Kevin Chown is one of the world's best bassists. Not only is he a well known name in the prog metal community thanks to his work with Artension, Magnitude 9 and a number of guitar greats. But Kevin is also a seasoned session musician playing on a huge array of different projects....enjoy!

Thanks for agreeing to this interview Kevin. What led you to pick up the bass guitar?
I began playing the bass out of default really. When I was 14, I started on drums, but there were no bass players amongst my friends. My brother happened to have a buddy who was selling a bass and an amp for $100, so I bought it with my church confirmation money, and took to it right away. I think since I started on drums it gave me a good feel and background, and is the reason I probably play more percussively than melodically at times. I started working professionally (i.e., making money!) when I was 15 when I joined a band called “Tyrant”, a local bar band that played classic rock, and have been a professional musician ever since. I’d always been into music since my brother had given me tapes of many of the classics……Bad Company, Foreigner, Pink Floyd, Miles Davis, Doobie Brothers, Led Zepplin, when I was about 8 or 9 years old. Back then we didn’t have video games. After school, we played sports and listened to music, unlike kids today!! This was the early 80’s/late 70’s. MTV when it came out had a HUGE impact on everyone who loved music. All they played was music…..nothing like it is today. It was the first time it gave us a visual to go along with what we had only heard before, and the early days of the channel, they played things that WERE NOT being played on the radio, and they had live concerts every Saturday night that I watched religiously. I remember seeing and hearing Yngwie Malmsteen for the first time in the “Hiroshima, Mon amour” video on MTV in about 1984, and it blew all of our minds, along with Van Halen, etc…..when we all saw how much fun they were having, we ALL wanted to be in a band!! Who wouldn’t!!

What did your early influences give you in regard to your desire to become the supremely competent bassist that you are?
My first big “moment” in becoming a good player was probably when I learned John Paul Jones bass break in Zepplin’s “The Lemon Song” note for note. Looking back on it now, it was (and still is) everything I love about the bass…..funky, interactive, but just simply very cool. He’s playing his ass off, but he never overplays. His playing on this song foreshadows my later interest (and obsession) with James Jamerson, who JPJ is somewhat emulating. I also went thru a big Stanley Clarke phase early on, and I became very interested in instrumental music (fusion) after hearing The Brecker Brothers “Heavy Metal Be-Bop” record for the first time, after seeing the band “Spyro Gyra” live in their heyday around 1986, and also after seeing the Buddy Rich Big Band live. Later on while in college it was probably seeing Tribal Tech with Scott Henderson and Gary Willis was a kick in the ass. I guess to answer your question regarding “desire”, all of these influences and experiences simply gave me the desire to play music a lot, all the time, to start my own bands, to write my own music. They gave me the model in which I’ve been working around and trying to emulate and improve upon ever since.

I believe you are a trained instrument, can you tell us about your college experiences and why you feel it would benefit other similarly inclined musicians to follow a similar path?
Beware of that phrase “trained musician”. Its not that “muzo’s” are bad, but “schooled” musicians sometimes take themselves too seriously and only worry about themselves and their own part instead of thinking of the bigger picture musically. They don’t listen to each other. I’ll take a street player most any day…..To answer your question and how school related to me however, was good because it forced me to play with better musicians at a higher level, and to play types of music that I had never played before. It broadened my horizons. But I never forgot my roots in rock. Play what you feel. Passion over brains any day. You can’t look at music school like it’s a vocational experience; you don’t walk out the door with “the skill” when you are done, and the degree means nothing if you cant (or don’t want to) play. It was good for me as I was born and raised in a small town, and I went to school in Detroit, a big city with LOTS of music and great musicians. The environment had as much to do with my education as the classes. I would say to anyone that asked me, if they were looking to go to music school, I would suggest to find a school in a large city, as the benefits of that exposure and the greater experience (especially if you are from a small town) will be what makes a difference in the end. The exposure of seeing (and playing with) great older musicians is critical, and the competition of the other younger players will drive you and inspire you do be better. You’re more likely to find that environment in a big city….Detroit, Miami, LA, New York, etc.

I believe you have done a lot of session work. How did you fall into this field of work?
I did my first session when I was 16, playing and writing a jingle with my brother for a local hardware store in my hometown. Sessions for the most part started as an extension of being in bands. When we (the band) would record demos in studios, I would try to befriend the engineers and producers, hope that they liked my playing, and if they did, I would ask them to call me to play on other things. I’ve always been a quick study, and like a wide variety of music, so I could be comfortable with say a metal session one day and a blues session the next, and always tried to have good sounding gear to make the engineers job easy. Also, to be successful in the studio as a session player, you have to be willing to play simple, especially as a bass player. Producers HATE busy bass players in particular. You have to have a modest approach and realize that every song is NOT about your part! As a bass player you have to be supportive……. Humility is the most important quality of a studio musician.

Can you tell some of the acts you have performed under in this guise?
Oh, the list could go on I guess……lets just say a lot!

I couldn’t help but notice Hanson mentioned in your biography!
Ummm………is that in there!! Actually they are all nice guys and are VERY talented musicians. They work VERY hard at what they do.

I was also surprised to see such classic soul names as The Shrangi-La’s and Martha Reeves and The Vandellas. That must have been great to have worked with some of the classic founding artists of pop / RnB.
Probably the greatest fringe benefit on living in Detroit was to get a chance to play with some of the legends of Motown……since I was into Jamerson, it was an honor for me to do the gigs, trying to play his parts. Also, getting on a stage with people that came of age in this era is a learning experience……they have a different approach to performing. It’s OLD SCHOOL. They are in SHOW business, and they (for the most part) are true professionals. They give the audience the best show they possibly can…..the dancing, the harmonies, the clothes……some of the time (with the Drifters in particular), these guys are in the 70’s and even 80’s and they are up there putting it down!! They are all very serious about what they do. I still play with the Supremes (no Diana Ross) from time to time, as they are based out of LA.

So what led to you getting into progressive metal?
I was first associated with it by appearing in Mike Varney’s “Spotlight” column in Guitar Player magazine in 1991. When I moved to Detroit, I worked with several bands that were hybrid hair/prog bands (in the vain of Dream Theatre) before I joined Edwin Dare, which for all intensive purposes was a prog band, only with songs that were very commercial. I joined the band in about 93, which started my association with Jeff Kollman, one of my good friends to this day. At that point, he had already released a few records and had a great sound and vibe, so I was happy to become involved with a great musical situation. Jeff and I worked together in Edwin Dare for about 5 years or so, touring and releasing records. This is some of the most fun I have ever had, and is some of the work I am still the most proud of. I also produced a prog band in Detroit called Tiles during the Edwin Dare years, and they have gone on to do quite well. I think they are on their 5th record now. I produced the first 3. After I left Edwin Dare in 1996, I moved to LA, and immediately got the Tony Macalpine gig, and toured with him for a year or so, and played on one record. It was where I met Mike Teranna, and that is my connection to Artension. Once I was in with Mike Varney, he started calling me to do other things as well.

Artension are truly on of the greatest bands on this planet. How did you become part of the band?
As I just said, while I was working with Macalpine, Mike Teranna wanted me to do this record with him for Shrapnel with a then un-named band with a couple of guys from Europe with no singer yet. Terranna actually had taken care of even getting these guys into the country! I went up not knowing really anything about it. I met Vitalij and Roger, we rehearsed and worked with Mike Varney for about 3 or 4 days and did the basic tracks in about 2 days. John West showed up after a few days of rehearsal and the band was complete. It was a long week. I was exhausted.

Did you get to contribute to writing progress of any of the albums?
The first album more than the others, not writing as much as arrangements and suggestions.

How come you didn’t play on ‘Forces of Nature’ and ‘Machine’?
Business, business……I was wrapped up in a few other projects and was unable to due to other commitments.

Did the situation with Shrapnel Records not willing to promote touring budgets and push the albums as they deserved have anything to do with the band moving to Frontiers?
That would be a question for Vitalij.

Can you give us your thoughts on each of the following Artension albums:
Into The Eye Of The Storm
I think its still probably the best Artension record.

Phoenix Rising
Also a good record, but not my favorite, and I was never happy with the mix. John West however, sounds great on this. His best performance.

Sacred Pathways
From a business perspective, the most organized and least agonizing of them all. We did it in Cortland, NY, where John West lives, so the vibe was much more laid back. It was STILL a brutal week of recording for me and Terrana, as we always did our parts (on all of the records) in about 12-14 hours total. Theres a great picture of me finishing the bass tracks at like 8 in the morning after recording for 2 days straight. Its also the best writing of the 4 records.

New Discovery
Did the bass tracks in LA at my studio, so it wasn’t a communal experience like the others, but I did have time to at least get a good tone, and get the performances I liked. Unlike some of the other records. I used my own gear and could get my own sound.

Vitalij Kuprij and John West are the "big names" in the band, yet I feel that you and the hugely underrated Roger Staffelbach make the sound complete. How do you see your role and that of the other members in the band?
Mike Terranna is really what makes the band work if you want my opinion. His fire and energy, and personality in the recording process make it all happen. I try to be supportive and keep it all together. There is SO much going on, someone has to hold it down.

Magnitude 9 also saw you play in a stunning progressive metal band? How did you hook up with Rob Johnson and the rest?
Rob started writing to me (in the mail, the old fashioned way on paper….) way back when I was in Guitar Player magazine. Years later we met at the NAMM show, and then we met in Columbus, Ohio (his home town) when I was there doing shows with Edwin Dare. Later on, John Homan (the drummer) moved to LA, and I hooked him up with Jeff Kollman….he rented a house with Jeff for a few years before he moved back to Ohio.

As with the Artension albums, can you give us your thoughts on Magnitude 9:
I need to set the record straight here…..I have never really looked at myself as a “member” of Magnitude 9. Rob and John Homan (the drummer) are personal friends of mine, and they asked me if I would do the bass tracks for them, which I did, as I do sessions for many people. But never has it been a “you’re in the band, dude” type situation. Its not that I didn’t like the project, I do. But there is a certain energy you put into something of which you are more involved with, such as other bands like Edwin Dare. I never had that energy/vibe with Magnitude 9. I never played live with them. I viewed it more as a collaboration.

Why are you no longer with Magnitude 9?
Back to the previous question, to say that I am not with the band anymore is inaccurate…..in my eyes, I was never “with” the band in the first place. I don’t know anything about their activities since about 2000 maybe??

You have also played with some more truly stunning guitarists. Can you give us your thoughts or sum up the following players:
Rob Johnson
Great Shredder

Roger Staffelbach
One of the most humble musicians I have ever worked with. A funny guy.

Tony Macalpine
A virtuoso, I’d say more at piano than guitar. I’m happy to see him on the Steve Vai gig. It’s a great avenue of exposure for him.

Jeff Kollman
A dear friend and compadre of many years, and one of the best guitarists in the world. You always remember the people you “come of age” with. For me, Jeff is one of those friends. Within 10 years, Jeff will be (this is my prediction…..) either the most recorded LA session guitarist, one of the top producers in rock music, and/or will be a huge solo artist in his own right. He’s on the way really to achieving all 3! We write together about once a week or so to this day. His contributions to my solo record “Freudian Slip” really make the record complete.

George Bellas
Wrote the most difficult music I have ever played…..or in some cases attempted to play. I think he might be insane. I remember Mike Varney asking me to play on the record and then George sending me like 40-50 PAGES of music to learn, all completely notated, note for note. He’s also a GENIOUS at Logic Audio, a very popular recording/midi program.

One band of your career I am unfamiliar with is Edwin Dare; can you tell me a little about them?
I have mentioned them a bit here already…..we did 3 records together, all released in US, Japan and Europe. Great music, chops, but still fun at the same time. We were together for about 4 years, and toured all thru the US. Go buy the records!! I think Guitar 9 Records still stocks them. Jeff and I have talked to doing a new Edwin Dare record sometime in the future….only time will tell. Jeff and I now live here in LA, and Tom Kollman (Jeff’s brother) and the singer Bryce Barnes now live in Ft. Myers Beach, Florida.

What make basses and amplification do you favor?
I mostly have used Trace Elliot Amps for years, but am in the process of transitioning to a new company that I love, Markbass. Great stuff. I have a ton of basses, about 16 in total. 2 Ken Smiths, 4 Fenders, Hagstrom, Hofner, Music Man, Conklin, Carvin, Switch…..etc. I really like strange and unique instruments with personality. I have a rack that I use for recording as well, that has an Avalon 737sp mic pre/channel with a Countryman or Sansamp DI that’s great for clean tones. If I want it dirtier, I use a Neve 1073 with a Distressor. I have a small Euphonic Audio cabinet (10”) that I mic with a AKG D112 or a Neuman U-87 and then combine the 2 sounds together. The proximity for mic placement on the Euphonic cabinet is great since its so small. I have a ton of pedals and toys to doodle with, some new, some old, and recently bought a midi/synth bass rig with a pickup for one of my 5 strings that I’ll be using on a tour this summer.

What do you look for in an instrument and like to hear as your tone?
Personality. I used to be into a “great” sound, whatever that is…... meaning, more of the high end Smith/Conklin/Tobias sound. But as I’ve gotten older, I realized that a “great” bass sound isn’t what always works in the track, especially in recording. Sometimes the cheapest bass will sound AMAZING in a track, the most expensive will just sound terrible. Plus, sometimes the cheaper, crappier instruments FORCE you to play in a way you aren’t used to…..they force you to expand your horizons musically, simply by forcing you to play to the limitations of the instrument. I guess the only way I can describe what I look for in a bass is that it has to have a SOUL. Plus, if I’m doing a tour with a rock or pop band I’d look like a total geek playing the Ken Smith! How nerdy would that be? So I need options. I used the Music Man for the entire Uncle Kracker tour last summer……looks are VERY important on the higher profile gigs.

What other bassists do you rate?
I don’t like to rate musicians. I hate this “music as a contest” thing that goes on. I think everybody (no matter if they are “good”) has something to offer. Play what you feel. My PERSONAL influences however, are probably John Paul Jones, James Jamerson, Anthony Jackson, Paul McCartney, Ray Brown, Gary Willis, Ross Vallory, Stanley Clarke, early on maybe Stu Hamm a bit. I like a lot of non bassists too…..Bonham, Steve Smith, Michael Brecker, George Harrison, Frank Sinatra, James Brown, The Funky Meters…… The list could go on….. The inspiration of these artists in my life is as great or exceeds that of the bass players on the list.

Anything else you would like to tell the readers of virtuosityone.com?
Thanks for reading! Please check out my CD, “Freudian Slip”!! I’m just starting to work on a new one as well. But for now, “Freudian Slip” is my only solo release, and its available at guitar9.com. It’s been a pleasure and hopefully we can do it again.

• Official Kevin Chown Website
• Official Artension Website