BJÖRN MEYER - Bass(ically) Speaking
Solo bass albums are no rarity in the ECM discography, with superb solo recordings from the likes of Dave Holland, Miroslav Vitous, Barre Phillips and Eberhard Weber. To this illustrious list, we can now add Björn Meyer with his striking album Provenance. Whereas the other solos albums have featured double bass (along with Weber's custom built hybrid) , this is the first to feature all solo bass guitar.
Born in Sweden and now resident in Switzerland, Meyer's powerful bass guitar playing has been heard with Nik Bärtsch’s Ronin in which he was often a lead instrument, however with his solo project the bassist is able to more fully explore the sonic possibilities of the bass guitar within an acoustic space.
Meyer explains more about his music and concept in this revealing interview with John Marley.
Congratulations on being the first artist to release a solo bass guitar album on ECM. What inspired you to compose for solo bass guitar? What are the challenges that you face when composing for an instrument which is not well documented in a solo setting?
Thanks! From the first time I picked up a bass guitar I realised there was so much more sounds hidden in this instrument than what we normally hear and make use of in a band context. It was somehow just very natural and compelling to explore all of those sonorities and solo possibilities outside the traditional bass solo function. First as a way to explore this new friend of mine but also to express things in a way I hadn’t been able to do on any other instrument. The tonal range of the bass resonated with my inner being somehow and I wanted to share that experience. I couldn’t help just playing and writing for the bass.
We all meet challenges I guess, but something special with the electric bass might be the fact that most people have a very clear picture about what a bass is supposed to sound like and what it is NOT supposed to sound like. When doing something a bit out of that range of expected sounds, people react in different ways, which is great! But sometimes the expectance of a bass solo creates a distance between the listener and the experience of the music which is maybe not so great at times.
However, for me it has always been very important that the instrument should not get in the way of the music! Whenever people see a concert these issues never arise. It is all clear and obviously a live experience of music and I am very happy for such reactions!
Born in Sweden and now resident in Switzerland, Meyer's powerful bass guitar playing has been heard with Nik Bärtsch’s Ronin in which he was often a lead instrument, however with his solo project the bassist is able to more fully explore the sonic possibilities of the bass guitar within an acoustic space.
Meyer explains more about his music and concept in this revealing interview with John Marley.
Congratulations on being the first artist to release a solo bass guitar album on ECM. What inspired you to compose for solo bass guitar? What are the challenges that you face when composing for an instrument which is not well documented in a solo setting?
Thanks! From the first time I picked up a bass guitar I realised there was so much more sounds hidden in this instrument than what we normally hear and make use of in a band context. It was somehow just very natural and compelling to explore all of those sonorities and solo possibilities outside the traditional bass solo function. First as a way to explore this new friend of mine but also to express things in a way I hadn’t been able to do on any other instrument. The tonal range of the bass resonated with my inner being somehow and I wanted to share that experience. I couldn’t help just playing and writing for the bass.
We all meet challenges I guess, but something special with the electric bass might be the fact that most people have a very clear picture about what a bass is supposed to sound like and what it is NOT supposed to sound like. When doing something a bit out of that range of expected sounds, people react in different ways, which is great! But sometimes the expectance of a bass solo creates a distance between the listener and the experience of the music which is maybe not so great at times.
However, for me it has always been very important that the instrument should not get in the way of the music! Whenever people see a concert these issues never arise. It is all clear and obviously a live experience of music and I am very happy for such reactions!
In your solo playing, you incorporate a number of techniques and ‘prepare’ your instruments by attaching items to the strings. Tell us more about how you create effects on the instrument. Do you feel that your background in engineering allows you to think of the instrument in a fresh light?
My engineering interest has definitely helped me to think out of the ordinary in finding solutions and new ways of capturing and creating sounds. More important though is the fact that I have worked in so many acoustic settings and been exposed to a great variety of playing techniques from different traditional instruments. i.e. Right hand techniques of Flamenco guitar, plucking of an Iranian Setar, plectrum techniques of Oud, bowing techniques of Nyckelharpa, slapping of Guimbri, preparations of piano etc. Finding ways of emulating such influences on the bass has always been very inspiring to me!
Working on recording sessions with a lot of acoustic instruments (open microphones!) and me in the same room, has also showed me many of the small acoustic sounds that even the electric bass makes. Sounds that most of the time get lost but actually add so much personality to the sound. Many of the preparations I use are intended to enhance some of those physical sounds and make them more integrated in the overall sound, like the little buzz on Three Thirteen. Others are intended to emulate a certain aspect of other instruments like the Mbira on Dance. I am always very happy when I find physical ways of doing things instead of using too much electronics.
Other bass guitarists such as Jonas Hellborg and Michael Manring have released solo albums. Did these musicians influence your style and approach to the project?
It would be very arrogant and false to say that all the great bass visionaries did not inspire me in any way. However, my list of inspiring musicians spans across many centuries, cultures, instruments and styles so it is very hard to say who inspired what. Again, I think of it all as music.
When listening to Provenance, I was reminded of the work of Icelandic bassist and composer Skúli Sverrisson. This was due to the atmosphere within the music as much as the approach to the bass. There is often a dark ambience in the compositions of musicians from Nordic countries, whether that is in jazz, folk or the now (in)famous metal scenes. What do you think gives music from this region its unique sound? (see above question - Skuli definitely also belongs up there!)
What most tend to think about is the light, or lack thereof in the rather long winters. Many musicians have also stated the wood-shedding during long winter months as one important aspect of their incredible skills and coherent band sound. This probably also affects the climate of the compositions.
For me this only tells part of the truth, because the summers are the opposite…never ending days with fantastic light which could just as well inspire bright atmospheres. So there has to be something else as well, maybe the space, vast summer skies and nature also plays a role. In many folk tales and part of the folk music traditions you find a lot of references to natural phenomena and forest dwellers of more or less mythical dimensions.
So whether we want to call it dark, melancholic or spacious, I do think climate and nature is part of it. Another important aspect is also a certain self esteem in the music scenes of these small countries. We have been very much into listening to music from all over the planet but we have always kept a certain uniqueness which has also been quite successful and somehow appreciated outside our own habitats. ABBA, legendary rhythm sections like Palle Danielsson and Jon Christensen, Jan Garbarek, maybe not a straight line but somehow still related to Meshuggah.All this said, I find many similar atmospheres in music from Armenia, Iran and many other cultures.
My engineering interest has definitely helped me to think out of the ordinary in finding solutions and new ways of capturing and creating sounds. More important though is the fact that I have worked in so many acoustic settings and been exposed to a great variety of playing techniques from different traditional instruments. i.e. Right hand techniques of Flamenco guitar, plucking of an Iranian Setar, plectrum techniques of Oud, bowing techniques of Nyckelharpa, slapping of Guimbri, preparations of piano etc. Finding ways of emulating such influences on the bass has always been very inspiring to me!
Working on recording sessions with a lot of acoustic instruments (open microphones!) and me in the same room, has also showed me many of the small acoustic sounds that even the electric bass makes. Sounds that most of the time get lost but actually add so much personality to the sound. Many of the preparations I use are intended to enhance some of those physical sounds and make them more integrated in the overall sound, like the little buzz on Three Thirteen. Others are intended to emulate a certain aspect of other instruments like the Mbira on Dance. I am always very happy when I find physical ways of doing things instead of using too much electronics.
Other bass guitarists such as Jonas Hellborg and Michael Manring have released solo albums. Did these musicians influence your style and approach to the project?
It would be very arrogant and false to say that all the great bass visionaries did not inspire me in any way. However, my list of inspiring musicians spans across many centuries, cultures, instruments and styles so it is very hard to say who inspired what. Again, I think of it all as music.
When listening to Provenance, I was reminded of the work of Icelandic bassist and composer Skúli Sverrisson. This was due to the atmosphere within the music as much as the approach to the bass. There is often a dark ambience in the compositions of musicians from Nordic countries, whether that is in jazz, folk or the now (in)famous metal scenes. What do you think gives music from this region its unique sound? (see above question - Skuli definitely also belongs up there!)
What most tend to think about is the light, or lack thereof in the rather long winters. Many musicians have also stated the wood-shedding during long winter months as one important aspect of their incredible skills and coherent band sound. This probably also affects the climate of the compositions.
For me this only tells part of the truth, because the summers are the opposite…never ending days with fantastic light which could just as well inspire bright atmospheres. So there has to be something else as well, maybe the space, vast summer skies and nature also plays a role. In many folk tales and part of the folk music traditions you find a lot of references to natural phenomena and forest dwellers of more or less mythical dimensions.
So whether we want to call it dark, melancholic or spacious, I do think climate and nature is part of it. Another important aspect is also a certain self esteem in the music scenes of these small countries. We have been very much into listening to music from all over the planet but we have always kept a certain uniqueness which has also been quite successful and somehow appreciated outside our own habitats. ABBA, legendary rhythm sections like Palle Danielsson and Jon Christensen, Jan Garbarek, maybe not a straight line but somehow still related to Meshuggah.All this said, I find many similar atmospheres in music from Armenia, Iran and many other cultures.
There may be a stereotype that the only people interested in listening to a solo bass guitar album would be other bass guitar players. How would you encourage other musicians and music lovers to listen to your album?
Whatever you thought you knew about bass guitar is probably true, but there is much much more to discover and Provenance definitely offers some alternatives to what you might expect! It is all about music - I just happen to play bass.
Do you plan to tour the album and if so, do you have to be selective about the venues that you play in due to the importance of acoustical relationship in your music?
I will definitely tour the album. The acoustics of the venues are an important aspect but luckily there is not any one definite set of parameters which will work or not. Presenting Provenance in an acoustic surrounding, such as the Auditorio where we made the recording, obviously provides for a different experience than playing it in a more club like atmosphere. But the music works well in both worlds. As a solo performer it is very easy to adapt to outside conditions thanks to the fact that my instrument is of electric origin. Much can be done electronically to compensate for the lack of acoustics.
The bass guitar is a relatively young instrument and is being expanded physically and sonically all of the time. How do you see the bass guitar developing in the future?
I think many people will soon realise that the electric bass guitar is a much more versatile instrument than most think today. Maybe even we can drop some of the preconceptions I mentioned earlier. There are many fantastic artists working on new concepts for compositions and playing including sounds, constructions, techniques, etc. We will see tremendous development over the next years. I hope not only in the sense of proving that the bass can play as fast as any other instrument but more in the sense of uncovering facets of the true possibilities of expression of this instrument.
As your album is released by a label known for acoustic music and you often play in traditionally acoustic settings, do you feel uncomfortable playing an electric instrument? Do you find that audiences and musicians in jazz and folk are more biased towards the double bass?
I have felt a bit misplaced at times but only during preparatory discussions! I never felt uncomfortable inside an ongoing musical project. I know what this instrument is capable of and I know a little bit about playing it so as soon as people, fellow musicians as well as audiences, hear the music, such issues disappear. I think it is much more about the approach to what you play and why, than what instrument you use.
Tell us about your future projects. Will there be more solo work, or will you focus on ensemble playing? Would you consider the prospect of duo playing with another bass guitarist if the right musician came along?
I am definitely eager to continue the solo work. Provenance is lovely to play and I think the recording put the electric bass guitar in a new place which really inspires me to continue writing, experimenting and performing! Duo, yes .. the right players are not far away. However, at the moment my focus is more on the solo work.
I am part of a new quartet called NEN with a very interesting and unique instrumentation featuring a danceable instrument called Xala. www.nen-music.com
The swedish folk-trio Bazar Blå will continue to work and develop our music - we turned 20 last year! www.bazarbla.com
Gesing Rohrer Meyer is a trio focused on fully improvised music. We released our first full album Amiira last year and there is still a lot to do.
I will continue to work with Anouar Brahem - the Asounding eyes of Rita and Souvenance and then we will see what comes around.
Whatever you thought you knew about bass guitar is probably true, but there is much much more to discover and Provenance definitely offers some alternatives to what you might expect! It is all about music - I just happen to play bass.
Do you plan to tour the album and if so, do you have to be selective about the venues that you play in due to the importance of acoustical relationship in your music?
I will definitely tour the album. The acoustics of the venues are an important aspect but luckily there is not any one definite set of parameters which will work or not. Presenting Provenance in an acoustic surrounding, such as the Auditorio where we made the recording, obviously provides for a different experience than playing it in a more club like atmosphere. But the music works well in both worlds. As a solo performer it is very easy to adapt to outside conditions thanks to the fact that my instrument is of electric origin. Much can be done electronically to compensate for the lack of acoustics.
The bass guitar is a relatively young instrument and is being expanded physically and sonically all of the time. How do you see the bass guitar developing in the future?
I think many people will soon realise that the electric bass guitar is a much more versatile instrument than most think today. Maybe even we can drop some of the preconceptions I mentioned earlier. There are many fantastic artists working on new concepts for compositions and playing including sounds, constructions, techniques, etc. We will see tremendous development over the next years. I hope not only in the sense of proving that the bass can play as fast as any other instrument but more in the sense of uncovering facets of the true possibilities of expression of this instrument.
As your album is released by a label known for acoustic music and you often play in traditionally acoustic settings, do you feel uncomfortable playing an electric instrument? Do you find that audiences and musicians in jazz and folk are more biased towards the double bass?
I have felt a bit misplaced at times but only during preparatory discussions! I never felt uncomfortable inside an ongoing musical project. I know what this instrument is capable of and I know a little bit about playing it so as soon as people, fellow musicians as well as audiences, hear the music, such issues disappear. I think it is much more about the approach to what you play and why, than what instrument you use.
Tell us about your future projects. Will there be more solo work, or will you focus on ensemble playing? Would you consider the prospect of duo playing with another bass guitarist if the right musician came along?
I am definitely eager to continue the solo work. Provenance is lovely to play and I think the recording put the electric bass guitar in a new place which really inspires me to continue writing, experimenting and performing! Duo, yes .. the right players are not far away. However, at the moment my focus is more on the solo work.
I am part of a new quartet called NEN with a very interesting and unique instrumentation featuring a danceable instrument called Xala. www.nen-music.com
The swedish folk-trio Bazar Blå will continue to work and develop our music - we turned 20 last year! www.bazarbla.com
Gesing Rohrer Meyer is a trio focused on fully improvised music. We released our first full album Amiira last year and there is still a lot to do.
I will continue to work with Anouar Brahem - the Asounding eyes of Rita and Souvenance and then we will see what comes around.
Click on the album cover to red our review
The internet is drastically changing people’s music consuming habits. Many people watch live music on Youtube. As environment plays such a big part in your performances, how can you make your music become as immersive and engaging over the internet as it is in person or on record?
I think it is quite impossible and probably not really what we should strive to achieve. Internet portals, as they are used today, can never become substitutes for the experience of seeing a live concert or listening to a full album. The challenge I think is to find ways of using these new communication tools to reach listeners and make them interested in experiencing the real thing. The uniqueness of a live concert, the dramaturgy of an album, the collective energy in a concert hall where real people are creating something in the very same moment as when real people are actually hearing it. All such experiences I think are still impossible to convey over the internet. If anything, we also need to be even more thoughtful about what we put out, so that audiences really have a huge extra value when coming to a live concert or buying the full album!!
For more information visit ECM Records and Björn's website.
I think it is quite impossible and probably not really what we should strive to achieve. Internet portals, as they are used today, can never become substitutes for the experience of seeing a live concert or listening to a full album. The challenge I think is to find ways of using these new communication tools to reach listeners and make them interested in experiencing the real thing. The uniqueness of a live concert, the dramaturgy of an album, the collective energy in a concert hall where real people are creating something in the very same moment as when real people are actually hearing it. All such experiences I think are still impossible to convey over the internet. If anything, we also need to be even more thoughtful about what we put out, so that audiences really have a huge extra value when coming to a live concert or buying the full album!!
For more information visit ECM Records and Björn's website.
