Trentin Lee Manning is quickly becoming one of the leading young
American bassists. Hailing from Cincinnati, Ohio, Trentin first
came to my attention in 2006 after he performed a small number of
clinics in the Midwest US. Last year, he released "Tranquility
& Tension", a 5-song EP that showcases his "right on it" playing
approach as it winds through his deep world experience. Though in
his early twenties, Trentin oozes "Old Soul", and his trio with
guitarist/producer Rick Brantley and drummer Matt Gardner please the
ear again and again through their rich interplay that defies musical
categorization.
www.myspace.com/trentinleemanning
BAJ: You are an incredibly melodic player, man! You have listed
Michael Manring as your primary influence, and you nod heavily to
Michael through your composition "Monkey" (one of my favorites!).
But, let's talk about your other musical influences and how they've
shaped your global musical impression.
Trentin L. Manning: I have always been drawn to all styles of music I
try not to limit myself just to one genre. There are days where I will
listen to TOOL, The Roots, and P-Funk and then next day I'll listen to
Gospel music or Blue Grass. Michael Manring was a huge influence, but
so were Abraham Laboriel, and many others. My wonderful Grandparents
raised me, and, man, they have great taste in music. They told me when
I first picked up the bass "Be limitless in what you listen to and
play". For those of you who compose or want to compose music ,"Be
limitless"! Most of the world's best composers live by this.
BAJ: Would you consider yourself "self taught"? Also, how
do you articulate your knowledge of music theory while you're playing...
or do you?
Trentin L. Manning: I picked up the bass when I was 13, but
didn't get lessons until two years ago, or so. Being self-taught has
some good points - like, you listen and look at everything
differently. I learned a lot from watching the bass players at church,
and instead of asking questions I went home figured it out for
myself! Trust me, I would not change that for
anything! I learned and perfected personal technique when I
started learning from Matthew Human (who studied with Jeff
Berlin). He taught me a lot about music theory and proper
technique. I do apply theory to my playing. But, I don't
let theory take me over. As you know, theory is in the back of our
minds, so what we're playing feels natural. I find, when soloing
over chord changes, I freak myself out if I think about theory
too much! So, it seems that I play better when I play from the
heart... with just a little bit of mind. The bottom line is that it is
good to have a concept of your own personal technique and to learn
proper technique. Those two things make me a stronger (and much
more interesting) player.
BAJ: You have been doing more solo presentations of your
compositions of late. Is this a seasonal thing, or are you
abandoning you trio concept? Along with that question, where do
you find yourself most comfortable, musically speaking?
Trentin L. Manning: My first album "Tranquility & Tension", was
written when I was about 14 or 15 and each was composition as a
solo. I wasn't thinking about a band setting before I started
recording my producer Rick Brantley and we decided to use more
instrumentation on the album because the songs needed "more". I am
mostly known as a solo bassist but, I also love playing in the pocket!
Not only do I love playing in groups... its what pays the bills!! My next
album will be different as far as the presentation on "Tranquility
& Tension". As my comfort zone, I feel great about being
either a "solo guy" or being a "pocket guy". I have to have that
balance in my life and I learn so much from both sides of that coin.
BAJ: Cool, man! Please describe your composition process?
Trentin L. Manning: Sometimes ideas will come to me when I least expect
it, and then there are other times when it takes a year or two just to
feel like this is what I've been blessed to hear. When I am writing a
song I have to imagine myself listening to the radio and would I stop
to listen, or would I say, "this song sucks", and turn the dial... you
will just learn when a song is a great song! You have to try to
listen with different ears and always be open to constructive
criticism. This is what helps my composition process.
