Interview with NYC bassist, Jack Daley:

Jack Daley is a bassist, session musician, music director and producer. He has worked with Lenny Kravitz, Joss Stone, Michael Jackson, Janet Jackson, Queen Latifah, Shabba Ranks, Avril Lavigne, Daryl Hall, Alana Davis, Chaka Khan, The Temptations, Natalie Merchant, Iggie Pop, James Brown and Mick Jagger to name a few.

(JC) You have worked with many well known artists. What were some of the stepping stones that led you in the direction towards many of these highly sought after gigs?

(JD) I think like most of us players I started playing at a fairly young age. At ten years old I wanted to play drums although my mother was not that excited about my choice. After leaning up against her Airline record player while listening, or I should say feeling, 25 or 6 to 4 by Chicago, I was hooked. I grew up in Upstate New York and caught the music scene of the 70s. I started playing clubs at sixteen and it was a great time to be playing bass. There were so many great bass players to check out and I think it was really the peak for great session musicians. Also the disco craze was blowing up and it had some ridiculously funky parts to checkout. I played in some of the area’s best bands, playing everything from The Who to Chic to Autumn Leaves and everything in between. It was a great learning period.

In the 80s when the MTV craze hit, I started a band that captured the vibe of all the new bands riding that wave. Somehow, by default, I ended up being the band’s most obvious frontman. So, along with my brother Frank who is a great guitarist, I locked myself in a studio in Saratoga, New York for about three years, developing my studio chops and writing material to get a record deal. Again this was a great learning period, not only technically, but musically, because when you realize as a producer what type of bass playing makes the best sounding record, it is a bit different than the perspective of most bassists. I just think sometimes when you’re only dealing with the bass part it’s hard to step back and be objective.

I spent three years in that studio and just got up one day thinking, I have to move to New York City now! That same day, a long time friend called me and said his bassist flipped out and he needed someone. I showed up, nailed the audition and got some very encouraging advice from the guitarist in the band, Ronny Drayton (a total badass). He said, “Move here man. You’ll get tons of work.” I never left.

Ronny was on the money. Within a year I was in thirteen bands playing funk, rock, blues and singer-songwriter gigs. You name it, I did it. My approach was to take any gig that I thought I would sound good doing. It would give me exposure to the most musicians possible, and give me the best chance to be recommended if a good gig came up. It also helped me to pay my rent. This was also when I realized that I was a much better bassist than I would ever be a singer. Besides that, when I play bass I make the worst bass player face. Combine that with me struggling to hit the notes while singing and it just ain’t pretty.

(JC) You are known as a bassist that plays many genres of music, but you’ve often been called for a lot of rock-R&B oriented bass playing. Is rock-R&B music what you enjoy playing the most or is it simply the work that found you, so to speak?

(JD) Well as I said before, when growing up in the 70s, it was songs like Skin Tight , by the Ohio Players, For the Love of Money , by the O’Jays, Lowdown , by Boz Scaggs and anything by Chic that really caught my ear first. I believe that’s where my interpretation of groove comes from. It was a bit later that I really started checking out more rock players guys like John Entwistle, Paul McCartney and of course John Paul Jones. So yeah, I think rock and funk are really the two genres that I have spent most of my time playing, so it makes sense. That is also why I was so well suited for the Lenny Kravitz gig. Most people think of that as a rock gig which it is, but Lenny feels everything from the perspective of a funk musician and that is really the heart of his music.

(JC) I heard that your 1966 Fender Jazz bass is your axe of choice. Is this true and if so, what attributes does the bass have that attracts you to it? Are there any other basses that you just can’t do without?

(JD) You know I love them all; basses are just so cool. My longtime companion is my black 1966 Fender Jazz bass. I don’t know what it is but I’ve never played a bad 1966 Jazz bass, crazy! I have a great 1965 candy apple red Fender Precision bass that I have used on many records. It’s also killer. I have a great 1973 Rickenbacker that I love, and I just received a bass from a new company called Henman Bevilaqua. It’s very cool and combines a vintage vibe with some very cutting edge technology. I’m really enjoying getting to know this one. The other instrument that I’m thrilled with is my black Hofner Club. It was the very first black Hofner made custom for me. I’ve got a thing for black.

(JC) I first discovered you when listening to an Alana Davis CD ( Blame It on Me ). Can you discuss what it was like working with her?

(JD) Playing with Alana was always a true joy. I worked on all three of her records and loved every minute of it. I just don’t understand why she is not a huge star. She really is a great talent. Some of my favorite bass lines on her records were really very spontaneous. The way she sings really connects for me, and we would sometimes demo her songs at the producer, Ed Tuten’s, loft. Ed is a great producer and he’s not afraid to keep a first take. Alana’s voice is so inspiring to me and her pocket is so deep that it feels like my bass is playing itself. Many of those bass tracks were literally first takes that made the record. I should also mention the drummer on those records . . . Nir Z is one of my favorites to track with.

(JC) What “business” advice can you give to those who are already competent bass players working in NYC, but are seeking work with higher profile bands and artists?

(JD) Well I know it’s not easy, but referring to something I said before: get out there and play with everyone that you can shine with. When the Lenny gig came up, I came home to about fifteen calls on my machine (pre cell phone). That is because I had made a lot of friends playing around the city. Also show up on time, be prepared, and try not to lose your cool (I’m actually reminding myself on that one). Also, and this is very important, have fun! If music is not gonna be fun you might as well work for the man. At least there you’ll get health insurance. www.MySpace.com/JackPDaley

Bassist: Jack Daley Interviewed by: John Carey www.JohnCarey.net