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TitleMeshell_March2002
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Page 2

He~ New Album, Her Hot Band,
and Mow lro Make It Feel Good

BY BILL LEIGH

'It's true," chuckles tJjeShell NdegeOcello. "I can't reach the tuning pegs on my

bass when it's strapped on." Here's evidence that size doesn't matter: Though she

stands only five feet tall, the bandleader's giant sense of groove is only a small part

of her stature as a creative musical art1st. Looking for proof? Check her new album,

Cookie: The Anthropological Mixtape, due to hit stores in April. Though MeShell's last

release, Bitter, took a distinct left tum into lush string sounds and moody acoustic gui-

tars, Cookie features her solidly funky bass playing along with her powerful compo-

sitions, provocative lyrics, an imaginative use of speeches and spoken-word samples,

and a considerable dose of hip-hop flavor. Produced by her long-time guitarist, Allen

Cato, Cookie also includes contributions from P-Funk guitarist Michael Hampton,

singer Lalah Hathaway, and her long-time friend Marcus Miller, who contnbutes a

beautiful fretless solo.

Onstage it's a different stature story: Her seasoned band-Gato, keyboardist

Federico Pena, drummer Gene Lake, and bassist David Dyson-transform MeShell's

carefully crafted songs into soulful meditations that draw on avant-garde jazz improv

as much as deep funk. "I'm just going to tell you some stones," was her under-

stated introduction to one small town audience, packed into a converted theatre.

"Is that cool?"

Whether she's singing, rapping, or playing keyboards, MeShell maintains an

onstage control of her band as if they were a direct extension of her conscious cre-

ative flow. When she straps on the bass, though, the energy intensifies. "She has a

conviction on the bass I very seldom see in other players: says Dyson, himself an

accomplished player. [See page 48.] "She won't rip off a Victor Wooten solo, but

she'll groove you to death. I love those moments on the gig- we never plan it,

PHOTOGRAPH BY PAUL HAGGARD

..

Page 3

MeShell NdegeOcello continued

it just happens- where we' re just grooving
together, moving in and out of each other. I'll

be playing a one-line part like a guitar p layer
while she's in ~he groove. Then she'll move up

the neck, and I know to go down to the bottom
and hold it down."

Having come of age in Washington, D.C .•

MeShell cut her teeth playing go-go music, the

city's distinctive funk offshoot with a loping, per-
cussion-driven shuffle beat. After a move to New

York, where she paid additional d ues playing

with members of Vernon Reid' s Black Rock

Coalition, MeShell's early demos helped her get

signed by Madonna's record label, Maverick.

The~e days, MeShell stays busy not just with her

albums and tours but also ~ a session bassist.

She played on two tracks on Alanis Morrisette's

latest Maverick release, Under Rug Swept, par-
ticipatt'd in Gov't Mule's The Deep End project
[see January '02], and contributed a track tO Cit-
izen Cope's self- titled Dream works release. She

also appears in the upcoming documentary fUm
Standing In the Shadows of Motown, performing
with Motown's surviving session musiciam, and

she occasionally appears with improvisa tional

trio Plane, a longs ide Living Colour drummer

Will Calhoun and composer/guitarist David
Torn. " !love playing other people's music-

som etimes more than m y own. I like hear ing
what they don't hear and adding it. With Citi-

zen Cope, I got to be Lee Sklar-just creatively
supporting the songs and adding what was be~t.
With Plane, I play bass, samples, and piano, often
on the same tunc. On one gig, I tuned the bass
in Sths, just to sec \"hat would happen. I actu-
ally had to hear stuff instead of just playing
because I knew where my fingers should go."

Though Cookie hasn't even been released yet,
MeShell is already focU5ing on newer composi-

tions. Crowds are mesmerized by one new song

the band plays, "Quentin Mack," an angular jazz-

funk maelstrom in which Dyson's and Lake's

roles seem nearly reversed. "I'm just trying to be

creative and not get bogged down by industry
ideas of what success is," says MeShell. "My stuff
is heading more toward messing with tempos

and harmonies and trying to create something

interesting. On the tape I made to teach 'Quentin
Mack' to the band, there are three different bass

lines. It's killin'," ~he grins, barely able to con-

tain her excitement. "I know that's arrogant, but
it's killin!"

Ill
Do yott consider yourself a songwriter first or a bass
player firsr?

I love the bass-and the way I play is very
much my personality. I'm all right standing way
behind whoever's up front, just holding down a

4 6 IIASS PLAYER MARCH 2002

groove. I like to make everything lock, gel, and

be funky. Compositions move me more than any-
thing, though-the construction of the song, the
lyric, and everything. My goal is to be a great
writer, not a great bass player.

Most of my favorite bass players are writ-
ers. Jaco's my hero because of his virtuosity and

craft in composing and arranging. Of course his

bass playing is way up there, but the songs are

beautiful. Jaco P~1storius [Warner Bros.] is the
greatest bass record ever made, but Word of Mouth
[Warner Bros. I was a big part of me wanting to
hear strings and orchestral sow1ds in my music.

Probably my favorite bass player when I was grow-

ing up was Prince. His bass lines, like "Let's Work"
[Controversy, Warner Bros. j, are like songs within
themselves. Then there' s Paul McCartney- an

incredible songwriter and bass player, and Sting,

who writes the lines you remember.

Are there bassists you admire just for their
playing?

Rodney "Skeet" Curtis from P- l'unk- put

hin1 way up on the li~t; everybody slept on hin1.

Paul Jackson with the Headhunters- he sounds

like a bass player. I a lso had a great mentor: Mike
Neal, who played in a go-go band when I was

Cookie Cutters
On all four solo albums. MeShell has
recorded primarily with her pre-CBS

Fender Jazz bass, which has been strung
with the same flatwounds for over ten

years. For other sessions she selects from

her collection of 4-strings, which includes

a Modulus VJ, Celinder, Ernie Ball/Music

Man StingRay, and a Surine. Though she

used a SansAmp PSA-1 for Cookie, she
usually takes an Aguilar DB659 preamp

or an Avalon U5 Dl to recording sessions.

Her tech, Mauro Tatini, strings her basses

with Thomastik-lnfeld flatwounds and

Dean Markley roundwounds. Onstage,

her Celinder and Modulus VJ basses are

run through a Whirlwind Selector AlB box

and Behringer Ultra Dl Dl-1 00 to an

Ampeg SVT-4PRO head powering Ampeg

4x1 0 cabinets. "I don't like pankiness o r
bite; she says. "So I often roll off the highs.
But sometimes the engineer says, 'Look,

you've got to have some highs."'
David Dyson plays MTD 535 basses

through an EBS Fafner head and an Eden

410XL cabinet. To recreate some of the

keyboard-bass sounds on Cookieonstage,
David steps on an EBS BassiO envelope

filter; occasionally he also uses EBS

OotaBass and MultiChorus pedals. With

his own band, he supplements the 4x10

with a Peavey 2x10. On his solo album

David used a fretless MTD 5-string and a

Tobas Killer B; for his next album, Michael

Tobias made David a new ash 5-string for
a d ifferent sound. All of David's MTD

basses have Bartolini pickups and pre-

amps and are strung Dean Markley Blue

Steels or SR2000s.

Page 4

MeShell NdegeOcello continued

growing up in D.C. Our playing is very similar.
He played on Maxwell's first record (Maxwell's
Urban Hang Suite, Columbia). He's been my
teacher as far~ developing my bass personality
and just holding it down. He always said, "You've
got to know what notto piny. Just hold it down-
it's a waste of time if nobody can dance to it.n I
definitely got that slide stuff! do from him. It's
the period-the end of the sentence.

What does writing bring to yo11r bass playing?
Sin1plicity and flow. l.lass is the harmonic and

rhythmic found ation, and I like that. I like tO
make it feel good and give it a personality. I'm
okay not being a ~olo bru;s artist; I don't want to
be so alone. I'm never going to be Victor Wooten.
That's not my gift; I didn't get virtuosity in bass
playing.

What is your gift?
I have virtuosity in creativity. You can sit

me onstage now with a drummer and I'll come
up with a bass line. You can put me in any set-
ting and I'll make it work. I can play with any-
body: I could play with Incubus, with Lynyrd

Skynyrd. or with Joshua Redman if he didn 't

When MeShell Ndeg60cello
acknowledges that David Dyson's

role is the hardest in the band, Dyson

is quick to agree. "MeShell is a per-

fectionist, she can be intimidating,

and if there's something she doesn't

like, she'll let you know. Once you

get to know how she thinks,

though- and usually she thinks less

is more-it's a lot easier."

Few are more capable for the gig

than Dyson, who previously played

with MeShell in '97 and '98 and

mind me playing electric.
How do you keep tlze ideas flowing?
I know when to stop. ·when it's not coming,

I stop, go watch some movies, eat some food, and
hang out. When it comes back, I try to address
it. Don't push it; when it happens, it happens. I
realize it's not under my control. Sometioles the
spirit hits you, and sometimes it doesn't.

It's like having show~ night after night. Some-
times you're killin'. Other times you feel like,
Whew, glad J got through that! Hope we didn't
hurt anyone! Hey, I've seen famous people I love
have rough nights. That's just how it is.

Is there a reason ~ has 1mtch more bass
than your previous record, I1ittfr, yet you're not play-
ing as mudt bass live as you did on tht Bitter tour?

People say there's not a lot of bass on 8itter,
and that it's not funl..-y. I'm like, whatever. I like
the bass on Bitter, it's beautifully legato, it's cool,
and it sounds good. As a bass player, when some·
one calls me for a gig, I am there to implement
their needs, not my ego. The music I wrote for
Bitter called for that bass style. Live, though, the
Bitter tour was the first time I ever tried singing
and playing_ As it evolved, I realized I could play

a little more while singing. I noticed Jimi Ht:n-

rejoined her band last fall. In between, he's fronted his own band and recorded an album.

Soulmates [Marimelj/Warner Bros.] as well as toured and recorded with Pieces Of A Dream,
Bob James, Tim Hagans, Bob Belden, and Walter Hawkins. His lengthy resume also includes

a long stint with New Kids On The Block. He recently completed an album with Earth, Wind

& Fire singer Philip Bailey, and he plans to begin recording his second solo CD this spring.
Onstage, MeShell and David have to balance differences in playing style and sound. "Our

styles are different in the way our personalities are different. I tend to take liberties while still

mamtaining the groove. She's no-nonsense-she gets right into it. In terms of sound, I like a

brighter, crisper top end, though I back off a bit on her gig. She likes a full, fat bottom and
mids, and just the bottom of the treble range. I've learned a Jot from her both as a player and

48

a bandleader. She's in total control onstage:
The respect is mutual. "David is one of my favorite bass players,"

says MeShell. '·He has a beautiful sense of harmony and melody. lfs

funky, but there's lyrical stuff intertwined in it."

David Dyson's Web site: www.dysonsgroove.com

BAS S PLA YeR MARCH 2002

drix had a tendency to play along with the phrases
be was singing, so I tried that, and the bass lines
got a little fuller. With the new material, some-
tin1CS the bass lines are so contrapuntal I can' t
sing with them. And it's rapping more than
singing, and rapping and playing bass is too dif-
ficult. Plus, I have to front a show. I have to teU
the band what to do and interact with the audi-
ence. When I'm playing bass, I disappear-!
become part ofthe band, and I don'tthink about
the people out in that audience. When I take the
bass off, I can interact with them again.

You give a lot of stage direction to the band.
I see all the songs as groups of phrases, and

sometimes I want the b.md to go to a different
phrase. I learned this from Gene, actually, who
played with [free-funk saxophonist] Steve Cole-
man. Steve would play a certain lick that would
be a signal for the band to go somewhere else. So
I'm keeping the band together and trying to see
where it should go. If something Gene plays
impircs something else, I'll say, "Break it down-
let's sec what can happen." I'm just directing.

So your show is very improvisational.
There are structures, but if we feel something,

we'll go with i t. We're all huge Prince fans, but
we also have records by Allan Holdsworth,
Weather Report, Pat Metheny, and Lyle Mays.
We come from that mental place where music is
supposed to grow and evolve and be cxpan~ive,
so there are some songs in the set where we leave
room for that. I think of it as improvisational,
hip-hop-based, R&B.

The hardest gig is probably David's, because
he has much less room for improvisation. l t's a
challenge for him, because he can play a whole
lot of bass, but the new compositions require
more of a foundation. That's just where l come
from. If I die tomorrow, I want people to say,
"Well, it was funl..-y. It was definitely groovin'."

David doesn't try to play like me. I like the
members of my band for who they arc as peo-
ple. We sound like we sound as a band becau~e
everyone plays like they are. Our common
ground is the song I wrote; it's the topic we're
going to discuss. Every night we take that topic
and see what we can do 'vith it-what we can
find in ourselves. Like when we play the begin-
ning of"Better by the Pound," sometin1es I wish

it could go on forever.
When you play that intro live, you can really

hear the difference between your style and David's.
Even more on "God.Fear.Money." I play super

behind. It's a very D.C. go-go fed; everything has
this lope in it. David, on the other hand, tends to
play on top of the beat. It's still funky, but it's

totally different. David has the percolating style,
but mine is to just let it go, let it breathe. Space
is where it is. I can take my bands off the bass for
a good bar and be fine. I Jere's bow I see it: If you
were doing this aU the time I breathes really fast],
you'd think, I can't breathe! I'm hyperventilat-
ing! Instead, it's all about I takes slow, easy breaths).
That's what I'm trying to get to. To me, music is

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