Often referred to as a "bass player's bass player", Steve Cook is well-known in Nashville for his tasty grooves, endless energy and uncompromising professionalism. Currently on the road with hot new Country star Trent Tomlinson, Steve has worked with a myriad of artists in a wide array of styles. Regardless of the style of music, he creates a solid foundation that enables those with whom he works to sound their best. (For more, read Steve's bio.)

I first met Steve in July, 2005 at the summer NAMM show in Indianapolis. By the end of the show, Steve had agreed to write a monthly column - Band 101 - for our web site. Building on a series of columns he wrote for syndication, Band 101 is Steve's way of giving back to the musical community in general, and other bass players specifically. Over the last year, numerous Edenites have asked me to inerview Steve so they could learn more about him.

Following my normal method, this interview was conducted mostly via email with several phone calls to ensure accuracy. Throughout the process, Steve was a pleasure to work with, displaying an engaging sense of humor and undying patience.

Eden: What basses are you currently using?

SC: The Warwick Streamer Stage II is my live weapon of choice. It's a solid and extremely versatile bass that I've used on everything from hard rock to R&B to country. I have several Warwicks, and they are all fantastic. The studio is a different story, however, because usually it's the producer who picks the instruments, and right now they are all leaning towards the vintage Fenders. The last record I did I used a '75 P for most of the tracking, but I changed it up a little on them and used the Warwick on one track, and even got to sneak in my Kydd upright on a bridge, so being a bass chameleon really helps in the studio.

Eden: What effects are you using?

SC: I'm pretty simple when it comes to effects. I use the Tech 21 Sansamp for a little beef on the signal from time to time. I also use it in the studio when necessary. I'm also running a Visual Sounds H20 Chorus and Aphex bass exciter pedal. I recently added a T-Rex Bass juice for about 2 measures a show. If I use it more than that, I may get fired. <laughs>

Eden: What strings are you using?

SC: I've been using the SR2000 Will Lee strings from Dean Markley for about 8 years, and they've been fantastic.

Eden: Describe your current rig.

SC: I've been through a couple of rigs, starting with the WT-600 back in the day, then I went to the WT-1000/Navigator combo, which was amazing! Now I run the WT-800 and 2 410XLT's. I used them at different stages of my sound, my approach, and my amount of road crew. <laughs>

Eden: Why Eden?

SC: I was on the road, and we stopped in a music store in Nashville back in 1997, and I heard this new amp that blew me away. I went to the equipment trailer and pulled my SWR head out of the rack and traded it in on the spot. Of course, I was in an indie touring band and broke, but Visa came in handy that day, and I have been a changed bass player ever since.

That Eden amp was like nothing that I have ever heard. As I said earlier, I have a simple approach - plug and play. I'm no gear head, so if an amp has this bell or that whistle, it really doesn't matter to me. It may look pretty and have more on board features than the space shuttle, but it needs to sound good, and that's what Eden does, day in and day out.

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

SC: I have used the rig on demos from time to time, but generally I run direct when I record. I like to track in the control room, and for some reason the producers won't let me set up the rig next to the console. <laughs>

Eden: Can you give us a run-down on your amp settings?

SC: I knew you were going to ask this, and I can't tell you exact settings for everything, but I'll give it the ol' college try. <laughs> I'll keep the Enhance somewhere around 10 or 11 o'clock, and the EQ is pretty flat, with about a 12:30 setting on the bass frequency. Early on, Eden reminded me that the amp is used to amplify the signal. Very basic concept, right? People lose sight of that and do waaaay too much tweaking. Have a good signal coming in, and you'll have a good signal coming out. Let the amp do its job. That's why I leave everything almost flat.

Eden: How did you get started in music?

SC: My mother's side of the family is Italian, so all they do is play music and eat. I swear there was always a violin or accordion or piano being played at the family gatherings. So old school. There was always a piano in our house, so I would mess around on that, but nothing serious. I took up violin at age 8, then alto saxophone at age 11. Around age 12 I picked up my Mom's acoustic and started strumming. That began my love for the feel of strings under my fingers.

Eden: What made you decide to switch to bass?

SC: I started on bass for a couple of reasons. I knew I wanted to start something - my uncle was a fantastic guitar player, and seeing him play made me want to follow in his footsteps. At the same time, my best friend was playing drums and suggested I take up bass. He told me there weren't enough bass players around, and that I should get one. It was really that simple.

Eden: OK, you made the decision to move to bass. What happened next?

SC: I asked my Mom to take me to a pawn shop, gathered my lawn-mowing money and I bought a bass for $100. It was a Les Paul copy, and probably sounded awful. I took lessons for about 3 weeks, and was mad because the instructor was teaching me walking lines and Bach. I wanted to learn every song by the Police and The Clash.

Eden: How soon after taking up the bass did you get into your first band?

SC: My first band was in Jr high, and we played two gigs and broke up. I was in bands all through high school and started playing clubs at age 17 with permission from my parents. My parents were very supportive of me playing, but I was in a rebellious stage as well, not wanting to work, just wanting to play, and trying to blow off responsibilities at home.

I grew a fantastic mullet (I swear it was cool back then), and wanted to rock the world. <laughs> My problem was that I knew nothing of the world, and without getting to college, I would have been lost in this world. You never, ever see it at the time, but your parents are right. Looking back, I feel stupid having parents that were behind me, and not respecting the situation. I know that's a little deep and off the subject, but it all ties in. Mom & Dad got me started, and continue to support me.

Eden: What's your philosophy of bass?

SC: Bass is truly the best instrument on stage. (Was that out loud?) We have a tremendous power in our hands, with the ability to make or break any song. Our job is to keep the groove, in whatever style of music. If it's a 32nd-note groove, so be it, just play it like you mean it.

Eden: Who were your influences? Why?

SC: Early on, like I said, my Uncle was a huge influence on me - not necessarily musically, although he was amazing. It was more that I knew I wanted to be onstage. For the longest time, I just wanted to be Sting. I played along with the radio, too, but didn't really understand my role as a bass player until I started playing jazz in college. I got a severe musical beating when I got in there and started really playing, really studying. The instructor was amazing, and for four years I was pushed to be better, so he was a huge influence.

Then I heard Victor Wooten, and like so many players, respected and revered where he took bass. I love Rocco [Prestia] as well. I am shameful to say this, but only in the last 2 years have I really studied Jamerson and Babbit and what they did (and continue) to do for bass. I'll say this here but not to his face, but Nashville bass player (and Eden endorser) John Billings is one of my favorite bass players, and I love, love, LOVE to watch him and try and steal a lick or two. I feel that anybody can inspire, so I keep my ears open for every kind of music, and always listen to what others are up to.

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

SC: I don't think I have a favorite style to play. I honestly can play just about anything with equal fervor, it's just a matter of the groove with others. I'll sit on Beer Barrel Polka for an hour if the groove is tight!

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

SC: I like to think of the bassist role as a really good offensive lineman in the NFL. We block for the QB's and running backs so they can do their thing and look good. They get the glory, and we survive generally going unnoticed. It's all about being the support- the vital piece that holds it all together. I also like to keep things very simple. Hold it all together for everybody else.

Eden: What are the differences and similarities between the various styles you play?

SC: Well, really the only similarities are that we are using the standard 12-note chromatic scale. (Those Chinese quarter-tone gigs were killing me! <laughs>). Groove-wise the differences are that the R&B feel isn't going to work at the country gig, and vice versa.

The real similarity in all the styles is that I lock in first, then stretch a little when (or if) it's time. I think a lot of bass players lose focus on the role, so being solid is my first order of business. Musically, if it is solo time, I love to use jazz licks in other genres, as well as use, say country licks in jazz. Keeps it all fresh.

Eden: Tell me about the acts you've been working with lately.

SC: Hmmm…did I sign a confidentiality agreement? I can't remember. Working with Patrick Davis has been amazing. He is very talented, and his songs are always fun to play. His stock is rising fast in the country world, so sometimes we would find ourselves on stage joined by Big Kenny (Big & Rich), or Pat Green. Patrick respects and cherishes the musicians who help in his musical quest.

Sarah Bettens (from K's Choice) is an absolute sweetheart, and a joy to perform with. Sam Fisher was also a great hang. I was his band leader, so it was cool to get into the arranging side of his music.

Hootie & the Blowfish- still a bunch of college kids. I have known them for years, and they are still amazing. They get zero love in the musical community, which stinks. They are still doing it, 18 years later, and their critics are working fast food.

Sister Hazel - just good, good people. They make me feel at home and much more than a 'sub'. It's like seeing family. That is so important on so many levels. I'll update you on Trent Tomlinson later this summer after the tour gets rolling.

Eden: You're currently touring with Trent Tomlinson. How's that going?

SC: When in Nashville, it is inevitable that you are going to play a country gig. Well, I couldn't have asked for a better one. Trent is an outstanding artist, writer, and personality, and it all comes through on stage. The show is a 'country' show, but the music is really straight-ahead rock. The band is made up of very talented musicians, and I love being on stage and on the road with them all. The shows we have been doing have been huge as well. Recently, we did a festival in Michigan for 50,000 people, but generally at the festivals we're looking out over 10,000 people or so, which is always a rush. We are in the middle of a very busy summer schedule, and it's only getting busier.

Eden: How are live playing and studio work different?

SC: The tape doesn't lie in the studio. You really have to be on your game, and think of nuances that you don't really consider live. Nobody can hear the string noise in front of 10,000 people, but your producer can find it under a snail's behind in the studio. You also need to know that less is more. Less notes = more work. Really. Having good tone for the studio is important. Leave all the pedals at home. Bring the tone.

Eden: Do you record while your on the road? Why? And How?

SC: I used to drag a Boss BR-8 on the road, and a couple of decent things came out of it, but really I haven't tracked much lately while being out. Mostly because of scheduling. I am always writing in my head, and then getting the ideas down when I get home. I am changing it up a bit right now, though. I just picked up Mackie's Tracktion 2 software, and that will be with me on this summer run. I have a very talented group of musicians out, so why not get a couple of things done?

Now if you are talking about recording shows, then yes, the bandleader records about 80% of the shows so we can listen and learn later. He runs it all through his laptop.

Eden: Any learning tips for young players?

SC: Here's my order of advice. Finish college. First and foremost, without question. I know you are going to be a rock star. I know you are going to be rich and famous. BUT - you must finish your education. Take everything away, and we have family and what we have learned. Second - take your time. Get really good tone one note at a time, very slowly. Run the scales or your bass lines with no mistakes, no buzzing. Third - have fun. Express yourself, and don't make it like work. I get excited 22 years later every time I pick up a bass. 3 Simple steps - learn, get tone, and smile.

Eden: Advice for players wanting to move up to national level touring?

SC: Moving up to the next level is such a crapshoot sometimes. Playing-wise of course, you need to be together, but you also have to be rounded in other areas. You need to be easy to deal with, on time to everything, have a good appearance and reliable gear. You also have to network. You have to find the hangouts in town or the coffee shops where musicians go. Keeping an ear out for everything is key. Also, a trick I learned is if you know somebody at SIR or another rehearsal hall, they know when artists have booked rooms for auditions. Don't be scared to ask questions. But you also have to get out there, always looking, and always talking to people. Being a good guy helps, because nobody wants problems on the road. Be nice, and play well. Maybe I should have said that first…

Eden: Describe an average day on tour.

SC: If you are in the van & trailer, first you have to figure out where you are going, which one draws the short straw to drive, and who is going to navigate. Typically it's load in and play, with smatterings of fast food in between. You load your own gear, and stay in a 'cost-effective' motel.

On the next level, you have a bus call, which is what time the bus rolls out, you play video games and watch movies and sleep until you arrive at the venue. Then you roll out of your bunk sometime, soundcheck, play a rock show, and figure out when the bus rolls out and where you have time to go that night.

If we arrive in a town in the morning of a show day, I like to take in the sights - the beach, golf, or points of interest in that town. I also try and find the local favorite restaurant. I feel very lucky to be out, so I try and take advantage of what each town has to offer. Oh yeah, there's vintage guitar shopping - always!

Eden: How do you fill your time when you're home?

SC: I just bought a sailboat, and believe it or not we do have some water here in Nashville so I get to take her out a little bit. I also handle a mean wok, and my grill is always going. I realized recently that my job and my passions were one and the same, so I had to find other outlets for my down time. I wasn't finding the creativity flowing, and you can't force the creative process. You need to take a break sometime. I am also a huge baseball fan, so I am constantly at the AAA games here in town.

Eden: One other thing. You also do some writing for various magazines and, of course, for our web site. How does this fit in with the rest of your career?

SC: I really enjoy writing about my experiences, and if somebody reads my column and learns from my mistakes, then my job is done. I love talking with people about shows, touring and music in general, but I only offer advice when asked. I like having information 'available', but not forced on anybody. That's why writing for Eden's website is such a big deal for me. It's there if somebody needs it. As far as being a part of my career, it's running parallel. As I learn more (and I am everyday), then I write more. As long as somebody is reading, I'll keep writing. I have tossed around the idea of writing a full book, and that still may happen. The beauty is that I can write it on the bus. <laughs>

Eden: Anything I haven't asked that you want to talk about?

SC: I like to be a positive person, and too many times I see people get down on themselves for an apparent 'lack of success'. You cannot, cannot gauge your success by someone else's. You need to do what you do, and do it the best you can. If you don't get the gig, there are others. If your record didn't sell, then do another. You can't stop trying. Don't wake up and wish you would have done something sooner. Play every note like it's your last, and love every minute you are alive.

Eden: What does the future hold for you?

SC: Well, in the next 12 hours, I have to run some errands, pack, and the bus rolls out at midnight. Were you asking about past today? Ahh, well, I have a rock band, Midajo, (pronounced My-Dah-Joe), and our first record is about to be pressed. I am very happy with it, and we'll probably do some shows around Nashville when I am off the road. I am also writing with a few people in town, so hopefully a country artist will pick up a song or two in the near future. I am looking forward to a summer of sailing and music. I'm also very hopeful that I'll get some of my own music recorded this year.

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