Jack White, the name synonymous with blistering guitar riffs and raw, garage rock energy, might surprise you. While celebrated for his six-string wizardry in The White Stripes, The Raconteurs, and Dead Weather, White has quietly nurtured a deep appreciation for the bass guitar. Initially resistant to the idea of a bassist in The White Stripes, fearing it would dilute their stripped-down aesthetic, White has now wholeheartedly embraced the four-string instrument, particularly on his two recent solo albums, Fear of the Dawn and Entering Heaven Alive. This exploration isn’t just a fleeting experiment; it’s a full-blown immersion into the world of low frequencies, revealing a new dimension to his songwriting and musical identity.
From Detroit Drums to Bass Obsession: The Roots of Jack White’s Low-End Love
Growing up in Detroit, a city pulsating with diverse musical currents, White’s initial instrument was the drums. This rhythmic foundation profoundly shaped his musical perspective, fostering an early admiration for tight rhythm sections and the bass players who anchored them. He recalls being captivated by bass lines in countless songs, often without knowing the players behind them. This curiosity led him down a path of discovery, frequently leading back to the legendary James Jamerson, the Motown bass maestro. Alongside Jamerson, White cites Paul McCartney and John Paul Jones as pivotal influences, admiring their melodic and rhythmic bass playing within massively popular songs. These early encounters planted the seeds for his current bass guitar fascination.
Jack White in rehearsal studio
Fear of the Dawn and Entering Heaven Alive: Bass Takes Center Stage
White’s two 2022 solo albums, though stylistically distinct, are united by a common thread: the prominent role of the bass guitar. Fear of the Dawn is an electrifying, experimental rock album, while Entering Heaven Alive leans towards folk and introspection. On both, however, the bass is not merely an accompaniment; it’s a driving force. Fueled by his acquisition of a fretless Fender Jaco Pastorius Signature Jazz Bass and his cherished ’60s Hofner “violin bass,” White delves into a spectrum of bass tones, from gritty, fuzz-laden riffs to soulful, melodic grooves. Many tracks across both albums originated on the bass, highlighting its central role in his recent songwriting process during the COVID lockdown.
Beyond Riffs: Jack White’s Bass-Driven Songwriting Approach
Crucially, White avoids the predictable approach of simply mirroring guitar riffs on the bass. Instead, many songs were conceived on the bass itself, including tracks like “Hi De Ho,” “What’s the Trick,” “Taking Me Back,” “Fear the Dawn,” and the deeply groovy “Shedding My Velvet.” This bass-centric songwriting shifts the rhythmic and harmonic landscape, leading to fresh and innovative compositions. Even his daughter Scarlett contributes bass on “Into the Twilight,” hinting at a potential family legacy of low-end exploration. True to his signature style, White’s bass playing prioritizes catchy, timeless grooves over technical complexity, serving the song’s core melody and harmony. He proves that even without a history as a bassist, he possesses a natural feel for the instrument and its rhythmic power.
Q&A: Jack White on His Bass Journey and Gear
In a revealing interview, Jack White delves deeper into his bass guitar journey, his gear choices, and his evolving approach to songwriting with the instrument.
Have you always played bass, or is it a recent development?
White clarifies that bass has been a long-standing interest, but only recently has he actively written on it. He describes a pivotal visit to the Fender factory where he discovered and acquired a fretless Jaco Pastorius neck. This acquisition sparked a new creative phase, challenging him and inspiring a wave of bass-driven songwriting.
How challenging was the fretless bass?
White acknowledges the initial difficulty of fretless bass, particularly intonation. However, he embraced the challenge, using it to explore new sliding techniques and a more nuanced understanding of notes and microtonal variations. This fretless experience has become a significant source of inspiration, and he intends to incorporate it into his live performances.
Jack White playing Hofner bass in Reno
What inspired two distinct albums in close succession?
White credits the COVID lockdown and touring hiatus as catalysts for intense creativity and self-reflection. This period of re-evaluation fueled his songwriting and artistic rejuvenation, resulting in two albums exploring contrasting sonic territories.
How does bass fit into your songwriting process?
White explains that the songwriting process varies, but several tracks on the new albums originated on bass. “Hi De Ho” was entirely written on bass, and “What’s the Trick,” “Taking Me Back,” and “Fear the Dawn” all began with bass riffs. He experimented with fuzz and octave pedals on bass, later translating these ideas to guitar. His early ’60s Hofner bass became a favorite, consistently winning out in A/B comparisons due to its unique midrange character and clarity.
“Shedding My Velvet” is undeniably groovy. Bass origin?
White confirms “Shedding My Velvet” was indeed born on the bass. He recounts how a folk song intended for Eddie Vedder was scrapped and reborn as a bass-driven groove, demonstrating the transformative power of shifting to the lower register.
What gear creates your overdriven fuzz bass tone?
White reveals his love for the Hofner bass paired with a low-octave pedal for a powerful, thick sound. He also mentions the Triple Graph pedal, a custom design sold through Third Man Records, which features octave up, octave down, and an intermittent cutoff switch, offering unique bass tone shaping possibilities.
Your daughter Scarlett played bass on “Into the Twilight.” Future bassist?
While unsure of Scarlett’s future musical path, White acknowledges her talent and enjoyment of bass playing. He mentions her ’72 Thinline Telecaster Bass and expresses a desire to avoid pushing his children into the demanding life of a musician, while remaining supportive of her interests.
Studio bass sound capture techniques?
White details his studio approach, noting the Hofner’s clarity through an amplifier, minimizing the need for DI. For his Jazz Bass, DI becomes more crucial to capture tonal clarity often lost through larger amps.
Describe your ideal bass tone.
White cites Paul McCartney’s Hofner bass tone as a primary inspiration, emphasizing its melodic quality and distinctiveness. He also praises John Paul Jones’ bass lines for their clarity and note definition, advocating for bass tones where individual notes are clearly audible, not just a muddy low-end rumble.
Beyond Hofner and Jaco, any other basses used?
White mentions a vintage ’60s Jazz Bass, selected from a group of five after careful comparison, but ultimately, the Hofner remains his prized possession.
How does bass songwriting differ from guitar?
White emphasizes his drumming background as foundational to his musicality. He believes that starting on drums provides a crucial rhythmic understanding applicable to any instrument. Writing on bass, he finds, shifts the rhythmic focus, becoming “funkier” and more grounded in the “one” and the kick drum, altering his entire songwriting perspective.
You’ve played with incredible drummers.
White acknowledges his fortune in collaborating with exceptional drummers like Meg White, Patrick Keeler, Carla Azar, and Daru Jones. He stresses his on-stage focus on the drummer, regardless of band size, and anticipates enjoying locking in rhythmically while playing bass live on tour.
Playing bass live – a new experience for you?
White finds playing bass and singing surprisingly natural, feeling more rhythmically grounded and able to accentuate vocals compared to guitar playing. He likens bass to the foundational kick and snare, and is intrigued to explore bass-heavy tracks like “Tree on Fire From Within” live.
Bass rig for the tour?
White reveals his choice of an Echolette bass amp, a relatively obscure German brand, hoping to introduce it to a wider audience. His signal chain includes a preamp pedal and the Triple Graph pedal, hinting at ongoing sonic exploration on the road.
Bass technique vs. guitar technique?
White primarily plays bass with his fingers, expressing concerns about calluses and potential overplaying. He uses flatwound strings on the Hofner for a “creamy” tone and finger-friendliness. He appreciates the tactile connection and resonance control offered by fingerstyle bass playing, a contrast to his guitar playing approach.
Collaborators Jack Lawrence and Dominic Davis – their bass playing?
White praises Jack Lawrence as a “monster bass player” and “best-kept secret in music,” highlighting his unique and impactful contributions. He also cherishes his long-standing musical partnership with Dominic Davis, dating back to childhood, emphasizing Davis’ bandleader qualities, musical memory, and versatility.
Lawrence vs. Davis as bassists?
White contrasts their styles, describing Davis as a versatile bandleader and Lawrence as a more enigmatic and unpredictable player, illustrating Lawrence’s remarkable ability to play complex bass lines while seemingly preoccupied with other matters.
Drumming origins – rhythm section inspirations?
White cites Led Zeppelin and Deep Purple for technically demanding rhythm sections, blending blues influences with heavy rock. He also appreciates the simplified drumming of The Beatles and The Rolling Stones, which allowed the bass lines of McCartney and Bill Wyman to be clearly heard and felt, emphasizing the importance of pocket playing between drums and bass.
Detroit musical upbringing?
White reflects on the rich and diverse musical heritage of Detroit, lamenting the city’s under-promotion of its musical history compared to Nashville. He highlights the vast range of genres originating from Detroit, from Motown to garage rock, as a constant source of inspiration and influence.
White Stripes with a bassist – a thought experiment?
White concludes that The White Stripes were perfect as a duo, sonically complete in their stripped-down form. He uses the analogy of card games to illustrate the unique dynamic of two-piece and three-piece bands. While acknowledging the potential benefits of a bassist, he believes it wasn’t necessary for The White Stripes’ music, but feels essential for his current solo work.
Hear Him On
Jack White, Fear of the Dawn [2022, Third Man], Entering Heaven Alive [2022, Third Man]
Gear
Bass Fender Custom Fretless Telecaster Bass, Fender Jaco Pastorius Signature Jazz Bass, ’60s Hofner 500/1, ’60s Fender Jazz Bass
Rig Echolette Mk1, Echolette 212
Effects Coppersound Triplegraph
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