Meet Martin Simpson
Graeme is without doubt, South Africa's busiest bassplayer. He's
involved in projects constantly and doesn't have to sit by the phone
wondering when the next job will come his way. One of the reasons for
this is probably his extremely likeable, easy going personality,
intelligence, friendliness and humorous attitude towards life,
creativity, and, most definitely, his groove. I became great friends
with Graeme from the moment we first met back in 2001. I think he must
have swallowed a dictionary sometime in his past as you'll see for
yourself from this chat I had with the man at the beginning of 2009.
How long have you been playing bass Graeme?
33+ yrs. I bought a new Yamaha teardrop-kinda-shape Bass for R68
(35quid/55dollars - 1975) on my 17th birthday having never played an
instrument before. Inspired by a friend of mine, who played Flamenco
guitar, and Golden Earring's "My Jangeline" (on the turntable at the
time), we talked about forming a band but never did! I remember
confirming: "I'll play Bass!" (beams)
What other instruments do you play?
Guitar – for compositional purposes. I also compose and/or arrange for
rhythm section, horns and string quartet and woodwinds if necessary.
(reflects)
Do you come from a musical family?
No-one played an instrument but we all loved music from The Beatles, Elvis, Sinatra, to hits of the day.
Who are the musicians that have influenced your career?
I was turned-on to the sound, feel and how the Bass could move a song
at age 10 well before I was even interested in playing. In 1968 I was
watching Top of the Pops on TV, and Joe Cocker doing 'With a little
help from my friends' blew my mind! As far as Bass Players are
concerned, I totally dug Gary Thain with Uriah Heep – Uriah Heep Live
Album - when I first heard them at age 13. The Bass Players of my
favourite bands Deep Purple, Slade, Led Zeppelin, The Beatles, Hendrix
and Sly and the Family Stone had an underlying influence. Then after I
started playing, Miles, Stanley Clarke, jazz-fusion band Matrix, Jaco,
EWF, Ron Carter, Paul Chambers, Paul Jackson, Dave Hungate and Marcus
were inspiring. Tony Levin is probably one of my most favourite players
and Peter Gabriel my fave artist. Level 42, Megadeth and Disturbed are
in the mix too along with my love of Acid Jazz. But there are just so
many – Burt Bacharach, Cole Porter, Weather Report, Mahavishnu
Orchestra, ELP, Herbie Hancock. Gino Vannelli, besides his incredible
songs, voice and phrasing, has had a huge impact in influencing my
knowledge of harmony and composition and my theoretical premise. But
further, any Bass Player who 'plays the song' has my respect. I'm into
bands and songs more than I am into solo bass artists and techniques.
What formal training have you had?
In the early days I used to try and transcribe tunes for my
original band to play, and informally studied Royal School of Music
gradebooks. I later attended Berklee College of Music (for the
professional player's token 1 semester!) where I studied (Harmony 4/5)
under the great Ken Pullig, then 3 years at North Texas State
University (as it was called at the time). I was awarded a scholarship
to the University of Texas, Arlington, while I stayed in Denton. When I
moved to Los Angeles I attended L.A. Recording Workshop on a part-time
Producers course. On returning to South Africa, I completed BMus Hons
at the University of Cape Town under Prof. Mike Campbell who was at
NTSU with me. I am currently pursuing a Masters degree under Darius
Brubeck at the University of KwaZulu Natal. I have been teaching at a
college here in Johannesburg for the past 11 years where I have
developed courses, the gem being the comprehensive Songwriting syllabus
and series of Bass Masterclasses. I was Head of Dept. for a number of
years but opted for part time again due to my heavy workload. But,
probably the best lesson I have ever learned is the discipline of
Theatre playing. This is arguably the best training a musician can
receive – performing the same set of music night after night, week
after week, month after month... Theatre performance breeds stamina,
concentration, consistency, attention to detail, technique,
understanding and concept, respect, etiquette and humility.
How would you describe your approach to playing?
My heart and the song lead me when I play. I approach bass playing from
a compositional standpoint. One that is ultimately musical in a
commercial sense. I never had a serious teacher in my formative years
and therefore missed out on being disciplined to practise much of the
foundational knowledge that I later chased when I realised that this
enterprise could surely become my profession! I make sure all of my
students are fully equipped with the fundamentals but enjoy the freedom
that I had – 'of creating by listening' (recollects). That's what I
aspire to the most, seeing that I consider myself first and foremost a
'songsmith'. (affirms) I am a true doubler too and half of my workload
is playing Double Bass no matter what style – 'Music' is what I like to
call it as opposed to the barriers some narrow-mindedly label as jazz,
pop, country, etc. (frowns) But let's not confuse the issue, ok? This
is the music business! (laughs and ponders)... and marketing occupies a
huge slice of the pie of professionalism. I equate marketing one's self
to image, the other two principles of professionalism being attitude
and ability. These three categories can be sub-divided into many
intangible skills if one wants to learn to succeed in this business.
Talent is what you're supposed to have. Hard work in the form of
motivation, determination and desire, are developed.
