Warren Haynes
RIP TIM BOGERT
When Gov’t Mule formed in 1994, as a side project to the Allman Brothers Band, we could have chosen a direction based on any of our many influences, after all our intent was to only make one album. But, as most of you know, the impetus came from a conversation on the tour bus between myself and Allen Woody while listening to Hendrix or Cream (still can’t remember which) when Woody brought up the fact that, at that time, ‘nobody was doing ‘that' anymore’.
By ‘that’ he meant exploring the art of the “power trio” which is not the greatest descriptive term for a rock trio that bases its’ style around improvisation but one that seems to have stuck through the years nonetheless.
Part of the conversation as well was the absence in rock music at that time, of the “dirty bass” sound that we all grew up with. We agreed during this meandering of the minds that most of our favorite music—and not just rock music—was driven by a bass sound that varied between "somewhat dirty" and "very dirty".
We went on to surmise and opine that as the bass sound in rock music got cleaner and cleaner (starting somewhere in the mid to late seventies) the bass player’s role became less important and the music became more and more sterile.
Coincidence? I think not. Think about it: the bass on early soul records had a nastiness to it. Paul McCartney’s bass sound in the Beatles was beautifully distorted. John Entwistle’s sound in the Who was a uniquely dirty sound all its’ own that drove that music.
But then some people would take it even further. Bassists like Jack Bruce of Cream, Chris Squire of Yes, Jack Casady of Hot Tuna and Felix Pappalardi of Mountain come to mind. And again not just in rock music. Bootsy Collins and Larry Graham were going full-tilt fuzz bass in the funk scene as well.
And then we heard Tim Bogert. Tim Bogert’s bass sound (and style for that matter) was "very dirty”— and BADASS! One of the many topics of this aforementioned rambling discussion on the tour bus was about how a great musician’s sound not only reflects his or her personality but also gives him or her freedom to be themselves and explore at will.
Speaking of bass players specifically, having a massive sonic presence that rivals the guitar and the drums allows, if not inspires, the bass player to take a much more aggressive role which can add creative and exciting depth and dimensions to any music and is mandatory in a “power trio”.
Take any of the aforementioned bands and imagine the songs—especially the jams—with a less explosive bass sound and bass player. The music would pale in comparison.
As a guitar player who’s been fortunate to have played with more than my share of bassists that fall into this category (one of which was Tim Bogert)
I know first-hand that what you’re capable of as a soloist depends largely on who you’re playing with. Having played over 1200 shows with Allen Woody, I can testify to the fact that his ability and instinct to push me as a soloist was based on a philosophy and style he developed from countless hours listening to his heroes—one of which (along with everybody mentioned earlier) was Tim Bogert.
The way Tim played with Carmine Appice created an energy that the soloist had no choice but to engage—be it Jeff Beck or Jim McCarty, or whoever. In Beck, Bogert, and Appice the guitar solos were three way conversations between Jeff, Tim, and Carmine where what each member played was inspired by whatever the others were playing.
In Cactus, Jim McCarty could soar over the top of this borderline chaotic rhythm section and do what he does best—sing through his guitar, holding notes as long as he wants, knowing there would always be something exciting going on beneath him— a similar luxury to the one Eric Clapton had in Cream with Jack Bruce and Ginger Baker.
Tim Bogert was a giant among bass players and I will argue that he never got the credit he deserved but his contribution to rock music is undeniable. His influence will be felt for decades to come.”-WH
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