August 31, 2008 - Freddie Mendoza

My Influences:

Freddie Mendoza
trombone

Upon arrival in Austin in 1999, the instructions were to visit The Elephant Room on Wednesdays from 6 to 8pm to find and enjoy The Jazz Pharaohs. I obediently headed to the basement and found myself greeted by a band full of mostly familiar faces. The music that I enjoyed that day was easily the best I had heard until that moment! I didn't miss a Wednesday after that unless I picked up a gig or some unavoidable emergency arose. School was in session and I couldn't miss a class.

Among the professors teaching on that stage was Freddie Mendoza.
In the following year and a half of Elephant Room jazz class, though I didn't speak very much with Freddie, I took a whole lot of notes on how he worked with the band and how me performed individually. His contribution was never less than absolutely professional and always musically spot-on.
I stopped taking the class after a year and a half ... The Pharaohs decided to take me on as the new bassist.

So, I started a new class at The Elephant Room. I was 100% nerves every Wednesday, playing with such incredible professors. Nevertheless, as great musicianers and great teachers, the rest of the band showed me how to relax and just play. Freddie always shot me what signals I needed to guide me through arrangements and odd chord changes.
In seven years, I've learned so much about music as a soloist and as a band member from Freddie. He's also been a good friend willing to share a joke or some enlightening conversation - verbally and musically.

Freddie Mendoza is an Austin treasure. He is an amazing musician and consummate professional. He practices what he preaches and expects nothing less from those close to him.
It is a great pleasure to make music with you, Freddie. Thank you and I look forward, as always, to playing with you again!


Some links:

Texas State University - http://www.txstate.edu/jazzstudies/faculty/mendoza.html
The Jazz Pharaohs - http://www.art-n-music.com/112/mu/jph/fred.html
Monster Big Band - www.monsterbigband.com

and in honor of some of Freddie's musical interests:
Black Sabbath website - www.black-sabbath.com

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"When the people fear their government, there is tyranny; when the government fears the people, there is liberty."
~ Thomas Jefferson

August 24, 2008 - Geezer Butler

My Influences:

Geezer Butler
Electric Bass Guitar

I did not begin my musical life with the string bass and the music of the early twentieth century. My official beginnings were with the guitar and the rock, metal, and punk rock of later twentieth century.
It took about a year of testing out different varieties of rock and metal before one of the greatest bands - ever - popped into my reality: Black Sabbath! The first song I figured out on my own was, in fact, "Black Sabbath." Hearing a tri-tone isn't that exciting these days but, in musical infancy, it was a good place to start.
As it turns out, Mr. Butler was the man behind the tri-tone in the first song I taught myself. I think that's enough influence right there, right? With a simple tri-tone, Geezer Butler and Sabbath won me over and laid out a very clear path of study for me.
Study rhythm, time, and feel!
From that point on, I committed most of the Black Sabbath (Ozzy years) repertoire to memory. I spent most of the time learning the riffs. Tony Iommi's solos were and are fantastic but didn't appeal to me as directly as the bass lines for some reason. So, I learned just a few of the guitar solos but studied and played every bass line - on guitar.
I also spent a great deal of time listening to how the bass played with or against the drums, the guitar, and the vocals throughout. And, I loved it!

Like our subject, I moved from guitar to bass (string bass). Of course, I ended up in Austin playing a different genre of music ...

I'm still mostly focused on rhythm, time, and feel. Bassists who are happy to just lay it down are my favorites; fancy technical wizardry and musical gymnastics don't excite me too much. While playing "Star Dust" or "That's A-Plenty" or any old jazz standard, I'm not only thinking of how Pops Foster would play it, but how Geezer Butler would play it (then I smoosh those ideas together into one, throw that idea away, and just play it how I feel it). Actually, while playing those jazz tunes, I might spend more time considering the great similarities in feel and bass playing skill shared by Pops Foster and Geezer Butler. (How about that coincidental similarity in nicknames?! Maybe I ought to find myself with some sort of oldster moniker; is it the secret to bassist success?)

Thank you so very much for the stellar beginnings and the continued inspiration, Mr. Butler! It's a great honor to follow the path you've beaten.

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Some links:

Geezer Butler website - www.geezerbutler.com
Black Sabbath website - http://www.black-sabbath.com/personnel/butler.html
Geezer Butler quotes - http://www.brainyquote.com/quotes/authors/g/geezer_butler.html

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"When the people fear their government, there is tyranny; when the government fears the people, there is liberty."
~ Thomas Jefferson

August 17, 2008 - Amanda

My Influences:

Amanda
Arts Enthusiast, Beautiful Human

A good six or so years ago I played one of my first gigs at the Austin-Bergstrom International Airport with my old pals The Boxcar Preachers - http://www.boxcarpreachers.com/. It's an interesting gig; lots of folks are thrilled to have some live music to distract them from the altogether unpleasant experience that is air travel; lots of folks don't even seem aware that there is music to enjoy; it's also a great joy to play under the incessant robotic announcements regarding mindfulness of one's baggage. Nevertheless, a gig is a gig and playing for the folks that do enjoy music, does make the gig worth the security check.

... On the break, Korey - http://www.iamkorey.com/ - and I took a little walk down the concourse to stretch and headed back. We returned to meet the father of a family who had been enjoying the music during the first set. He motioned for his four or five year old daughter to join our conversation. She was pretty shy so Dad tried to encourage her to speak, "Go ahead, you can tell them what you told me." She was still too shy to speak but she was able to hand to each of us a gift she made while she listened to us play earlier.
The gift was the photo above, signed across the top. Amanda had drawn five of these beautiful pieces, each in a different color for each member of the band.
Dad realized she wasn't going to speak to us and said, "In her words, 'The band gave me the gift of music, I want to give them the gift of art.'"
It didn't take long before there was a small lump in my throat.

Folks, Amanda surely did give me the gift of art. She also gave me the beautiful gift of selfless gratitude, and she did it with love.
Amanda continues to give me the same gift. Everyday, I look at her art (as soon as I came home that day, it was framed and hung on the wall for all to see). Everyday, a small child hugs me with love, kindness, and gratitude in her heart.
She is twice as old now and, perhaps, she has completely forgotten that one very sweet gesture but I will never forget it. It is easily one of the very best rewards I have ever received.

Amanda, if you are out there, thank you, and please, know that I thank you every day of my life.

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"When the people fear their government, there is tyranny; when the government fears the people, there is liberty."
~ Thomas Jefferson

Aug. 10, 2008 - Frank Meyer

My Influences:

Frank Meyer
guitar, ukulele, string bass, voice, songwriting, natural building, all-around good human

Friends, meet a guy who cares about the good things in life. Meet a guy who is looking out for the future of the planet and the good folks who live here. Meet a guy who is a great talent.

I met Frank a number of years ago. Somebody played a cold-hearted practical joke on Frank by giving him my information and telling him that I would be a good bassist for a couple of gigs. As it turns out, Frank is a glutton for punishment and has hired me many times since.

Frank is a wonderful songwriter! His tunes are all good fun as well as meaningful; what could be better?
Not only are his tunes wonderful, his delivery of his tunes is fantastic! Frank has a great voice and a natural ability to perform his material with very little effort and quite a bit of heartfelt grace.

Frank is not just a great songwriting musicianer!
He is a hardworking builder. Mr. Meyer is a veteran natural builder; by that I mean Frank builds environmentally conscious structures using sustainable material and ecologically sound practices.
He has even organized a Natural Building Colloquium here in Texas.

Frank walks the high ground; I'm proud to know him and call him a friend. He is really trying to (and does) make a difference in the world and really trying to help others do the same! Furthermore, (and very important to me!) he does it all in very good humour. Frank smiles with his head, hands, and heart.

Thank you very much, Frank!


Some links:

Frank's website (music and building): http://www.thangmaker.com/
For Sale: http://www.thangmaker.com/merchandise.htm
Natural Building Colloquium Texas 2007 - http://www.naturalbuildingtexas.org/

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"When the people fear their government, there is tyranny; when the government fears the people, there is liberty."
~ Thomas Jefferson

July 20, 2008 - Benny

My Influences:

Sgt. Benjamin T. Upton, USMC
Bagpipes, accordion, electric bass guitar, guitar, harmonica, etc.

In 1994, I was (feeling) stuck in Okinawa. Culture shock didn't treat me too well and I hid in my barracks room away from the drunks that populated Camp Hansen and elsewhere on the island.
Luckily and thankfully, Benny, The Sniper happened along. We met through another malcontent Marine who wanted to put together a punk rock band.
Ben shook me out of my culture shock funk and we started exploring the finer bits of Okinawa (far away from Camp Hansen)! He was/is a very silly man and, like me, seems to have been raised on Monty Python. Life is to be done in a random manner, backwards, upside down, tossed and turned, jumbled, odd, and as absurd as possible. We were fast friends and have been close ever since.
As it goes for me, we were both assigned to the 31st MEU (SOC) as attachments to a platoon of Combat Engineers. Benny and I trained together day and night for that year in Okinawa. If we weren't training together on or off base, we were playing music together for ourselves or in clubs in the City or taking adventures around Okinawa learning its fascinating history and its beautiful culture.

Benny and I have stayed in touch over the years. I'm very proud to call him a close friend. There are very few folks I trust in a pinch, warriors that will watch my back always; Benny is one. I also trust him to speak his mind and share his honest thoughts. And, of course, life is always interesting when Benny is near.
He is a good man, a good warrior, and a great friend!

SQWAK!


Some links:
http://www.interpunk.com/item.cfm?Item=56087&

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"When the people fear their government, there is tyranny; when the government fears the people, there is liberty."
~ Thomas Jefferson

July 13, 2008 - The Big Jug Band

My Influences:

The Big Jug Band

Weird stuff seems to happen (to me) on a fairly regular basis. I'm not entirely sure whether I seek it out or I attract it (it may be both) or that's just how things are in the Universe? Most of that weird stuff has a habit of presenting me with opportunities for positive and/or constructive growth.
The Big Jug Band is definitely weird stuff.
The Big Jug Band has been nothing but positive and constructive on its own, let alone its positive and constructive influence on me.

As I mentioned before (http://ryan-gould.blogspot.com/2008/06/feb-11-2008-wags-macklin.html), in late 1999, an ad ran in the Austin Chronicle asking for interested parties to contact the poster. The poster was our good friend and famous bare-knuckle boxer, Wags Macklin, Wash-Tub Bassist.
I met with this illustrious gentlemen. He told me that two others had responded; the four of us met soon after. Brady Coleman, Craig High, Wags Macklin and I stumbled on each other and, unintentionally, struck up a beautiful relationship that grew into something amazing.

We would meet on the back porch at Craig's or in Brady's kitchen on regular basis. We'd play music, enjoy BBQ, share some tales and get hip to some cool stuff going on in town. No matter what we did, I felt closer and closer to the band and it became less and less like a band and more and more like family - brothers and sisters, that is; not cousins.

Over these last eight years, The Big Jug Band has grown, by ones, by twos, by fours, by fives ... no matter the number, it has also grown happily. Each new member has brought (brings) something wonderful and fresh making our hearts lighter and expanding our ideas, educating and energizing our souls and minds.
(I'm using that particular pronoun because it's a safe bet that most of the band members will say the same thing if you ask them).
Individuals and bands have not only joined this bunch, individuals and bands have struck up and ventured forth from this bunch to become contributing members of Austin's music scene. So, you can thank a Jug Band for, at least, some of the music around town!



The Big Jug Band has affected me and continues to do so in a notable way. I have met some of the dearest people in my life through this band. These folks have supported me and loved me unconditionally, they have watched out for me in troubled times and celebrated with me during momentous occassions. The Big Jug Band is a community of its own due its size and it is good example of what we should all be trying to do in the bigger picture: look out for each other.
Thanks Big Jug Band family; I love you!

Some links:
www.myspace.com/thebigjugband

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"In a man's mind, his face is on his arm because he wears his heart on his sleeve." ~ E. Hayes, June 2008

July 6, 2008 - Brady Coleman

My Influences:



Brady Coleman
guitar, fiddle, acting, marrying, lawyering

Today's bit rounds out the original Uncle Smithee's Big Jug Band line-up.
Brady Coleman was one of the three who responded to the ever-intrepid Wags Macklin's "BASS (Washtub)" ad in the Austin Chronicle. That was my introduction to this wonderful human being.

What I remember about my first hangs with Brady is the incredible lightness of spirit that he brought with him. In an entirely effortless manner, he walked into the room and, somehow, made my troubles (if not everyone's troubles) weigh very much less.
There's just something about the way Brady carries himself and what he wants to give to the world. It was and is always a pleasure to be in his company, let alone hold a conversation with him or play music with him or listen to and/or watch him perform. It was and is a spiritually healing hang, too!

When Brady hosts Jug Band jams at his place, he's kind, gracious and generous. When he swings by for jams at our place or any other place, he's the very same. Wherever he goes, he's kind, gracious and generous.

Brady's also been a great sounding board. He's always given me an open ear as well as intelligent advice. He's a true friend and truly great person; so much so, that Lauryn and I asked him to be an officiant (along with brother Craig) for our wedding. (Should you ever want a two-officiant marrying team for your wedding, these are the guys to do it!)

Brady, you are incredible! Thanks for the great music, great friendship, great officiating and great inspiration in the past and in the future. You are the person more of us should be!

Some links:
IMDB: http://www.imdb.com/name/nm0170952/
Fancy Resume: http://www.actorsclearinghouse.com/oncam/male/bradycoleman.html
Melancholy Ramblers: http://www.melancholyramblers.com/

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"In a man's mind, his face is on his arm because he wears his heart on his sleeve."
~ E. Hayes, June 2008

June 22, 2008 - Milt Hinton

My Influences:

Milt Hinton (June 23, 1910 - Dec. 19, 2000)
"The Judge" - "The Dean of Jazz Bassists"
string bass, photography

The quick bio for those of you who aren't familiar:
Born in Vicksburg, Mississippi in 1910. Moved to Chicago in 1920.
He began studying music with his mother at home. He studied violin then moved to the bass end with cello, bass saxophone and tuba, finally discovering string bass and, obviously, sticking with it.
In the early 1930's, Hinton began working with Eddie South primarily. He also worked with numerous other jazz greats: Jabbo Smith, Erskine Tate, Freddie Keppard, Tiny Parham, Zutty Singleton, etc.
In 1936, Al Morgan left the Cab Calloway Orchestra and opened a spot of our man. He stayed in that spot until 1951 when the Orchestra disbanded.
Following his Calloway years, Hinton stayed in New York where he established himself as THE first call bassist, sometimes working three three-hour recording sessions a day. He is the most recorded bassist in history. There is little doubt that you haven't heard his playing, consciously or otherwise, at some point in your life.
He continued this work, as well as touring and playing with some heavy hitting bands (like the Louis Armstrong All-Stars) until his death in December 2000.
Throughout his career, Milt Hinton made it a habit to carry with him a camera. He documented his life's surroundings and (coincidentally) some great piece of jazz history.
There is, of course, plenty of information regarding The Judge available on the world-information-web-inter-highway-wide-net. Some links to start your research are included below, as always.

Milt Hinton was the first jazz bassist that ever caught my ear. I heard his name mentioned on a how-to video (we'll discuss that in a future piece) and immediately found my way to the local Tower Records to purchase the first recording I could find bearing his name.
That happened to be a Chronological Classics volume of Cab Calloway material. The first tune that grabbed me was "The Man With Jive." Altogether, the entire tune grabbed at pieces of my childhood and very directly, unquestionably, pointed out to me the path I was going to travel. The tune itself is a very clear representation of what moves me in jazz and the presentation of it by the band was and is something for which I constantly strive as a band member and musicianer.
The next tune that grabbed me (more like, grabbed me, punched me, kneed me in my special purpose then laughed at me, slapped me and poked out my eyeballs) was "Pluckin' The Bass." This tune - obviously - featured Milt Hinton and his mastery of slap bass. To this day, you will NOT find a better slap bass feature. Not only does this song display Hinton's incredible virtuosity with the technique, it displays the most tasteful use of this virtuosity.
I was hooked - completely!
- Incidentally, pulling that off (the tasteful virtuosity) is not very easy considering the unavoidable harshness of said technique.

As if his music wasn't quite enough ...
From all reports, Milt Hinton was the nicest man as well as a very professional musicianer, and he valued both of those traits in himself and others. A local Austin bassist and friend of mine took a lesson with The Judge. He said that it was a great hang on top of being a good lesson. He said that Mr. Hinton treated him with kindness and compliments. I've spoken to a handful of bassists and musicianers around town who have had the fortune to spend some time with the man and they have all reported the same thing: professionalism and warm-hearted kindness - a genuine love for life and the life music gave him.
I feel that in his music; I see that in videos of him playing; I sense that in his interviews and stories I read.
The man's great spirit comes through in everything he does and I consider myself very lucky to count him as one my biggest influences and inspirations, musically and otherwise.

Thanks for the music and thanks for the great contributions to this world and the people in it! You are amazing, Milt Hinton!

Some links:

http://www.milthinton.com/
http://www.amazon.com/Bass-Line-Stories-Photographs-Hinton/dp/0877226814
http://www.amazon.com/Playing-Changes-Hintons-Stories-Photographs/dp/0826515746
http://www.baruch.cuny.edu/mishkin/hinton/hinton.html
http://www.riverwalkjazz.org/site/PageServer?pagename=profiles_hinton

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"In a man's mind, his face is on his arm because he wears his heart on his sleeve."

~ E. Hayes, June 2008

June 8, 2008 - Double Bass

My Influences:

Double Bass
double bass, contrabass, string bass, upright bass, bass, doghouse bass, el tololoche, stand-up bass, bull fiddle, bass fiddle, bass violin

This week's featured influence/inspiration may seem quite obvious. (So did air!) But, that's no reason to skip it.

The interested party can easily turn up plenty of historical information on the string bass by following the links included below.

First off, I choose to call it a "string bass" because of the genre and era of music that appeals to me most: early jazz. During that time, bassists were doubling on both double bass and tuba/sousaphone. To distinguish between the two, the terms string bass for double bass and brass bass for tuba/sousaphone were used.

Next up, how did I become interested in string bass?
I'm not entirely sure, really. The instrument always appealed to me, more or less, in the average American, dumbed-down way: it was big and made a low-pitched sound! I wanted to play it but it was always a passing fancy; never anything serious.
In 1997, my cousin (and first guitar teacher) formed a bluegrass band in Pennsylvania. The band lacked a string bass (I guess if we're sticking to the established standard, the band was missing a bull fiddle or bass fiddle). My cousin played for me a demo of the band (sans bass), and I was quite interested in the music.
The conversation that followed (paraphrased):
Cousin John said, "We need a bass player!"
"I've always wanted to play the bass. It doesn't seem like it's too much of a stretch from guitar," replied cousin Ryan.
"Really?! If I get you a bass, will you learn how to play it and be our band's bassist?"
"You bet I will!"
Cousin John wasted no time ... within a week, he brought a bass to my apartment. Unfortunately, he brought me an electric bass guitar! I remember leaving him with some rather colorful words regarding the instrument that he brought having nothing to do with what we had discussed that previous week. Nevertheless, I decided to fool around with it. That didn't last.
Within a week (and thanks to a well-paying warehouse job that was offering me over sixty hour work weeks), I went to the onliest store around that boasted a double bass for sale and snatched it up. The merchant and I smooshed my new instrument into me sweet ride - a 1987 Beretta GT.
Folks, that's how it started. If you feel moved, you can thank my cousin, John and Confab, Inc. for the impetus and wherewithal (with respect) to get me to where I'm at today.

Moving on - how does this giant piece of wood influence me?
For starters, getting that bass in and out of the old Beretta was really not that fun. When that slick sporty car ran out of juice, I found something a bit more conducive to the instrument's size, a 1972 Ford Club Wagon! (Named "The Green Lantern" due to the incredible paint job, shag carpeting, etc. the previous owner applied to the inside and outside of the behemoth)
Since then, I haven't purchased a new (to me) vehicle without heavily considering how it would accommodate my instrument.

What else? Every instrument offers its fair share of medical tribulations if proper technique isn't learned and applied. The string bass has a habit of magnifying these issues. I know more bassists than other instrumentalists who have needed surgery or, at least, some medical care due to the rigors of the instrument. I have suffered a few myself!

I love the string bass! It's a beautiful instrument. It's a powerful instrument. I've heard talented musicianers use the instrument to produce incredible art and share deep, personal thoughts and emotions. There have even been a few times that I've actually managed to use the bass to convey what was going on inside of me in a pleasing manner.
To me, the bass seems a natural extension of my body. It feels right in my hands. As I mentioned in the piece about Pops Foster, I usually play what I feel when I'm playing string bass - that feeling is both an instinctual feeling produced internally as well as a learned habit delivered to me through the kind and warm vibrations of the instrument. The bass and I work together (most of the time!) as one.
The bass is who I am. Hopefully, I am putting a good face on the bass, as well!

Thank you string bass! I look forward to playing you!

Some links:
http://www.earlybass.com/
http://www.gollihurmusic.com/
http://en.wikipedia.org/wiki/String_bass
http://www.lemur-music.com/
http://www.doublebassguide.com/?page_id=3
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"Allow the president to invade a neighboring nation, whenever he shall deem it necessary to repel an invasion, and you allow him to do so whenever he may choose to say he deems it necessary for such a purpose—and you allow him to make war at pleasure."

~Abraham Lincoln

June 2, 2008 - Dave Biller

My Influences:

Dave Biller
guitar

Dave is, hands down, one of the very best guitarists in Austin and, according to my tastes, one of the very best guitarists in this country. His musicianship is off the charts; he has an ability to tap into just about any style of music and stick it into any song during a solo while comping or right over top of another lead and do it in a way that seems as if it were written that way. And, he does all that in the most unassuming way, without flinching a bit or hinting that he had to think about it or reach deep inside himself to find the idea or wherewithal to pull it off!
He plays in plenty of bands and in all manner of genres; all kinds of country and western swing, all kinds of jazz and swing and even some rock. I've heard him play electric bass in a surf band and he has been playing pedal steel around town lately.
If you aren't extremely familiar with this Austin legend, PLEASE, make yourself that way!

I met Dave ten years ago. He was touring with the Asylum Street Spankers. It only took one solo before we had all perked up and realized that there was something big coming out of his instrument.
When I moved to town, he seemed thrilled that I was here. He warmly welcomed me into this wonderful family of musicianers like I had been a part of it since birth. I certainly didn't feel worthy as I had not developed a lot of the music that I play these days. As a great mentor, though, Dave just threw me into the fire and helped me along when I needed it.
He got me a few gigs here and there and even chose me as the bassist in his gypsy-jazz band, Les Niglos. Soon enough, I found myself playing with him in The Jazz Pharaohs and then in a band called Cheapo Trio (which slowly morphed into Paris 49.)
I have learned so much music from Dave. I have learned so much about how to enjoy gigs, enjoy other musicianers, and so much about how to just do your own thing and, somehow, make it work with whatever else is happening on and off the stage. He has been one of the very best music teachers I could have ever hoped to have.
Dave has also been and continues to be one very great friend!

It's also worth noting that Mr. Biller has taught many of us some of the finer points to playing the "private party;" most notably, where to find and how to obtain cake! If there is sugary-sweet goodness offered to guests (and whether it is offered to the musicianers or not), follow Dave on the break. He will sniff out and plan the proper scheme to procure as much cake as he can for himself and the band.

Thanks for all the music and everything else!

Some links:
http://www.actionpackedevents.com/Billerbio.htm
http://www.gypsyjazz.net/products/cds-leroy-s-swing.php
http://www.vintageguitar.com/features/music/details.asp?AID=1839
www.myspace.com/thejazzpharaohs
www.myspace.com/billerandhorton
www.myspace.com/lucashudginsandthefirstcousins

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"Allow the president to invade a neighboring nation, whenever he shall deem it necessary to repel an invasion, and you allow him to do so whenever he may choose to say he deems it necessary for such a purpose—and you allow him to make war at pleasure."

~Abraham Lincoln