![]() Throughout my career, I have dreamed of finding a quality instrument that was comfortable to play, had a warm, clear and punchy sound, and was even across all registers. Now it is in my hands and I have the impression it has been there forever!Ī double bass is the extension of a musician’s soul. And so here it is now, deep red in a colour which words can not describe, the colour I had in mind and which Jean foresaw. After that, the whole thing became a wonderful mixture of feelings, emotions, laughs, smiles, an instinctive understanding between us… and all of it emphasised by the minute attention Jean would lavish on the smallest detail. Jean agreed and the idea I had nurtured for so long came about. Soon the idea of actually asking him to build me a small bass with a removable neck, a complement to my Xavier Jacquet number one, became so fixed in my mind that I could not get rid of it. I immediately thought of modifying the least fragile of my Xavier Jacquet basses… But I liked the small size of the bass Jean had lent me. It was simple, practical, functional and above all it did not seem to affect the sound of the bass in any way. I accepted with delight and was immediately impressed with the ingenuity of the system. I had heard that Jean had devised a way of removing the neck for transport… I picked up my phone and after some explanatory conversation, he offered to lend me a small sized bass equipped with his astonishing modification. I was to travel to Sardinia but the airlines categorically refused to take my bass. ![]() Everything about them! And each time, the temptation grew upon me. I have always known that Jean Auray was a great luthier and over the years, whenever I met my friends Phillips, Chevillon, Tchamitchian or Garcia-Fons I would try their instruments, admire their craftsmanship, the quality of the wood and the varnish, their proportions and fine sound. And then I was fascinated by old instruments and I could not envisage parting with one of them to commission a new bass from Jean. I was not a collector and I did not have the means to treat myself to a third instrument. ![]() A golden yellow… I then thought how wonderful it would be to imagine a new and original style of instrument with a luthier and to have it built.Īt the time, I had two beautiful Xavier Jacquet basses. Each instrument thus becomes an extension of the same quest for what is right, for truth, leading him with humility to ever greater flexibility, inventiveness and daring – and finally to enrich this world of ours with fabulous means of communication.Īs far as I remember, the first Jean Auray double bass I saw was Barre Phillips’. ![]() Each instrument is built as a sort of inner accomplishment. He listens to them play, hears them talk and then he begins to create, all the time aware of them. His art is hugely pragmatic and he knows how to use it to serve music and musicians thus becoming in some measure the architect of their dreams. He is a visionary of the double-bass whose art is nourished by contact with musicians of every kind without prejudice or preconceived ideas. Jean Auray is not in my view a luthier in the ordinary sense of the word. After some months, and few exchanges of ideas, I received a double bass beyond all my expectations – my companion for the past twelve years of musical adventure. That is why, a little later, it became obvious to me that I should put my faith in him and order a double bass of a new design which allowed for a fifth string – a string in C sharp. This ambition was to create instruments truly made for musicians – designed for them to play and not merely beautiful instruments glorifying all his talents as a luthier. When I met Jean Auray fifteen years ago for the first time, it was for a simple repair job, yet at once I felt in him a sense of mission, of curiosity and true ambition in the noblest sense of that term. So, would you say that you're happy with number 9 ?īarre PHILLIPS was interviewed by Philippe BARRE -) Bruno Chevillon It's almost impossible to scratch it and of course with age it just keeps getting more and more beautiful. The bass is the asymetric model and is very easy to play in the upper register. I'm still using the original bridge and sound post and haven't ever had to readjust anything. The bass is light in weight but strong in construction : 15 years now of bashing around the world on tour and the top hasn't changed an iota. And it speaks quickly, I can play as fast as I'm capable of playing and the instrument likes it. Both pizz and arco, the sound is always well balanced between the lows and highs. Well, it's got a great sound - the kind that is perfect for what I do. It's a Jean Auray - number 9 - from 1992.ī.P. And what bass are you playing on this recording?ī.P.
0 Comments
Leave a Reply. |