Albey on Bass "more bass than human" Bass Player Magazine

"Play, play, play! Creativity exists in a place where strict discipline and total freedom meet. A player plays."

Industry Insider Albey Balgochian

You've been a successful professional bass player for a number a couple of decades now, what is your musical upbringing?
As Jaco put it I am formally self taught. Once I got a bass it was just play, play, play, and that meant play with everybody and play any kind of music (though it seems to be a lost art now). In the very early 70's I applied to Berklee College of music, but was informed that electric bass was NOT a valid instrument! My love of improvised music got me into the acoustic bass, so I got a 50's Kay upright and studied first with the great Major Holley for a semester, then with the beloved andextraordinarily talented John Neves. John took me under his wing and hipped me to some very deep stuff. In the meantime it was play, play, play, anytime, anywhere. Jim Hyatt-Publisher/Editor, Bass Frontiers Magazine photo: Wolf Ginandes
Can you tell me (chronologically) how your music has evolved? Since the 60's I've played bass with some amazing cats. All kinds of musics - blues, rock, reggae and r&b, all of these influences come together in my improvisations. Improvised music is a strong force in me, I've always thought that a player should be able to pick up their instrument and play it without the support of a song, scales, or chord changes that have been memorized. Just play, converse with yourself and other like minded cats. Jackson Krall and I have been playing together since 1972 (John Neves introduced us) and I've played in his bands, Secret Music Society and the Associated Big Band since the early 80's. When Jackson came through Boston on tour with Cecil Taylor he introduced me to Dennis Warren, who in turn asked me to join his band Full Metal Revolutionary Jazz Ensemble.
How did the "BASS of PEACE" & "BAND Of PEACE" and ImproFunk come together? In 1998 my son Miles was a recording engineer at a NYC studio and he gave me recording time as a Christmas gift (pretty cool huh?) My lady, Jane, had always encouraged me to have my own band, so the time seemed right to put the sideman gig on hold and put my ideas down, and so "Bass of Peace and "Band Of Peace'" was born. Jane has been listening to me play for over 30 years and has always told me "no matter what the music is, you always give it a Funk heartbeat!" Feeling the funk, she coined the word ImproFunk. With improvised music, the chemistry of the people you put together is crucial. Jackson Krall on drums (in my opinion one of the greatest drummers alive today), the amazing Sabir Mateen on Saxophones and the undeniable Dennis Warren on percussion. I knew this chemistry would be magical! The name "Bass/Band Of Peace" comes from my family. Jane, Miles and I say Peace all the time. Say hello, Peace, say good-bye, Peace, write a note, sign it peace. Peace is a great word - hard to misinterpret. We believe that every time you say, read or think the word Peace you put a positive charge on the Universe and in people's psyche. So when you ask for my CD, or see us on a marquee, or in your local paper's club schedule, or read this article, you will read Peace! John said it, "Give Peace A Chance."
Is that your electric upright on your "Rhythmism" album? People ask me that all the time. No, the entire CD was recorded on my World Bass. It has an extra long, extra thick ebony fingerboard that extends out over the body, similar to an acoustic bass. Vibrating at it's own resonance it affects the resonance of the bass as a whole. Because of the versatility of tones produced from right hand placement I consider it to be the "ultimate fretless"
Can you tell me how A Basses Began? and please tell us how your time standing behind the bass has shaped your concept of design? In 1974 I quit the road to 'dad' my kid. Gigging at night, I studied string bass restoration during the day with master luthier Peter Kyvelos. A stone cold Fender freak, I loved my '64 P' with a '62 J' neck, but wanted it fine tuned. The player in me strives to physically reproduce the sound that I hear in my head. 21 frets had to be accessible because it always killed me to have the low note E, and the high note E flat, (but that's another story.) I needed the new bass to NOT "feel" new and my extensive work with the violin family gave me an insight on how to hand age the neck. The neck has gotta melt into your hand right away, and have that vintage feel without waiting 20 years. And so began the process of trial by gig. I make each bass as if I were taking it to the gig tonight. At gigs, bass players would approach me and ask "where did you get that bass?" and that's how the orders started.
You told me an interesting story on the phone about your "CUSTOMER PROFILING" experience. Would you mind repeating that one for the readers? It's an interesting phenonmenon. Anybody doing anything thinks about who their clientele (or audience for that matter). I figured mine would be the experienced players that know exactly what they want and are willing to wait to get it. Even though that is the case, there's also the novice player that just want a good quality instrument. One time, this young cat came over to look at our Darryl Jones Signature model bass. He asked me to play it for him and show him what it can do, (i.e. fingerstyle, pop & slap, etc.) Profiling of any kind is never a good thing.
You mentioned the Darryl Jones Signature model bass, how did that come about? I met Darryl in 1985 when he commissioned me to make him a custom bass - a hand-carved fretless - then in '94 a second bass, his electric upright. In '95, Darryl approached me with the idea of having his own bass. I had always wanted to make him a fretted 4-string, so I designed the Darryl Jones Signature Bass. What began as a business relationship has evolved into a lasting musical friendship. Darryl is a well-respected bassist and a warm human being.
Your slogan says. "having a bass built? have a bass player build it!" This is actually a Darryl Jones quote. It comes from the intense conversations that I've had with him and other players about their bass, when they say "know what I mean?"...I do!
Can you tell me your thoughts on the a bass playing builder versus a non-bass playing builder.... We know Leo didn't play, and many more great builders are also non-players... Throughout history many great makers from Stradivarius to Leo Fender were not players, this is mind-boggling to me. I've been asked to make guitars, "how can I do that, I don't play guitar!"
What are the upsides and downsides to having a bass player build your bass? It's player to player - two cats talking about their dream bass. The difference is after that conversation I can go and build you that dream. The downside is too much time on the phone, you know bass players talking about bass (laughs), conversations go from bass to bass and more bass.
Do you have any advice for aspiring players? "Play, play, play! Creativity exists in a place where strict discipline and total freedom meet. A player plays."