Sometimes this is a significantly more powerful doubt. Several times I have nearly quit what I do and there was a solid year when I gave up making or listening to any kind of music with the exception of incidental music in movies. Conversely, those times I could not play due to things like injury, there was no thought in me but getting back to it.
Almost 20 years ago I hit a point in my life that was, if I'm kind, ugly. My engagement had ended in a way that puts movies and novels to shame, I was drifting geographically and metaphysically, so of course my self-doubt was crushing. For more than a dozen years builders had been shooting down my ideas as ridiculous and even though I'd stumbled into a good paying day job at the warehouse of a music store where I was teaching, my only real thought was quitting. Everything.
Then one day I noticed a book in the store about instrument builders. I'd been playing intensely for a long time and had sort of lost touch with what was out there and who was doing anything new or interesting. I was on the roster of one of the biggest names in the industry but my discontentment was an unpleasant thing. Leafing through the book, I found something that really jumped out at me. A real maverick design that appealed to my aesthetic, and something in the spirit of what I read in the description of the company and the builder really -- pardon the pun -- struck a chord. I decided, as the melodramatic do, that this would be it: I'd contact this luthier and if he responded the way all the others had over the years, then I was just done. I scribbled down the company's website and that night sent a message to them with all the ideas I'd sent to so many builders.
The next morning when I opened my email I was stunned by what I read. The builder had written me himself and was not only open to my ideas, he was enthusiastic and encouraging! I couldn't believe it! I called the shop and we must have talked for 20 or 30 minutes. We went over the design point by point, worked out a price and just like that my faith was restored.
The builder was Bill Conklin of Conklin guitars (www.conklinguitars.com) and over the last two decades he has built me 4 instruments. Today I take delivery of my fifth. I even owned one of the import models to play in rough bar gigs. I would call our relationship both a friendship and a collaboration. He has patiently listened to and considered every harebrained idea I've sent his way and he was the first to invite me to perform for him at NAMM. When I lost everything in Hurricane Katrina (and Rita), he was the first to call and tell me, "Don't worry. We'll get a bass into your hands again."
Writing those words after hearing them nearly a dozen years ago now, I'm tearing up.
The first bass he made me was the culmination of several ideas that had been playing in my head for a long time: extended range, a particular combination of woods, a different approach to wiring pickups and a specific aesthetic. I was so nervous when I first opened the case, looked at it and eagerly picked it up. All coming from a builder whose instruments I'd never played.
It surpassed all my hopes. It became my primary gigging and recording bass for years.
When I formed the duet Depth with 9-string bassist Greg Campbell, Mike Apperson of the Conklin shop joked, "You know no one's going to take you seriously unless you start playing a 10 string!" While we cracked up, the seed had been planted and it wasn't long before Bill and I were talking again. With the gracious gift of my then-wife, this beauty came to life and found its way on stage, onto tour, into the studio and joined me for several appearances on the radio...
Sadly, both were taken along with most everything else in my life by Hurricanes Katrina and Rita. But then Bill contacted me with the aforementioned call and this lovely came into existence...
This instrument was central in helping me rebuild my life and rediscover my identity. It remains one of the most cherished things in my world. But of course me being me, the more I played it the more I craved 10 strings. I called the Conklin shop and sheepishly began the conversation, "I know I promised I wouldn't do this to you again, but-"
"We had a feeling you might want one so we made a 10 string neck for you. Want to talk specs?"
After the laughing stopped, the dialogue began. In short order Bill and Mike made what has become the main bass I've played for just about 10 years...
This purple and yellow monster has treated me so well and is rarely far from my side.
But for the last several years I've been plagued with both more crazy ideas and hostility within the bass community. Whether those attacks represent the majority voice among bass players is irrelevant. It's been tough. So once again I made one of those decisions: I'd bug Bill with everything rolling around in my brain pan and see where he stands. The thought was that if he was willing to build me this latest design, I'd have no excuse not to play as the instrument in question was not designed in any way for ensemble playing but exclusively to be used in solo performance and recording. Not surprisingly, he was excited about the project (and possibly just indulging my wackiness) and work started on the new instrument.
And today is the day. FedEx informs me it's out for delivery but in the meantime all I can do is look at the photos Bill sent before it shipped...
Yes, this means I'll post more shots once it's here and I get a moment to snap some.
But if it wasn't for people like Bill and Mike at Conklin, Mark Wright of AccuGroove Speakers, Eddie Speedy of S.I.T. Strings and Carey Nordstrand of Nordstrand Pickups, I would have given up and walked away from all this years ago. Art is about possibility as much as it is about creativity and communication. While I may never know if I'm a decent artist or even someone who has a right to call myself an artist, I am grateful to have the encouragement and support to peer into this universe of possibility. I hope I can pay them all back in some small way. I will keep trying.
