Welcome to Thunder Row, where bassists from around the world connect, collide, confer, conference, compose, collude, and communicate!
Don't be shy, jump on in!



Roy's Blog




*Teach Me Bass Guitar, the most comprehensive, effective, and entertaining program of bass instruction anywhere. Guaranteed.
www.teachmebassguitar.com


Free Sample Lessons
Sign up for THUNDERFIST: Your FREE bass tip excerpts from TMBG - the most fun, effective self-paced video instruction for bass guitar ever created!
Your Name*:
Your Email*:
(*We will not share this information.)

SocialTwist Tell-a-Friend

myspace myspace
myspace myspace

 


  • Dave Pomeroy



    Dave Pomeroy is a gifted bassist (meaning he PRACTICES!) and President of the Nashville Musician's Union. We're most grateful that, given his demanding schedule, he managed to grant us an exclusive interview, which follows: First, a couple of paragraphs from his bio on Wikipedia by way of introduction:

    Dave Pomeroy (born April 26, 1956) is a United States musician, known as a Nashville vocalist, songwriter, and producer (Earwave Productions), but renowned as a bassist. He has played electric and acoustic bass in the studio for many recording artists in addition to his solo and concert work. Pomeroy currently serves as president of the Nashville based Local 257 of the American Federation of Musicians (AFM) as well as being a member of the AFM's International Executive Board.

    Pomeroy was born in Italy, the son of an American soldier, and spent his childhood and youth in various places. He credits a four-year-long stay in England in the early 1960s as an early musical influence and returned to the country in the mid-70s, when he moved to London to play in numerous local bands. In 1977 Pomeroy settled in Nashville. He was hired by rockabilly musician Sleepy LaBeef within a couple of weeks and went on tour with him for a year. In 1980 he joined Don Williams' touring band and stayed with him until 1994. He returned to the band for Williams' comeback tour in September/ October 2010.

    As a session musician Pomeroy contributed to albums not only by Williams and LaBeef, but also by such diverse artists as Trisha Yearwood, Emmylou Harris, Toby Keith, Neil Diamond, Billy Ray Cyrus, Tom Paxton, George Jones, Billy Joe Shaver, Shelby Lynne, Jon Randall, Brenda Lee, Gretchen Peters, Alan Jackson, Beth Nielsen Chapman, Earl Scruggs, Randy Scruggs, Duane Eddy, Allison Moorer, Steve Wariner, Asleep At The Wheel, Matraca Berg, Kathy Mattea, Larry Knechtel, Keith Whitley, Jesse Winchester and Alison Krauss. He is a featured artist on the "Nashville Acoustic Sessions" CD project, with Raul Malo, Rob Ickes and Pat Flynn, released by CMH Records in 2004.

    Among his most recent projects are Three Ring Circle, an "acoustic jam band powergrass trio" with Rob Ickes and Andy Leftwich, and The Taproom Tapes, a live recording of collective improvisations featuring 14 of Nashville's musicians, including Jeff Coffin, Pat Bergeson, Johnny Neel and others. He recently produced Restless, the first album of new material by Sweethearts of the Rodeo in over ten years.
    Over the years, Pomeroy has become more and more involved in union work. In December 2008, he was elected president of the Nashville based Local 257 of the American Federation of Musicians, succeeding longtime president Harold Bradley. In June 2010, he was also elected to the International Executive Board of the AFM for a three-year term.
    http://]http://www.youtube.com/earwa.../4/S8yhy4pEwao

    TR: When and why did you start playing bass?

    Pomeroy: I started playing string bass in 5th grade at the age of 10 when my elementary school started an orchestra. I was already playing clarinet in the school band and taking piano lessons. I thought I wanted to play cello, but the teacher said “You have big hands, you should play the bass.” I instantly fell in love with the way it looked and sounded, and a while later when I figured out it was the same notes as the bass guitar Paul McCartney played, the light bulb really went off and I was hooked for life.

    TR:Your teacher had a keen eye. What is your most memorable gig, and why?

    Pomeroy:Playing the Royal Albert Hall in London England with Don Williams for the first time in 1984 was a thrill I will never forget. I had previously moved to London for a year in 1977 at the age of 20, trying to make it in music. It was a great experience and I learned a lot about life and the music business, but I basically starved the whole time. To be playing the Royal Albert Hall less than ten years later was just an amazing thing, and I invited all my British friends whose couches I had crashed on. On top of that, Don’s fans in Britain were so respectful, they literally hung on every note. They were so enthusiastic in their applause that it was very emotional for me. I was on the verge of tears the whole night, especially when Don stopped singing and the audience sang “You’re My Best Friend” in that beautiful unison that you hear at British soccer games. It was truly amazing. I have been fortunate to play some great gigs in famous venues since then, but that was the first one on that level.

    TR:I moved to London, too! Seven years before you did, though. Never got to play the Albert Hall. At least not yet. What would be the ideal gig, as far as you're concerned, and why?

    Pomeroy:To open up the show as a solo act, play a set with Three Ring Circle and then back up a great artist as their bandleader. That would be the best of all worlds. Maybe as an encore we could have an All-Bass Orchestra reunion!

    TR:That would be great. Especially if we all used our very first basses! What was yours?

    Pomeroy:I traded the upright my folks got me for a cherry Gibson EB-2DC in 1969, and I still have that bass. It’s got the biggest, fattest tone ever. When I play it I feel like a kid again.

    TR:Mine was the equivalent of an electrified washtub. Got it from the Spiegel catalog, and it had a neck like a longbow. You had much better luck, which is probably why you're so much better than I. (I've heard us both, so I can say that). What musician (not necessarily a bassist) do you admire most, and why?

    Pomeroy:Earl Scruggs. He totally reinvented the way his instrument of choice, the banjo, was played and has never stopped innovating for more than 60 years. He was there at the birth of Bluegrass with Bill Monroe in 1948, and took bluegrass and acoustic music in a whole new direction in the 70’s with the Earl Scruggs Revue working with his sons Gary , Randy and Steve, incorporating other styles and moving the music forward. He also plays the coolest gospel/blues fingerstyle guitar you have ever heard. It’s like Mother Maybelle Carter on steroids! He has survived car crashes, plane crashes, heart attacks and more without batting an eye. At 86, he is still doing gigs and playing great, and is perhaps the most humble man I have ever known. Earl Rocks!

    TR:Go Earl! I feel that way about McCartney. Who do you think is the greatest bassist ever, and why?

    Pomeroy:Paul was my first bass inspiration, too, and I will never outgrow that influence. But for me, "the greatest" would have to be a three way tie between Charles Mingus, Jack Bruce and Eberhard Weber. Mingus was a phenomenal player, composer and bandleader, as well as a unique, fiery character who also was an early proponent of owning your own music. Jack Bruce’s work with Cream totally opened up my ears to the concept that the bass didn’t always have to be in the background, and along with his songwriting and amazing voice, showed me that the electric bass had endless possibilities of expression. I love his solo work as well. Seeing Eberhard Weber in concert in London in ’77 was a mindblower and his albums on ECM inspired me to try the electric upright bass. His incredible tone, unique phrasing and innovative compositions really opened up my mind to bass-driven music.

    TR:You've clearly enjoyed a lot of styles of music over the years. If you could only play one kind of music, what would it be and why?

    Pomeroy:I could never do that! I love the variety of styles too much.

    TR:What is the best professional advice anyone ever gave you?

    Pomeroy:To play with musicians who are better than you so you can learn. It’s better to get in over your head and be challenged than to be stuck in one place.

    TR:I spend most of my time over my head; I always thought I was just drowning! How about personal advice? Any standouts?

    Pomeroy:Yes; Quite a long time ago, someone I really respected very politely suggested that to quit talking about myself so much, and to ask other people what THEY were up to once in a while! It was embarrassing to hear at the time, but was a great lesson I never forgot. Later on, I also learned that everyone has their “stuff” and you can’t change other people’s stuff, but what you can do is change how you react to their stuff. That was a good advice, too. Otherwise you can go nuts worrying about things you can't change.

    TR:Good advice. If you couldn't be a musician, what would you be?

    Pomeroy:I have no idea. I thank God I haven't had to figure that one out!

    TR:Which bassist do you think is the best vocalist?

    Pomeroy:“Best” is a word I don’t care for, because it’s really subjective. Off the top of my head, Jack Bruce, Paul McCartney, John Cowan, John Wetton, and Glenn Hughes all kick my butt.

    TRescribe the perfect combination of equipment for:

    The studio

    Pomeroy:Lots of basses, (G&L, Fender, Music Man, Lakland, Reverend, Fleishman electric upright, etc.etc.) Trace Elliot, Ampeg, and Line 6 preamps, Tube Tech Recording Channel for Gain, EQ and Compression at the end of the chain. Having an amp going too is not always practical, but adds some nice punch and air.

    The stage

    Pomeroyepends on the gig, but I love SWR amps, either the 750x with 2-10’s and 1-15” or the Redhead and the WorkingPRo 12 for smaller gigs. Lately I have been using the SWR Natural Blonde for Three Ring Circle gigs when I play both electric and acoustic upright. On most gigs I just use a volume pedal into the amp, and sometimes will into a DI before the amp if I am going for a clean tone. For my solo stuff I use the Roland RC-50 looper and SE-70 and VF-1 effects processors, and whatever else moves me at the time.I love messing with sounds and ways to make the bass do things people don't expect it to do.

    Rehearsal

    Pomeroy:As I said, the SWR WorkingPro 12 is a great rehearsal and small gig amp. I also have a small Acoustic Image amp that is nice especially with acoustic bass.

    TRo you have a preference in strings?

    Pomeroy:I've been playing GHS strings for many years, long before I ever endorsed them. They make a great variety of strings for different sounds and styles, flatwound, nylon wound, brite flats, and more, and they are amazingly consistent from set to set, which is REALLY important. Plus they have good distribution and are easy to find in a pinch if you are out on the road. I particularly love their Pressurewound strings, to me they are the perfect compromise between flat and round wounds, and are great for fretless.

    TR:When it comes to making music on those strings, what's the best bass tip anyone ever gave you?

    Pomeroy:Listen to what’s going on around you and get inside the music.

    TR:On the more personal side, do you have a favorite charity?

    Pomeroy:I have been raising money for Nashville’s Room In the Inn homeless program since 1992 with Christmas Concerts, radio broadcasts and CD’s. They do amazing humanitarian work while keeping respect for those less fortunate, which is at the heart of what they do. We have raised over $100,000 for them over the years and much to my surprise, last year they named the Music room at their new facility in Nashville after me, which was very humbling to say the least. Their founder, Charlie Strobel, is an incredible person who inspires me with his everyday example of how to help others while never making it about himself.

    TR:Congratulations! Well done. Opens the door nicely for a more esoteric question: What do you hope to achieve in your life?

    Pomeroy:I hope that my kids will have long and happy lives. I have been very blessed and fortunate to have all my dreams come true--and then some. It’s all gravy from this point on. I would like to meet Jack Bruce, though!

    TR:I'll give him a call. Got his number? What kind of music do you listen to when you're alone?

    Pomeroy:I spend a lot of time listening to whatever project I am working on at the time, so I don’t do near as much recreational listening as I used to. However when I do it could be almost anything. Miles Davis, Mingus, Cream, New Grass Revival, The Blue Nile, Bela Fleck’s African project, ECM, CTI, or Blue Note stuff, trip hop, Tantra lounge music - you name it, whatever strikes me at the time. I still have all my vinyl, and love pulling that out at random and listening to the stuff I grew up on.

    TR:If you could write your own epitaph, what would it be?
    Pomeroy:He loved life, music and people and tried to make the world a better place.

    TR:Who do you think is the greatest person in history, and why?

    Pomeroy:Another three way tie. Thomas Jefferson is a hero of mine. He wasn’t perfect, but he was a Renaissance man of the highest order. Abe Lincoln showed that humble beginnings can be overcome and pointed the way towards civil rights for all Americans. Mahatma Gandhi brought the concept of nonviolent social change into our reality, and the positive consequences of his actions reverberate now more than ever.

    TR:Quite a troika. How about the greatest musician of all time?

    Pomeroy:Chet Atkins. He became a personal symbol of the guitar, and did so without hype and a with lot of class. He influenced so many musicians, from Duane Eddy to George Harrison and Mark Knopfler. I also admired the way balanced his creative side with his other roles as a producer and record executive. To get to work with him and have him record one of my songs was incredible, but I would feel the same way regardless In addition, I have to say that Louis Armstrong was also an incredible musician and he could never get enough credit for his hugely influential instrumental and vocal stylings in the early days of jazz, as well as his magnetic personality and onstage presence that turned the world on to that uniquely American art form.

    TR:Those two influenced a lot of us. Satchmo was a unique and gifted character. He always made me think "joy." What about the greatest composer?

    Pomeroyuke Ellington. He wrote blues, ballads, jump tunes, extended works, and spiritual themed pieces. He created an amazing body of work over his career that utilized every ounce of magic his stellar musicians had to offer, and excelled at bringing out the best in those around him. He was also a great ambassador of American music. He truly was “Beyond Category.”

    TR:I love Duke's music. You never know what's coming next. Let's get a little more bass-centric; What advice would you give someone who is just picking up bass for the first time?

    Pomeroy:Keep an open mind, listen to your inner voice, and don’t play so loud you can’t hear what the other players are doing!

    TR:Tell us about your most recent projects.

    Pomeroy:Three Ring Circle is my “acoustic jamgrass power trio” band with Rob Ickes on Dobro and Andy Leftwich on Mandolin and Fiddle. We have been playing together since 2004 and it is the most fun I have ever had being in a band in my entire career. Rob and Andy are absolutely phenomenal musicians, and the energy level of this trio is off the chart. We write and arrange the vast majority of our material together, and it is a combination of Bluegrass, Jazz, Funk, Blues, Rock and more. I primarily play “The Beast,” the 5 string Fleishman Electric Upright bass that I have been had since 1981--but I play acoustic upright on a few tunes as well. Our first CD came out in 2006 and was nominated for a Bluegrass Music Association award for "Instrumental Album of the Year.” We just finished recording our second CD, "Brothership," and I am really excited about it. It should be out by May 2011 at the latest. Then it’s time for another solo record, and hopefully the revival of the All-Bass Orchestra.

    TR:I'm sure visitors to Thunder Row will be on the lookout for that. Tell us some of the musicians/singers you've performed with.

    Pomeroy:Recordings – Alison Krauss, Chet Atkins, Emmylou Harris, The Chieftains, Earl Scruggs, Elton John, Sting, Trisha Yearwood, Keith Whitley, Alan Jackson, Duane Eddy, Don Williams, Guy Clark, Willie Nelson, Kathy Mattea, Waylon Jennings.

    Gigs – Mose Allison, Steve Winwood, John Hiatt, John Fogerty, Willie Nelson, Don Williams, Billy Joe Shaver, Patty Loveless, Suzy Bogguss. Mark Knopfler, Dickey Betts, Larry Carlton.

    TV – Chet Atkins, Eric Johnson, Earl Klugh, Steve Wariner, Vince Gill, Rodney Crowell, Toby Keith, Jimmy Hall, Kris Kristofferson, Sheryl Crow, Randy Scruggs.

    TR:Quite a lineup there. If you could ask yourself any question, what would it be, and how would you answer it?

    Pomeroy:Q: Why the bass? A: Why not! Seriously, it’s an infinite instrument and I could never, ever learn enough about it.

    TR:Also, may I ask you to contribute an article about the union that we can post on our Music Business page?

    Pomeroy:Happy to do so. Being a member of the AFM has been a huge help to me over the years, and a few years ago, I decided that I wanted to give something back, and got much more involved in the workings of the Nashville Musicians Association, AFM Local 257, which I joined in 1978. I was elected President of Local 257 in 2008, and while it's a heavy workload sometimes, the idea of helping musicians protect themselves in an increasingly difficult business environment can be really rewarding. It makes me feel good to help players get paid fairly for the work they do. Without collective bargaining and someone to look out for you, it's a race to the bottom. I hope folks who read this will check out the article that will be posted on Thunder Row next week about my Union experiences. It's been very interesting and rewarding to say the least.

    TR: Thanks for your time, Dave.

    Pomeroy: My pleasure, and my best to everyone on Thunder Row!
    Comments 4 Comments
    1. jthomas353's Avatar
      jthomas353 -
      Thanks for the interview. Good stuff. Looks like Dave plays a G&L L-2000.
    1. Elmeaux's Avatar
      Elmeaux -
      Great article!!
    1. SilverFlame46's Avatar
      SilverFlame46 -
      Thanks, very nice article!!!
    1. thunderman's Avatar
      thunderman -
      I've had the privilege of hearing Dave play. An elevating experience. He's exceptional
  • Latest Videos

    Donohoe & Grimes Do Up Some Floyd

    Publish Date: September 26, 2014, 10:15 am


    Read More Read More


  • Bass Tips

    Beginning Bass Lessons

    Publish Date: July 25, 2015, 1:00 pm


    Read More Read More


  • Ads