YOUR QUESTION:
11/13/2019 14:10:23 Isabela
Just curiosity: how tall are you?
MY ANSWER:
An inch shorter than what it says on my driver’s license.
YOUR QUESTION:
11/18/2019 4:44:15 Sophia
Hi Trevor,
Just wanted to know how you’ve been feeling lately and any plans for the rest of the year?
Take care!
MY ANSWER:
I feel fine. Thanks for asking. I have a couple small gigs in Brooklyn coming up but mostly I am happy to be home and not on an airplane for a while. I just got a haircut and had some repairs done to my upright bass. I’m currently listening to WFMU and contemplating going to the gym for the first time in weeks. This week I have to make a demo for a never-before-heard thrash tune I wrote in 1986 for some bandmates, make some notes about my SPCH+DRMS project, practice some bass, and start thinking about my next project to write for. I will also go visit my parents soon. Cheers!
YOUR QUESTION:
11/18/2019 17:36:59 Cooper Loose
I was turned on to Mr. Bungle earlier this year by my cousin's boyfriend and have quickly become a big fan, especially of the self-titled album. more recently, I've looked past the lyrics and paid more attention to the instrumentation. I was wondering, do you have any method/practice tips for novice bassists (can play a bass but don't own one, played guitar for 8 years)?
MY ANSWER:
There are endless fundamentals you can learn (and I would certainly consider taking lessons with someone) but any beginning books (Mel Bay, Carol Kaye, etc) will supply you with methods and tips. I’m a bit unfamiliar with what is out there these days in that realm (my references go back to the early ‘80s) but I’m sure there are tons. I’d shy away from TAB notation— I think it is limiting. In addition I would learn your favorite bass lines by ear. That is an invaluable exercise.
YOUR QUESTION:
11/19/2019 6:48:15 Juvenal Magallanes
can't decide if I want to learn to play piano or guitar. What instrument do you recommend ? Marc Ribot and Frank Zappa are my favorite guitarists. I would like to play metal/rock, blues, instrumental music. I don't like singing myself. A couple ideas doing an album with electric guitar and trumpet, maybe even pairing electric guitar with chamber music.
MY ANSWER:
It sounds like you want to play guitar. That said, I would learn both. Piano is a valuable instrument to have at least a marginal knowledge of it’s layout. I am by no means a piano player but I took a couple years of private instruction just for the purpose of composing; being able to get around a wide pitch range and see how other instruments fit together. Even learning a simple piece and being able to read both treble and bass clefs can give you a better understanding of counterpoint. No reason to limit yourself to one instrument.
YOUR QUESTION:
09/26/2019 3:22:49 Jeff
Hey Trevor. I've been a huge fan of your work going all the way back to the early Bungle days. As a self-taught bass player myself and someone who has always been drawn to the bass in all genres of music, I'm curious to know if you are ever bitter or have some resentment (maybe a little at times?) about not being recognized in the bassist world enough? We always hear about the obvious "Gods" of the bass world like Geddy, Les, Pino, Chris Squire, Steve Harris, Jaco, Victor, James Jamerson, Stanley Clarke, and dare I say, Flea, along with some many others. However, it frustrates me that you NEVER seem to be included in those lists of top bass players, even on a list of top 100! How is that possible? It's seems a big injustice to you and your body of work and how you continue working tirelessly to this day. Or do you prefer to stay more under the radar and do not want or need the accolades from others in the bassist community/world and their fans? Also, would love to hear some more of your thoughts on Carol Kaye, (another sorely unknown name to most out there) and her influence on not only you, but to the bass community and why she isn't more widely known and recognized.
MY ANSWER:
Well, you put me in some damn fine company there. I appreciate your concern and frustration.
Aside from being in a much more underground scene than any of those other quite famous players there is also the other side of self-promotion that involves a lot of work. I’m kind of a terrible schmoozer and don’t take advantage of the kind of networking I could to push myself into some more conspicuous level. I’m also not a particularly flashy player so that also keeps me in the underground, a place, by the way, where I am happy to reside. I’d be lying if I said I didn’t experience jealousy from time to time. That said, I think those lists tend to be bullshit. Many of them are popularity contests and if you’ve ever seen the Downbeat readers poll, for example, they make little sense. For the most part it’s all opinion from those that care to voice their opinion. I mean, it’s a fact that people like Jaco or Jamerson were game changers. I don’t see myself in their league by a long stretch. But fame is essentially about who gets the votes.
I get all the accolades I need in the work that I get and from the musicians who hire me and, to be honest, from kind words from people like yourself especially when I can tell that they are actually listening.
Carol Kaye had a huge influence on me since my first teacher had me working from her books during my first year of study. It wasn’t until years later that I really discovered who she was and how important her style and creativity were to many types of music. She, like many great musicians, works mostly behind the scenes. She’s not a “solo artist” like Jaco or Victor and she’s not a lead singer like Geddy for example. Obviously a persons fame or profile says nothing about their talent or artistic contributions. That is endlessly debatable of course. One can only be happy with what one has, and there are plenty out there with far less.
YOUR QUESTION:
09/29/2019 20:08:29 Kim Bendix Petersen
1) I loved your retelling of the Bowel of Chiley release history and scuffles with bootleggers of the early demos. If you wouldn't mind, I'd love to know the story on the infamous Uremia/Mi Stroke Il Cigaretto/Live In America EP. Was that in any way band-sanctioned?
2) You're credited as the sole writer for Everyone I Went to Highschool With Is Dead. While I can easily conceive of the lyrics, song structure structure and bass parts being yours, I'm curious as to whether you participated in assembling the "noise" parts – that usually seemed more like Trey or Mike's doing.
MY ANSWER:
1) Believe it or not (and this again tests my memory) I believe that release was entirely band-sanctioned. I can’t remember why.
2) I had specific ideas about the noise sections —even down to the improvised drumming on the chorus and the polyrhythmic cowbell —but as with a lot of our collaborative work I let those ideas manifest through the performer.
YOUR QUESTION:
10/03/2019 13:49:09 Jo
From the songs that you wrote for Bungle and Madlove, it would appear that you love words and language as much as music. Given that, I'm curious how you feel about artists who place words/lyrics right in the foreground, and where the music is very much secondary to the poetry or comedy of the lyrics? I'm thinking of artists like Kate Tempest, or comedians like Flight of the Conchords, for example. Do you enjoy stuff like that, or is it not really your thing?
MY ANSWER:
Much like a previous question about the utilities of music I think that words can function the same way. Whether it’s poetry, politics or comedy, words have their role. How that role is balanced with music is the prerogative of the artist, comedian or activist, etc. I’m not so familiar with Tempest but I have enjoyed some FOTC and I appreciate the true musicality that goes along with that comedy. In fact, I think they balance it quite well and the jokes wouldn’t work if they weren’t skilled musicians/songwriters. I can appreciate dadaist poetry as much as a good murder ballad. There is storytelling in both; there is communication. I think there is plenty of music for me to enjoy that is instrumental or wordless and I am always open to alternate experiences.
YOUR QUESTION:
10/09/2019 4:58:55 Caitlin O'Connor
There were announcements of a SC3/Madlove/Umlaut tour back in 2011 that never materialized. What became of that?
Would you be interested (or any plans) in meeting up with your Aussie bretheren (Bär and Danny) for some future projects/tours?
MY ANSWER:
It had something to do with not being able to book gigs that would pay for all the travel, etc. That’s an expensive trip.
Yes, I certainly hope to play with Bär and Danny in the future.
YOUR QUESTION:
10/20/2019 14:36:19 Unknown fan
Dear Mr Dunn, in my attempt to fill the gap of my knowledge about the thousands (I don't know, how many are they?) collaboratons you had in your career, I just discovered you performed with Terry Riley for the 30th anniversary of "In C". Do you know if there are any recordings of that performance, or do you have any you could let us hear? I'm not able to find any on the internet. Thanks.
MY ANSWER:
Ah yes, my only performance on the stage of the grand Carnegie Hall among something like 80 musicians. I doubt that was recorded, or if it was that the archive is accessible to the public. I think I also performed that at Mills College for the 20th (?) anniversary with a much smaller orchestra.
YOUR QUESTION:
10/20/2019 20:02:05
PacifistGreetings, Trevor Dunn.
My question is if you could describe your scrapped "Praise of Folly" track from the California days, as the name alone makes me quite curious.
Thank you for your indirect guidance and musical absurdity. Hope to die in lovely obscurity over drugged-out infamy! The Garden of Eden awaits more jazz nerds like us.
Not-quite-love-but-more-of-respect from Florida.
MY ANSWER:
The lyrics for that song were inspired by Erasmus’ book of the same title as well as an article in Harper’s magazine about End-Timers. The song structure is short and simple. AABA if I recall correctly with a simple piano countermelody. I seem to remember the bridge being somewhat barbaric and Nordic with thick strings. I haven’t heard it in so long that’s about all I can recall.
YOUR QUESTION:
10/20/2019 23:11:12 Rebecca
As a self proclaimed workaholic what is your ideal Sabbath? Are you able to flip that switch easily or does the day still constitute routine?
MY ANSWER:
That is a very difficult switch to flip. Usually it is facilitated only by completion of a project. In those cases, an afternoon in a museum, a sushi dinner and a movie seems to do the trick. I’ve also enjoyed a day off in a hotel room doing almost nothing.
YOUR QUESTION:
10/22/2019 22:35:40 laura
mr dunn, have you been turned into a vampire anytime on the last 10 years by anyhow? because seriously, I was watching this interview from 10 years ago and you barely aged. looking good, sir :)
MY ANSWER:
Thank you. I am sworn to secrecy and cannot disclose the means of my condition.
YOUR QUESTION:
11/09/2019 13:15:27 Jimmy
Hi there,
I read in an interview from years ago about your "graveyard of riffs" and the subsequent "Secret Song." I thought this was a wonderful way for a group to create. It seems to me it was a sort of Bungle Bagatelles, if you will, wherein anyone could grab a riff and run with it. Do you find that other groups function in this way, or was it strictly a Bungle bit of equality that worked at that particular time? Some groups work that way; some do not.
Thanks for all your great music.
MY ANSWER:
I have a feeling it’s not that rare for collectives to work that way—useful bits stored away until they find a home. Hard to say though as Bungle is the most collaborative band I’ve ever played in. I certainly have my own personal graveyard of “riffs” whether it be scraps of melodies lying around or a single chord written on in the margin of a notebook.
And thanks for listening!
YOUR QUESTION:
10/24/2019 19:38:41 One Mean Cockfighter
Hello Mr. Dunn,
What is your favorite WEEN album?
MY ANSWER:
The Pod.
YOUR QUESTION:
10/28/2019 4:10:21 Nick Christiaan
I've just completed my tax return whilst listening to Dept. of Entomology. I wanna thank you for making the experience the least painful it has ever been.
It struck me that there is a utility in creating music for the accompaniment of mundane tasks. If I was in any position to be a patron of the arts, I'd commission you Trevor.
Do you think music has to be actively listened to/engaged with? How do you feel about 'background' music? I do believe Robert Fripp uses noise cancelilng headphones when he sits in cafes.
MY ANSWER:
I have no problem with background music, although there are times when I prefer silence (aural fatigue is something I come across frequently living in NYC and touring with groups). However, I think music can serve many purposes. I certainly champion active listening, study and analysis. But, like you, I also put music on to keep me company and as a sort of pain killer. In fact, as I sit here in a hotel room answering questions I am accompanied by both the sound of rain and a foreign film in a language I don’t understand at low volume on the TV. I’m not even paying attention to it but it has a soothing quality (it’s not an action film).
I often wear earplugs on airplanes and sometimes in the subway. And sometimes the car radio at low volume when no one is listening to it can drive me nuts. But I also put on music to clean the house to.
Thanks for your patronage fantasy. I would accept it. I’ve considered creating a long drone based piece for accompanying meditation or massages. Sound is useful.
YOUR QUESTION:
11/06/2019 9:29:52 Richard
Are you gonna add a gear section back into this site? Thanks.
MY ANSWER:
Wasn’t planning on it. Still using the same basses I’ve always used. And aside from pedals I tend to use whatever gear is lying around at venues.
YOUR QUESTION:
11/08/2019 4:29:49 Jackson
Hi Trevor,
love all records you're on! I particularly enjoy the Houdini 2005 record. So much to learn from that record.
I've been playing bass for a number of years now and want to look into improvisation. I have a good knowledge of modes and all that but difficulty making it sound musical. Do you have some tips for intermediate players? I've heard a great place to start is on a blues. Any tips for working on this? I've found myself in a but of a rut and looking for motivation/inspiration.
Any plans on coming back to Australia in the near future?
MY ANSWER:
The blues is definitely a great place to start and depending on what kind of improvisation you’re interested in you can go from there to learning some simple jazz tunes and applying your modes in that context. I highly recommend a hands-on approach by taking private lessons, playing with peers (a drummer and melodic instrument, i.e.) and learning your favorite songs, chord progressions and solos by ear. There is only so far you can go by sitting alone in a room playing scales. That, of course, is important, but to be musical you’ll need to be confronted with live situations and other humans; their choices and ideas, etc.
Push yourself and don’t be afraid to learn something that you might feel is beyond your level.
YOUR QUESTION:
09/01/2019 14:07:14 One Mean Cockfighter
Hello Mr. Dunn,
I was wondering who some of your favorite country artists are, if any?
MY ANSWER:
George Jones, Loretta Lynn, Willie Nelson, Hank Williams, Johnny Cash, Emmylou Harris, Tammy Wynette. Louvin Brothers, Skeeter Davis.
YOUR QUESTION:
08/31/2019 11:56:57 Alberto Jimenez
Do you have any music sheet for my ass is on fire?
Trying to get the bassline from ear but i dont know what to do on the beggining. Thanks
MY ANSWER:
I don’t have any. I don’t remember what what those initial clusters are — probably randomly improvised. The “Earthshaker” riff is based on minor 10ths and #11ths.
YOUR QUESTION:
08/30/2019 19:41:44 Rob Schneider
What’s your honest opinion on the band Phish? I know it’s hard to see past their fans and the noodle jams, but have you ever listened to the earlier, composed songs? There’s some really musically interesting and beautiful stuff in there
MY ANSWER:
I’ve never given them the time of day and it is probably because of the cultural bias I have. I’m glad to hear there is something more than noodley jams. I’ll put your recommendation in the queue in my mind.