Exclusive Interview with Shem/by
Billie Boyette
Special Thanks to Roberta Mercer & Mike Beverley
Having grown up
in a musical family, Shem had the privilege of observing his
father, a professional musician, in the showy New York recording studios
and
was able to witness the recording process firsthand. Today, Shem is a
much
sought-after professional bass player, singer and songwriter. Over the
years,
he has found himself working with such major artists as Ambrosia, Patti
Austin, Christopher Cross, Tom Jones, Kenny Loggins, Michael McDonald,
Jim
Messina, and Steve Perry, to name a few.
Shem has just released
his first solo CD entitled, "Son of Arthur" showcasing
his virtuosity as a multi-instrumentalist, vocalist and songwriter. In
Shem's
own words, "Whatever invaluable experiences have crossed my path
during the
writing, recording, and performing 'Son of Arthur' it will always remain
close to my heart and I can apply what I've learned to every aspect of
my life."
Shem displays several
interesting styles and approaches to his playing. His
love for "acoustic ambiance" shines brightly in several cuts
from the CD.
His use of colorful chord progressions held tightly behind his roots
expresses his musical inventiveness and understanding of various scale
settings. Many of the songs present a feeling of Shem performing directly
to
the listener without the annoyances of a venue environment.
Billie: What sparked your interest in playing bass guitar and what do
you
love about it?
Shem: I first became interested in playing bass when we finally got one
in
the house when I was 12. My father got a bass from a musician friend of
his for
my brother to play. He didn't take a tremendous interest in it so I would
pick it up and mess around with it. It came relatively easy to me and
within
6 months I had figured out and could play "Teen Town" by Jaco
Pastorius, up
to tempo. The fact that a kid of 12 even knew about Weather
Report is
attributed to the kind of music that was being listened to in our home,
mostly by my father. Most of my friends were into Peter Frampton and Led
Zepplin. My earliest bass heroes were Chris
Squire and Jaco but I began
falling in love with the bass when I heard Earth,
Wind and Fire's "I AM"
album in 1979. Verdine
White and what he brought to that band and the music
they were writing and arranging, taught me what bass was about and what
its
true function in an ensemble should be. I loved how the bass and bass
drum
worked together both rhythmically and sonically.
Billie: What was the first instrument you learned to play?
Shem: All the men in my family were drummers. My father, his father, my
brother, etc. To this day I call myself a drummer first. I can't remember
not knowing how to play the drums. It's definitely affected my approach
to bass
playing.
Billie: What are your personal views toward bass playing and what approach
do you take?
Shem: All rhythm instruments in rock, R&B and pop music are all just
subdividing the quarter note (or the number at the bottom of the time
signature). The
quarter note is the pulse and whether your part is playing the quarter
note
or not, you should always, always be suggesting it. Even in the spaces
you
don't play, you should be highlighting the pulse. When drummers and
bass players both share this concept, the groove is unstoppable. I also
believe having good instincts for proper register choices. Which octave
a
bass player chooses to play in at what time is so very important. Don't
give
away the deep tones (low C#, C and open B) too early. This can have a
huge
effect on the arrangement of a song and bring out the dynamic change it
needs
at the right time. Having the low B string is a must for me. I can't tell
you the last time a played a 4-string live. Most importantly, groove with
patience. Learn how to get off on playing a part that is so simple that
you could play it all day and love the fact that you're not getting bored.
An 8 bar groove where the bass part is only the first 2 beats of the first
measure and the remaining bars in the loop are rests; that's the bomb!
Loving doing that is a sign of maturity. Too many bass players don't enjoy
just playing the bass. One of my favorite bass player stories is one with
Jimmy Earl. I'm not sure of the gig he was doing at the time but as the
band
came to the break down section of the tune with just drums and bass, Jimmy
kept playing the bass line. Someone in the band shouted, "Come on,
Jimmy!
Take a solo!" After a few bars of still playing the original line,
he calmly
looked over and responded, "I am." That's beautiful!
Billie: What do you feel has been your most challenging experience playing
bass?
Shem: Back in 1988, my father got me an interim gig playing in a lounge
trio
in Atlantic City. The gig was accompanying a different act every week
with no
rehearsal, just sight reading charts. Some of the artists' charts were
written very poorly and were not very legible. The first night of a show
was
always pretty stressful. I was also much younger than my fellow trio members
and I didn't want them thinking I couldn't cut it. But as with anything,
you
adjust to the situation and I think, while it wasn't always a joy, I learned
a lot faster living it. As long as any performer's confidence doesn't
get
shattered, there is a lot to be learned from pressure and challenges.
Billie: Can you give us some personal history about yourself?
Shem: I assume you mean, musically? Most of my early history with music
started with my father being involved with the jingle business in New
York.
I would sing kid's parts for him when I was about 10 and soon began playing
drums for him at age 13. My first bass session for him was about a year
later. I played in a few bands through high school, but felt that in 1987,
I found the
right situation in a four-piece band I formed called, "The Doctors."
We were
kind of reminiscent of Mr. Mister meets Journey meets Toto. We were very
close to a major deal with Capitol Records until our "contact"
was let go. I
moved the band out to L.A. in 1989 and played around town for about 2
years.
We soon disbanded and I became involved with playing bass and singing
for
various artists, which has kept me busy for the last 7 years.
Billie: What artists are you currently working with?
Shem: I've actually been very fortunate to be playing with many different
artists at the moment. I am currently playing with Kenny
Loggins.
I can't say enough how much I love playing with him. Great songs and
a great guy. I've recently been the music director for a touring show
called, "Classic Hits Live" which features artists such as Gary
Wright, John
Ford
Coley, Al Stewart, Dave
Mason & Ambrosia.
Billie: I know you
are a multitalented instrumentalist. Other than bass,
what instruments do you play?
Shem: As I mentioned previously, I started on drums. I started playing
piano pretty young, too.
In school, I played clarinet and saxophone. Guitar was pretty much
recreational and not taken too seriously until now. My favorite was playing
double-bass in the school or county symphony. There's nothing like being
a
part of an orchestra.
Billie: How many bass guitars do you own and what's your favorite?
Shem: (Laughs) That's like asking how many children do you have and which
one
do you like the most? They all have their own distinct personality and
strengths. Including my upright, I have 13: 1.'78 Fender Precision with
jazz pickup 2. A pre-Kramer Spector NS-2 (great rock bass). 3. Kubicki
Factor 4. Tyler 4-string 5. Tyler 4-string fretless 6. Tyler 5-string
35"
7. Fender Jazz Deluxe 5-string 8. Hanewinckel 5-string fretless 9.
Lakland 5-string 10. Epiphone El Capitan 5-string acoustic 11. Epiphone
El
Capitan 5-string acoustic fretless 12. Ibanez precision-copy fretless
13.
German upright. My favorite? Tough one. Right now, I'm in love with my
Lakland, it's so all-purpose. However, my Hanewinckel fretless is my baby.
Every engineer, soundman always has to know what it is and they say they
never have to do anything to it to make it sound good. Honorable mention
would have to be my Fender Jazz 5-string. It sounds so great live and
is so
player friendly. NOTE: These instruments are not Shem's actual instruments.
They are representative of those mentioned.
Billie: What specific gear do you use and how much does the sound influence
your playing?
Shem: I've come full circle and just can't get away from the punch I get
out
of my GK 800-RB. I've tried every other head and have returned to GK.
Same
with cabinets. I've tried them all and I'm still a Hartke man. For a big
live
situation, I'll use a 115 and a 410 in the BI-amp mode. I'm not a fan
of a
tube sound for bass. I know there are guys reading this right now and
want
me lynched, but for my tone and the sound that is best for my approach,
I
want the punch I get from solid state. Sound is everything. Playing is
always
inspirational and if your sound is not happening it definitely will effect
your performance. Just like if a ball player's equipment is not properly
adjusted, it will certainly distract him from playing well. On the other
hand, when my sound is just right, I can't help but be inspired to play
at my best.
Billie: What artists
have you worked with over the years?
Billie: What is your live setup and which bass do you use?
Shem: For a big live situation, I'll use a Hartke 115 and a 410 in the
BI-amp mode with a GK 800-RB. I'll mostly use my Lakland and my Hanewinckel
fretless. That pretty much gives me a wide-range of sound for different
styles. (Wink) I'll always try to work fretless in whenever I can.
Billie: Do you use any exclusive bass for studio work?
Shem: No. As a session player, the sound and stylistic variables don't
allow for one bass and/or sound. I would say however, that in the last
6 years my
Tyler 5-string has been my workhorse in the studio, but this new Lakland
has
been seeing a lot of the red light lately. For slapping, the Fender 5-string
has just the right sound. For fretless work, the Hanewinckel is superior.
Billie: How do you prepare yourself to do session work with artists you
have
not worked with before?
Shem: I wouldn't say there is a lot of physical preparation that goes
on
with me. When I get a call, I usually ask what the nature of the material
is and from
that point on it's just showing up with about 4 basses and going for it.
Depending on the situation, it's mostly show up and play. I enjoy not
knowing what exactly is going to be expected of me when I get there. It
creates a new and exciting challenge each time. Different producers have
different ways of approaching the recording process. I like getting into
their individual spirit.
Billie: Do you prefer score reading versus playing by ear?
Shem: Having a harmonic guide is always good. Some kind of chart is always
welcome, but I'd rather just get a chord guide, play and see what happens.
The best producers are the ones who let the talent they've hired try new
things.
I love going in and asking what they want and they say, "Just do
your thing,
that's why you're here."
Billie: What is the shortest time-frame you've had to prepare for an
unexpected gig?
Shem: My first gig with Kenny Loggins was subbing for Freddie
Washington who
unexpectedly wasn't available for a live TV show in NY. I got the call
2
days before to join the band. There with no rehearsal, no run-through,
just
go on and do a live TV broadcast. I guess the days in the lounge in Atlantic
City came in handy for that one.
Billie: After playing with many artists, is there any one memorable
experience that sticks out in your mind?
Shem: Gosh, there are so many. Just being able to see the world and get
paid to do it leads to all sorts of invaluable experiences. My favorite
story though is when I was 16 years old and Jaco Pastorius called my house
to ask
if he could borrow my upright for a Weather Report session they were recording
in NY.
The only reason I got the call was because my friend was working as an
intern
at the recording studio they were using and when Jaco suggested that the
song
they were recording could use an upright, my friend spoke up and said,
"My
friend Shem has one." Unfortunately, this was the week I had decided
to
have my bridge replaced and it was in the shop. I'll never forget the
sound
of his voice and having to tell him that I couldn't help him out. I still
to
this day want to kick myself for not having my bass in the house that
week.
One of my other favorite bass hero stories was when I met Chris Squire
in the
men's room at a restaurant in NY. As I held out my hand to shake his,
he
asked, "Did you wash your hands?" He wasn't joking.
Billie: When you find the time to write, what instrument do you prefer
to play?
Shem: Writing for me has never been, "Okay, let's sit down and write
something." It has always just come to me whenever and sometimes
at very
inconvenient times. In terms of what instrument, I'd say most of my life
my
writing was always at the piano. But the last 3 years it's been acoustic
guitar. I love it.
Billie: Do you have a particular style that you would call your own?
Shem: Yes. (Laughs)
Billie: Do you have
a signature piece?
Shem: "Born to Take the Fall" off of my new CD probably sums
me up musically.
There are so many influences in that one song and I was glad to have the
opportunity to tap into them.
Billie: What artists' styles have influenced you?
Shem: My all-time favorite art is the operatic works of Richard
Wagner. He
was a true genius in so many areas: Composition, orchestration, poetry,
journalism, politics, acoustics, etc. I was turned on to his works at
a very young
age and am so grateful for that. I have also always been a huge fan of
the late
maestro Herbert von Karajan. Beyond
that, I grew up with Yes, The
Police, Stevie Wonder, Chick
Corea, Gino Vanelli, and Earth,
Wind and Fire.
Billie: What do you find particularly challenging about playing live as
a
solo artist?
Shem: The focus is completely on the solo artist. There is less room for
error because of that focus.
Billie: How have the
acoustic shows been going? Do you find you connect
better with the audience at your solo shows, as opposed to shows with
a band?
Shem: They've been going well. No one has come up to me and said, "You
suck!!" yet. (Laughs) I wouldn't say the connection is better than
a band
situation but there are big differences. There is a certain personal relationship
I
have with an audience that isn't possible with a band. In my acoustic
shows,
I try to treat the audience like they just came into my living room to
hear
some new songs I wrote. It definitely relaxes an audience and makes them
feel they are more a part of something. The intimacy makes the artist
feel
more approachable. I like that. I can't do my show without an audience
and
the audience can't see my show without me. I like to subconsciously create
that general feeling.
Billie: Your solo CD, "Son of Arthur" is awesome!! What were
you trying to
accomplish creatively and where did you draw your lyrical influences?
Shem: Thank you. The liner notes on the CD explain my reasons to record
an
all-acoustic album. Too much of music today can be digitally manipulated.
However, I grew up seeing the recording process first hand at a time when
music was all recorded acoustically. I had much more respect for the artist
or group back then because once they went to tape, the tape didn't lie.
I
wanted to make an honest record and have fun having to get it right. I
also,
like any artist, wanted to share some things topically that are important
to
me. My subject matters were all based on some sort of personal experiences
or emotions. Sharing vulnerability is very attractive to listeners because
of the honesty.
Billie: Over how long a period of time were the songs on your new CD
written and recorded?
Shem: Most of the songs were written over a period of the last few years.
The overall recording process from start to finish was about 2 years.
Billie: Why did it
take so long to release your first CD?
Shem: Loaded question. (Laughs) The last time (before this CD) that I
felt
I truly believed in my material was back in the late 80's with The Doctors.
I
was in love with my songs and band and couldn't get enough of it. But
as
time and the styles of the mainstream changed, I didn't feel that the
music I
was writing fit in. I was always writing, but didn't think the stuff that
really turned me on had a place in the mainstream. Therefore, I was less
inspired to let the world in on my music. I also wasn't going to record
an
album until I could work in an environment that was suited to my needs.
Once
I believed in my creative process again and had my own studio space to
work in,
I began, "Son of Arthur."
Billie: On "Son of Arthur" what songs are your favorite and
why?
Shem: I don't know if it has anything to do with it or not but my favorites
are the ones I didn't collaborate on. My 3 favorites would have to be
"Trapped
Inside Myself," "Someone I've Never Been," and "Born
to Take the Fall." I
like "Trapped" because of where it goes harmonically. "Someone"
is probably the
most personal. It talks about childhood innocence and how being true to
yourself is the best medicine. We don't always know it when life is trying
to teach us a lesson. The song is about finally understanding what life
was
trying to teach me back then. "Born...." is my favorite from
so many
standpoints. Topically, poetically, compositionally, orchestration......
It
was like putting all these artistic ingredients in a blender and what
came
out is something I'm truly proud of. To be able to write something for
orchestra was something I hadn't done on that grand a scale for about
17
years. I found a way on this record to do something that was totally me.
It's really such a rewarding feeling to listen to that song. A recent
European reviewer of the CD called "Born" a masterwork. It felt
so good to
read that.
Shem: You can go to shemsite.com
and it will link you to sample music and
how to purchase the CD. Also, I do a lot of sales at my various live
performances which you can check out on my website as well.
Billie: What can we
expect to see from Shem in the future?
Shem: The beauty of the answer to that question is, I'm not exactly sure.
There will definitely be a next CD. I promise it won't take as long to
put out as
this one. I have new material and am excited about recording it. In the
meantime, I will be releasing a compilation CD of never before heard songs
with The Doctors and my earlier solo works. It will be called "Shem
- Over Time."
There is also quite a lot of touring on the horizon between Ambrosia and
Kenny Loggins for the remainder of this year. In the meantime, I encourage
everyone to search out independent artists via the Internet. The major
records labels have artistically oppressed this world long enough. Now
through technology, all can benefit from having their own freedom to choose
the music they are truly interested in. It's quite a liberating time for
music lovers everywhere. We just need to educate everyone about their
own
true freedoms, artistically. We can change the world as we know it.
Exciting, isn't it?
