Biography
John Carey is a top session bassist and in demand performer in New York City and worldwide. He has performed, toured, and recorded with bands and artists of all musical genres including artists of rock, folk, funk, R&B, blues, fusion, world and reggae music (BIOGRAPHY).
As bassist, John has worked for such artists as Jack Devine, Beau Black and the Americans, Kaleta, Kirsten DeHaan, Steve Messina, Dana Mase, MJ12, Mellish, Raquel, Bottoms Up, Marly Hornik, Hannah Lindroth, Scott Harris, Derek Nicoletto, Theo Eastwind, Ben Jelen, Emily Brooke, Jacob Seligman, 5th of July, Catherine Street, Kristina Beaty, Tina Novak, Monstah Black, Blow Up Hollywood, Chris Tengi, This Side Up, Bacchus, Soul Revival, Joe Cahill, Classy Joint, Crimson Heart Replica, Chris Schriener, Rhen, Red Level, Roland Ruby Orchestra, and many more. John is always playing bass for new artists; for a peek at who he is currently working with, click here (SCHEDULE).
In addition to playing bass, John can make himself available as Producer for your record and as Musical Director (MD) for your band or project, and can help select the approprate musicians for your band or recording. His experience has given him access to a wide array of world class musicians, producers, managers, rehearsal and recording studios (FREE MP3s).
John’s all-new CD ALL NEW pop singer-songwriter CD, John Carey, "CL" is now available! In addition to playing bass on the record, this CD debut’s John’s singing talents and guitar playing as well. Be the first to hear it at www.MySpace.com/JohnCareyMusic. John's new songs have been likened to the music of Sheryl Crow, The Beatles, Sting, The Steve Miller Band, James Taylor, Bill Withers, David Byrne, Lou Reed and Steely Dan (AUDIO).
John’s debut experimental and avant-garde CD, John Carey, undefined psycho-chromatic G.R.I.D., is now available everywhere. Although John Carey is primarily known for his work as a session bassist for several top name rock and R&B oriented artists, his debut CD explores the avant-garde: the completely live and improvisational album captures the stream of conscious thought processes between some of today's most talented, unique and interesting musicians (REVIEWS).
The CD spans multiple genres
of music, and in conjunction with the abstract artwork
and very distinctive written introduction included
within the twelve page booklet, the CD provides
for a multimedia and multi-sensory experience .
. . A truly fascinating record with an all-star
lineup. The music features Dave Eggar- cello &
piano (of Ornette Coleman, Bobby McFerrin . . .),
Oz Noy- guitar (of Richard Bona, Harry Bellefonte.
. .), Rachelle Garniez- vocals, accordion, claviola
& more (of The Fortunate Few . . .), Frank Bellucci-
drums & percussion (master drum clinician/educator.
. .) and John on fretted & fretless four and
five string basses.
John is endorsed by Euphonic Audio bass amplifiers and speaker enclosures, Sadowsky Guitars, NYC, Lakland basses, Rotosound bass strings (ENDORSERS).
John is located in New York City, and is available for gigs, tours, showcases, recording, rehearsals & private instruction. If you are interested in using John for an upcoming show, recording session, or tour, email: contact@johncarey.net.
Influences
Influences include James Jamerson,
Paul McCartney, Sting, Jaco Pastorius, Willie Weeks,
Pino Palladino, Will Lee, Mark King, Stanley Clarke,
Marcus Miller, Louis Johnson, Victor Bailey, Larry
Graham, Rocco Prestia, Flea, and many more.
Past Performances Include:
Clear Channel's NFL pre-Superbowl Performances (Jacksonville, FL), The China Club (NYC), Knitting Factory (NYC), The Bitter End (NYC), IMAC (Huntington, L.I.), Celebrate Brooklyn Concert Series, Prospect Park (BKNY), Sugar Bar (NYC), S.I.R. (NYC), The University at Stony Brook (Stony Brook, NY), Village Underground (NYC), The Continental (NYC), The Mercury Lounge (NYC), Cutting Room (NYC), Sessions at 73rd (NYC), Columbia University (NYC), Gureje Afroshine Cafe (NYC), Rainforrest Relief Organization (NYC), Satalla (NYC), Zinc Bar (NYC), Meow Mix (NYC), Arlene Grocery (NYC), Spiral Lounge (NYC), CB's Gallery (NYC), Indigo Bar (NYC), Acme Underground (NYC), Luna Lounge (NYC), The Elbow Room (NYC), Drew University (NJ), Pontiac Grill (PA), Bar Noir (PA), The Spot (Stony Brook, NY), Oneonta State College (Oneonta, NY), Prohibition (NYC), Lion’s Den (NYC), The Baggot Inn (NYC), Opium Den (NYC), Kenny’s Castaways (NYC), Canoe Place Inn (Hampton Bays, L.I.), Riptides, (Hampton Bays, L.I.), Riffs (Hamptons, L.I.), Polo Grounds (Hampton Bays, L.I.), Classy Coffee “East and West” (Huntington and Port Washington, L.I.), The Roxy, (Huntington L.I.), South Hampton College, (South Hampton, L.I.), Vibe (NYC), Sidewalk Cafe (NYC), Sugar Bar (NYC), Mexicali Blues Cafe (NJ), Sine (NYC), Suite 16 (NYC), 169 Bar, (NYC), Brownies (NYC), The Wetlands (NYC), Triangle Theater, (BKNY), R&R Rare, Coda, The Underscore (NYC) and Club Midway (NYC), Galapagos (NYC), Multiple TV appearances on hit show, Gossip Girl, The CW., Time Out New York Music Festival (NYC), Queens Film Festival (NYC), M.E.A.N.Y. Festival (NYC), CMJ Music Festival (NYC), and several other venues.
General Philosophy of Bass:
I’ve always perceived the bass to be the
instrument that possesses all of the qualities of
the drums and the guitar; it is the instrument
that unites rhythm and melody, and acts as the “glue”
for any musical unit. It is my belief that all rhythmic
aspects of the instrument, are of the utmost importance,
however, and are therefore of first priority. Simply
put, the bass and drums should always function as
a tight foundation. Note choice then becomes of
secondary importance. For the most part, the choice
of notes are dictated or assigned by the chords
that make up the song. This is where experience,
personal taste, personality and an overall understanding
of harmony comes into play. Traditionally speaking,
the bass should highlight the chord quality within
the particular bassline. This does not, however,
have to limit expression or interpretation on the
bass. For example, a simple “one, four, five”
progression can be created in multiple genres of
music, with multiple forms of instrumentation, varying
tempos, etc. Furthermore, that same progression
can be done within a similar genre, however, and
it may still in fact be unique to a listener’s
ears due to the musicians and their different levels
of interpretation. It is, therefore my opinion that
the ultimate goal as a bassist who creates bass
lines, whether it be in the studio or live, should
be to strive to insert his or her own identity into
each bassline he/she creates and plays. Again, certain
mathematical constraints are often present in popular
music when creating a bassline; this may include
a laid-out chord progression, song form, a particular
“genre”, a certain feel, etc. For example,
one might be recording a track for a gospel band.
As a bass player, you cannot rearrange the piece,
nor can you or should you change the intended feel
of the music, or provide your “funkified”
rendition of it either. Rather, one must work within
the given 'plan', and find ways to express his/her
true identity as a musician without stepping on
others' toes, so to speak, and keeping in mind what
will work best for the music, as a whole. This might
include considering certain aspects of technique,
note choice, placement of notes, tone, which bass
you might utilize (a four, five string or fretless),
etc. Some good examples of playing what’s appropriate
for song, while inserting “an innovative and unique
self” might be heard when listening to James Jamerson
playing How Sweet It Is, Pino Palladino’s playing
on Don Henley’s material, Ron Carter’s album, Yellow
& Green, or Toni Levin’s work with Peter Gabriel,
just to name a few. Please check out the section
of this site called, “Commonly
Asked Questions [A Brief Interview]” for more
analysis on the role of the bass!
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