“I’ve been around the world three times with various artists, played in front of royalty, and have been on several television programs including Letterman and The Tonight Show with Jay Leno,” says Caldwell from his home in St. Louis where he’s busy working on projects and caring for his daughter.

Caldwell also has written thousands of songs, produced dozens of recordings, and has helped develop several custom basses, including the Benevente 11-string Al Caldwell Signature Bass with midi.

As unique as his sound and contributions are now, as a young man in the late ’70s, Caldwell worked hard to sound like the top bassists of his day: Jaco Pastorius, Stanley Clarke, Marcus Miller, Bootsy Collins, Larry Graham and by the time he was 23 he could emulate all of them. “I put in a lot of work to be called another man’s name,” he recalled.

Caldwell credits bass legend and father of the extended range bass Anthony Jackson, (Jackson conceived the first six-string bass in the late ’70s) with helping catalyze the search for his own voice. “Anthony suggested I stop trying to be the best bass player and start being myself.”

Caldwell shares another Jackson jewel: “There are a 100 ways to play quarter notes. If the drummer isn’t dictating the phrasing, it’s up to you. They’ve given you all that power. It’s up to you to see the chart in a musical sense and bring your wisdom to it. If you’re establishing a hump in the music, the drummer can do less. But then it’s up to you to bring something to the conversation.”

But Caldwell is most passionate when it comes to the topic of learning and coming up with original bass lines and inventive solos.

“It is important to first connect the brain to the mouth, rather than brain to hand. When you connect brain to hand, all you have is muscle memory. You can work on a lick for two weeks and maybe you’ll remember it, or maybe not. Sing what it is you want to play, then teach it to your hands. This is the key to finding yourself, your voice, and is the key to transcending your current ability.”

Now that he’s teaching, Caldwell sometimes gives his students this exercise: He tells them to imagine their individual dream concert, consisting of 90 minutes of music, played with any musicians they want. Then he asks them to tell him what happened. He says “Sing me your grooves. Tell me what your first song was and why you picked it.”

“Music is a language,” Caldwell emphasizes. “Emotionally challenge yourself to create something true and honest. What comes out of your mouth is honest.”

The bass is merely a tool, another alternative to the human voice, says Caldwell, and by going through this process, “You realize what you really like, because nobody told you.”

That said, Caldwell suggests all bassists study key songs from the 30-40 bassists that have strongly influenced the sound and evolution of the bass. Just a few of his suggestions are: Chuck Rainey: Theme from Sanford & Son, Until you Come Back to Me, I Want You from Marvin Gaye. Stanley Clarke: School Daze, Silly Putty, Upright: Song for John. Jaco: Continuum, Portrait of Tracy, Punk Jazz. Anthony Jackson: Naughty, Money,Money,Money (which he co-wrote with O’Jays and played with a pick), House Without a Home. Larry Graham: The Jam, Can You Handle It?, Release Yourself. Marcus Miller: Run for Cover, A Tear for Crystal, TuTu.

“Just learn three to start to identify what makes that person special. Three is all you need to start to understand.”

Today, Al Caldwell possesses many very distinctive ways to express what he refers to as ‘those twelve tones that western music has given us’. He plays, at last count, 28 instruments, and is able to replicate the sound of all of them and more on his Benevente 11-string bass (tuned C#-Eb) which is equipped with midi.

Caldwell wanted a way to express his feeling and knowledge and voices of these instruments and more, without having to put down the bass. “Midi enables me to sound any way I want, without having to change – or carry extra – instruments.”

What’s next for Al Caldwell who already has numerous recordings and tours to his credit, including a long tenure as bassist with Vanessa Williams’ band? He’s planning a tour with his band The Travelin’ Black Hillbillies, where he plays banjo, an instrument he loves almost as much as the bass and he’s working on his first instructional DVD.

For more information about Al Caldwell go to his websites: 9stringbass.com, and Travelin Black Hillbillies.

“It’s mostly about chemistry – and about enhancing and supporting the others on stage,” says Doug Wimbish, while chilling on the well-worn sofa after an afternoon recording session at Island Recorders studio in Chicago.

“If the template is there, and you are working within the role that is designated, you can use your talents to create a sense of enhancement without overstating the point.”

Doug tours a lot, with Living Colour and various other projects, such as Tackhead and Head>>Fake. Playing the same material show after show, how does he keep it so fresh?

“Some songs have room for continuous growth,” said Wimbish. “It depends on the original components. Also, some projects take a complete turn, doors open, creating new opportunities.”

As for drummers, Wimbish has played with the best of the best including; Will Calhoun in Living Colour, Keith LeBlanc, Dennis Chambers and Terry Bozzio. When asked his opinion about the relationship between the bassist and the drummer, he likened it to the relationship between the center and quarterback in football.

“The center has to get the ball to the quarterback so the play can happen. It’s that combination that creates the play.”

Wimbish explains. “The drums create the rhythm, but it’s the bass that governs that rhythm by presenting sonic ideas and tying in time between rhythms and notes. The bass and drums create one vehicle. Each must find the median – based on the space in the song. Bass and drums should help enhance each other. It’s natural. It depends on the space that’s created by the mindset of the individual musician.

The success of the relationship is defined by how you think and how generous you are – how willing you are to put the music first. It’s best if the two people are not selfish and have respect for the music. If you can park the personality and come to the stage or session with respect for the music and each other, you’re automatically a 50% better player.”

Eager to help, Bailey offered to jump in a cab and take it to be fixed. Pastorius took it from him and proceeded to make the bass sing. Bailey says he realized that Jaco knew every aspect of that bass; including every dead spot, every buzz, and every place he needed to dig in to get the sound he wanted. Not only did Pastorius know how to play that bass, he knew how to make good music with it.

“A lot of people are into playing, but not as much into music,” says Bailey, who is known for his solo records, playing on over 1000 recordings as a studio musician, and on numerous tours with pop mega star Madonna, and of course, succeeding Pastorius as bassist for the jazz/fusion group Weather Report. Weather Report keyboardist and co-founder Joe Zawinul remains one of Bailey’s mentors. He explains, “Zawinul was never concerned with how much chops someone had, it was always about the quality of the music. There’s a big difference between playing and making music.”

Bailey says he’s seen some phenomenal players do unbelievable things on the bass when they are on stage by themselves, but notices that in many cases he doesn’t see them as part of a rhythm section. Bailey remarks, “A lot of guys are amazing players, but don’t necessarily make quality music. The most important thing all the time for me and the people I work with is that the music feels and sounds good.”

“In order to make music that sounds good, you don’t necessarily have to be the most technically advanced player,” says Bailey. He says an overall musical sense and concern for the quality of the music can be much more important than virtuoso performances in many cases. Bailey advises, “Use what you have to make something interesting. There are plenty of musicians out there that may not have the most chops, but they know how to command the stage – and rock the house. Guys who can do that AND have lots of talent, knowledge and ability, now those are my kind of guys!”

If your goal is to be a first-rate player like Bailey, however, he says it’s absolutely essential to know what you’re doing. “You have to study your instrument until it’s second nature. When you hear chord changes and modulations, you can’t be guessing – you have to know where to go without hesitation. Anything that’s put in front of you – you need to be able to handle – immediately! That’s what separates the top players from everyone else.”

Bailey should know. He played his first gig three weeks after he got his first bass – he was 15. “I’ve always been a studious person. I came home from school and spread my books out and did my homework before I went outside. I read the encyclopedia. When it came to music, I wasn’t satisfied just knowing the bass line; I also wanted to know the chords and harmony. My dad, a master composer, arranger, producer and saxophonist, had a jazz collection of guys like Oscar Peterson and Ray Brown and I used to ask him, ‘Why did Ray Brown play this note?’ and he’d tell me, ‘Well that’s a flat 9.’ I’ve always been inquisitive, and I’m still that way, to this day. There are still a whole bunch of things I think I could do better.”

Bailey notes that even after 30 years of playing, if he doesn’t touch the bass for one day, his flow isn’t the same. “I noticed that if I play for just 10 or 15 minutes per day it keeps me connected to the instrument. If I don’t stay in touch with the bass, it might take me a whole set before I feel my flow is good. Practice gives you a natural connection to the instrument.”

When Bailey practices, he says he plays a combination of things; solo studies (currently, he’s working on a Bach piece) then he may groove for an hour, then maybe do some bebop soloing, or play some old R&B or rock bass lines. “I’m always trying to improve the quality of my playing – the sound, touch and feel. I’m always thinking about feel. As I’m playing the bass line, my head is moving to the groove – just as much as if I’m on stage. I’m thinking, ‘How long do I hold this note, should I leave a space? Should I play them perfectly even, or play one note with vibrato, and the next with no vibrato’?”

That said, Bailey acknowledges that depending on what someone wants out of playing the bass, it may not be necessary for them to practice all day, every day. He says players should determine what they want to be, and do what it takes to get there.

“I once taught a woman who ended up playing bass in a big rock band. I played Stanley Clarke’s School Days for her and she said, ‘I don’t want to play like that.’ She spent all day working on music – but it was writing songs. She wanted to be good enough to write good bass lines and to not have to search around all day to figure out where the song was going. She was very clear on what she wanted out of it, and I think that’s key.”

And most importantly, Bailey advises, don’t give up. He says developing skills takes time and consistent effort. Again, Bailey should know. He recalls a recent gig he played in New York, on Long Island. After the gig, a man came up to him, said excitedly, “Wow I really like how you play the bass – I’ve never heard anyone do what you’re doing. You should really stick with it, you really have a future in this business.”

Victor Bailey recently completed a new CD with the trio CBW – with Larry Coryell and Lenny White. Bailey says the new CD, recorded for Chesky Records, will contain jazz, rock, funk, fusion, “a little of everything.” Keep an eye on VictorBailey.com for details of upcoming concerts and tours.