“Patrick Pfeiffer brings finely articulated grooves, thoughtful
ballad work, and head-turning solos to his debut solo release.”
-Bass
Player Magazine
"Patrick’s teaching method showed me how to connect the bits of
technique I’d collected into a playing style."
—Adam
Clayton, Bass Player, U2
Known for a distinctive bass style that combines passion,
disciplined fingerwork and an intuitive sense of rhythm, Patrick
Pfeiffer draws frequent comparisons to his musical hero, bass player
Jaco Pastorius.
“Although his style and sound owe much to Jaco, Patrick puts his own
worthy stamp on the legacy,” said Bass Player Magazine |
|
the sound |
|
the lowdown |
In Pfeiffer's own words, he is both "100 percent player and
100 percent teacher." A much-in-demand bass instructor,
Pfeiffer is highly-respected for his ability to guide
musicians to the top of their talent. His gift for teaching
attracts some of the world's most serious students. Simply
look at the liner notes of U2's album "Pop" and you'll see a
"thank you" from one of these pupils, U2's Adam Clayton.
Other well-known students have included Alec John Such (of
Jon Bon Jovi), Mark Wike (of Bogmen), Damon Martin (Naked).
It's no coincidence that Pfeiffer is called "the
professional bass player's bass teacher.
|
|
the band |
|
Wanting to impart his knowledge to bass lovers everywhere, Pfeiffer
wrote his book, In Search of the Groove, a thorough,
intermediate to advanced bass player groove manual. Next
came the bestselling, highly-praised Bass Guitar for Dummies
(Wiley Publishing). “Of the myriad tools available for
bassists, Bass Guitar for Dummies is at the pinnacle of them
all," writes Will Lee, bass legend and bassist for The Late
Show with David Letterman. "Never before has such a complete
anthology been assembled. It's like having an unlimited
ticket for all the rides at BassLand!”
Praise from UK's Bass Guitar Magazine is equally enthusiastic,
"...what we have from Patrick Pfeiffer's book is a very
complete and solid background to everything bass guitar
related..."
Pfeiffer credits his students with inspiration for the
book--he recorded their questions, concerns and confusion,
all of which he addressed while writing. Further, he mined
his own past, attempting to write the very book he would
have liked as a beginning bassist
|
|
Genres |
Talent & Skills |
Pop
Rock
R&B |
Bass
Guitar
Keyboards
Songwriter
Vocals |
|
|
Online:
Main Website
/
Myspace
Contact:
basspower@earthlink.net
|
|
|
|
Studying these West Indian forms and drawing upon his own
diverse musical background allowed him to perform with
artists ranging from Baba Olatunji to Phoebe Snow to the
notable pianist Paul Griffin, with whom Pfeiffer formed the
band Phoenix in 1990.
In 1999—after nearly a decade of playing East Coast clubs
with Phoenix, working as a much sought-out studio musician,
and developing a strong industry reputation as a gifted bass
teacher—Pfeiffer decided it was time to bring together his
diverse musical loves.
The result is “Fruits and Nuts,”
Phoenix’s debut CD, which features original compositions and
arrangements. The album boasts virtuoso performances by
Phoenix members and has earned kudos for its infectious
melodies, articulate grooves, complex rhythms, and
passionate energy.
While Pfeiffer is thoroughly enjoying the post-album,
post-Dummies accolades, he refuses to rest on his laurels.
He published a second book, “Improve Your Groove – The
Ultimate Guide For Bass (Hal Leonard), and is currently
performing and recording with a dynamic range of musicians,
including the KMA All-Stars (a group of studio musicians at
the KMA studio in NYC) George Clinton, Jimmy Norman (of The
Coasters), Mikki Howard, Carlos Alomar, Lady Kyra, the
Jeremiah Long Band, and Gary Corwin and the Dream Band.
Furthermore, he's turned his pen toward a series of "In
Search Of" bass books, due out in the near future. And yes,
he continues to teach, giving his famed Bass & Drum Clinics
on Rhythm Section Styles.
“Ask not what music can do for you,” answers Pfeiffer when
asked about his future plans. “Ask what you can do for
music.” For Pfeiffer, this means one thing: To continue
making his own unique contributions to today’s music scene
|
|
|
|
the early years |
|
Born in Bremen, Germany, to a music-loving family, Pfeiffer’s
musical career began not with the bass but with the xylophone at age
3 when his parents enrolled him in lessons. At age 7, Pfeiffer
graduated to the piano, “which I hated,” he says. “I was required to
practice one hour per day so I’d tape the first 1/2 hour of my
practice, then play the tape back for the remaining 1/2 hour so my
mother would think I was getting all my practicing in.”
Then came the moment that changed Pfeiffer’s life and gave him a
reason to give up the piano: He discovered the Beatles. Awed by Paul
McCartney’s song-supporting grooves and his lady-luring ways, the
11-year-old Pfeiffer begged his parents for bass lessons. It was a
good move. So talented was Pfeiffer, that his bass-playing and
songwriting earned him the attention of the German record label
“Deutsche Gramophone” in 1977. Instead of pursuing a recording
contract in his native Germany however, he left for America.
Once in the U.S., Pfeiffer grew increasingly interested in the
spontaneity and emotional expression of jazz. Seeking to marry his
pop-rock background with his new passion, Pfeiffer began writing
songs that combined jazz rhythms with rock bass lines. To deepen his
jazz knowledge, he studied Jazz Performance at Arizona State
University. He furthered his education under the tutelage of famed
bassist Miroslav Vitous at the New England Conservatory in Boston,
where he graduated with honors, earning a Masters degree in Jazz. It
was in Boston that Pfeiffer performed with such music legends as
George Russell, Jimmy Guiffre, Mick Goodrick, and Sheila Jordan.
After graduating, Pfeiffer relocated to New York City. It was
during this period that Pfeiffer became the musical director for an
international cruise line, a job which introduced him to various
musical styles of the Caribbean. “What I love about this style is
the rhythmic interplay between the instruments,” says Pfeiffer.
“Everybody has a separate part. Nobody plays what anybody else plays
but all of it makes the whole piece.”
|
|
|
artist
appearances |
|
|
