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A DownBeat Feature From 2009 and an Uncut Blindfold Test With

Christian McBride

http://tedpanken.wordpress.com/2014/06/13/a-downbeat-feature-from-2009-
and-an-uncut-blindfold-test-with-christian-mcbride/

- Starts by talking about being in a shop picking up Ray Browns bass which
he believes he should have it as Ray Brown was like a father figure to him.
Pass the torch symbolism

- Brief history of when he moved to new-york in 1989 and then by 1993
was touring with Joshua Redman and by then many considered him a
major figure in the jazz bass continuum

- Talks about getting a blast back from the elders of jazz for playing more
electric bass as a vehicle to investigate more contemporary modes of
musical expression

- Talks about ray loving the fact that he brought his own thing to superbass
as apposed to being that bebop guy

- Lists all the various people hed played with as well as all the educational
commitments as well as artistic directorships

- Interviewer discusses him taking an arco solo that a fleet-as-a-fiddle,
thematically unified stomp, executing horn-like lines with impeccable
articulation, intonation, and stand-on-its-own time feel.

- He elaborated on the sonic personality that each instrument embodies
The acoustic bass is the mother, and the electric bass will always be the
restless child, he said. Sometimes the energy of a restless child is cool to
have around. It gets everybody up, and it keeps you on your toes. But the
mother is always there, watching over everythinga wholesome feeling.
The acoustic bass isnt as loud, but its so bigit grabs all the music with a
big, long arm. It encircles it. The electric bass is clearer, more in your face,
but it doesnt have that wisdom. Even with Jaco at his creative peakand
he was easily to the electric bass what Bird was to the alto saxophone
you never got that feeling. But you would go, Man, this cats from another
planet; who IS this?

- Discusses being really busy I dont know what made me think I would be
able to do Detroit and Monterrey back-to-back, though I managed to pull
it off, McBride said. Ive always prided myself on being able to take on
multiple projects at the same time. But in 2008 I bit off way more than I
could chew. By October, I was ready to collapse. Then I thought, Oh, Ive
got to go to Europe for five weeks; I cant collapse. Everybody was like,
Youre in town for three weeks? Lets book some record dates. My brain
was saying yes. But my body was like, If you dont go somewhere right
now and sit in the dark for about three weeks, Im unplugging on you. Im
trying to edit 09 a little bit.

- Talks about his new project inside straight as it he wanted to play the
vanguard but Lorrain (owner) didnt want his rock band playing there

- Says he got a bit over playing loud gigs and has come back to playing
acoustic music

- Interviewer compares him to Josh Redman and Roy Hardgrove saying
that respective careers launched on their ability to hang with elders on
equal terms. While in their twenties, they embraced on their own ground
the tropes of contemporary dance and popular music, but recently,
perhaps no longer feeling a need to prove anything, have returned to
more acoustic, swing-based investigations.

- Talks about how he sees the double bass as an oversized electric bass
and how he transfers everything he learnt on electric to the double.

- A big part of his approach to sound is clarity. Hes found bass players
often have big sounds but often clarity is compromised:

The instruments range and frequency means you can feel the pulse that
makes you move, but its hard to hear the notes. Much as I hate to admit it,
I mostly hated bass solos, because I could never understand what they
were playing. Notes ran into each other, and some cats would be out of
tuneoutside of first or second position, it gets dicey. I found that cats
who play very clear and have good melodic ideas tended to be from the
low-action, high-amplified school. When theyd start walking, all the pulse
would go. Then, bass players with a really good sound and feel, who make
you want to dance, when they soloed it was, Ummmgo back to walking.
So my whole style was based on balancing the twoto play with a
serious clarity of tone and still have the guts and power of the true
acoustic bass. When I walk or am accompanying somebody, I wanted that
soloist to feel they have the best tonal, rhythmic, and harmonic support
possible, but I also didnt want to bore the hell out of people when I
soloed. I was young enough when I started not to think that I had to get
ideas only from other bass players. I thought, if I can play it, why not try to
transcribe a McCoy Tyner or Joe Henderson line for the bass, and see how
it comes out. Dumb 11-year-old idea.

- Talks about getting tendonitis as Wynton insisted he played with a high
action. Ray Brown called him on it and said Why are you young cats
playing so hard? You dont need your strings up that high. Its not the
40s any more.

-


Christian McBride Interview 2014: Growing The Seeds Of Excellence

http://localbandforhire.com/christian-mcbride-interview-2014/

- Interviewer asks when he gets down time and whether on not he likes it
when shows are closer to home. He doesnt mind playing as long as hes
playing

- Also whether or not he likes travel. Hes over it but when he sees peoples
reactions to his music he gets excited again

- How jazz is different today from the 20s/30s. Says that because of the
Internet everyone is a lot closer. Not much has changed in regard to the
fact that if you want to get discovered you have to play in someone who is
establisheds band and get your foot in the door that way.

- Talks about how he is an ambassador for ethnicity and the arts

- Compositional techniques mentioned. Says he does most of it at the piano

- Talks about how both the business and creative side of music dont have
to effect each other

- About being a bandleader and the role that happens behind the scene

- Talks about memorable collaborations

- James Brown, Ray Brown

- Discusses making jazz accessible. Talks about the artist not caring about
their audience. Says cannonball had sorted it out whilst communicating
with the audience and easing them into the more abstract stuff.

- Wishes hed met oscar Peterson

- Talks about Wyntons close-minded/dogmatic oppinions in the 80s and
how he always took them on board but had an ear open for another
opinion as well











A Conversation with Christian McBride
From: National Endowment for the Arts


http://www.prx.org/pieces/66494/transcripts/155654

- Talks about being from philly

- Talks about early days

- Wanted to play trombone but had to play the acoustic bass

- Talks about sneaking into Jams with heavies when he was young

- Bobby Watson giving him his first new York gig

- Then playing in Freddie Hubbards band

- More on playing with other artists outside of the pop world

- Playing with chick corea

- Insight Straight and being a band leader


Christian McBride
Exclusive interview with FBPOs Jon Liebman
October 24, 2011
http://forbassplayersonly.com/interview-christian-mcbride/

- Talks about his upbringing

- Growing up in Philly

- Moving to new york

- Bass instructor at Julliard was Homer Mensch

- Discusses the idea of there not being such thing as a freelance classical
musician

- Turning point on becoming a professional musician

- Talks about the idealogy about playing both double bass and electric bass.

- Discusses John Pattitucci desperately trying to get rid of his reputation as
being this shredding electric bass player and regain his double rep

- Talks about more James Brown stuff

- Goes into depth of what its like to be playing with other bass players


Versatility: A Conversation with Christian McBride

http://www.notreble.com/buzz/2011/12/08/versatility-a-conversation-
with-christian-mcbride/

- Back story

- Talks about Conversations with Christian

- Talks about his relationship with Dr. Billy Taylor

- The idea that jazz is dead and how everyone puts labels on everything

- Do you see versatility being the key to success? YES. Especially being in
the rhythm section

- Talking about the process about learning new vocab: Transcribing and
internalizing is the way to go.

- Having PC, Ron Carter and Ray as an influence.

- The differences between Double and Electric and how they are seen in
Jazz. Mentions not many people true doublers Says its contextual based.

- Influetial albums - Someday my prince will come, my funny valentine,
black market, heavy weather


CHRISTIAN McBRIDE: JAZZ AND BEYOND. Interview by ARTURO MORA
http://www.tomajazz.com/perfiles/cmb_interview.htm


- Talks about the current tour

- Discusses the role of the sideman vs the leader

- Talks about being versatile over all fields

- James Brown gig

- New Redman trio Record and metheny trio record

- Has played some classical music recently. Says its nice to hear some bass
bowed properly (?)

- Talks about how sport and music are related

- Exposing jazz to young musicians

- GEAR:


Jazzreview.com CHRISTIAN MCBRIDE
The Man Behind The Music
http://www.jazzreview.com/article/review-4848.html


- Talks about picking up bass

- Growing up in Philly

- Gov Cut Backs

-

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