Bio:
Age: 49 Instruments: String Bass; 4/5-fretless/6-string Educational background/experience: Berklee College of Music - Boston , Mass (1974-1976;1991- concluded
Professional Certificate in Bass Performance) Rutgers-Livingston College in New Jersey( Jazz Degree program, 1977-1979 )
Various cruise ships including S.S. Norway as bassist for 19 piece big
band as well as pit bands on all ships during shows thru 1981.
Air Force Band Stage and Concert Band at McGuire AFB ( 1982-1986).
Returned to school for Electrical Engineering Technology and have
been working in the Biomedical field since 1987 here in Tuskegee, Alabama.
I continued to freelance in various playing situations and in studio as a
sideman after making the trip South.
Some selections of sideman experiences can be heard on my website:
www.virtualstudiosystems.com/artistPage.php?ArtistID=279
I studied
electric/string bass with John Kneves in Boston, Larry
Ridley at Rutgers University. I also was in the
Air Force Band where I studied with the principal
bassist of the Philadelphia Symphony at the time, Roger
Scott.
For the most case I have been self taught on the
electric bass/string bass and developed with a
collection of input from people like jazz educator and
cellist,David Baker and bassist like Buster Williams,
Gary Mazzaroppi and Roland Guerin ,listening and
experience in various rhythm section, school time and
how can I forget Steve Bailey for his excellent text
book on the 6-string bass. Although I was simply a user
of his textbook and never a student without it I would
have been totally lost on the instrument, especially in
terms of what could be done with it chordally. Last but
not least is the excellent video presented by
bassist, John Pattituchi entitled "Electric Bass
2-Soloing, Ear Training , & Six-String technique
featuring Dave Weckl " which illustrated the dampening
techniques and chordal possibilities of this
instrument so well to me. Thank you Mr. Pattituchi for
your example, lecture and demonstration.
I am primarily free lancing with some groups locally, doing some recording sessions in Columbus, Ga and Montgomery, AL and writing toward producing an album(s) soon. 1 straight-ahead and 1 ERB based-led group of eclectic variety. I am a Berklee College of Music grad in Instrumental performance and attended 1974-76 finishing up a 2 year certificate in performance in 91'. I also attended Rutgers-Livingston College in New Jersey in the late 70's prior to entering the Air Force as a band member. I gigged off and on with cruise ships, some road work as a sideman ect. prior to returning to school for Electrical engineering Technology. I work as a full time Biomedical Technician at a VA Hospital here in Tuskegee. I have been married for 17 years and have 2 sons, Brandon 15 years old and MarQuen 12 years of age. My wife, Montheletha, is employed at Tuskegee University's Veterinarian College as a secretary.
Upright Bass: 1992 Josef Lidl 3/4
Czechoslovakian
Carvin BB-75 Fretless
Carvin LB-76A 6-String ( Tuned standard E through High F)
G&L L-2000 4-string ( Tuned Low B through D)
Amp: Peavey T-Max Hybrid
Speakers: Fender Extended Range Cabinets
1- 4x10 and 1 -15" single separate cabinets-stackable
I also use the Carvin's versatile MP210T 2x10 with adj. horn
speaker as a combo with the Peavey T-Max Amp.
This short example of a composition on 6-string called " Hope Reborn " is played on my Carvin LB76A 6 string. The recording is done through a Mackie 1604 VLZ mixer direct to input and into a Roland VS-1680 using its onboard reverb and EQ. This example is an as of yet arranged tune but exhibits elements which may be of interest to other ERB players .
The
concept on the piece "Hope Reborn" came to me as
the theme which you hear in the bridge. I had been using
the chords in some combinations and wondered what their
sound inspired in me. The E-7 to D/F# progression gave
me a sense of awe inspiring beauty and it came off as a
majestic type of beauty of the character which one
experiences in life of an unforgettable variety,
even life changing. In itself I could not back track to
where it would naturally occur as a matter of course
from something in contrast to it which would help define
it as I envisioned it.
Over the course of a year or so since I first composed
the melody and progression the search was fruitless and
it still remained a fragment, although it stood on it's
own as one. The crowning glory came with the terrible
events in New Orleans, a special city to me ,one where I
had enjoyed the artistic and creative spirit immensely.
As I watched the events unfold my mind and spirit moved
toward achieving a sense of resolution for those who
were suffering and had suffered unnecessarily during
this tragic event. The concept in the beginning of "
Hope Reborn" with its building scalar steps culminating
with the major 9th and minor 7th suspended chords became
the impetus for a complete concept and feeling which
appropriately complemented the pre-conceived bridge. The
3rd section built on the maj. 9 and sus. 7th descending
progression was composed after hearing the A and B
section. That short interlude was inspired by the
suffering of innocent children and my wish for the
spirit of joy and play to be a part of " Hope Reborn ".
Hope Reborn - mp3
This piece
entitled "Musica de Cinema do Brasil" is dedicated
to my love for the Brazilian samba and music of
Brazil in general. It has left a lasting
impression on me which I wish to share with others.
The passion and life in their music is vivid and
always inspiring. Inspiring to express the things of
life which we all share in it's sincerity.
The reference
to the cinema or movies was because of the imagery I
received in which I imagined cruising in a sports
car on the long highways of Brazil engrossed in the
scenery, the environment and the enjoyment of life
there.
Musica de Cinema do Brasil -
mp3
During my travels and travails in pursuing this music known as "jazz" I was privledged to have been instructed by the late jazz guitarist Ted Dunbar,author of the Tonal Convergence Theory and text for improvisation and influenced by the character and personality of the late Monk Montgomery,bassist and brother of Wes Montgomery,the historically famous jazz guitarist.I would add that the term "Jazz" is used loosely here as it was known only to be called until my experience at Rutgers-Livingston College in New Jersey in the late 70's where the Rutgers Jazz Professors would regularly perform this music under the name "African-American Classical Music " through a grant from the National Endowment of the Arts in Washington,D.C.This arrangement of the "Head" of the standard "Stella By Starlight " is dedicated to these gentleman as a credit to their positive influence on my creative development. They truly were a blessing in my life and I thank god for their words and warnings about the world as it unfolded in my youth. I am left with the realization that there was a "whole lot"
of love in the jazz community and that and like so many son's and daughters we have continued to shower those same seeds of love on the next generation through these songs and interpretations of what was told and shown many of the improvisors who spent time with these gentlemen.
Stella by Starlight -
mp3
Visit Edred Mitchell on the web.
Email
Edred
