of Mr New Drummer and myself. For reggae music though, I would understand their bass and drums obsession, because generally speaking that's what drives the mood of the music.

Theoretically speaking, reggae basslines are not complex. It usually consists of the root and fifth of the chord you're playing, maybe add a third, and if you're feeling extra adventurous, throw in a couple of unnecessary passing notes with #saltbae swag. Oh, and groove.

Simple as it may be, the guitarist and the keyboardist don't quite have as much work on reggae grooves, which gives the bassist room to be heard. With this room to be heard, why do people, including myself, go absolutely crazy for the simple basslines? In my opinion, it's like getting excited because an ordinary individual counted upto ten. The answer finally came to me the other day. It is because of the presence of the bass drum. Something about this presence gives the bassline life, especially when used properly. Had the bassline stood alone, it probably wouldn't be having the same effect. Sauti Sol and Dela's song "Mama Papa", which has some reggae feel to it, is one perfect example. The bassline consists of almost nothing but roots and fifths, but it is such a powerful and enjoyable bassline, and the reason I fell in love with and married the song. The reason that bassline stands out so well is simply because of its strategic location with the perfectly timed presence of le bass drum. They fall so perfectly together that it's almost as if the bassist and drummer were the same person. It's like biscuit and juice.

Guardian Angel Manenos

Happy New Year!! 😊

As cliche as it sounds, I am excited for the new year and what it has to offer. During the last couple of months, I have spent some much needed time with myself and with God. This time has brought me to a wonderful headspace, making me feel rejuvenated and as ready to conquer the world as I was before...

Even though we are barely through the second month, I have to say that this year is going pretty good so far. I have been working on developing my percussive style, and in the process, I fell in love with Richard Bona. I've always loved Richard Bona, but this type of love is at a deeper level that I didn't quite see coming. Not only is he a creative individual with considerable depth and ability, but his skills as an instrumentalist and composer are far beyond par. I saw a performance of his recently where he was doing a bass solo - and get this - aside from his flawless, on key scatting, he harmonized his bassline with his vocals! As if it isn't hard enough singing and playing at the same time! It's almost physically impossible, what this man can do. With all this ability, let's be honest though: jazz music is like cheese. No one is ever born loving jazz music or cheese. It is an acquired taste. Initially, I admired Richard Bona for his bass abilities, but his music needed some getting used to. Now that we are well acquainted, my love goes beyond the percussive bass and down to the genius use of sound and harmonic combinations.

According to Noel Burch's theory of competence, there are 4 steps to being competent in a particular area:

   1) Unconsciously unskilled (we don't know what we don't know. Isn't ignorance blissful?)
   2) Consciously unskilled (we are aware of what we don't know and need to know)
   3) Conscioisly skilled (we know that we know what we need to know)
   4) Unconsciously skilled (we don't know that we do know, because it just ones naturally)

This also applies in music and I do believe Richard Bona has definitely reached the last stage. As I grow as a musician, it is my goal as well to reach that last stage, where my music shows profound intellectual depth, and where I don't have to consciously consider what I am playing, as my mind, body and instrument will be one.

Also, in these past months, I have decided not to tie myself down, because life is all about give and take - not give, give, give, give, until you're depleted. If I need to stretch my wings, I have the freedom to do so without fearing about whether or not anyone would be offended, because frankly, no one would give me that same consideration anyway. In that light, in as much as I play with various bands, I don't consider myself as part of any band and neither do I have the same emotional commitment I once had. This new freedom to me feels like when you're finally over a relationship and are back in the dating scene, enjoying a little harmless flattery here and there, "the chase", and a couple of coffee dates here and there. Ah, bliss.

Now that I am "single and ready to mingle", I have been more open to meeting and jamming with musicians other than my usual ones. Of the ones I've met so far, there's one particular lead guitarist I met at a concert last year who has grown to be one of my best friends and gives me the best support ever, including moral support and pushing me out of my comfort zone. "Guardian angel manenos", as he calls it. I also recently had my first serious rehearsal of the year with a band. I was initially a bit nervous because firstly, other than my usual drummer, last year I only played with two other drummers, whom I've known for a while. This was the first time in a whole year to play with a completely new drummer. Aside from the fact that this drummer is one amazing fellow, I'm usually nervous around new drummers as opposed to other instrumentalists because I imagine that they pay more attention to my playing, as I do to theirs, so they'd be quick to hear my mistakes. Secondly, these guys are fulltime professional musicians who play with big names in the industry.

Whenever I meet new people to play with, their initial reaction when they find out I'm the bassist is to be impressed, then (I think), to imagine I'm just trying out the instrument, then get extremely impressed that I can actually hold down a groove and I'm a girl. So, the session went quite well though.  The formerly arrogant keyboardist repeatedly told me that I'm better than most bassists he's heard and the drummer told me that my groove is strong (which means a lot from a drummer, who happens to be a bassist as well). Then of course the keyboardist had to go ahead and add in "yes, and she's a girl."