Februar , wobei unter anderen die Komponisten Gaspar van Weerbeke und Marbriano de Orto seine Kollegen gewesen sind. Josquin war aber am Die erste Gehaltszahlung erhielt Josquin am Juni , und am 5. Juli wird er als Kapellmeister bezeichnet. Die letzte derartige Zahlung erfolgte jedoch schon am
|Country:||Trinidad & Tobago|
|Published (Last):||12 March 2016|
|PDF File Size:||4.68 Mb|
|ePub File Size:||10.80 Mb|
|Price:||Free* [*Free Regsitration Required]|
Originally from France, at an early age, Josquin focused relentlessly on becoming a professional musician, producer and songwriter. After landing his first record deal at 19 and touring the world with some of the biggest acts in France, Josquin moved to Southern California to take his career to the next level. Shortly after his arrival, he became a much sought-after bassist, after which he expanded his skills to include producing, arranging and songwriting.
A prolific author, Josquin has written 18 books dealing with bass guitar instruction and the music industry with sales in the hundreds of thousands. FBPO: Tell me about your musical upbringing. JDP: I was born in St. Tropez and grew up in the south of France in an environment where classical music was very prominent, both at home and in school. We were less than miles from both the Spanish and Italian borders. The radio airwaves were a melting pot of French, Flamenco, Spanish and Italian music.
However, ultimately, I was attracted to pop songs with an edge. I just love great simple melodies and heavy guitars, so The Beatles, The Rolling Stones and pretty much the whole British invasion all the way to Cream and Led Zeppelin caught my ears early on. FBPO: What made you gravitate toward the bass?
By the time the British Invasion came around, a local band needed a bass player for a weekend show, so I became the designated bass player. I had to learn twenty songs in a few days. FBPO: Which bass players influenced you the most as you began to learn the instrument?
JDP: : I would have to say Jack Bruce was the first bass player who caught my attention, then John Paul Jones helped take my playing to the next level. Finally, Jaco Pastorius blew my brain to pieces! FBPO: France certainly has a very rich musical heritage. What kind of impact would you say growing up in that environment had on your musical development? JDP: : Growing up in a classical music environment has a tremendous impact on your ear and your sense of harmony, especially as a composer, songwriter, etc.
My father had an enormous record collection. FBPO: At what point did your career begin to take off? Can you identify a specific event, a defining moment? JDP: : That is always hard to identify, but looking back, I could say that a defining moment was when at 19 years old. I found myself in Paris, signing my first recording contract with a band on United Artists Records. That must have taken some guts! JDP: : Yes, it took some guts and some risks.
I was touring in Europe and Asia with a prominent fusion jazz violinist named Didier Lockwood and while hanging out at venues backstage and hotels we shared on tour, I started collecting phone numbers from various American musicians. When I arrived in L. The music scene was extremely vivacious back then.
I just became a working musician, playing the club scene, doing sessions, producing, basically anything I could get hired for. JDP: : Around , as I was switching more from being a bass player to a producer and songwriter, I felt the need to stay connected to the bass.
A former student of mine suggested I write a book containing all the warm up and dexterity exercises I had created for him. From this my first book, Bass Fitness, was born.
I collected a couple endorsements from well-known bass players, but most importantly from Rich Appleman, who, at the time, was Chairman of the Bass Department at Berklee College of Music. Appleman, whom I had never met, was so incredibly gracious to endorse Bass Fitness. Bach for Bass, etc. Sixteen altogether, totaling over , copies sold to date. How did that come about? A few years later came the opportunity to collaborate with him.
Being a very private person and very selective about whom he works with, co-writing with Taupin was something that could have only happened on his terms. Needless to day, I was very honored to be asked. JDP: : It has been an extraordinary experience. Landing the opportunity to collaborate with someone who has created this incredible body of work has been a blessing that helped take my career and skills to a whole new level.
JDP: : Bernie writes the words first and then the music comes second, pretty much like he does with Elton or anyone else. His lyrics sing right off the paper. I think that says it all!
Additionally, I still write songs, produce and program tracks for a variety of up-and-coming pop artists, anything from Americana, pop-rock to dance to dubstep. I also play live about twice a month. I still do sessions in the studio and also over the Internet.
People send me their files to record on. FBPO: How about the future? JDP: : The future… I have many things in the pipeline. I have yet to do a solo project. A while back, I started a project with a couple members of The Gipsy Kings, sort of a cross cultural blend of World Music and pop, but since they live in France and I live in California, it may take a while to complete.
I currently have my hands in a few other new ventures. I feel very fortunate that for over four decades I can make a great living playing or participating in the creation of music. I just enjoy making things happen. Related Posts.
Josquin Des Pres (20th century musician)