Interview With Chuck Rainey

Mr. Rainey, thank you for taking the time to reach out to some of your fans here at Bass-ically Speaking.  Your contributions to and influence on the music world and on bassists in particular are so far reaching.  Yet, as a sideman, your contributions to modern music are sometimes under-appreciated.  My hope here is to connect you to my readers and, in some small way, increase their awareness of you as an artist.

Bass-ically Speaking:  Was there a single, defining moment in your life when you said, "Yes! I want to be a musician?"

Chuck Rainey:  Actually no. It seems that I was always a musician, of some sort and was never faced with that decision in that way. I was very aware of music and rhythms as a baby - mostly from the natural sounds of nature and human voices in my immediate environment. 

A strong music foundation was and is embedded in my immediate family and blood relative extensions of uncles, aunts and cousins. In short, just about everyone sang well and/or played an instrument well as a passion or hobby that began at a very early age.


Bass-ically Speaking:  Why the bass?

Chuck Rainey:  Although I ultimately chose the bass, the bass clef actually chose me during the period of time that I was musically involved with singing and learning to function in organized music with various other instruments. 

After switching to several instruments the bass was easier to play, most comfortable or natural to hold and its role in organized music suited my thoughts and ability in being grounded and expressive in the music.>>

Bass-ically Speaking: I notice a real dichotomy between musicians in general, bass players in particular.  One camp maintains it is imperative to study music and music theory. The o ther camp asserts you don't have to know any theory to be a great musician.  What do you say?

Chuck Rainey:  You not have to be 'grounded' in theory to be a great musician! A large ratio of well known and accomplished musicians are not grounded in theory - meaning; (1) they either do not read/articulate notated music at all or maybe at an elementary level, etc., (2) can accurately play through chord changes, at any lev el of performance without theoretically knowing or having the ability to explain in theory what was or is being played.

In word languages, a pre-school child does not learn how to read and write, diagram sentences, etc., until they know how to talk, debate and understand the basic language they are using - then, they are taught what it looks like written and how to express themselves with written theory and rules of the language they are using to express themselves or in receiving information, etc.

There is a good ratio of adults in all environments that speak well and are successful in what ever they are doing - but do not read or write the language they are speaking. Musicians are no exception. Of course ones quality and safety in life as well as in music improves if the rules of harmony and theory are reasonably applied and understood in organized people situations.

Bass-ically Speaking: Looking at your career and scanning down your discography, one can't help noticing the greats you've played with; Aretha Franklin, Quincy Jones, Steely Dan, Joe Walsh, Robert Palmer and on, and on.  I read down the list thinking, "Cool!  Very cool. That's cool, too.  Cool, cool, cool!"  Is there a time in your career that you look back on and think, "That wasn't cool at all.  Wish I hadn't done that.  Wish I didn't have that particular t-shirt!"?

Chuck Rainey:  Yes, but I was wrong most of the time - my ego had those wishes, not me!


Bass-ically Speaking: One of my readers wants to know, "Out of all the session work you've done with Steely Dan, what stands out as most memorable?"  It's a great question and I'm eager to know as well.

Chuck Rainey :  Very difficult to name the most memorable - too many sessions over a 10 year period and a of the songs were recorded several times. All sessions were musical with very talented musicians and it was pleasurable 'work'!


Bass-ically Speaking: The electric bass is strongly emerging from a sideman position to that of a more notably recognized solo instrument.  What upcoming bass solo artists have you been impressed with recently to whom you recommend bassists give a serious listen?

Chuck Rainey:  I am somewhat of a traditionalist - I more or less have my attention to a rhythmic groove from the bass and pay less attention to the instrument as a solo instrument. 

But having said that, I do appreciate the solo skills of players like Jeff Berlin, Steve Bailey, Jaqo, Brian Bromberg, Victor Wooten, and Chris McBride. So I guess I could recommend any artist that have these players involved in their music.


Bass-ically Speaking: Your lesson book series _The Complete Electric Bass_ has been a valuable learning tool for so many bassists.  I first learned about it from my own bass instructor.  He, and I'm sure many others, are interested in knowing whether you have plans to offer similar instruction books that include audio and/or video tools for students of bass?

Chuck Rainey:  I have 4 new books set to be available late Fall of this year and they do include audio and/or video.


Bass-ically Speaking: You've already accomplished more in your career than most musicians aspire to. What's next for Chuck Rainey?

Chuck Rainey:  Finishing up a new solo CD project to support [my] Europe and Japan tour this winter and next Spring!

Bassi-ically Speaking:  I'm really excited about the upcoming CD and the new book set.   (With audio and/or video?  Can't wait!)  Please let us know when we can get our hands on these upcoming releases.

And I thank you again, Chuck.  It's been a privilege to get to know you!

Dear Readers, please join me in thanking Chuck via your comments below.

For more on the Godfather of Groove:

Chuck Rainey: The Official Website

Interview with Will Lee, February '97

Chuck Rainey on FaceBook

Introducing the Godfather of Groove

(photo used with permission, courtesy C. Rainey)