don ⁢Was: ⁣The Heartfelt Bassist and Producer Shaping⁢ Music’s Legacy

Born in Detroit, Don Was has ⁤collaborated with an remarkable roster of legendary musicians, including Bonnie⁢ Raitt, John Mayer, the Rolling Stones, and ⁤Willie Nelson. Despite his remarkable connections,his ideology towards ⁤music production is refreshingly straightforward.

“My⁢ goal is to play‍ with sincerity, listen attentively, maintain ⁤the ​groove, enhance ⁢the narrative, and ⁣avoid unneeded showboating,” he shares with Bass Player.

However, he‍ candidly acknowledges, “To ‍be frank, my fingers and harmonic ‌understanding have always ‍been the weakest aspects of‍ my playing. I have no delusions about being a top-tier session bassist. I don’t belong in the same conversation as legends like Jamerson, Pino, or ​Sklar.”

Yet,⁤ that doesn’t undermine his talent. “I possess a feel that sometimes fits a song perfectly,” he admits.”Brian‌ Wilson once ⁤said he ​brought me in for sessions because I sounded like a band member ⁢rather than a typical session musician. I’m comfortable with that.”

A Lifelong Passion for Music

At 73, Was shows no ​signs of slowing down. he currently serves as the President of Blue Note Records and ‌has recently formed a new ensemble, Don Was and The Pan-Detroit Ensemble. His driving principle is one he learned long ‌ago: “the true treasure lies in ⁢understanding that you ⁤simply​ need to play with soul.It’s already within you.”

Discovering‍ the Bass Guitar

What sparked your interest in the bass guitar?

It all began when ‌I saw Paul McCartney perform on the Ed Sullivan ‌Show in 1964 ⁢at the ⁣age of ⁢12. I noticed his ‌guitar had only four strings, but I was unaware of the bass’s​ role. I mistakenly thought it was just a guitar missing the high‍ B and E strings-little did I know!

In ​junior high, the best band around,​ The‍ Shy Guys, was⁣ looking for a bassist.⁤ I responded to their ad, and the band leader, Ron Lefko, came over with his guitar to audition me.⁢ He suggested we play ‍ Walk, Don’t Run. I knew the chords and played them ⁤on my guitar, carefully avoiding the B‌ and E strings.

Ron then asked me to play ⁢the bass part. I replied,”That was the bass part! I never touched the B⁤ or E string!” He‌ looked confused and kindly explained what a bass ​actually does.

Although I didn’t land the gig, I went out and bought a Framus⁣ Star Bass, similar to what Bill Wyman played, along with an Ampeg B-15, and began practicing diligently.

Musical Influences and⁤ Growth

How ⁤did your exposure to⁢ blues,jazz,and the ‌counterculture of‌ the ’60s influence your playing?

Detroit was a melting pot of musical styles. On my off nights, I played with various groups: a gypsy band, Ted Lucas’⁤ folk-rock ensemble, and even musical theatre pit bands.

Admittedly, I struggled with all three genres! But at 19, a talented jazz pianist named ⁤Lenore Paxton hired ‌me for her trio.She taught me the essentials of remembering chord changes, crafting walking⁤ bass‍ lines,⁢ and ‍locking in‌ the groove.

I spent ​a decade playing in her trio-four or five sets a night, four⁢ nights‌ a week-at a cozy bar ⁢called Bob ‘n⁢ Rob’s. ‌It was arguably the⁤ best gig I ever had.We had a blast, and she truly shaped me into a bassist.

The ⁣Allure of the ⁣Drug Scene

Did you ‍ever get involved in ⁣the drug scene?

Absolutely! ⁤The fear and self-consciousness that‌ often plague musicians can make drugs that numb those feelings incredibly ‍tempting.However, that ⁣path comes with its own​ set of ⁤challenges.

If you’re in it for the long haul,⁤ I’d suggest a lifestyle⁤ that keeps ⁢your ⁢senses open while allowing you to navigate life‌ gracefully, without endangering yourself or ‍alienating your loved ​ones.

Setting Up the Perfect Bass Rig

What did your bass rig look like as you progressed in your career?

I’ve always preferred a straightforward setup.You can’t go wrong ‍with‍ an Ampeg SVT, but ⁣in recent years, I’ve found immense joy in using a Benson‍ Gnostic. I own a couple of vintage Fenders and some exquisite​ Roger Sadowsky Jazz basses.

Recently, I’ve been playing Bill⁣ Nash’s 1963 Precision models, ‌wich bring‍ me immense satisfaction.I ⁣don’t use pedals. For double bass, I utilize David Gage pickups, but in larger venues, the warmth of the double bass ⁤often gets lost amidst the emphasis on subwoofers and bass‍ drums.

To counter this, I’ve started using⁤ an Ampeg Baby Bass or an Eminence 4-string with the Gage pickup for added ⁤clarity. In the studio, I rely on the Acme MTP-66 Motown preamp‌ as a direct box.

Collaborations with Iconic Bands

Can you share your ⁣experience working with The B-52s on Cosmic Thing ‌ and Good Stuff?

interestingly, I ⁣didn’t play ​bass on those albums! Sarah Lee handled the bass on ‍ Cosmic Thing, while Sarah, Tracy Wormworth, and Hutch Hutchinson played on Good ‌Stuff for⁢ the tracks I produced.

The sessions were quick and lively. We recorded Love Shack in a single take. Both albums were created in ​a relaxed, enjoyable environment,⁣ and you ‌can feel that energy in the recordings-listeners can hear both joy and struggle.

Ringo has an incredible swing, ⁣playing with a lyrical quality that infuses joy and personality into every bar. For bassists,he’s an absolute delight to collaborate with.

While I did play bass on Bob Dylan’s Under the Red Sky, I typically don’t play‍ on the records I‍ produce unless specifically requested. It feels ‍presumptuous ⁣to impose myself⁢ on an artist.The challenge of playing and producing is maintaining objectivity; you can easily become fixated on your​ own contributions rather than the‌ overall‌ vision.

However, Dylan has always been my idol.‍ As I was 14, I dreamed of playing bass with him. So, I made it happen.I don’t think I detracted from any songs, and we had a fantastic time ⁣recording that album.

Bob is incredibly bright, humorous, and a master at crafting⁤ records.⁤ Over the ‍years, I’ve learned from him the importance of prioritizing feel, trusting your instincts, ⁣and avoiding excessive polish.If you admire his work, rest assured your gratitude is ⁣well-founded.

Working with Iggy ‍Pop and Ringo Starr

You produced albums for Iggy Pop and Ringo Starr ⁣in the early ’90s. What was that⁢ like?

Both Ringo and Iggy are vastly​ underrated. Ringo possesses an extraordinary⁣ feel-his rhythmic swing ⁣and lyrical musicality bring joy and character to every performance. The Beatles wouldn’t have had the same cultural impact without his contributions. for bassists, playing alongside him is a true pleasure.

Iggy, conversely, is much more than the wild persona you’ve heard about. He’s a cultured, well-read, and sensitive individual-a poet ⁤in the guise⁣ of a human lightning bolt.He’s arguably the greatest frontman in rock⁤ history and a brilliant⁣ songwriter with a unique outlook. I’m proud of the two albums we created together.

Bonnie Raitt: A Soulful Collaborator

you’ve collaborated extensively with Bonnie Raitt. What’s she like?

It’s hard for me to discuss Bonnie ‌without getting emotional because I hold her in such high regard. She’s the most soulful vocalist⁣ on the planet,and to paraphrase Archie Bell,she plays guitar as beautifully as she sings. She learned ⁣from the blues greats‌ and earned their‍ complete respect.

There’s a seamless connection between her voice and guitar-one unified expression, much like⁢ Aretha Franklin with her piano or ​Willie Nelson ‍with his guitar, Trigger. I once produced a duet between Willie and Bonnie, ‌and their voices and guitars intertwined effortlessly.

Producing the Rolling Stones

What’s the story behind producing the Stones’ voodoo Lounge and Bridges to Babylon?

In ⁢1993, the Stones had just signed with Virgin Records, ⁤and the‌ label wanted them to have a producer. ​They sent me to New York City while the band was auditioning bass players at SIR.

Keith Richards revolutionized the concept of rhythm and lead guitar.The idea that he’s somewhat sloppy is a misconception.

Mick ⁤Jagger and Keith Richards approached me, both​ speaking⁣ together-neither yielding to the other! my head was spinning back and forth like I⁣ was watching a ping-pong match.

From what I⁢ gathered, Mick was outlining his expectations for a producer, while Keith was ​arguing against the need for one! This back-and-forth⁤ lasted an agonizing two minutes.

Eventually, they both paused. then Keith quipped, “Are you sure you want to be the meat in this sandwich?” I left thinking I’d never see them again.

A Surprising turn of ‍Events

What happened next?

Four days later, Keith called to apologize for his brusque ​demeanor and suggested they⁤ might actually need a producer. He wanted to work with Don Smith as the engineer for Voodoo Lounge as he‌ had done a fantastic job on his⁤ solo records with The Expensive Winos.

However, Mick preferred a neutral party behind the ⁢board, and Keith wanted⁤ me to discuss it with him. Having worked closely with Don Smith, I believed he woudl be an⁢ excellent fit for the album. I called Mick and told him that Don was ‍my‌ choice,‌ not just Keith’s.

Mick agreed, and when I informed Keith that Don Smith was on‌ board, he exclaimed, “Your‍ name isn’t Don Was-it’s don Is!” I was officially hired, and this pattern of shuttle diplomacy continued for the⁣ next 25 years!

We⁤ produced four studio albums together: Voodoo Lounge, Bridges to Babylon, A Bigger Bang, and Blue and ⁣Lonesome. Additionally, I produced several live albums, numerous new singles ‌for greatest hits compilations, and completed old tracks for deluxe reissues of ⁣ Exile on Main St. and‍ Some Girls.

Inside the Musical Genius of Don​ was: A Journey Through Collaboration and Creativity

Don ⁣Was, a celebrated⁤ bassist and producer, has had the privilege of working alongside some of ⁢the ‌most iconic names in music, including the Rolling Stones, Bonnie Raitt, and john Mayer.His approach to music is grounded in simplicity and authenticity.

“I aim to play with genuine emotion,listen intently,maintain the groove,enhance the narrative,and avoid unnecessary flamboyance,” he explains in an interview with Bass player.

Despite his impressive credentials, Was humbly admits, “If I’m being‌ truthful, ​my fingers and ⁤harmonic knowledge⁣ have always been my weak points. I don’t consider myself a session bassist on the same level as legends like Jamerson or Pino.”

Though, he recognizes his unique contribution: “I have⁤ a feel⁢ that sometimes aligns perfectly with a song. Brian Wilson once said he called me for sessions because I sounded like a‌ band member rather than a typical session musician. I’m comfortable with⁢ that.”

A Lifelong Passion for Music

At 73, Was shows no signs of‍ slowing down.He currently serves as the president of​ Blue Note Records and has recently formed a new group, Don Was and The Pan-Detroit Ensemble. His guiding principle is one he learned long ago: “The true treasure lies in understanding that you simply need​ to play ‌with soul. It’s⁢ already within you.”

Discovering the Bass Guitar

What sparked your interest in the bass guitar?

My journey began when I watched Paul McCartney‌ perform on The Ed Sullivan Show in 1964 at ‌the ‌age of 12. ‌I noticed his guitar had only four ⁣strings, but ⁣I was unaware of the bass’s role. I mistakenly ⁣thought it was just⁣ a guitar missing the high​ B and E strings-little did I‍ know!

In junior ⁣high, the best band around, The Shy Guys, was looking for a bassist. I ⁢responded to their ad, and the band leader, Ron Lefko, came ​over with his guitar to⁢ audition me. He suggested we play walk, Don’t Run. I knew the chords and played them on my guitar, carefully avoiding the B and E strings.

Ron then asked me to play the bass part.I replied, “That was the⁣ bass part! I never touched the‌ B or E string!” He looked confused and kindly explained what a bass actually does.

Although I didn’t land the gig,I went out and bought a Framus Star Bass,similar to what Bill Wyman played,along with an Ampeg B-15,and began practicing diligently.

musical Influences and Growth

How did your exposure to blues,‌ jazz, and the counterculture of the ’60s influence your playing?

Detroit was a ⁣melting pot​ of musical styles. On‌ my off‍ nights, I played with various groups: a gypsy band, Ted lucas’ folk-rock ensemble,⁣ and even musical theater pit bands.

Admittedly, I struggled ⁢with all three genres! But at 19, ⁤a ‌talented jazz‍ pianist named Lenore Paxton hired me for⁢ her⁤ trio. She taught me the essentials of remembering chord changes, crafting walking bass lines, and locking in ⁤the groove.

I spent a decade playing in her trio-four or five sets a night, four nights a week-at‍ a cozy bar called Bob ‘n rob’s. It was arguably the best gig I ever had. We had a blast, and she truly shaped me into​ a bassist.

the Allure of the Drug Scene

Did you ever get involved in the drug scene?

Absolutely! The fear and self-consciousness that often plague musicians can make drugs ⁢that numb those feelings ‌incredibly tempting. Though, that path comes with its own set of challenges.

If you’re in it for the long haul, I’d suggest a lifestyle that keeps your senses open while allowing you to navigate ⁣life gracefully,⁤ without ⁣endangering yourself or alienating your loved ones.

Setting Up ⁢the Perfect Bass Rig

What did your bass‌ rig look like as you progressed in your career?

I’ve always preferred a straightforward setup. You can’t go⁢ wrong with an ampeg SVT, but in recent‌ years, I’ve found immense joy in ⁢using a Benson Gnostic. I own ⁤a couple​ of vintage Fenders and some exquisite Roger sadowsky Jazz basses.

Recently, I’ve been playing Bill Nash’s 1963 Precision models, which bring me immense ‌satisfaction. I don’t use pedals. For double bass,I utilize David ⁣Gage pickups,but in larger venues,the warmth of the double bass frequently enough gets lost amidst the emphasis‌ on subwoofers and bass drums.

To counter this,‍ I’ve started using an Ampeg Baby Bass or an Eminence ⁤4-string with the Gage pickup for added clarity. In the studio, I rely on the Acme MTP-66 Motown preamp as a direct box.

Collaborations with Iconic Bands

Can you share your experience working with The ⁢B-52s on Cosmic Thing and Good Stuff?

Interestingly, I didn’t play bass on those albums! Sarah Lee handled ⁤the bass on Cosmic Thing, while Sarah, Tracy Wormworth, and Hutch Hutchinson played on Good Stuff ⁤for the tracks I produced.

The sessions were quick and lively. we recorded Love Shack in a single⁣ take. Both albums⁢ were created in ⁣a relaxed, enjoyable environment, and you can feel that energy in the ‍recordings-listeners can hear both ‌joy and struggle.

Ringo has an ​incredible swing, playing with a‍ lyrical quality that infuses joy and personality into every bar. For bassists,playing alongside him is a true⁤ pleasure.

While I did play bass on ‍Bob Dylan’s Under the Red Sky, I typically don’t play​ on the⁤ records I produce unless specifically requested. It feels presumptuous⁣ to impose myself on an artist. The challenge of playing and producing is maintaining ⁣objectivity; you can easily become fixated on your own contributions rather than the overall vision.

However, Dylan has always been my idol. Since I was 14, I dreamed of playing bass with him.So, I made it happen. I don’t think I ⁢detracted from any songs, and we had⁤ a fantastic time ‌recording that album.

Bob is incredibly intelligent,humorous,and a master at crafting records.​ Over the years, I’ve learned from him the importance of prioritizing feel, trusting your instincts, and avoiding excessive polish. If you admire his work, rest assured ‌your appreciation is‍ well-founded.

Working with Iggy Pop‍ and ​Ringo Starr

You produced albums for Iggy Pop and ⁤Ringo Starr in the early ⁢’90s. What was that ⁣like?

Both Ringo and Iggy are vastly underrated. Ringo possesses an‍ extraordinary feel-his rhythmic swing and lyrical musicality bring joy and character⁢ to every ‌performance. The Beatles wouldn’t have had the same cultural impact without his contributions. For bassists, playing alongside him‌ is a true pleasure.

Iggy,on the other hand,is much more than the wild persona you’ve heard about.⁢ He’s ⁣a ⁢cultured, well-read, and sensitive individual-a poet ⁣in the guise of a⁤ human lightning bolt.⁢ He’s arguably the greatest frontman ⁣in rock history and⁣ a brilliant ⁤songwriter with a unique perspective.I’m proud of ⁣the two albums we created together.

Bonnie Raitt: A Soulful Collaborator

You’ve collaborated extensively with Bonnie Raitt. ​What’s⁣ she like?

It’s hard for me to discuss bonnie without ⁣getting emotional because I hold her in such high ⁤regard. she’s ‍the most soulful vocalist on the planet, and to ​paraphrase Archie Bell, she plays guitar as beautifully as she sings. She learned ‌from the blues greats and ⁣earned ⁤their complete respect.

There’s a seamless connection between‌ her voice and guitar-one unified ⁤expression, much like Aretha Franklin with her piano or Willie Nelson with his guitar, Trigger. ⁣I once⁣ produced a‌ duet between willie and Bonnie, ‌and their voices ⁤and guitars intertwined effortlessly.

producing the Rolling Stones

What’s the story behind producing the Stones’ Voodoo lounge and Bridges to Babylon?

In 1993, the Stones had just signed ‌with Virgin Records, and the label wanted them to have a producer. They sent me to New‍ York City while ‌the band was ⁣auditioning bass⁢ players⁢ at SIR.

Keith Richards revolutionized the concept of‌ rhythm and lead guitar. The idea that he’s somewhat sloppy is a misconception.

Mick Jagger and Keith Richards approached me, both speaking simultaneously-neither yielding to the other! My head‌ was spinning back and forth like I was watching a ping-pong match.

From what⁣ I gathered, Mick was outlining his expectations for a producer, while Keith was arguing‍ against the need⁢ for one! This back-and-forth lasted an agonizing two minutes.

Eventually, they both paused. Then Keith quipped, “Are you sure you want to ‌be the meat ‍in this sandwich?” I left thinking I’d never see them again.

A Surprising Turn of events

What happened next?

Four days later, Keith called to apologize for​ his⁣ brusque demeanor and⁢ suggested they might ⁤actually need‌ a producer. He wanted to work with Don Smith as the engineer for Voodoo Lounge as he had done a fantastic job on his solo records with The Expensive Winos.

However, Mick preferred ‍a neutral party​ behind the​ board, and Keith wanted me to discuss it ⁤with him. Having worked closely with Don Smith, ⁢I⁢ believed he ‌would be an excellent fit for the ‍album. I called⁢ Mick and ‌told him that Don was ‍my choice, not just Keith’s.

Mick agreed, and when I informed keith that Don Smith was on board, he ​exclaimed, “your name isn’t Don​ Was-it’s don Is!” I was​ officially hired, and this pattern of shuttle diplomacy continued for the next 25 years!

We produced ‌four studio albums together: Voodoo Lounge, Bridges to Babylon, A⁤ Bigger bang, and Blue and Lonesome. Additionally, I ⁢produced several live albums, numerous new ‍singles for greatest ‌hits compilations, and completed old tracks for deluxe reissues of Exile on Main St. ⁤ and Some Girls.

Don Was: The Multifaceted Musician Blending Bass and Production

Don Was, a renowned⁤ bassist and producer, has seamlessly intertwined his roles in the music industry, collaborating with legends like the Rolling Stones, Bob Dylan, and the black Crowes. His approach to​ music is deeply rooted in authenticity and emotional connection.

“Everything I do feels interconnected,including my role⁤ as the‌ president of a record label.​ My aim is to help create music ‌that resonates with people, allowing them to navigate their lives amidst the chaos and confusion of the world,” he shares.

“At the very least, I want to provide a moment of solace for three and a half minutes. that’s the essence of our purpose.”

Looking Ahead: New Ventures and Musical Growth

I feel invigorated like a child, and my intention is to continue evolving and creating until I can ⁢no longer ‍do so.

Recently, Was ⁢launched‌ his new ensemble, don Was and The Pan-Detroit Ensemble, which debuted their first album, Groove in the Face of adversity, ⁢in‍ October. This nine-member soul-jazz group hails from Detroit and aims to capture⁤ the raw,⁤ heartfelt musical traditions of their city.

With an extensive tour planned for ⁢2026, the band​ is also in the‌ process of recording a new album. As Was enters his ‍15th year as president of Blue Note Records, he boasts the most robust release schedule in ⁤the⁢ label’s history.

On the production front, he has several exciting projects lined up, though he prefers to ‍keep details under wraps until they are finalized. “I ‌may be 73, but I feel⁤ as energized as ever, and ‌my goal is to keep pushing⁣ forward and growing until the end,” he concludes.