| Uriah Duffy - Bay Area Bass by Lane Baldwin |
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Reading Uriah Duffy's resume, it's easy to be overwhelmed. He's played with a long list of stars - legends and newcomers alike - including The Family Stone Experience (which includes many members of the original Sly & the Family Stone), Alicia Keys, Christina Aguilera, Pat Travers and Carmine Appice, Ledisi, Tony, Toni, Toné and many more. His latest gig is with rock giants Whitesnake. Regardless of the musical genre, Duffy provides an unshakable bottom end that's true to the style while still letting his own personality shine through.
Although he's a relatively new endorser, Uriah has been using Eden gear for many years. I first met him when he visited the Eden Forum. No "star trip" for Duffy; he was just another Eden enthusiast wanting to hang. After getting to know him on the forum and checking out his web site, I contacted Eden's Artist Relations Director, John Vitale, who quickly signed Uriah on as an endorser. The following interview was conducted almost exclusively via email. Yes, we had phone calls as well, but mostly of the "How's it going?" variety. The reason for this is Uriah is currently touring with Whitesnake. You can imagine he's pretty busy at the moment. Duffy's responses are virtually unedited. (Okay, fine. I corrected a few spelling errors. But the man wrote most of this on a bus in the middle of the night.) What comes through is, I hope, a clear demonstration of his dedication to the instrument as well as his engaging personality. |
Eden: What basses are you currently using?
UD: I've got two main basses that go with me on every gig. "Blake" is a Lakland 5 string 55-94. This one features quilted maple with Ebony fretboard. It's solid as a rock and sounds great with all settings standard. I'll use the bridge pickup coil tap towards the front for a more rock tone, in the middle for a studio tone, and towards the back for a Jazz Bass-like tone.
For a real Jazz Bass sound, I've got the "Franken Jazz", a Fender Jazz 4 String, '98 Mexican, with a BadAss II bridge and Bartolini's. I used this bass for years like this. My most recent modifications are Sims LED'S and Hipshot Ultralite tuners. Tortoiseshell pickguard too!
Eden: Any other basses in your arsenal?
UD: I also have an '86 Alembic Spoiler that I keep tuned ADGC (tenor), for chordal stuff, accompaniment or soloing. Other basses I have are a Fender '72 Jazz and a Warrior Soldier 5.
Eden: What strings are you currently using?
UD: DR's, all the way. I've tried others and these just work best for me. Marcus Millers Fat Beams on the Jazz and Low Rider Med-lite's on the Lakland.
Eden: Do you use any effects?
UD: I'm a fan of just plugging in with a cord; however, if the mood fits, here's some of the stuff that I like:
Boss Line selector
Boss Octave
MXR Bass DI+ (for DI to the house and distortion)
Dunlop Bass Wah
Boss Reverb
With the Family Stone, I'd often need to turn on the distortion and octave together several times during a song. The Line Selector allows me to put those 2 effects in a loop, available to me with one switch rather than two.
Eden: Why do you use Eden gear?
UD: Playing with so many different artists requires a rig that can be versatile. The Eden has the bottom end I need on R&B or Funk gigs, but also has the ability to contour the mids to cut through with a rock band. Reliability is big for me, too. I've had my 410T for almost 10 years now, and it hasn't failed me yet, gig after gig. My WT300 & 400 have never failed me.
Eden: Do you use your rig in the studio? If so, what are your settings?
UD: Yes. The recording output works well for me. I always adjust the settings on the fly, but I have two starting points that I work from. One is with the controls flat, using only the bass and treble knobs. Enhance is usually set low, like at 9 or 10 o'clock. The other is with a little more shaping, with a little bump around 250k for punch and some treble for clicks, slaps and fret noise. I like to record with the cab, if at all possible, in addition to the direct signal. It's a little difficult to do that in a home studio at 3 in the morning though!
Eden: How about for live settings?
UD: Basically, they're the same as in the studio. The only difference is that, sometimes, I have to make adjustments to compensate for room or stage acoustics. And that depends on the room itself.
Eden: You've used 410XLT and 410T cabinets for some time, but currently you're also using the new 610XLT. What's your impression of the new cabinet?
UD: This new cabinet rocks! It's a perfectly sized cabinet, and is easy to move with the built in rollers and handles. It's like a 410XLT on steroids, without adding much bulk. I use a bridged WT800 to power it without fail. Eden's cabinet designs are acoustically the best, and this new one is right up there with the rest of the lineup.
Eden: How did you get started on bass?
UD: I've been interested in Bass playing since I was 3 years old. There was music in the house all the time- mostly classic rock. It wasn't until age 8 when my father took me to see Rush, in my home state of Rhode Island, that I started playing. The local music store would let me stay from opening until closing playing their short scale bass. When I finally got it for Christmas, I played every day, sometimes over 12 hours at a time. I played along to just about every record in my dad's collection. So overall, you could say I'm self-taught.
Eden: Have you had any formal training?
UD: In Junior High, I joined the jazz band, and I remained behind the bass for all school functions, musicals, jazz and concert performances- you name it- until I graduated High School. I'm not sure where I'd be without music in the schools. This is where I learned to play with other musicians in a setting where there was direction. I learned to read charts. I can write music, but sight-reading is something I've never had to do- to this day- so I'm not very good at it. I'd rather hire a player that feels good than one that can sight-read but doesn't have a feel. Outside of school I was involved in other types of bands, which taught me how to arrange other styles of music, mostly rock, metal or fusion.
I got quite a few awards throughout those years, which led to a scholarship at the Berklee School of Music in Boston. But after graduating High School, my son was born and I wasn't ready to live in a beautiful yet snowy, cold city with a newborn while trying to attend school. That's when I moved permanently to the Bay Area, CA, where I jumped into the music scene with both feet.
Eden: What was the Bay Area like at that time?
UD: At the time 'Acid jazz' was big and I quickly gained club experience playing this pseudo funk with the band Manifest Yesterday. To pay the bills however, we'd go out under another name and play top 40 funk and disco for weddings and the like. I was having fun and making cash! What I didn't realize until now, learning all those 70's Motown and funk bass lines was one of the best studies in bass playing there could ever be. Playing that stuff on the average of 3 nights a week for 3 or more hours at a time was like school!
When I realized how powerful the bass was to these songs, I delved deeper into the idiom, seeking out other songs that wouldn't necessarily be on a gig, Rufus and Stevie Wonder 'B' sides, for instance. Since cover bands like the one I was in had rotating musicians, I was able to network with others quite easily. If someone needed a drummer or guitarist, my book was full of 'em. And if someone needed a bassist, I was one of the working guys in the Bay to get the call.
Later, in addition to the funk, I found myself getting into more urban music. Hip-Hop. R&B. The bass lines are simpler note-wise, but there were only a few bassists that would get calls for such work because of the feel required. I'm talking BOOTY BASS! I look up to these players: Nelson Braxton, Eric Smith, Elijah Baker. All Bay Area greats who either do their own thing, or back up artists such as Destiny's Child, Toni Tony Toné, EnVogue, Deborah Cox, Ledisi, Goapelé and more. And now I find myself subbing or playing for these same acts. It's such relationships that got me the gig working with Alicia Keys on Christina Aguilera's sophomore release, Stripped.
Now I've come full circle and I'm performing with Whitesnake, one of the biggest rock bands there is, and I love it. I admit, I still look for local jazz and R&B clubs to sit in at even when on the road.
Eden: What's your philosophy of bass?
UD: You know, I don't really have many pet peeves, but it really used to bother me when a girl would come up after a show and compliment my guitar playing. Now, no offense to guitar players, but a bassist's role is much different, and folks should know what they're saying. But now, I just accept it as a fact that the bass is the youngest (non- electronic) instrument, and it hasn't gotten the same attention over the years that the electric guitar has. Besides, it looks like a guitar, too. So, although people might not know that their butts were moving because of the BASS, they definitely felt it. The drums might get you movin' up and down, but the bass will slide you side to side. Guitar and vocal melodies provide a focal point of distraction so the bass can seduce you from behind. And the guitarist will get the accolades!
Eden: You've played with a wide variety of artists. Tell me about some of your favorites to work with.
UD: Some of the best gigs I've played are with Tommy Boy recording artist, Ledisi. She is arguably the funkiest diva since Chaka Kahn... even Chaka says so! We had the pleasure of opening up for Chaka on a few occasions. This in itself was awesome, but the real treat was when Chaka caught Ledisi off guard and called her up to sing together. I was sitting with the rest of the band, my mom and Led's mom, and it was pure magic. One of the best memories I've ever experienced at a show.
Alicia Keys was a pleasure to work with, and is wise beyond her years. She knew what she wanted to feel and was able to convey that like a veteran producer. It was a pleasure to work with her.
There are two original acts that I perform and record with: The Doom Patrol and Flametal. The Doom Patrol has some of the best songs- everything from great song arrangements to setting a mood to virtuoso singing. This band is the one band that I can showcase almost all of the styles I enjoy playing. Not to mention that the 4 of us are very close- best men at each other's weddings close. We're influenced equally by Prince and Stone Temple Pilots, Rage and Seal. The best thing is that it works!
Flametal is the bastard child of two styles: Traditional Flamenco and Metal. The brainchild of renowned Flamenco guitarist Ben Woods, the music is by far some of the most difficult I've ever had the pleasure of learning. We also have 2 hot flamenco dancers.
You have to hear these bands to know what I'm talking about. Both bands enjoy seeing people leave the shows touched and inspired- even blown away with the experience. But Clearchannel has never heard of us, so that means you wont either! Good music, though.
Eden: What's your favorite style to play and why?
UD: Funk - the kind with the stank on it. As long as there's a pocket drummer to relate to, these gigs are very rhythmically satisfying. Contemporary gospel is funky and uplifting, and keeps you on your toes with the quick changes coming at you. House music with live instrumentation is fun, too, perhaps because I love playing to a '4 on the floor' beat. Solo bass playing is great too- a great workout for chops and originality. I guess it's hard for me to hone in on one particular style after enjoying so many varied stylistic experiences over the years.
Eden: How do you approach your role as a bassist?
UD: No matter what the style of music, I play the meat and potatoes of the song, as well as find the little spots to shine or peek through. I want to give a bass line life. Even if it's a simple line that's been played hundreds of times, a good bassist can still breathe life into the song. Strategic fill placement is important. Variations of a line without leaving the bottom uncovered are cool, too. These things are applicable in almost every style of music today.
Eden: You say you play meat and potatoes, but I've heard some of your solo stuff. There's a lot more than meat and potatoes there.
UD: Now, a lot of folks know me as a flashy cat. Sometimes I'll come out swingin' the bass and soloing and performing bass trickery. I can't deny the influence of modern greats like Victor, Billy, Manthing, etc. But these initially flashy players have had longevity in their careers as serious bass players upholding the groove. It's important to know when it is appropriate to show your stuff. When executed nicely, bass solos can actually be fun for the audience. But 99% of the time, "NAMM show tricks", extreme technique and 5 handed tapping won't keep you in a working situation.
Eden: So, why learn it at all then?
UD: Learning that type of technique is excellent for dexterity, and pocket. It also gives you the ability to get what's in your head out through your hands. As with most things in life, a good balance is important, though, and it's important to know if a band has the space or need for anything more than the required "Meat and Potatoes".
Eden: How do you approach crafting a bass line?
UD: If there's no bass on a tune yet- only changes - I'll listen closely until I feel something that works, then try it. By writing a line in my head first rather than my hands, I'll bypass any limiting patterns or fingerings I might be used to playing.
UD: I try my best to see what the artist needs (or thinks they need) and respond accordingly. Many artists are excellent at getting all the right stuff together in terms of melodies, lyrics or personnel, but they might not be the best at musical direction. That's where a bassist has the perfect opportunity to use their skills to 'help a brutha out'. A bassist has the perfect point of view to musically direct a band. Seeing things from a rhythmic standpoint & staying out of the way of all the stuff on top gives us a clear view between foundation and melody.
There are occasions, however, where the artist is right on, and knows exactly what's required for the gig. In that case, I learn the parts and perform them to the best of my ability.
Eden: You're latest gig is with Whitesnake. How did you get hooked up with them?
UD: David Coverdale's folks found my website. Having pictures and samples readily available in this format was key to getting a chance at this and many other gigs. I was on tour in Orlando at the time they initially contacted me. A couple weeks after I got the call, I met with guitarist Doug Aldrich (Lion, Dio, Whitesnake) in L.A., and the ball started rolling.
The next meeting I had was while skiing in Lake Tahoe, where David lives. He and his wife came out to join me for sushi, and we all hit it off. I'm the only bassist that David met with. There were so many things that just felt right and fell into place without stress. So now I'm on the road having a great time. We're supporting the soon-to-be-released live DVD, which was recorded last year in the UK with Bassist Marco Mendoza still in the band. In fact, it's a little ironic that Neil Schon had contacted me a couple years ago to play in his newly formed band, Soul Sirkus. Long story short, Marco ended up playing that gig and I ended up in Whitesnake.
Eden: So, let me be blunt. What's it like working with a band you grew up listening to?
UD: Which one?! <laughs>
I grew up in the MTV generation and clearly remember the videos for Whitesnake hits like "Here I Go Again" and "Is This Love". These songs were already ingrained in my head so pulling them out was no problem. As far playing these tunes with the original artist? Well, I'm still new in the band, so I have to remain professional and focus on the music. I treat this with the same respect as any other gig, which is to provide a solid foundation. That is where I'm the most present in the beginning. As I get more comfortable with a gig, I can chill out a little more and try to enjoy each performance not just from the band's standpoint, but from the audience's as well.
There are a few times during the show however, where I watch David doing his thing, and I can't help but get excited! I have to pick my jaw up off the floor. He's truly an experienced and great performer, and his voice is sounding more excellent than it ever has. In fact there are no weak links in the band. The current Whitesnake lineup sounds better than ever. Everyone holds their own like gods, and it feels exceptionally good to be a part of it. Being in this band is also more physically challenging than any other band I've been with, but maybe that's because I just can't sit still with this music! As for the rhythmic aspect, Tommy Aldridge is a legend in his own rite. Never have I played with such drumming accuracy on double-bass passages- it's like thunder!
I can't complete this question without mentioning the Family Stone Experience. In this band are musicians that spearheaded the funk-rock revolution, mixing genders, races and styles to create unity since the 60's as the band Sly and the Family Stone. With so many hits like "Everyday People" and "Thank You", I had already played much of their catalog in various top 40 bands over the years.
When I was contacted to play with these greats, there was no hesitation. Nothing could've prepared me for what it was like to play the songs with the musicians that recorded them, specifically with drummer Greg Errico. What an honor it was to have the powerful rhythm of 'Brutha Hands-Feet' underneath and alongside my bass playing. I'm a huge Larry Graham fan, so it was a perfect fit. My groove was already decent, but working with Greg upgraded my playing quite a bit! Some of the best playing experiences of my life were onstage performing Larry's "The Jam", or "Release Yourself". Some players today think they know funk, but I invite them to go back and check out Sly Stone, Larry Graham, Betty Davis, etc. Get your funk from the source and you'll see how watered down it has become in the mainstream. The real stuff sure feels great.
Eden: What will you be using for the Whitesnake tour?
UD: Three WT800's and three 6x10 cabs. One of these head/cab combos is not on, but used as a spare. It's amazing that the two I use are barely on volume-wise, and they're crankin'. The masters aren't even at 9 o'clock! I have a modest signal chain: 2 Shure Wireless units (one on each bass) into a Boss Line Selector and Tuner Pedals. This goes to an MXR Bass DI+ to send a pre-eq signal to the house. Everything is offstage and controlled by my wonderful tech, Cris Lepurage.
Eden: Who else are you currently working with?
UD: Here are a few artists that I've worked with recently. For Hip-hop there's Quannum recording artist Lyrics Born, with whom I'd toured for much of the spring. I'm also all over the next release from The Coup. Doug Doppler is an instrumental guitarist I work with. He's recently signed to Steve Vai's label, Favored Nations. Speaking of instrumental guitarists, I can't forget Danny Jones, whose album I was able to record remotely from home. Also my 2 original bands The Doom Patrol and Flametal are rockin' and essential to check out. Surreal is a smooth instrumental outfit, with R&B drums, Funk bass, Jazz sax, keys and guitar. I've got my girl Angeline Saris filling in the bass duties in those last three bands for me while I'm on the road. (Yes, a girl bassist!) Still, much of my work is freelance gigging and recording.
Eden: Can you offer any learning tips for young players?
UD: Use your ears! Try to repeat anything you listen to and enjoy. It could be G-Unit or AC-DC; the style doesn't matter. Play as much as possible, both alone and with others. Learn from those who are musically further along than you.
Eden: Any advice for players wanting to move up to national level touring/recording?
UD: Play as much as possible. Many of my friends would jokingly taunt, "Hey... there goes Uriah off to another $20 gig". But it's the exposure and playing experience that will give you options and opportunities that you can't get by staying in your bedroom with an instrument. Playing and figuring things out in a live situation is an invaluable asset.
Get a minidisc recorder. If you hear a mistake and it's burned to disc, it will irk you enough to never make that mistake again. Also, when 'in the moment' you may inadvertently play a choice groove or fill, but not remember it because of the spontaneity. That's the magic of listening back to the minidisc.
The next thing is professionalism. Chops and skills may get you the gig, but you can't keep it unless you are professional in the way you handle your business. Being on time; dressing the part; not overplaying or playing too loud, etc. These are just a few of the little things you must do (other than actually playing the bass) that will keep you in good company. Musicians aren't usually told why they're fired- they have to figure it out for themselves, hopefully before it happens!
Eden: What does the future hold for you?
UD: Even more bass work. As much as I'm doing already, I'm still not working to capacity or to the best of my ability. I'd love to get more experience working alongside producers in the studio. My personal studio is great for tracking bass, and I always have it on the road with me. If anyone needs bass on a track, it's very easy for me to record it remotely, and send the resulting bass file back to them within a short time, wherever in the world they might be. I've done a couple albums this way, and invite folks to utilize this efficient method of recording when scheduling and budgets are a concern.