Roscoe Beck: Words and Music with Leonard Cohen - BassPlayer.com

Roscoe Beck: Words and Music with Leonard Cohen

IT’S ONE OF THE MORE SURREAL SCENES IN the live music spectrum: 20,000 fans are packed into New York’s Madison Square Garden for a late-winter Leonard Cohen concert, yet the arena is as hushed as a jazz club, as the crowd clings to Cohen’s every lamenting lyric.
Author:
Publish date:

IT’S ONE OF THE MORE SURREAL SCENES IN the live music spectrum: 20,000 fans are packed into New York’s Madison Square Garden for a late-winter Leonard Cohen concert, yet the arena is as hushed as a jazz club, as the crowd clings to Cohen’s every lamenting lyric. The setting also reveals his band’s depth and discernment, with not a wasted or throwaway note heard all evening long. Leading the ten-piece unit on Cohen’s 2013 Old Ideas world tour— which boasts such vets as keyboardist Neil Larsen, guitarist Mitch Watkins, and vocalist Sharon Robinson—is Roscoe Beck. While perhaps best known for backing guitar gods Robben Ford, Eric Johnson, Greg Koch, and Oz Noy, Beck has a producing and playing history that extends from his longtime work with Cohen to like-minded tunesmiths Jennifer Warnes, Joe Ely, Beth Nielsen Chapman, and the Dixie Chicks. Backstage, Roscoe reflected on his role for rock’s deep-voiced poet of pessimism and despair.

What are your responsibilities as Leonard’s musical director?

Upon getting the call in 2007 for my second stint as his musical director, my first responsibilities were to catalog the songs we were considering performing, and to help him audition and assemble the touring band. Once the band was in place, we began to assemble the arrangements, as a unit. Each member has contributed in that regard, and the arrangement work continues as the tour rolls along. Quite often a song we’ve been playing for years will suddenly undergo a key change or an entirely new treatment. Onstage, my job is something like a “stealth” conductor: The better I do it, the less one might notice it. I take verbal instructions or cues from Leonard and pass them along, as subtly as possible, to the rest of the band. I have to be on my toes at all times; anything is possible. For instance, Leonard might decide to wait until coming in with a verse if it feels like the organic thing to do. Arrangements are not set in stone; it’s very much a “heads up” gig.

How would you describe your role and your approach as the bassist?

My bass role is that of a musical leader, if you will, as almost all of the cues come through me. But musically, my approach is very simple. The bass parts must be reliable and leave space. With Leonard, it’s all about the lyrics and the vocal. If Leonard’s words aren’t heard, we’ve failed in our duty. It’s not a “player’s gig” per se, especially for the bassist. My job on bass is to remain disciplined, to remain appropriate and respectful to the music.

What’s the greatest challenge of the gig for you?

Remaining vigilant! No matter how many times we may have played a particular song, anything about that song could change, at any time—and probably will! Remaining focused and in the moment is always important, but on this gig, it is absolutely essential. Another challenge is singing background vocals. In the role of bassist I’m usually comfortable and confident, so onstage I often focus more on the challenge of my vocal parts, doing my best to ensure they’re in pitch and blending well. Overall, if my performance never stands out in a particularly obvious way, I’m probably doing my job well.

INFO

LISTEN

Roscoe Beck, Walk On [Waterloo, 2005]; Leonard Cohen, Old Ideas [BMG, 2012], Songs From the Road [Sony, 2010]; Garrett Lebeau, Rise to the Grind [Music Road, 2013]; Oz Noy, Twisted Blues,Vol. 1 [Abstract Logix, 2011]; Eric Johnson, Up Close [Capitol, 2010]

EQUIP

Basses Three Fender Roscoe Beck 5-strings (one fretless), early- 1900s Pfretschner German flatback; 1930s Schroetter German carved back
Strings Electric, La Bella Hard Rockin’ Steels; upright, Thomastik Weich
Rig Barbera Transducer Systems pickup (for upright), Fender Bassman 250 head, AxeTrak ATB 0001 isolation cabinet, Ultimate Ears UE18 in-ear monitors (in one ear only)
Effects TC Electronic 1210 Spatial Expander + Stereo Chorus/ Flanger, Lexicon MPX- 1 Stereo Processor (for reverb only), Radial JDI Passive Direct Box

Related

Men in the Mirror: The Bassists of Michael Jackson How Alex Al And His Predecessors Pumped Up The King Of Pop

THERE’S A REVEALING EXCHANGE ABOUT FIVE MINUTES into This Is It, the documentary about the late Michael Jackson’s planned world tour, in which the Gloved One is encouraging his keyboardist to play the answer riff to the penetrating bass line of “Wanna Be Startin’ Something” funkier. “It’s not there yet,” he says gently, before singing the entire two-measure groove flawlessly in the pocket, while playing air bass. Real bass seems to have always been at the forefront of Jackson’s music, whether it came from studio savants in Detroit, Los Angeles, Philadelphia, and New York, or his landmark use of synth bass that remains in vogue to this day. Alex Al, Jackson’s bassist since 2001 and a member of the seven-piece band featured in the film, concurs. “Bass was the most important instrument to him. He’d make references to Paul McCartney’s melodic playing with the Beatles, James Jamerson being upfront and center with Motown, or Stevie Wonder’s left hand.”

Stanley Clarke: Reflections of a Root Revolutionary

It’s been over 40 years since stanley clarke liberated the low end, but the crowd at Manhattan’s Iridium jazz club has a collective look of astonishment as Clarke swiftly spans the full scale of his upright fingerboard, coaxing warm, resonant notes that both lead and support the music.

Tarry Tales, Chris Tarry On Marrying Words & Music

CHRIS TARRY IS AN ANOMALY. HE WAS born in rural Saskatchewan, Canada, but he’s based in bustling Brooklyn; he’s a bass guitarist with a Swallow-esque aptitude for straightahead jazz; and he’s a fiery soloist and technician on other people’s projects who takes a more subdued approach on his compositionally focused solo CDs.

Andrew Gouche's : Plucking Pilgrimage

 WHEN JAMES JAMERSON BEGAN CREATING HIS BIBLE of bass guitar playing, it could be heard on the radio—chapter and verse, each week. With Jaco poised to turn jazz bass on its ear, it was but a five-year journey from Florida to the world. But for gospel bassdom’s breakout innovator Andrew Gouche, mainstream recognition has been a 30-year passage. He first gained cult status with bassists via his probing, present parts on recordings for gospel music’s A-list, as well as his hugely popular residency at the Prayze Connection club in Los Angeles. But Gouche became a true underground underlord through the many web clips of his bass bravura, plus his crossover to become Chaka Khan’s musical director. Now, at long last, Andrew is claiming the spotlight with the pending late-winter/early-spring release of Andrew Gouche, his instrumental solo debut. The tentrack CD (nine of which were cut live in Seattle and augmented in the studio) is the perfect pulpit for