THE JAZZ BASSIST

Groove is in the heart, jazz warlock Ruth reminds us

Welcome! I’ve always loved the challenge of improvising structured grooves. That challenge carries with it the risk of simply being in the moment. Every idea has to lead to something else – and sometimes the development of an idea can be more interesting than the initial idea itself.

I play with a band called Champagne Dub, which started as a pure improv outfit. We went to the studio for two days and improvised the entire time, making sure that we recorded everything. The line-up is drums, electric bass, electric harp, vocals and what we call a sound artist, who builds his own instruments. We all use effects pedals to create layered soundscapes, and often – because of the musicians that we are – we fall into heavy grooves with a strong pulse. After recording, everything was chopped up and the best bits were made into songs and collected on an album.

Now, when we play gigs, we fall in and out of these tunes, mixing in other improvisations. This means that there is a strong line of development throughout a gig, as well as a lot of freedom for us to explore. Improvising grooves on the spot is exciting and scary; it can be hard to come up with several different – but equally strong – bass-lines. Over time, though, I’ve learned to let go of this pressure, playing whatever comes to my mind and developing it based on what everyone else is playing around me. Often the drummer starts playing something, and the music that I’m hearing changes, perhaps because she or he feels the ‘one’ or the pulse in a different way or place. This can be really exciting – and bass-lines can turn into things I would have never expected.

As in any improvising scenario, tension, release and omission play a big role in how things develop. I have always found that suddenly dropping out is a big statement, especially when playing a strong bass-line… as long as you choose your place wisely!

www.ruthgoller.com