Oregon Music News

L to R: Oliver, Pemberton, Kleiner, Howard

In the year-and-a-half since bassist/composer Sam Howard moved here from New York City (via Florida and via his Wyoming birthplace) he has established himself as one of the finest, most versatile bass players in town. He’s equally adept at electric or acoustic bass.

He can Funk. He can Jazz or play Country. He can compose a titanic piece for Jazz orchestra, or be happy with a George Jones tune. As you will read later, he loves waltzes.

His new album (which we premiered on OMN) is called “The Gettin’ Place.” The CD release gig is at Jimmy Mak’s Friday, March 12 at 8pm, $10. Also playing will be The Blue Cranes.

Sam on bass, Scott Pemberton on guitar, Andrew Oliver on keys, Russ Kleiner on drums.

Watch: “Ain’t No Catfish Worth Dyin’ For”

How long has it been between albums?

I guess since releases, three years, which wasn’t intentional. I guess it was because I moved to Portland in the middle.

Albums are still an important part of music, even if it’s less of a commercial venture. I think it’s an important part of the identity of the band and also to get the songs recorded in history so you can move on to other stuff. I’d like to record more frequently. Putting a band together and having enough material to make the album you really want to make is a nice thing.

That’s one thing I really like about this one. We did the two EP’s last year and got to record about everything and then pick the best stuff to use on this and some new stuff It’s nice to be able to pick and choose a little bit rather than put everything on there.

When you make those choices, is that a gut thing?

Somethings work better and you can feel it when you play them. You know which ones are the good ones. (Laughs)

You play so much acoustic bass, why all electric on this album?

The first record wasn’t, I played some acoustic on there. I think it’s just more of what I hear in the songs and fits with the identity of the band better. I love playing electric bass. A lot of these tunes are so guitar-centric, it’s easier to jump in on it and get the sound. We’re kind of a throwback, at lease sonically.

Throwback to what?

70’s. The good analog instruments. We all listen to the Meters a lot, that’s one of our favorite bands, as a group, for sure.

George Porter, Jr a hero of yours?

Oh, yeah. Every single one of those guys is a hero of mine. I’ve been into finding records lately with the Meters as the rhythm section. Checking out Robert Palmer, Sneakin’ Sally Through the Alley. Those tracks are just perfect, every single part. Dr. John…some of those records.

I’ve got Desitively Bonneroo in my car right now.

That’s the one I’ve been rockin’. That’s unbelievable, man. So good. I like “Stealin,” just a bass line and some vocals is all you need. (Laughs.)

The music on your album was recorded over what period of time?

Two days.  The videos in one day and the tracks in two days…full days, real full days with breaks for food cart lunch.

Playing together or separate tracks?

All live in the same room, no isolation booths.

Why did you do it that way?

I really prefer recording that way, if possible. Just because it feels good being right there next to them. Usually the first thing that gets isolated is the drums and for me to be in a different room from the drums feels like the most unnatural thing in the world, especially for this stuff. The connection with Russ Kleiner is the most important part of the music to me. That’s where everything comes from for me, the connection with the drums.

You knew him in college.

In Florida. We were 18, I guess. Lived down the hall from each other in the dorms and then we were roommates in college, played in all kinds of bands…funk bands, jazz…he’s my favorite guy to play with.

Who moved here first?

He did. He moved here about three years ago and I’m about a year-and-a-half.

He said what? You gotta come out here?

Pretty much. I knew he was loving it and he was playing a lot. He’s always played a lot and in great groups. The move to here from New York was big for him because it was like stepping out on a ledge, saying I’m just gonna do it.

Of course…a great player and a good attitude so, he was really doing it right off the bat. That’s something that attracted me.

Was it like that for you, too?

He gave me the biggest head start you could ask for. He sent an email out to every musician he ever played with here and said, hey this my buddy moving here and you should call him for sessions and gigs. Before I even moved here I had sessions set up with Andrew Oliver and Randy Porter and Chris Mosley…it was awesome.

I had gigs set up before I moved here. Russ set up…I think my band had six gigs before I moved here. The day I moved here, I drove into town. I think I got here the night before and then I woke up and Chris Mosley came over and we rehearsed in Russ’ basement for a gig at the Cave that night.

You had never played with Chris before?

Nope, that was it. The Cave was essential. I was hanging out there and met Mary-Sue Tobin who was playing with Andrew Oliver’s Sextet. Esperanza Spalding was there with her band because she was in town. Mary-Sue was having a party at her house…this was within a week of moving here, you know…she invited me and I met everybody. It was a house party but it was everybody…everybody. It was pretty much a fairy tale.

People are so nice. People are nice in New York but it’s different here. Everybody is eager to include everybody here.

Less competitive?

Yeah. New York’s New York. (Laughing) There’s a dude playing in the subway better than you. For sure, no matter what. But it’s harder to jam, nobody can jam at their house. You have to rent rehearsal space. A good gig is playing in Central Park for tips. It’s a different deal.

What’s your favorite tune on the album?

I dunno. I’ve played them all so much. I think Catfish is good. I think it captures the spirit of the album. I like the waltz, Our Time. We didn’t blow on it, we just played the head, but that’s one of my favorite tunes that I’ve written. People seem to like playing it.

I like waltzes. If it was up to me I’d have an album of slow waltzes. I think we’re going to play some at Jimmy Mak’s.

What kind of waltzes?

Slow, slow ones. Slow country waltz. Play me one and I’ll be there all day. Sit at home listen to George Jones records and cry. (Laughing) You know that one, “Picture of Me Without You”…that’s a waltz…dum ta dum…two, three…da dum…two, three…that’s my kinda tune.

My dad and my mom are country music fans, they both play guitar and sing. When I was a kid I heard a lot of John Prine and Kris Kristofferson. Cheyenne is a rodeo town and they have concerts. First concert I ever went to was Willie Nelson. Rode my bike to it. Standing room in the dirt…pretty country.

When did the Jazz bug hit you?

When I started learning bass. I played piano as a kid and didn’t like it very much. Played cello and wasn’t good at it. I wanted to play the bass because it was the biggest one. Switched to bass in junior high. Played in the Jazz band at school.

My teacher gave me the Oscar Peterson record, Night Train. That’s was the first one that really caught…that was arranged and worked out. That’s catchy stuff. It really got me…and a Mingus record…a best-of..that Impulse double-disc…from there the rest is evident.

Doing any touring?

I’m doing the State Department tour with Student Loan, the bluegrass band. I’m not the regular bassist but I’m going…South America. It should be really interesting.

Guess you’re pretty glad you moved here?

Couldn’t ask for more.