When upright bassist MILES MOSLEY says, “when I step onstage, it’s time to go to war”, this isn’t an idle threat! The man’s killer chops, sense of groove and general approach to stretching the limits pegs him as one of the most significant creators on bandstands today. JANE MAYNE chats to this co-founder of the West Coast Get Down collective, also dubbed the ‘Wu-Tang Clan of jazz’.
Falling under the umbrella of bassist, vocalist, producer, composer and arranger, Miles’ expertise onstage makes him a dream co-player. “As a bass player I’m hyper aware of everything going on around me and I’m looking to take an idea that’s honest and create a platform that urges the other musicians to go where they feel. I’m looking to make it as big as the moment can be. So I’m seeking out honesty on stage,” he says.
Expanding boundaries
His iconoclastic approach to conventional upright playing using wah and an MXR Dunlop pedal has drawn comparisons likening it to, ‘as if Jimi Hendrix played upright bass in Prince’s band’.
The reason for his innovative approach: “Legends have moved the instrument forward, but the sound has been shackled by its acoustic problems. I have tried to make it louder so it can soar above. Because usually every time it’s time for a bass solo, everyone takes a break. So I wanted to liberate it and let it stand up to the front. So in the grand scope of things it became my goal to revolutionize the upright bass. I think any time there’s someone trying to solve a problem you tend to get invention.”
What also strikes one about Miles’ material and the legions of musicians he’s performed with, is his ability to embrace different musical genres. “What I’m most excited about is it doesn’t feel like people have to pick sides. The palette has got wider, which is good for artists like me who try to push through multiple genres of music. I’m also interested in great singer songwriters – powerful performers who are a bit different who are not necessarily in my genre.”
Miles’ chops have placed him in the studio and on bandstand with the likes of Lauryn Hill, Terrence Howard, Chris Cornell, Kendrick Lamar and loads more. Guitarist Jeff Beck is also on that list – what was that experience like? “Playing with Jeff was one of my first times at The Hollywood Bowl, but actually the highlight was playing with drummer Vinnie Colaiuta – he was someone I always worshipped since his work with Sting,” he says.
Music comes from above
When gigging live how does he balance channelling the spirit of the music with a focus on technicalities? “I’m a big believer in the muse. Music comes from above. Everybody becoming trained on an instrument has stations they like to visit. For me people like Jimi Hendrix and Otis Redding sometimes jumped the tracks.”
Does he feel any limitations with his technique currently? “I think that once I feel comfortable in the 5th position and the harmonic structure that happens when the fingerboard ends I’d like to be able to execute and play a solo that uses only harmonics.”
Hectic stuff, especially with the upright’s capacity to chew one’s fingers. A bleeding blister is certainly a downer if there’s a lengthy mega gig on the horizon. What to do? “Get a needle and bob it to get rid of it…”
Has the Black Lives Matter movement impacted on his music? “Well, that’s something we’re all instinctively tied to. I don’t feel pressure as a black artist to be political, for each artist that’s going to be different. Different types of art serve different purposes. Tackling fundamental human issues is something I’ve always been interested in. It’s a responsibility and duty to look and see how it feels inside. There’s a mass of artists who’ve already done it so well.”
Oliver Tambo Tribute
Miles soon heads out on the road with fellow West Coast Get Down member Kamasi Washington [See Kamasi’s CTIJF 2017 WEEKEND SPECIAL interview] as Washington releases his next album; and Miles will also participate in a tribute to Oliver Tambo with other artists from around the world. Miles’ Tambo tribute contribution to the project will be writing two original compositions.
And also upcoming: “We always continue to change, and I’m working on my next album for Verve. I always want to make music that reflects the time I’m in. Right now I’m saying something that has some weight to it, but doesn’t bum us out.”
Miles’ showcase slot on the Cape Town International Jazz Festival 2018 bill was a highlight on the Moses Molelekwa Stage. Be sure to tune in to his work in the upcoming Tambo project.
What: CTIJF 2018
When: 23, 24 March, 2018
Where: Cape Town International Convention Centre, CTICC, South Africa
CTIJF 2018: http://www.capetownjazzfest.com/
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