Me'Shell Ndegéocello – Plantation Lullabies (iTunes)

I first met Me'Shell in the discount section in a CD shop in Biel (CH). I somehow liked the cover of Plantation Lullabies (I often buy CDs because of their cover) and the album didn't disappoint. It is hard to describe her style, but somehow Me'Shell manages to combine Funk, Hip Hop and Soul in a way that it gets under your skin. Her first album is bit more rough and hard (in terms of hard funk, not hard rock ;-)), her later album Peace Beyond Passion (iTunes) is a bit more mellow. I like them both, also beacuse of Me'Shells very honest and personal lyrics. Of the albums presented in these two blog entries, this is probably the music most agreeable for non-bassists (apart from David Sanborn of course). I'd say: If you love Prince, you have to check out M'Shell Ndegéocello. Interestingly enough, Wikipedia says she's often credited with having “sparked the neo-soul movement”.

You can find out more about Me'shell (who was born in Berlin, by the way) on Wikipedia and on the freemyheart, a website that seems to be operated by a fan. Here's the video for “(If That's Your) Boyfriend” from Plantation Lullabies.

Michael Manring - Unusual Weather (1989)

Depending on the style of music, bass as an instrument has a more or less clearly defined role. If you want to extend this role, you're off to dangerous territory. It is a lot of effort to learn intricate bass technique especially when you want to use the bass as a solo instrument. Once you have spent all the time and effort, you won't necessarily be rewarded: The non-bass-playing listener isn't really interested in how much effort and technique went into your music. Music first has to appeal to the listener and to evoke an emotional reaction – and only then the rest might become interesting. Especially if you spent a lot of time to study a topic like slapping, tapping, chords or similar stuff: If you are not convincing musically, most people want to listen to something else after five bass chords.

That's why I find it all the more impressive that Michael Manring did not just focus on one “signature” technique, but somehow managed to work on everything imaginable on bass: Open tunings (he likes to play Zon four-strings with four Hipshot tuners that allow him to detune all four strings while playing), slapping, tapping, chords, looping, effects, E-Bow, playing up to three basses at the same time – and all this also on fretless basses with an incredible intonation.

And on top, Manring combines all this with a pronounced musical taste and a strong talent for composition. No wonder that after I had bought Unusual Weather (again from the discount / clearance section), I didn't really have an idea what I ahd bought: What you notice first is the experimental, stimulating music (that some dismissively call “new age” music) that doesn't betray the means used to play it. Of course it helps that the bass is embedded into the context of a whole band.

I have to admit that I bought a few albums by Sadhappy (where Manring plays as well), but none of his later solo albums. I'm gonna do that now.

Here's one of the many Manring videos on YouTube where he plays a solo piece.