Eden's first endorser (and still with us more than a decade later), Al Turner is all about the groove. One of the most in-demand bassists on the R&B and Jazz circuits, Al eschews ego-building flash, preferring to nail the groove and drive the song. Yes, it's "just" meat and potatoes bass. But rather than a burger and fries, Al's tasty lines more like a Filet Mignon with Pommes Frittes. While most of the interviews I do with our endorsers are done via email and phone calls, I had the pleasure of meeting Al when he was in Chicago for a photo shoot for an upcoming ad. He may be a musical giant but he's also one of the most humble, down to earth bassists I've ever met. We'd traded emails and talked on the phone several times but this was the first time I met him face to face. And yet, picking him up at the airport, he greeted me like a long lost brother. We talked throughout the day as we drove from one appointment to another, finishing up with a liesurely working dinner. After transcribing my notes, I emailed my draft to Al for fine tuning. The result is the interview that follows. Eden: What are your current basses and what you use them for?

Eden: Do you have any other basses?

AT: I also have an assortment of Fenders and other basses. I use them only if someone requests that kind of sound.

Eden: What strings are you using?

AT: I use Ken Smith medium round stainless steel strings on all my basses.

Eden: Do you use effects?

AT: I don't use any effects live. In the studio, I use a little compression. Also, various producers I work with may want to use some type of effect (Chorus, Flange, etc.) depending up the song. But I leave those choices to them.

Eden: What's your current Eden rig?

AT: On tour I use a World Tour 800 head and (2) 4x10 XLT cabinets. In the studio I run my bass through a Navigator pre-amp. I also use the Metro combo for smaller gigs.

Eden: Why did you choose Eden?

AT: I am a pretty straight forward guy. When it comes to getting a great bass sound, be it live or in the studio, you shouldn't have to work hard. If you have to turn the tone knobs too the extreme, something is wrong.

I can plug my bass into my Eden rig and leave everything flat 99.9% of the time. It's very rare that I have to add equalization at all. If anything, I my take away an offending frequency. The cool thing is, if I do need to do any tone shaping it is very easy. The equalizer section is very musical. The combination of the tube pre-amp and solid state power section gives me the best of both worlds.

The XLT cabinets are nice and punchy. The low end is nice and clean with plenty of clarity. They work very well in all of the situations that I work in.

Eden: You've been an Eden endorser for more than a decade. Why? And did you ever consider switching?

AT: Yes, I have been an Eden endorser for more than a decade, the longest out of all of the endorsers! The reason is very simple, "If it isn't broken, don't try to fix it." Eden is a very big part of my sound. The people I work with love my sound; I love my sound. So why change? I've been approached many times by other manufactures of bass amplification. I have checked out there rigs and nothing gives the sound that Eden does. So, no, I haven't considered switching.

Eden: You said you use the Navigator in the studio. Can you tell us about the settings?

AT: Usually I start off with everything flat. If anything, I may add a little bottom and top end depending on the song. If the producer wants to mic a cabinet, I'll use one 410XLT cabinet.

Eden: How about your settings live?

AT: Again, my live settings are pretty flat. I will usually try and take away rather than add. I like my stage sound nice and clean.

Eden: How did you get started on bass?

AT: I started out playing bass when I was 12 years old. My parents bought my older brother a guitar and I wanted to play drums. They didn't want the noise of a child banging on drums in the house. So, my brother suggested that I get a bass. Shortly after getting my bass my mother started me in piano lessons. I took piano lessons for a couple of years.

My brother and I learned to play a lot of Motown songs from listening to the radio and from records that our parents had. Later we had a basement band and started playing rock and roll. Jimi Hendrix was my brother's favorite guitarist at the time so I had to learn all of the bass lines from those records.

After I graduated from high school, I played in a top forty band called Free Spirit. Anita Baker was the lead singer at the time. We did all kinds of cover tunes, everything from Rufus featuring Chaka Khan to Nancy Wilson.

Eden: Did you take formal lessons?

AT: I studied with Ralph Armstrong who was the bassist with John McLaughlin, Jean-Luc Ponty, Narada Micheal Walden and others. Also, I studied theory and harmony with a great teacher in Detroit by the name of George "Sax" Benson.

Eden: What's your philosophy of bass?

AT: I believe that, first and foremost, the bassist must have a strong groove and pocket. The bass player and drummer have to breathe together. It is all about making the song feel good.

I am from the school of respecting the music. If whole notes make the song feel good then you don't have to play a bunch of notes to show off. When people listen to you and they are bobbing there head and grooving along with you, then you're doing your job.

You know, I've got great respect for the players that can do the whole solo bass thing. But that's just not me. For me, it's all about the groove. When I pick up a bass, the only thing I want to do is make the song sound as good as it possibly can.

Eden: You've played with a wide variety of artists. Tell us about some of your favorites to work with.

AT: I have been very fortunate and blessed to perform with a lot of great artists. Some of my favorites are: Earl Klugh, Oleta Adams, Bob James, Aretha Franklin, Anita Baker, Kem and Everette Harp to name just a few. Each artist brings something different out of you.

Eden: What's your favorite style to play and why?

AT: That is a hard question to answer. I love playing good music. I grew up playing R&B and Rock, then came along Jazz and Gospel. If I had to choose a favorite style, I would have to say R&B. I love being able to play behind a vocalist and make them perform better because of the groove that I'm laying down. On the other hand I love the challenge and freedom of Jazz. So, can I have two favorite styles?

Eden: How do you approach your role as a bassist?

AT: I approach my role with simplicity first. Then I build upon that. The most important thing is to give the music what it needs. If it requires a laid back feel, then give it that. If the music is aggressive then you have to be aggressive. But it's always about serving the music - not your own ego.

Eden: What are the differences and similarities (in terms of bass and your approach) between the various styles of music you play?

AT: In every style of music that I play the main thing I strive for is a great sound. Also, I cannot over emphasize the groove and feel. The differences in terms of my approach are not that drastic. Sometimes you have to play the part just as written. Other times you have to create a part or alter an idea. When playing R&B, I get a lot of freedom when it comes to the bass part. Most of the time I have to come up with something from looking at a chord chart. On the flip side, when I work with, say, Bob James, he will have specific parts written out. Then I can add my two cents to that.

Eden: You recently released a solo record. Tell us about that.

AT: Yes, I just released my first solo project. After years of being the bass player on hundreds of records and touring the world with various artists, I decided to do my own record It's called It's Good To Have Friends. The title is fitting because a lot of my friends performed on the record. Earl Klugh, Oleta Adams, Everette Harp, Paul Jackson, Jr. are a few of the guest performers.

The songs are a mixture of Jazz and R&B with a Gospel tune to round things off. All of the tunes are original and were written or co-written by myself. My goal was to make a record that sounds good, with good songs and good production. The approach that I took was to start with a strong groove and melody. It's very important to have a strong melody. Something that people can remember.

Eden: Where did you record?

AT: I did most of the recording in my home except for some drums, vocals and sax overdubs. It was also mixed in my studio. I love being able to work at home. The clock is never a concern when you have the luxury of recording at home. It is my hope to get out and do some gigs to support the CD. Right now my schedule is pretty full, touring with four different artists.

Eden: Who are you currently working with?

AT: Kem, Oleta Adams, Earl Klugh and Bob James. Each tour is different, but all are a lot of fun.

Eden: Any learning tips for young players getting started on bass?

AT: Learn as many different styles as you can. Also, learn how to read music and take some piano lessons. Having an understanding of harmony and theory is invaluable. Then get out and play with as many people as you can. Always try and push yourself out of your comfort zone.

Eden: What advice would you offer players who want to move up to national level touring/recording?

AT: Having the professional skills is a very big part of moving into the recording and touring scenes. Also, a great attitude is a must. Being able to adjust and adapt to any situation will take you a long way. Artists like to feel confident that you have their back. They do not like a lot of unnecessary drama.

Eden: What does the future hold for you?

AT: More great Music! <laughs> Seriously, for the near future, I'm just concentrating on the tours I'm already doing. I'm really enjoying working with all of the artists I'm currently supporting and want to make sure I just keep giving them my best.

Bio / Website and Tour Dates