Paul McCartney AP photo

I have always liked the electric bass guitar. Since I was young, I could always hear the bass part in a song. For reasons unknown to me, the part just stood out. I didn’t know any better. I thought that’s what I was supposed to hear.

So, I had been already playing drums for about five years when I started to become more interested in playing the bass. So in ninth grade, at Lincoln Junior High School, I became more aware of music. I became more aware of the bass. There was so much to hear.

Fast forward to the fall of my sophomore year at Jamestown High School. I wanted to play another instrument, and because of an injury my football-playing days were over. So I took up the electric bass guitar. Luckily, my parents agreed to purchase a bass and a small amplifier. I thought the drums were difficult learn, but the bass proved as difficult or more to learn. Not only was I responsible for reading rhythms, but I was also responsible for learning the bass clef, or F clef, as it is sometimes referred to, and the notes associated with that clef.

There were only four strings, but the neck was longer, the guitar was heavier, and yes the blisters, from pressing the strings against the fretboard, were bigger and hurt more.

I didn’t know of anyone else in band or other music classes playing bass, so I asked if I could join the jazz ensemble, and the instructor said yes. I was forever grateful, but at the same time, I was nervous because I had a limited knowledge of the fretboard, and of music theory. I was taking private lessons, but at times, when I looked at the sheet music, I was over my head.

But I didn’t quit. Instead I practiced, and gradually improved my ability to play. So, I was introduced to keys like B-Flat major, D-Flat major, A-Flat major, G-Flat Major and E-Flat major. So, I learned how to play in those keys.

By this time I was listening to a lot of music. I was exposed to different genres of jazz, and other genres of music like progressive rock, pop, new wave, punk, Motown, oldies, and whatever else was on the radio.

Because The Beatles were my favorite band, of course I was influenced by Paul McCartney and wanted to learn how to play like him. I had two problems: I wasn’t left handed, and I didn’t play with a pick. I learned how to play with my fingers. I thought that was the way to play because the electric bass was supposed to take the place of an upright bass. So I had to learn how to play with a pick.

I was also influenced by Geddy Lee of Rush, Chris Squire of Yes, and James Jamerson, who was the session bassist for many, many, of the Motown songs. Listen to The Four Tops, The Temptations, early Stevie Wonder, and The Supremes. It was his bass parts that were songs within songs.

In my junior year, I had met some other students who played guitar and bass. I watched them play, and I noticed they were playing in keys A Major, B Major, G Major, D Major, and E Major. The bassist was playing with open strings, and I thought how odd that was because I didn’t play with open strings. But most rock songs are in those keys. So ironically, I played in keys that are written more for brass and woodwind instruments. I was learning how to play more like a jazz bassist, than a rock bassist. For drums I am more comfortable playing rock and for bass, I am more comfortable playing jazz. I was also getting better at sight reading music, so that skill helped me with my drumming as well. One song that I fell in love that year was “Don’t Stop Believin'” by Journey from the “E5C4P3” (Escape) album. I wrote about how awesome the drum part is, but the bass part is just as awesome. I could not get enough of that song. So I went out and bought the guitar and piano sheet music for that song, and learned the left hand piano.

The notes were written an octave lower, so learning that song taught me a new skill — notes below the staff. At first it was odd for me to play because it was in the Key of E Major, so I had to play open strings. Then as I practiced more, I learned how to play in a new key.

In my senior year, I expanded my musical palette and tried to listen to everything that I could. I would read the liner notes of the album jacket and inside sleeve to find out what musicians played on what tracks, and kind of equipment was used. I also began play with my friends, guitarist Paul LaPlaca, and drummer Brent Isaacson. I had so much fun. Paul was into a lot of different music, and he would show it to us, and we played. We also played his original songs. I just had fun playing rock music. And yes playing cover songs made me play more in open strings. So if Paul said “The chord progression is G, D, and A,” then I knew exactly what he meant. Our trio was part of the rhythm section of the jazz ensemble, so we would jam before practice and sometimes after practice. I always had fun learning new things. After graduation, I still played, but didn’t start really playing again until the fall where I was a freshman at Jamestown Community College. There is where my ears opened, and where I expanded my musical palette even more. I was exposed to so much music. I met people from other places, other schools, and we would talk music when we could. I was in a class that was the precursor to Rock Ensembles. I met other bassists who I learned from and who learned from me. It was a free exchange of information. I was also in the Jamestown CC jazz ensemble. Being in those two ensembles afforded me the time to hone my skills on both bass and drums, and gain more confidence in playing and performing. I learned how to practice better, how to play better, and how to perform in front of an audience better.

At Jamestown CC, I also became aware of another bassist who wrote a column for “Guitar for the Practicing Musician. His name was Tom “T-Bone” Wolk. The column was entitled “Bass in the 80s,” and he would break down a song each month, and explain how the theory behind the bass part. I really miss that column.

I also became aware of bassists who doubled as awesome singers as well. Some of the most notable singers in the 70s, 80s, 90s, and on into the 2000s are bass players. Do remember Peter Cetera, formerly of Chicago, who was replaced by Jason Scheff, who also went on to recently quit the band. How about the voice of Ben Orr? He was the bassist/vocalist for another Boston-based band The Cars. He sang lead vocals on the mid 80s Cars’ hit “Drive.” In the late 80s, he also had a brief solo career where his song “Stay The Night,” charted. He died in 2000 of pancreatic cancer. If you listen to The Eagles, then you probably know about Timothy B. Schmit and Randy Meisner. Meisner first played in Poco, quit the band to join The Eagles, and Schmit replaced him in Poco. For The Eagles, Meisner sang “Take It To The Limit.” Meisner again did a disappearing act and quit The Eagles, and in 1977, Schmit replaced Meisner as bassist/vocalist. Off the release, “The Long Run,” by The Eagles, Schmit sings lead vocals on “I can’t Tell You Why.” Both Meisner and Schmit had similar ranges, so it was easy for Schmit to fill Meisner’s role in both bands.

And how about Sting? First as the singer/songwriter/bassist for The Police, and then as a solo act, you instantly know his voice when you hear it. Don’t forget Jack Bruce who sometimes shared vocal duties with Eric Clapton when they played with Cream. Bruce sang “White Room.” Also, let’s not forget Buffalo-natives Rick James and Billy Sheehan. James had success in the early 80s with “Super Freak.” Sheehan first played with regional act Talas, and then when on to play with David Lee Roth, Steve Vai, Sons of Appollo, Winery Dogs, but he most recognized in Mr. Big. With those bands he not only played great bass parts, but also sang backing vocals.

I mentioned Chris Squire and Geddy Lee earlier. Lee’s vocals have been part of Rush’s sound since the band began in the early 70s. I interviewed Squire in the mid 90s, and not only did he play exception bass parts for Yes, he also sang great backup vocals. Listen to “Owner of a Lonely Heart,” or “Leave It,” from “90215” and you will undertand what I mean. Unfortunately he died in 2016.

And I can’t forget McCartney. He is the reason why so many of these bassists play bass. I still love to sit down and figure out new and old songs on my bass, and it’s because of these bassists that I am still inspired to learn and play.