Washington, DC native Terrence Richburg is one of the most in-demand bassists on the Christian Contemporary music scene. In addition to his work as a bassist, he's served as Musical Director for numerous shows and has written, produced and performed music for videos and jingles for national clients, including Marriott. His long list of musical clients includes Vanessa R. Williams, Richard Smallwood & Vision, Maurette Brown Clark, Marcus Johnson and dozens more. As if that's not enough, Terrence also runs his own label, Richescape Music, and has his own band, R&R, with saxophonist Howard Riley. In addition, he's working on a new solo CD. The following interview was conducting via email. Even though Terrence has an exceedingly busy schedule, he was kind enough to answer all my questions quickly and thoroughly. His dedication to his instrument and to his faith shined through brightly; it was a pleasure to work with him. Eden: What basses do you use? TR: My Conklin 7-String is my main bass and kind of my signature bass in the industry for my sound and the style I play. I use it for everything from live performance, to recording, to teaching--right now it's the bass with which I feel the most flexibility to play and express myself musically. With the onboard parametric EQ, I can dial up virtually any sound I want, including a very convincing "upright" acoustic (using my muting technique).

Other basses in my toolbox include a 6-String Tobias (signature), a 6-String DR Heartfield (fretless), a 5-String Hamer, and a 4-String Fender Precision (fretless), which is actually my first professional bass. (Yes, I still have it.) All of these additional basses I use mainly for recording, back-ups and, of course, part of my small collection. I'm currently working on the design specs for a new custom Conklin 8-String signature bass just for me.

Eden: How will this new bass be strung? Will it have a low F# string?

TR: I normally string all my basses in standard 4ths with an occasional detune. With the 8-String, I seriously considered stringing it with a high Bb, but what I really want to add to my tonal range is the low F# to handle those super low, sub-woofer busting notes normally associated with a bass synthesizer. As a bassist I feel the need and desire to deliver anything the music requires, from top to bottom. Musicians and lay audiences alike who hear me play already mistake the high notes and chords from the F string as coming from the lead guitarist they can't see on stage, so I think the upper range is pretty much covered-at least for now.

Eden: What strings do you use?

TR: I use the Dean Markley SR-2000 6-String (Light Gauge) set along with a Ken Smith Bass Burner "20" for the 7-String high "F" string. I've found them to have a great sound (warm and yet bright) and are extremely reliable and durable.

Eden: Do you use effects? If so, what are they?

TR: For effects I currently use the Boss GT-6B Bass Effects Processor. I like it mainly for octave, chorus, delay and some reverb sounds. It gives me a pretty clean sound with a commanding presence. I can also do some looping with it to solo over top, which is cool for stretching my imagination.

Eden: Do you use the looping feature live, or is it more for personal practice?

TR: The looping feature is something in the experimental stage for me right now, so it's not something I want to pull out just yet for live performance-so during practice it works just fine. I'm also having so much fun with audiences playing with the other techniques I use that when I do fire up the "loop thing" I really want it to incorporate everything and present a whole new level of use than what I've seen typically with other players.

Eden: What led you to choose Eden gear?

TR: The first time I got turned on to Eden was the same time I got introduced to the 7-String bass--through another bass player friend of mine. I was encouraged by him to try out the Navigator Preamp, which worked perfectly with the 7-String. It provided so many features and options, which is right up my alley. I liked the idea of freedom to express my music both in the context of tone and sound with which it was conceived, but also with optional flexibility to experiment with new sound parameters and flavors which have become available at my fingertips, literally. I got introduced to Eden speakers through another bass player friend who I saw and heard fill up a room with just a little 210 cabinet. I knew right then and there I would have to replace my system with a complete Eden system to have full advantage at my disposal with both ultimate power and ultimate tone.

Eden: So you're using the Navigator preamp. What speakers are you using?

TR: I'm currently using the Navigator preamp and have been for years-a great piece of gear, while also incorporating both the 210 and 410 Eden speaker cabinets. The 410 alone is a monster giving unbelievable tone and frequency response, but adding the 210 to it takes the experience to the ultimate level.

Eden: You also have a DC210XLT Metro. What do you use that for?

TR: When I'm not using my main Eden rig, I use the 210 Metro mostly for rehearsals and for gigs in smaller rooms that can't handle the power and depth of the larger rig. Interestingly enough, the Metro delivers a similar punch and I can't turn it up much above 2 or 3 on the volume dial before I start getting the feeling that I'm too loud for the crowd. However, the Metro still delivers the same great tone and depth.

Eden: Do you use your rig in the studio?

TR: Occasionally I do use the Eden rig in the studio to get the same sound I get live. Normally, I record in stereo and blend the rig sound with the direct to get the best of both worlds. It normally works out great--especially if the rig is kickin' in a nice room.

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

TR: Since my 7-string EQ is pretty comprehensive, amp settings in the studio are pretty flat except for some minor lows, low mids and presence. I really don't like to add anything much to the natural sound of my bass while recording so that, if necessary, I can add some sweetness later. However, with the unique clean sound of Eden's speakers, just that sound alone is a great addition to what I can achieve in the studio.

Eden: How did you get started on bass?

TR: I grew up in a musical household, so getting started in music was a natural progression. My Mom, Dad and Uncle already had a recording career in Gospel Music, my Aunt in Jazz, and my older brother knocking on the door, too. They all paved the way for me. The house was always filled with some kind of music going on--singing, playing and listening to LPs (at that time) of all styles of music from gospel to jazz--classical to R&B.

Eden: Was bass your first instrument?

TR: No. I started with piano (which I consider my foundation) with my Mom and Dad as teachers, but I quickly gravitated to other instruments, acoustic guitar being the next instrument. After learning how to play it as a guitar along side my brother, Dehrric, I began to play it like a bass to cover the bass line underneath the chords my brother played. I rapidly became very agile as I began self-teaching everything I heard and could imagine. When a friend of the family took notice of my talent, he loaned me this huge, orange Fender Precision bass, which I began playing in church. I could barely hold it in my hands but I got around on it just fine.

The more I played the more I learned and experimented with the many ideas I heard in my head. I was able to apply all the musical theory I had learned from the piano to the bass, which made it easy for me to develop my ability and style.

Eden: What made you decide to focus on the bass?

TR: Even early in my career I realized the power of the bass as it pretty much set the tone and direction for the entire song. I liked that ability to shape the direction of the musical experience and through it share the creativity within me that was just beginning to develop. I started playing with groups at an early age on TV and live. Hilton Felton and other local industry icons saw my ability to play both guitar and bass just as well as their peers.

Eden: Did you have any formal training?

TR: Although I had formal training on piano, I never pursued any on bass. Self-instruction sort of became my learning style for bass and all the other instruments I play. The first groups in which I actually played were The Ed Gerald Sounds, a gospel group made up of singing and instrumental prodigies with ages ranging from about 9 to 14. Later I worked with my parents' group, The Richburg Singers, who recorded on Atlantic. I also worked with my aunt, Ronnie Wells, a renowned jazz vocalist, and moved on to work with the many national artists listed in my bio. Of course now my focus is on my own group, R&R.

Eden: Who were your early influences?

TR: There are so many, all the major greats of our time. If I had to choose just a few, I'd say John Patitucci, Anthony Jackson, Stanley Clarke, Victor Wooten, Marcus Miller and Jaco Pastorius. But I do have my own style, which I think is pretty unique.

Eden: What's your philosophy of bass and its role in music?

TR: I believe that, although the original role of the bass in popular music was to be an accompanying instrument to provide the support for whatever else is above, I think now the bass is often the primary instrument; it defines the style, mood, energy, direction and appeal of the song, whether it's jazz, gospel, R&B, pop--you name it. The bass now serves as the melody or hook (musically) and also as the power center and foundation for all else that rides on that massive wave of sound. As soon as the bass is gone, the entire world notices.

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

TR: My absolute favorite style to play is jazz/gospel funk because it allows me to incorporate several of the techniques I have developed and some I have created over the years. However, a very close second is bop or straight-ahead jazz. I love the fast pace, taking the music into uncharted waters at warp speed and also seeing drummers sweat as the energy continues to build as the song keeps going and going. The rush is really incredible!

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

TR: My role as bassist really depends on the style of music and the setting. Most recently, my role on bass has been within the context of my inspirational jazz duo/solo group, R&R, in which I'm a solo artist along with my partner Howard Riley, Jr. We each share the song melodies, take solos, and play supporting parts or lines when the other is soloing.

However, in general, I see my role as the one who sets the tone for the musical experience. For me, that means I have to be at my best at all time, no matter what style or the particular tune. The bass line, and my approach to it, will either make or break the song and will determine the ultimate level of appeal the performance will have on the audience. That might sound a bit much but bassists and drummers share a special bond as the power plant of the band and what we do sets the stage for whatever is to follow.

I think the bass carries even more weight and responsibility than the drummer in some respects because of the multi-spectrum tonal foundation it has to provide for all other instruments and participants. That's one reason why the kind of tone I'm getting out of my amp is so important--to make sure everyone is feeling that foundation and power punch down to the level of the soul, which my Eden rigs do consistently.

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

TR: Differences between the various styles of music I play fall within the boundaries of "context" and a couple of general categories but they still range widely within the area of stylistic approach. For instance, I play mainly Gospel/Christian Music and Jazz, but within these larger settings there are numerous sub-categories and styles, which are expressed primarily the same for both. Differences are probably fundamentally based on the message intended for the audience.

The music that my group R&R plays is categorized as Gospel or Inspirational Jazz and encompasses all styles of jazz, but many of the specific songs we play have their roots in gospel songs, hymns or contemporary Christian repertoire. On the other hand, many of our songs are original instrumental jazz selections which carry a title, story or message from a profound disposition -- one which is made clearer during our actual performances or if a listener picks up on the "inside story" for themselves.

The bottom line is that differences in styles are based on the intended goal and the desired meaning and reaction wherein similarities include all the various musical styles based on rhythm, bass lines and harmonies, such as with contemporary, fusion, funk, classical, Latin, Afro-Cuban, R&B, Pop, Go-Go--you name it. The cool thing about it is that when someone is experiencing it, it's rather difficult to define; only afterwards does the listener have an opportunity to try to analyze what they've heard. I've learned to stop analyzing it so much, but rather just enjoy the gift of music as it is, with all its differences and similarities alike. As a bassist, my playing reflects this mindset and frees me up to do what I do in all stylistic approaches, as God and the music lead.

Eden: How did you get involved in the Christian Music scene?

TR: From the very beginning, Christian music has always been a part of life. However, I was rather fortunate to have parents that appreciated all styles of music (as long as the lyrics were cool) and they allowed both my brother and me to listen as freely as they did. This was probably one of the most important factors in my growth and development as a musician, arranger and composer. My parent's music also reflected influences from the other styles that they heard as well. Thus, they were well ahead of their time. As one listens to contemporary Christian and Gospel music of today, people and artists think this is all new--it isn't. It was because of my exposure to the gradual development of Christian Music over the years that now I fit right in just fine.

Christian music has only recently become a major genre in the music industry--both in terms of its wide appeal to cross-cultural audiences and also in terms of making money for record labels. On the other hand, Gospel/Inspirational Jazz in a sense is the new kid on the block as a style (although jazz and gospel have always been closely associated from the beginning). The key is that instrumental jazz in the Christian sector is rapidly becoming more acceptable, while in the secular world the jazz is still authentic but with a positive, inspirational message. Either way audiences are being reached on more than just a surface level.

Eden: Tell us about R&R.

TR: My group R&R is an inspirational jazz group led by my partner Howard Riley, Jr. on sax and me on 7-String Bass. We perform live either as a duo or a full group with accompanying drums and keyboards. Our debut CD release, "Ascension," features me on bass, as well as all other instrumentation, with Howard on sax. Ascension showcases a variety of original jazz/gospel fusion compositions and arrangements--which have achieved wide range appeal among all audiences. Articles and reviews on R&R have been featured in numerous publications including "Sister 2 Sister," "Black Elegance," "Port of Harlem," "The Gospel Truth," and many others. More information about R&R and on purchasing our CD "Ascension" can be obtained by visiting our website: www.RnRBand.com.

Eden: Who else are you currently working with?

TR: In addition to R&R, I'm currently working with Richard Smallwood, Vanessa R. Williams, Marcus Johnson, Kim Jordan, and others. I'm also in the process of building my record label RichEscape Music and will be presenting other up-and-coming artists soon, as well as producing additional R&R and personal solo bass projects.

Eden: Any learning tips for young players?

TR: I would have to say to the new and younger players coming up, trust in God first and everything else will fall into place as secondary. But at the secondary level, be true to your craft in nurturing and developing it but also in expressing it. Don't let others define you in their terms but rather you define yourself in truth and in excellence.

Don't be afraid to experiment with your instrument. Exploration brings about new discoveries. Write out your career plan and goals (short and long-range) and check off each goal as you realize them. You'll be amazed at how much planning will help you to accomplish your dreams.

The music business is not necessarily your friend and it can be rather cruel if you let it, so be sure to have a good support system, people who are in your corner to encourage you when you feel like giving up. Remember to plan for when you can't do what you do anymore--be in a position financially to take care yourself. And finally, when you do make it, don't ever get to the point where you feel like you did it on your own--always be in the business of helping and teaching others to get where and beyond where you are.

Eden: What's it like being the musical director for a show? What does the job entail?

TR: Being the MD for a show means being the one where the buck stops. It's much like being the producer for a CD project where you see and carry the project from start to finish--only for a live show you get only one shot at it. The job is really about making sure you know every aspect of the music and work it out for all the participants so that there is adequate preparation and rehearsal for a presentation at its very best--at least for the audience.

On stage things change and problems will occur but you have to be able to think quickly on your feet, make momentary adjustments and to make mistakes look and sound to the audience like they were part of the plan. For MDs who play their instrument during a show, we're doing a juggling act to guarantee our personal best performance while keeping everybody else together and informed. But I've found that serving as MD while playing bass gives me an added advantage because of the power the bass commands functionally and musically.

Eden: Do you have any advice for players wanting to move up to national level?

TR: For players wanting to move up to the national artist level, they should prepare themselves to be able to meet every musical and stylistic challenge thrown their way. This means if you're dealing with a particular artist, studying their music way ahead of time. In general, be prepared by knowing most styles of music in terms of authenticity, knowing how to read music well, having a teachable attitude and being flexible to adjust to changing scenarios and situations.

Remember, there will always be someone who can play better than you, so the more qualities you bring to the table will help your standing. In my opinion the main difference in local and national is how many people have seen or will see your performance and how often. (Of course there is also how much you'll get paid.) The level of performance should be your personal best no matter whether local or national. If you maintain the same level of quality with the same mindset for preparation and excellence, when you get on the national scene, the transition won't be as drastic.

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

TR: I would like to see more instrument and equipment companies like Eden feature interviews and stories on artists that perform Christian music as well as Gospel Jazz--especially those who are up-and-coming. They would be amazed at the level of talent and musicianship which rivals many major players and performers in the secular realm.

Eden: What does the future hold for you?

TR: I have several projects lined up (including a solo bass CD album), on which I've begun pre-production. I'm prayerfully working towards making my label RichEscape Music not only a success for R&R and myself, but for the other artists I will be bringing onboard. But, mostly, I just want to play and write to the glory of God as He allows and inspires.

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