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Hadrien Faraud No Longer With MacLaughlin

#123
ElMon said:
It struck me then that on the level of big tours with big names, PERSONALITY is SO much more important of a hiring decision than is playing ultimately.
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One of my favorite quotes from a respected bassist about this very topic came from David Hofstra (in, I believe, the very first issue of Bass Player magazine). When asked "What is it you do as a musician that keeps people calling you back for gigs?" Hofstra replied

"I show up on time."
 
#124
Dr. Cheese said:
Hadrien Feraud has the chops to be a solo star, and it seems that is where his head is at this time. If that is what he chooses to do, more power to him. Then, he can tell the guitarist to turn it down!:D

As for being good but unobtrusive, that is the key for the rest of us.;)
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Real professional musicians that actually have chops aren't going to get fired for being to loud after being told multiple times that they are too loud. Awareness is very much a key component of ones chops.
 
#125
i think hadrien needs to buy a b-15n and only use that. markbass is just too powerful for him ;)

well look phil, how old is he and how long has he been in the spotlight? he's a kid who's probably used to being told how great he is and probably didn't face much adversity in the past. he'll pick up on it. or he'll be a solo act from here on out ;)
 
#126
Steve Clark said:
Had a similar experience last night. I was contracted to provide music for a corporate event for folks "in their 30s and 40s who have been in meetings all day and will want to have some fun" from 6-9. And that they wanted "quiet but not boring". So the expectation was that we were a bit more than just wallpaper.

I have a great trio that I work with and we added a horn for some variety. We started off, drummer on brushes and electric keyboard. And right away the request was to bring it down which we did. There were a numbers of folks with heads bobbing coming into the room so we thought we were OK. But still we had to turn down. We told the horn player to take a break and played as a trio. Still getting requests to turn down and by this point I could barely hear myself over the talking in the room let alone the high hat and keys when playing some standards.

I've never played so quiet in my life. I've played for other functions at this location and never had a problem. Even had a vocalist in the same room. Thanks goodness we use the electric keyboard with volume control as opposed to the usually out of tune baby grand. We'd have been toast at that point.

In end we were told the gig was done at 7:15. We still got paid our $250 each. We did our level best to respond to the customer but in the end it wasn't good enough.

What would I do differently? Probably not hire a horn player. But other than that all the lead up into the booking indicated we were on the right track. I suppose you could say we got fired like HF.

EDIT - this was also the first function that the organizer had done perhaps they did not assess the needs of their client as well as could have been. As mentioned we had a few folks smiling and moving to the music but ultimately it was the call of one of the VP to end the gig. I've since talked to the organizer who reassured me that it was not our fault and he would call when he get a client with better ears.
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Gotta love war stories.
:D

For the right money I'll be a mime with a (really nice) stringed prop. Long as the check clears, I'm cool.
;)
 
#128
Phil Smith said:
Real professional musicians that actually have chops aren't going to get fired for being to loud after being told multiple times that they are too loud. Awareness is very much a key component of ones chops.
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I've heard of other players being let go for not fitting in because they were too loud or over played. Some players who have very distinctive sounds just don't fit in every situation.
 
#129
Obviously, it's time for Hadrien to put his own band together and do his own music. There are not a whole lot of "farm team" gigs available for someone at that level. As Gary intimated, Jeff Berlin underwent the same situation as a young player with Alan Holdsworth (I remember talking with Alan about his switch to Jimmy Johnson in 1985 at the NAMM Show in New Orleans) and Jaco with Weather Report (although it's really clear from biographies and such that there were extra-musical issues there).
In my personal life, I found that the only way to get my entire musical vision out was to put together my own band, start writing, and decide what to do musically myself. Any time I am working FOR someone else's musical vision I am in service to that at the time. I think that's what makes a successful bassist.
Also, busy drummer+busy bassist=conflict. Someone has to mind the store, IME....
 
#130
I think getting fired from a gig as big as JM's band for being unable to turn down is remarkable. There has to be more to it.

I wonder if HF's technique had something to do with it. It seems as if he has very low action (since he uses a ramp) and probably needs to keep his bass turned up very loud to produce any volume. If he had to dig in, the notes might be choked and fretted out.

Just pondering.
 
#131
Will Kelly said:
I think getting fired from a gig as big as JM's band for being unable to turn down is remarkable. There has to be more to it.
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Not if the band leader respectfully and has continuously asked you to not do something over and over. And you continue to do other wise. That's being inconsiderate and disrespectful. After a while what is there left to do.


In that situation the end result is respect.

Will Kelly said:
I wonder if HF's technique had something to do with it. It seems as if he has very low action (since he uses a ramp) and probably needs to keep his bass turned up very loud to produce any volume. If he had to dig in, the notes might be choked and fretted out.

Just pondering.
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That's not necessarily true. I have some very low action on my bass and extremely light gauge strings( .110 .080 .060 .040 .030 .025) and there is no issue of having to dial in extra volume.

Professionals usually know how to control their volume level.
 
#132
Will Kelly said:
I think getting fired from a gig as big as JM's band for being unable to turn down is remarkable. There has to be more to it.

I wonder if HF's technique had something to do with it. It seems as if he has very low action (since he uses a ramp) and probably needs to keep his bass turned up very loud to produce any volume. If he had to dig in, the notes might be choked and fretted out.

Just pondering.
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I would imagine there is more to it. I've played Hadrien's bass. I was shocked that it actually has medium-high action. I was expecting it to play like Garrison's bass which I found uncomfortable because of how low his action is. I was uncomfortable in the other direction with Hadrien's bass.
 
#133
Roy Vogt said:
Obviously, it's time for Hadrien to put his own band together and do his own music. There are not a whole lot of "farm team" gigs available for someone at that level. As Gary intimated, Jeff Berlin underwent the same situation as a young player with Alan Holdsworth (I remember talking with Alan about his switch to Jimmy Johnson in 1985 at the NAMM Show in New Orleans) and Jaco with Weather Report (although it's really clear from biographies and such that there were extra-musical issues there).
In my personal life, I found that the only way to get my entire musical vision out was to put together my own band, start writing, and decide what to do musically myself. Any time I am working FOR someone else's musical vision I am in service to that at the time. I think that's what makes a successful bassist.
Also, busy drummer+busy bassist=conflict. Someone has to mind the store, IME....
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That last part is crucial. I first realized this when I was listening heavily to Jamerson all the time, and it struck me that one of the reasons his active, busy style worked so well is that the drums were playing largely static parts that allowed his embellishments without cluttering up the music. In my own band, my drummer is from an urban gospel background, and while we lock the pocket down, he's still very busy and constantly comping like a jazz drummer. If I were to get overly busy with my own lines, or throw in fills to match him, it would sound like crap most likely. Including him, I've got some terrific soloists in the band who get to shine nightly. As a result I'm the LAST member of the band to get any special attention. When I hear someone say 'you guys sound so TIGHT', I know that me playing it simple has a large part to do with it.
 
#134
I'll throw in my 2 cents..

I've played with a few of those guys, either professionally, or jamming.. and IMHO, some musicians either work with you and the good of the entire band, or against you and the gig/song becomes a fight. A busy drummer and a busy bassist can only work if both are listening.. or one has enough chutzpah to let the other "ego trip." I have never heard Feraud's playing, but I've dealt with enough musician's to trust my instincts.. Funny enough, I looked at a picture of Hadrian a few months ago, and my first reaction was "oh, no.., he looks like work." I give him prop for accomplishing what he has.. but, I personally thought that is a "young" dude..

Take that for what it is.. just my opinion.. No biggie. ;)

but, I suspect I was probably in the ballpark..
 
#136
JimmyM said:
he's a kid who's probably used to being told how great he is and probably didn't face much adversity in the past. he'll pick up on it. or he'll be a solo act from here on out ;)
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Never have so few words been so true..

No one joins an established organization and has the luxury of their ego imposing on the ego/authority of the band leader. That is a fight you will more than likely lose.. Hendrix did with little Richard, etc.

Take the risk and start your own project. Not everyone can lead, or follow..

But I think the best leaders have been under another's authority at some point.:)
 
#137
One thing I noticed... I didn't see Mark Mondesir's name mentioned.
He was the drummer in the mclaughlin band with feraud on bass when gary husband played mainly keyboards...
I'd be interested to hear what he has to say about Hf now.
I think the early word was positive.
That's a while ago however...
 
#138
cnltb said:
One thing I noticed... I didn't see Mark Mondesir's name mentioned.
He was the drummer in the mclaughlin band with feraud on bass when gary husband played mainly keyboards...
I'd be interested to hear what he has to say about Hf now.
I think the early word was positive.
That's a while ago however...
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Mondesir is on the latest album with M'Bappe, I love his playing!
 
#140
Industrial zen
Personnel: John McLaughlin: guitar, synth programming, drum programming, , fretless guitar, chants; Bill Evans: soprano sax (1), soprano and tenor sax (4); Gary Husband: keyboards (1-3,5,7), drums (1,7); Hadrien Feraud : bass guitar (1, 7); Mark Mondesir: drums (1, 7); Eric Johnson: guitar (2); Vinnie Colaiuta: drums (2); Ada Rovatti: soprano sax (3), tenor sax (6); Dennis Chambers: drums (3,5,6); Zakir Hussain: tabla (3,5,6); Tony Grey: bass guitar (3,8); Matthew Garrison: bass guitar (4,5); Marcus Wippersberg: additional drum programming (4); Otmaro Ruiz: synthesizer (5); Shankar Mahadevan: vocal (6,8).

great bassplayers in that one.
 

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