How did you get into music? When did you start reading music? When did you start playing bass? When did you become a professional musician? How did you start playing with Jools Holland? How did you switch from upright to bass guitar in Jools Holland’s band? What’s your approach to playing so many high-profile sessions with world famous musicians? Have you worked with any of your musical heroes? How do you choose the right bass for each gig or studio session? What amps do you use and why? What do you practice and how does your technique change between upright and electric bass? Did you even play with Squeeze?
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You’ve played with so many amazing guests on various TV shows, live on stage, and on record, what’s your approach to making someone like George Benson, or Eric Clapton for example, feel comfortable and fulfilling all their expectations?

DS One of the things I’ve observed over the years is, a lot of these artists can be more nervous than the band. Yes, they’re playing songs they’ve either written or have performed many times with their own band, but coming on to Jools’ show or recording in his studio with us is a new experience for them. So there are certain key things to bear in mind that all musicians should be aware of. Firstly, take pride in your physical appearance.Your demeanor is equally important; you need to be courteous, and polite, professional but not over friendly. Then there is your instrument, if the artist is used to working with a double bass, then I’ll attempt to play mine, if they’re used to someone using a Fender bass, then turning up with a seven string bass with all gold hardware and flashing LED’s might just freak them out! You also need to be open to suggestions from them, and if they’re having an off day, you need to be encouraging and positive. If we are recording a cover, initially I will transcribe and learn the original bass part note for note, this is a good starting point, as they will be used to hearing that already. If they want exactly what’s on the original, then that’s what they’ll get, but if they want me to make the bass part my own, I’ll try a few things out on each run through, until I get their approval. The main thing is to make the artist feel comfortable in this somewhat alien environment, and make them feel like they’ve been working with you for years.

I have to add, one time we were in Jools’ studio waiting for Eric Clapton, ready to record a track for a new album. When we heard he’d arrived, Jools went to open the large wooden gates to let him in. Unfortunately, Jools let go of one of them, which slammed into the side of Eric’s new Ferrari. Ouch! The rest of us of course were not aware of this at the time, but in hindsight, it did explain Eric’s solemn appearance that day. Not the best way to start a session!

Being Jools’ bass player means you really have to on the ball, and be aware of what’s going on in every musical situation. Can give some examples?

DS I’m sure we’ve all had experiences of getting carried away, lost in the moment etc. but on a TV show, playing with an artist you’re not used to, you really have to keep your wits about you, because during rehearsals things can constantly change, and frequently do. If the artist gets lost, you have to be able to give them visual or musical clues, preferably subtle ones. Also if they forget a verse or go to the middle eight too early, you need to be experienced and confident enough to go with them, to avoid what we in the business refer to as a “Train Crash.” When we record an album or a TV show, I’m very conscientious about my role and I’ve become, I guess, a ‘ghost’ musical director for the rhythm section. I will often be asked, “remind me of the tempo of this tune” by the drummer, or “what are those chords in the middle eight?” by the guitarist, and even “what key is this song in” by Jools himself, who of course has more than enough on his mind actually hosting the show, let alone playing for ten or more artists. I will usually transcribe every bass part that I will be playing and if I have the time. I will learn them off by heart, but if it’s a particularly complex song or bass part, and/or I haven’t had much time to learn it, I will use the transcription on the show. A good example of this was on the recent 2005/ 2006 Hootenanny New Years Eve Show. We were playing for Corrine Bailey Rae who decided she wanted to sing Stevie Wonder’s ‘For Once In My Life’ instead of one of her own songs. It has a fantastic bass part by the legendary James Jamerson, which I transcribed meticulously note for note. There was no time to learn it, and it’s such a classic line that I didn’t want to improvise my own version and spoil it (laughs). So I used the music on the show and read the whole thing. The key here is not to make it look too obvious that you’re reading from a chart, so be subtle, but just don’t lose your place!