Smith Bass Design and its History (The on-line Book in the making)

[Tim Bishop]

At what age did you realize you had a musical gifting and with what instrument(s)?

[Ken Smith]

Originally Posted by Tim Bishop

At what age did you realize you had a musical gifting and with what instrument(s)?

1) I am still wondering about the 'gift' part..

2) The String Bass/Double Bass was my first instrument. The Electric Bass/Bass Guitar came a few years later because a kid in my High School said I should get one and his friend was selling his Bass. It was a 'Hagstrom II' and was my first ever Electric Bass. My first Double Bass was purchased directly from Metropolitan Music in NYC from the Juzek family. It was a 3/4 German made plywood/laminated Bass aka 'crack-proof'. It was the lowest price Bass they sold.

The Hagstrom was $80. in 1966/67?. The Juzek DB was $150. plus tax in 1966 but I also bought a bow, cover, music stand, floor stop and tuning fork totaling just under $200.

[Tim Bishop]

Did you have any formal musical training or were you an ear player or both?

[Ken Smith]

Originally Posted by Tim Bishop

Did you have any formal musical training or where you an ear player or both?

At the start of 7th grade (Ida Fischer Jr. High, Miami Beach, Fl.) I look at me schedule and see that one period has 3 classes but mixed throughout the week. I forget which or how many days for each but they were Art class, Shop class and Music. The School had 2 separate music rooms next to each other. One was the band room and one was the string room. In the summer preceding the start of school I knew I would have music and started thinking which instrument I would play. The two that came to mind was (I was still only 12 years old at that time) Trumpet or Drums, period! A friend of my brothers a few years older than me was playing Trumped so I guess it was in my mind. I knew nothing about music or instruments other than the Radio and TV. Actually, I probably never touched one until that first music class. I was assigned to the String room, NOT the Band room which I had hoped for. Actually, I was fine without music but I had to take it, no choice in the matter.

The first day the teacher (Mrs. Aline DaNino) showed us all the Violin, Viola, Cello and String Bass. We were showed how to Bow up and down each string and then tried out each instrument. At the end of the trials we were each asked which instrument would we like to play for the class which was I believe only once a week. Before I was asked, I had been thinking.. Violin and Viola, no way.. Cello? between my legs? yuck, thats for girls to play (I thought..lol). When I was finally asked I looked up to the top of the risers in the back and pointed, the.. the.. that ah.. "String Bass?" she asked.. Ah yeah.. I replied.. lol

So, after a few classes I asked to join the String ensemble because I liked it and I saved face, playing the only 'Manly' instrument amongst the 4 choices.. lol .. For real.. That was my thinking..

So, I played there two years plus some Summer programs and then went to NY and auditioned as an incoming Freshman for the ' High School of Music & Art' and was accepted. From there I became a professional Bassist and so on.

I was mostly (99%) a reader. The 'ear' thing came later. Using records, playing them over and over I would learn Bass parts and even write them out. I preferred transcribing and reading over listening and memorizing. It was just what I was comfortable with. Probably due to learning 100% from reading with just about 'zero' ear playing in the first few years.

[Tim Bishop]

So, once you begain playing professionally, what would you consider your stand-out highlights from the beginning of our professional career until now?

[Ken Smith]

Originally Posted by Tim Bishop

So, once you begain playing professionally, what would you consider your stand-out highlights from the beginning of our professional career until now?

Humm.. well I bounced around from quite a few things. I won the Audition with Horace Silver in early 1969 when I was still only 17. I could not play in the clubs with the alcohol rules so I just did some concerts. Stanley Clarke had just turned 18, auditioned after me and was my replacement. That stands-out a bit looking back I guess but back then, winning the audition with Horace was considered a big thing. I beat out a lot of good players. In later years, I subbed for one of them on B'way. I guess the wounds if any had healed by then.

I was a fairly good reader and a doubler as well playing both Electric Bass and Double Bass. I was also a good bower. Funny saying 'was' because just two weeks ago I did a big band job and sight read charts on both basses as well. last week I did a Symphony gig (3 rehearsals and a Concert). The chops and 'eyes' are still ticking!

I would have to say that there was more work available on the BG than the DB but so many jobs needed both. At about 19/20 years old or so I got called to work for Johnny Mathis. The call was for both basses. We worked a few weeks at the Waldorf Astoria in NY, 7 days a week. The traveling rhythm section worked 7 days as well but the other contracted musicians could only work 6 days by Union law with Subs or alternates for the full 7 day work week. I was paid not for one double (an extra instrument aka Clarinet & Flute) but got the maximum of 4 doubles (each double is a small percentage extra over regular scale) plus a personal check of $75 from Mathis to make up for the 7th day in which I wasn't allowed to be working. Because he didn't have a bass player traveling with him they had to bend the rules a bit. The house contractor at the Waldorf worked it all out and said I was not to tell the Union about this which of course I didn't. During that engagement we did a HUGE concert at the 'Garden (MSG). There were seats up to the stage. Maybe 20-30,000 people at this venue. It was called 'Festival of the Stars'. It was the top 4 Columbia Records Pop artists. Johnny Mathis, Peter Nero, Vicki Carr and Percy Faith Strings. One HUGE Orchestra with 3 or 4 rhythm sections changing for each artist. I did just Mathis. Alvin Bream was the DB'ist for the String section. I just saw him behind me and never talked to him. About 2 years ago at my old NY Phil's Teacher's Birthday party/recital at Lincoln Center, I finally met and spoke with Alvin Bream.

Besides Mathis, I worked in (mostly subbing) about 18-20 B'way shows, other singers like Frank Sinatra Jr., Jimmy Roselli, Linda Hopkins, Kelly Garrett, Mercedes Hall (mother of Michael Anthony Hall, he was a cute kid back then.. lol), Shirley Bassey (Goldfinger!!) and many others. Some of this was in NYC, Concerts and some at Westbury Music fair. I did lots of Jingles (over 2,000 separate spots), a few Movie soundtrack dates, on screen in 2 movies and a few records of which most were for MMO (Music Minus One).

I also worked in the Orchestra at Radio City Music Hall first as a sub in the mid '70s. Years later they switched the venue (from 4 shows a day with the Rockets and a movie) to an 8-show a week B'way schedule. I did that too on and off. Not the best gig but it was a gig. I did Ginger Rogers last show there as well as the Christmas Show once or twice. I recall doing the Nutcracker there as well.

Late night Club gigs and private teaching also kept me busy.

[Tim Bishop]

Very impressive, Ken.

So, with the end of the 70's approaching, what was the influence or intrigue that led you to building EB's?

[Mike Braun]

Did you have any role in the development of the 6 string bass? I know yours was one of the firsts.