My father lead perhaps one of the most successful Big Bands in the central NJ area, The Lamplighters.  For over 30 years, this was his passion and from a very young age, I couldn't help being caught up in a whirlwind of jazz, swing and Mozart.  I admit, these are not the types of music anyone would expect to have propelled me in the direction I'm going -- playing for rock bands, sitting in on different recording sessions and of all things, creating my own compositions on bass.  Nevertheless, they are the fundamental foundations of all that we call music today.

I took my first musical steps in junior high school, where I played trumpet for the concert band.  After I struggled to keep my chops up throughout high school, I realized that there was another instrument that really moved me.  When the opportunity arose for me to borrow my friend's, brother's bass guitar, I jumped right on it and quickly began learning my favorite bass passage at the time--Metallica's, My Friend Of Misery.  (The middle of that song is so cool, with the bass solo going and some guitar swells in the background.)

Shortly after being able to play the part with only one finger, I began to work in my second finger.  A lot of my early bass teachers were Roger Waters, as I am an avid Pink Floyd fan, and an amalgamation of punk rock songs -- obvious choices considering the ease of chord changes.

Eventually I developed myself into the progressive nature of bands like The Floyd, Tool and ultimately Dream Theater.  I started to dive deep into alternate finger styles, e.g. three finger right hand plucking and two-hand-tapping -- these finger styles were first expressed in a group called Beau Koo Jack (see sounds page).  Soon thereafter I was turned on to bass greats Tony Levin and Victor Wooten who never cease to amaze me.  Tony for his incredible repertoire of studio bass tracks and Victor for his insanely innovative two-hand-tap and slap techniques.  They really help me to realize that there is so much more a bassist can do beside play the low notes.

For the last year, I have been working on a duo project (Numinosity), new original band (The Levelheads) and sitting in  with various original/cover groups in need of a bassist.   I like learning new styles of music and rarely turn down an opportunity to play something different.  Originality is one of the most important aspects of being a musician; it is that which makes us unique.

Some of my latest influences include the finger styles of Michael Hedges and Billy McLaughlin on acoustic guitar.  What they have done on an acoustic is amazing and again, opens doors to the limitless possibilities of what may be accomplished by playing on six strings.

Thanks for visiting, 

            Jim
            September, 2004