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Esperanza Spalding Wild Ride with a Spirit Guide MUSIC BLACK SABBATH’S “HAND OF DOOM” & TAB LEARN GEEZER BUTLER’S IRONCLAD BASS LINE ® bassplayer.com THE BEST GEAR ANDY CICHON FROM NAMM 2016 LIVE AND UNSCRIPTED BRIAN RITCHIE WITH BILLY JOEL VIOLENT FEMMES ESPERANZA SPALDING WILD RIDE WITH A SPIRIT GUIDE REVIEWS GALLIEN-KRUEGER APRIL 2016 $5.99 MB800 & CX410 MTD SARATOGA A NEWBAY MEDIA PUBLICATION PRA WiC WIRELESS Originally printed in the April 2016 issue of Bass Player. Reprinted with the permission of the publishers of Bass Player. Copyright 2016 NewBay Media, LLC. All rights Originally printed in the April 2016 issue of Bass Player. Reprinted with the permission of the publishers of Bass Player. Copyright 2016 NewBay Media, LLC. All rights reserved. Bass Player, 1111 Bayhill Dr., St. 440, San Bruno, CA 94066. T. 650.238.0300. Subscribe at www.bassplayer.com reserved. Bass Player, 1111 Bayhill Dr., St. 440, San Bruno, CA 94066. T. 650.238.0300. Subscribe at www.bassplayer.com See Emily How A Spirit Guide Inspired The Most Play Complex Music Of Esperanza Spalding’s IT’S BEEN SAID THERE ARE AS MANY WAYS TO WRITE a song as there are songwriters. Some follow a strict regimen to invite Career the muse, while others depend on the harsh reality of deadlines and bills to inspire their creative process. Still others swear by long walks, prayer, yoga, or just the right psychedelics. A few even mine their dreams. Emily, however, needs none of this. She knows exactly what moves her, and she knows how to get it: Complex chords, hard-hitting drums, multi-tracked vocals, shifting time signatures, loud guitars with over- drive, and theatricality are the things that rock her world, and when it’s time to shine, Emily is happy to step up and wail. Oh, and by the way, she never, ever plays upright. Fortunately for us, “Emily” is the alter ego and spirit guide of By E.E. Bradman & Chris Jisi Photographs by Holly Andress 34 bassplayer.com / april2016 bassplayer.com / april2016 35 Originally printed in the April 2016 issue of Bass Player. Reprinted with the permission of the publishers of Bass Player. Copyright 2016 NewBay Media, LLC. All rights reserved. Bass Player, 1111 Bayhill Dr., St. 440, San Bruno, CA 94066. T. 650.238.0300. Subscribe at www.bassplayer.com CS ESPERANZA SPALDING Esperanza Emily Spalding, the badass electric and upright bass bass gigs and enrollment at Portland State University, which pre- ace who’s also an agile singer in three languages and an inspired pared her to successfully audition for a full scholarship to Berklee. composer. Over the course of her first four albums, the 31-year- Just after she graduated, in 2005, 20-year-old Esperanza became old Portland, Oregon native has become associated with a widely one of the youngest instructors in the school’s history; Junjo, her accessible style of contemporary jazz, Brazilian music, and R&B- first album, came out in 2006. tinged pop that has made her the darling of critics and audiences Spalding has been busy ever since: She released the chart- worldwide. But Emily’s D+Evolution, the album Spalding man- topping Esperanza in 2008, played at the Nobel Prize ceremo- ifested for Emily last year with help from bandmates and pro- nies in Norway with President Barack Obama in 2009, put out ducer Tony Visconti, is a deep, multicolored Afro-punk explosion Chamber Music Society and rocked a BET Prince tribute in 2010, of authoritative fretless, snarling guitar, sophisticated harmo- became the first jazz artist to win a Best New Artist Grammy in nies and rhythms, judicious dissonance, and poetic lyrics that 2011, released Radio Music Society in 2012, won two more Gram- tackle identity, relationships, fear, and ambition. It is challeng- mys in 2013, and took home a fourth in 2014 for “Swing Low,” her ing, expressive, and masterful, and it signals the arrival of a bold collaboration with Bobby McFerrin. Her connections to luminar- new voice. But it took awhile for Emily to show up. ies such as Pat Metheny, Wayne Shorter, Patti Austin, Joe Lovano, Geri Allen, and Herbie Hancock—with whom she performed at BUSY LADY the Kennedy Center Honors in 2014—put her squarely in the Spalding first picked up upright bass in high school after years “jazz” camp. But her interests have always been wide: Witness her of playing violin and other instruments in school orchestras. A exquisite cover of Prince’s “If I Was Your Girlfriend,” her general period of writing lyrics for indie-rock group Noise For Pretend, Stevie Wonder-ful accessibility, and her collaborations with artists and learning to harness her vocal gifts, eventually led to her first Continued on page 40, See music, page 38 36 bassplayer.com / april2016 Originally printed in the April 2016 issue of Bass Player. Reprinted with the permission of the publishers of Bass Player. Copyright 2016 NewBay Media, LLC. All rights reserved. Bass Player, 1111 Bayhill Dr., St. 440, San Bruno, CA 94066. T. 650.238.0300. Subscribe at www.bassplayer.com CS ESPERANZA SPALDING Emily’s Roots COMBINE EMILY’S FREE- second chorus into the bridge (bar five-note phrase is to play the last lines of the bass and melody. Bars spirit creativity with Esperanza’s 9) of “Rest in Pleasure.” Explains note as an open G, rather than 3 and 4 have the ten measures exceptional bass instincts, and Esperanza, “This was the most on the 10th fret of the A string. that occur at 1:07, when she the result is some new sub-terrain collaborative track on the album. Finally, Ex. 3 is from “Farewell double-times the bass line against for Ms. Spalding, who played her I just sent everyone the bass line Dolly,” written on piano but the same melody for contrast. fretless Simon Propert custom and vocal, and we figured out our recorded with just fretless 5 (with Note how the 5-string’s range 5-string on most of Emily’s parts in rehearsal. We wanted to a chorus plug-in) and voice. Bars allows her to play everything in D+Evolution. Example 1 has the build some intensity in the bridge, 1 and 2 (with repeats) show the basically one position. —CHRIS JISI opening (and chorus) groove of so I came up with the five-against- first ten measures upon the vocal “Judas.” Play the notes evenly. four line in the last two measures.” entrance (at 0:14). Esperanza had Example 2 (at 1:50) contains the An alternate way to execute the no chords in mind, just the linear Med. R&B b b b b # = 118 Dm7 Bm7 5 B maj7 Gm9 B maj7 Gm9 G maj7( 11) EX. 1 3 2100 43210 01 0 1 1 43 4 43 21 Med. R&B 1.2.3. 4. = 74 G/C G/D G/C G/D G/C G G SS 024 02474 2 024 7 11 2 02 0 03 03 03 2 55 5 9 EX. 2 9 B S 12 11 12 11 12 11 12 11 12 11 12 11 12 11 12 11 12 11 12 11 12 11 12 11 12 11 10 10 10 10 10 10 10 10 2 Med. R&B N.C. = 108 8x 2x 8x 2x EX. 3 17 17 17 15 18 17 15 15 15 1817 1817 16 18 16 16 18 18 18 16 18 16 1616 18 18 1818 18 16 18 38 bassplayer.com / april2016 Originally printed in the April 2016 issue of Bass Player. Reprinted with the permission of the publishers of Bass Player. Copyright 2016 NewBay Media, LLC. All rights reserved. Bass Player, 1111 Bayhill Dr., St. 440, San Bruno, CA 94066. T. 650.238.0300. Subscribe at www.bassplayer.com CS ESPERANZA SPALDING Continued from page 36 character—I don’t even know if “character” is the right word—knocking on the door, and I had to as diverse as Brazilian guitar master Guinga, pop figure out what I was going to do. Emily’s D+Evolution megastar Bruno Mars, and multi-hyphenate per- is about me as a composer, bass player, and singer, former Janelle Monáe, whose distinctive aesthetic giving body and voice to this being who needs to say may have helped bring the Emily out of Esperanza. this stuff right now. I opened the door and made myself available so that she could bring her sound FUNK THE FEAR and her thoughts into reality. I see her from a dis- D+Evolution, released a full four years after Radio tance. So I’m learning more about who she is, too. Music Society, is an abrupt departure from Spalding’s Did you have a concept for the role of the warm upright and contemporary jazz aesthetic. The bass? And was acoustic bass a consideration? album’s Emily-mandated vocal arrangements are per- Acoustic bass is my thing, not Emily’s. Emily fectly matched by distinctive bass parts, powerful plays electric bass because she’s loud. And it’s not drumming, and angular guitar moments worthy of even about bass; I hope people forget there’s even Battles, Between The Buried & Me, and Minus The an instrument in her hand. She’s here to sing and Bear. Theory and harmony geeks will find plenty to move and perform, which is why live I have [vocalist] enjoy, including skillful use of common tones and Corey King playing keyboard bass on some songs. slash chords, catchy melodies written from upper- Acoustic bass was not even on the radar. chord extensions, exemplary voice-leading, cool How did the sound of the album come to be modulations, and nods to Stravinsky’s “Petrushka heavy on guitar and light on keyboards? chord” and Prokofiev-style half-step modulation.
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