Nashville bassist Abe White has toured, performed or recorded with an amazing array of artists, including Larry Carlton, Hal Ketchum, Acoustic Alchemy, The Neville Brothers, Zak Wylde and many more. Currently the bassist for Arista recording artist Keith Anderson, who has been hailed as Arista Records' newest star, Abe is one of the most sought after bassists on the Nashville scene. A very in-demand bassist, Abe tours extensively around the world. When in Nashville he's busy doing studio work and can be seen performing at the Grand Ole Opry. When not touring or showcasing with other artists, White plays with his Rock band Cold Truth. The band's critically acclaimed debut CD landed at number 3 of the top 5 rock albums in Germany in 2004. Many European music critics have named them the premiere new Rock Band out of the United States. The following interview is the result of several phone calls with Abe, which he was kind enough to fit into an already busy schedule. We caught up with him just as Keith Anderson's debut, 3 Chord Country and American Rock and Roll, was released (in May, 2005) and the band was starting a massive touring effort. Abe and Keith have plans to tour in support of the album for the rest of 2005 and most of 2006.

Eden: What basses are you currently using?

AW: My main bass is a 90s Jazz. I also use a P-Bass, but it's strung B-D.

Eden: Do you prefer using the lower strung P to using a 5-string?

AW: Yeah, it's just more comfortable for me to switch between two 4-string instruments than to go back and forth from four to five.

Eden: Is there any difficulty in transitioning from one to the other?

AW: No, the transition is OK. As far as they way it feels, the more you do it, the more you get used to it. Each bass sounds different, that's for certain. If I want a real vintage sound, I use the P; the Jazz has a much more modern tone.

Eden: Are there any modifications on either of them?

AW: The Jazz has passive Bartolinis, but otherwise, they're both stock

Eden: Are you using any other basses?

AW: Not right now. I have a Jazz fretless at home, but on the road, I only use my two main basses.

Eden: Do you use any effects?

AW: None. I used to use basic chorus, flange, but I just don't need them anymore. Lately, I've been thinking about an octave pedal; I really like the sound of them. If I ever get anything that'll probably be the first thing I get. But I'm still very much undecided.

Eden: Why did you stop using effects?

AW: I just like getting the pure tone out of the instrument. I kind of evolved back to basic, good tone. That's how I started. Over time, I started using effects on sessions. At one time, it was very popular to use effects in the studio - flange, chorus, delay - so I used them. But the song dictates what tone you use. And what I've been doing lately calls for pure tone. It's more of a "rootsy" kind of vibe, more authentic.

Eden: What strings do you use?:

AW: I've endorsed Dean Markely strings for a long time and love them. Right now, I'm using their Misfits for standard tuning. They're a little larger - .106-.46 - and have a better tone. For the low tuning I use .128-.65. They're all Roundwounds. I do love the flatwound sound, but haven't used them in a while. Back when I was playing mostly blues, I used them a lot, though.

Eden: What are you using for amplification?

AW: I use Eden's WT-800 with D-410XLT and D- 210XLT cabinets. I use them in different combinations depending on the gig. A lot of time I'll just use the 410 bridged. In smaller gigs I use just the 210. On larger stages, I'll stack them. Lately, when I use both cabinets, I've been biamping, which I really like. Lately, I've been thinking that, at some point, I may have to add a couple more cabs. That's mainly because of my work with Keith Anderson. We're doing some really big stages, and I'd like to have the extra volume and headroom.

Eden: Do you use your rig in the studio.?

AW: All the time. I use the DI out of the back of the WT800 and mix that with a mic on the cabinet. Normally, I set the DI around 10 o'clock. I really try to stay away from direct boxes because the Eden DI sounds so good.

Eden: What are your amp settings live and in the studio?

AW: As far as the tone controls go, I go as flat as you can possible get. I use the Enhance more than anything. Anywhere from ten to two. When it bumps past 12, that's where I can really hear the difference…great lows. If I bump anything in the EQ, I'll bump 200-300 just a very tad, or the low end just a click.

Eden: You dial in more Enhance than most users.

AW: <laughs> I'm a low-end junkie! I love a big massive low end. And the Enhance really helps me dial in what I want to hear. People tell me all the time that my sound is nice and full. It's got to be tight, though, not loose like some other amps I could name. My Eden rig can give me tons of low end and keep it nice and tight.

Eden: Can you tell us a little about how you got started on the bass?

AW: When I first started playing, I was self taught. Later on, I studied under Lamont Johnson. He's just a phenomenal player and a great teacher. He really got me disciplined, got me interested in studying music. I figured it was time to start getting serious and he definitely helped me do that.

When I first moved to Nashville, I met Roy Vogt [another Eden endorser - ed.]. He'd just come to town after getting his Master's degree from the University of Miami. After talking with him at length, I decided to go to Miami and study, sort follow in his footsteps, so to speak?

When I got there, I found that it was going to be way too expensive for me, so I ended up not enrolling. I did get to study with Ray Peterson while I was down there, though. Ray was one of Jaco's [Pastorius - ed.] and he's a monster player in his own right. I learned a lot from him.

Eden: Let's talk about the Bass's role in music. What's your philosophy of bass?

AW: To me, the role of the bass is whatever you want it to be, whatever the particular group needs. From fundamental, meat and potatoes approach, to more complex lines; it's whatever the situation calls for.

I don't really have a set way of playing, nothing preconceived. I try to play off what others are doing, especially the drummer. I think all bassists need a very keen sense of what the drummer is doing. But, oddly enough, the drums are the last thing I think about. It's just so natural that I do it naturally. That leaves me open to play off of others in the band. For instance, I love to play off the vocals, to play lyrically.

Eden: Can you expand on that?

AW: I'm a big believer that pure music starts with the voice, with the vocals. I think anyone who can make their instrument more vocal-like in approach, that's when you're playing real music. Even with more traditional stuff, I can find the room to be more lyrical. Of course, you don't' want to overplay, but you can still do interesting things.

Once we get into the instrument, a lot of us get into speed and flash. But if you were a painter, you wouldn't just throw paint at a canvas. It's got to be tasteful. And everyone has their own idea of that. Personally, I try not to be repetitive, to not always play the same thing over and over. Even when I'm playing a very simple line, I'll add a little touch here and there. Sometimes, just a note or two added in here and there can add a lot to a line.

Also, by using things like vibrato, and how you approach each note, you can make it very vocal. Some guys are more about percussive, more rhythmic. That can be cool, too. But my favorite is to be as melodic as possible. Even when you're playing basic stuff, you can still attack the notes differently. The way you slide into or out of a note, the note's duration, accents, how you create motion, how you create energy create energy - those are the subtle things that you learn over the years of playing that make you more lyrical.

Eden: What's your favorite style of music to play and why? AW: I don't know if I have a single favorite. However, it seems that every thing I like has an element of blues to it. My favorite rock, jazz and funk stuff - there's still an element of blues to it. It's all about phrasing, where you drop it in the pocket, the way you make a statement in your lines. It goes back to that whole lyrical approach. It's not just what you play; it's how you play it, where you drop it in the cracks. You can take the simplest line and you can play it so many different ways. I firmly believe that's the key - knowing where to bring it in. Eden: How do you approach your role as a bassist? AW: As a bass player, it's your job to make sure you're holding down the foundation, making the music happen. The bass can make or break a band, and you have to bring everything together. It's about attitude. Like a lot of guys, I'm a perfectionist, and I'm seldom happy, seldom meet my goals. That keeps me motivated to do even better, you know? I want to lay down as solid a line as possible. To me, that's the most important goal for a bass player. I want to be solid first. Then I want to be as tasty and musical as possible. There's a difference between playing music and being musical. There isn't much you need to learn to be able to play a song. It's about the quality, the timbre of the musical tones. Sometimes you get the magic. Eden: In your opinion, what are the differences and similarities between rock, blues and country? AW: Rhythmically, maybe sonically, there's a little difference. Country doesn't have a lot of distorted guitars and the drums more organic than Rock. In traditional blues, it's more organic. So they're all a bit different. But you know what? If you strip the sound away, it's all the same. Eden: So the way you play doesn't change much depending on the style of music? AW: No, not really. Especially today, with the way some of the Country stuff sounds. But I always sound like me. We can all learn a line but we're each going to play it different. My musical style, my personality, if you will, is different than yours. So even though we might play exactly the same notes in the same order, we're going to each sound like ourselves. And I think that's the way it should be. I have a lot of respect for so many players here in Nashville, but I still don't want to sound like them. I want to sound like me.

Eden: How did you come to move to Nashville?

AW: I didn't. <laughs> I was actually raised near Nashville. I started playing when I was 16. After high school, my first gig was in a rock band in Detroit. I was there about five years. I began to realize I wanted to keep doing this, and wanted to explore and learn my craft. I wanted to seek out instruction and hang out with better players. So I came back to Nashville and then went to Miami intending to study.

Eden: What specific things did you study?

AW: I really got into chord composition and how the bass fits into that. I used to do a lot of classical exercises, cello etudes and such. Then I went through my Charlie Parker days. I ended up combining both of those with my Blues background to develop my own style.

I went through a phase where I transcribed a lot of guitar and sax solos; I got to where I could play over changes and all that. But after a while, I wanted to be able to play what I heard in life. So I started listening to how someone talks and copped phrasing from that.

I got to the point where I wanted to create my own stuff, not just play what others did. So I started looking within myself, and started working on ways to incorporate what I'd learned from my studies into my Blues background in such a way that it was my own personal style.

Eden: In Nashville, there used to be a strong line between working in the studios and working on the road? Is it still the same way? And if so, how do you manage to do both?

AW: There's a lot of guys that just won't go on the road for whatever reason - family, whatever. One of my great friends does a ton of studio work. He's been offered great tours but he just doesn't want to do them. Glenn Worf does a ton of work in town, but he took a gig with Mark Knopfler. There's others doing both now. I would think probably it's more of a personal thing. I think that some are afraid that they'll lose their contacts.

Eden: How do you feel about the whole live or studio thing?

AW: I love live playing and I always will. At same time, I love the studio, love making records with people. It does take some juggling though. You have to be good at coordinating your time. Right now, I'm on the road with Keith and we get new dates all the time. But I'm also starting to work on the new Cold Truth CD. You have to be flexible.

Eden: Let's talk about your work with Keith Anderson. How did you get hooked up with him?

AW: I met Keith through my friend Dave Lemmonds, who plays drums for Keith. I met Dave when he came to town; we were both hired to work for an artist. We kept in touch and when Hal Ketcham asked me to help put a band together for him, I thought of Dave. So we worked together again. Dave knew Keith from before, and when Keith asked him to work with him, Dave asked me if I was interested.

Eden: I know the CD just came out. How's it doing?

AW: It was released in May, and sold almost 20,000 units in the first week. It came very close to breaking the record for first release by a new artist. Right now it's 12 or 13 in the country. The reviews has been really great, very positive. Keith has amazing songs and he's an incredibly talented performer. He writes or co-writes everything we do. His songs are easy crossovers to the Rock fans.

Eden: How's the band?

AW: Oh, man, they're great! It has incredible chemistry and energy. I'm having the time of my life playing with these guys.

Eden: So what's coming up for you guys?

AW: We're going to be doing dates with Tom Petty and the Black Crowes. We're also going to be doing some dates on the ZZ Top tour. That's the rock side of our schedule. We're also going to do some dates Tim McGraw and Rascal Flats, and a few dates with Alan Jackson. It's the kind of band that can go either way. It's really a rock band disguised as a country band. <laughs>

Eden: You also have your own project, Cold Truth. Tell me all about that, including how well the record did in Europe, did you tour behind it? And the new CD coming out.

AW: Well, we didn't even release in US. We did it independently and someone in Europe got a hold of it and wrote this great review. Next thing you know, we've got calls from all over Europe for distribution deals and magazines calling for interviews and such. The reviews were all very positive. We ended up in the top 5 rock albums in Germany, actually placed #3. For what we're doing, the market seems to be more in Europe.

Eden: Why do you say that? AW: Cold Truth is kind of a throwback, a 70s classic, Blues/Rock sound. It would be nice if we could do something over here, but Europe is where its at lately. On the other hand, our singer has been working with Ed King and Artemus Pyle [from Lynyrd Skynyrd - ed.] in their new band so maybe that will help get us some exposure. Eden: Who else are you currently working with? AW: No one really. I'm pretty much just concentrating on these two projects and they keep me busy. The past five or six years, I ran myself ragged. I loved it, but it got to be a lot. So I'm just sticking with these two and it's more than enough. I've finally gotten to the point in my career that I'm in a place where I'm playing with guys I love to play with and hang with. And I'm staying more than busy enough with just these two projects. Eden: Any learning tips for young players? AW: Listen as much as possible. Don't limit to one kind of music, and don't just listen to bass. The more you can develop your listening, the better musician you'll be. It may sound generic, but it's true. You'd be surprised how many people just don't listen well enough. Learning to listen teaches you how to play off what others are doing. Of course, being technically proficient is important as it allows you to be more creative.

Eden: Any advice for players wanting to move up to national-level touring?

AW: You have to be able to get along, obviously. Getting along is crucial. If you can't get along with the people you're working with, no one is going to want to work with you no matter how great you are on the instrument.

You also have to be a great player to get to that level. So it's important to put the time in to hone your skills Also, get your gear together and make sure your sound is always the best it can be.

Surround yourself with positive people. Ultimately, your playing is a reflection of how you feel. When you're around people you like being around, it's going to show in your playing. Musicians are like conduits. What comes in, comes out in your playing. In order to perform at your optimum you have to have good stuff around you.

You're performing for people and you have to have a passion for it. When you're out there playing and performing in front of thousands of people, you have to be aware of that and keep your focus outside yourself. Be able to take yourself out of the equation. If you're too wrapped up in your own little thing, you miss the big picture. I think it's a skill that comes with experience for many of us.

Eden: Advice for players wanting to come to Nashville?

AW: If you go to any big music town, get out and be seen as much as possible. If you're good and people like you, you'll get work. Nashville has some really great players, so you have to be really good, and you have to be someone people enjoy working with. It's important to network. I meet people all the time. I'm always looking for someone I can give work to. I only have a few people I'm comfortable calling because I know they can do the job right. So if you have the skills and network, I don't think you'll have any problem getting work

Eden: What does the future hold for you?

AW: I tell you what - it's just crazy right now. We're so busy with Keith and the response has been so amazing. I think we'll be working a lot over the next couple of years. As long as we stay healthy, it looks like it's going to be a lot of fun.

Right now we're in a transition stage. When you first go on the road, you're always tweaking stuff. It takes a while to get things to run as smoothly as possible. Anyone that's been on a major tour can tell you it takes a bit to work out the bugs.

So, for now, I'm going to concentrate on working with everyone else to make sure the tour does as well as we can possibly make it. And I'm going to try to stay healthy and focused. That's my future for now. And it's all I could ever ask for.

Abe's Bio

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