With roots reaching back to his birthplace in Johannesburg, South Africa, Bakithi Kumalo’s bass chops are eclectic. Paul Simon – who has toured with the bassist since they first met during sessions for 1986’s Graceland – has described Kumalo’s playing as “enormous… almost like a horn, but also primal”.
One listen to the classic bass run on You Can Call Me Al, along with the rest of his Graceland work, confirms as much. His South African influences are scattered throughout his playing.
So too are nods to Motown soul and jazz, via inverted and broken arpeggios, lighting-fast pentatonics, blissful counter melodies, plus an expansive use of dead notes, octave jumps, downbeats and triplets.
But Kumalo says there’s more to it than just technicalities. “I like space,” he explains. “A lot of people call me because they know that, when I listen to their songs, I’ll find a good way to be a part of the project. And when that's done, I move on to I play all kinds of music.
“I’ve played Irish music, jazz, and beyond. I’m just trying to pay the bills and feed my children. I’m not just a bass player – this is a business. I run myself as an LLC, and when I show up in the studio, that’s part of my mindset.”
What first attracted you to the bass?
“I was born in South Africa and was surrounded by music from different tribes. There were always traditional people singing, dancing and playing drums; my uncle was a saxophone player. He practiced at home a lot, and I got very interested in music at a young age. The bass came through that.”
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How big of an impact was the South African music scene on you as you began to progress?
“By the time I was eight, I was very interested in music, but South Africa had a lot of problems. I tried not to pay too much attention to that; instead, I tried to pay close attention to music. And when I was around 10 or 11, I really began to mess around with bass and never stopped.”
Once you got rolling, what was life like for you as a session player in South Africa?
“It was a lot of learning. I was fortunate that all the traditional musicians around South Africa would hire me to play bass. It wasn’t about money – it was about enjoying what I was doing because it was so cool, and it meant meeting great people.
“I played with many South African recording artists and got some studio work, and by the time I was 14, I'd learned to sing and play bass simultaneously. It was terrible! But at the time I thought it was good!”
From there, how did you hook up with Paul Simon for Graceland?
“In the '80s I went to Zimbabwe for work, and I got stuck there with the band I was in. I ended up hanging out with many local musicians and I tried to learn their music. I had to do it – I was stuck there for eight months.
“Eventually I got home to Johannesburg. A producer from South Africa, with whom I was working, sent some of my recordings to Paul Simon. Paul liked how I played bass and found me and asked me to play on Graceland.”
I don’t have a record label; I’m doing this at home in my studio… I make my stuff to keep my chops sharp and understand my instrument
How did you approach working with Paul Simon?
“Man, I had no idea what the hell I was doing! I’d just show up and not say much since I couldn’t speak English. But Paul was so kind. Through a translator, he said, ‘Just relax. I love the way you play,’ and things like that.
“But the big thing was I was using a fretless Washburn B-40, which saved my life because it was very different from a regular bass.”
Why did you choose a fretless?
“I was forced to – it was the cheapest bass available! It was what I could afford, but It wouldn’t have worked with traditional music. And if I’d been playing funk, jazz or things like that, it would have been terrible.
“But the fretless was perfect for Graceland because it was different, and I could go with interesting tunings and be intuitive. It helped me find a voice and allowed me to follow the accordion player on the record, who was kind of the lead.”
Your bassline from You Can Call Me Al is iconic. How did that come about?
“Well, I knew nothing about the fretless bass, so I really had to listen to get that sound. I had to stick with it, but Paul loved everything I played, so I could grow in the studio and give him that sound. The engineer, Roy Halee, recognized what I was doing and helped me get that beautiful sound, which was a big part of the bass for that song.
“Aside from that, I played a quick solo thing for a few seconds, and it was nerve-racking – but the timing was perfect, and it came out great. It’s not always like that, but it went perfectly that time.”
What was your typical touring rig like with Paul around that time?
“I had no sponsorships, so I tried everything. Once companies started to recognize me, I’d get basses, strings and amps. Some of this stuff had so many damn buttons, and it took forever to dial in the tone!
“I tried Ampeg but I didn’t like them because the sound was too massive for someone like Paul, who doesn’t sing loudly. I eventually came upon Phil Jones bass amps, who gave me some options with smaller speakers. That changed my game, and I’ve been playing with those amps, along with Kiesel basses, for years now.”
How did you approach working with artists like Cyndi Lauper and Laurie Anderson?
“Man, for me, it was like going to different colleges. With Cyndi, I knew her song, Time After Time, but I never imagined I’d play on her stuff. When I was in New York, she called, needing a bassist for her album Hat Full of Stars. I was so nervous when I got to the studio. She was sitting there in the control room chewing gum, and I was like, ‘Oh, my God, this is scary.’ But she ended up loving everything I did, so it was great.
“The next project was Laurie Anderson; and again, I didn't know anything about her music. So I just showed up, went in and played whatever was needed.”
Is that the mindset you applied to working with the Tedeschi Trucks Band?
“What I do all the time with is just play what’s needed. I’m not the kind of bass player that gets into a ton of notes. I have a tone and a way of approaching things no matter how long the song is.
“I always know how to approach things because every section will be different. I’ll listen to the whole thing, hear what’s going on, and find something I can lean on.”
All the previous builders are now getting old. We need another generation, so young players must have that understanding
Does your approach change when working on your own music versus someone else’s?
“It’s very difficult with my music because I try not to write bass records. I’m used to that from working with other people. I focus on the groove, and I’ll find someone else to sing as I’m not a singer. But I keep it simple: play what I feel and not be like others.
“I don’t have a record label; I’m doing this at home in my studio. But hopefully, someday, a record company will say, ‘Man, I like your stuff. We want to give you some money.’
“I make my stuff to keep my chops sharp and understand my instrument. I’ve got 12 albums; nobody knows anything about them because they’re not selling.”
You mentioned Kiesel, but you’ve also got your signature Kala U-Bass. How did that come about?
“When I came upon Kala maybe 17 years ago at NAMM, I felt there was no need to try their stuff because it was so small and felt terrible. I didn’t want to waste my time and thought it would be a good bass for my kids.
“But they took my input and looked to make changes, and that’s when I knew Kala could be a part of my world. It felt like a good moment for a signature instrument, so we adjusted the size, and I chose a pickguard that looked good and would help the instrument sound warmer.
“Before we made some of those changes, it was too small and felt all over the place. But it worked out – I put my signature on it, and now it’s mine.”
What advice would you give to young session players?
“I love to mentor and work with young people. I always tell kids, ‘Play with purpose and for pleasure rather than think about wanting to be famous.’ It’s not about wanting to take drugs and all that – it's about wanting to build up your playing because you love to do this.
“All the previous builders are now getting old. We need another generation, so young players must have that understanding. Once you understand, you can build up yourself, and maybe build an instrument that’s yours.”
- For more information, head to BakithiKumaloBass.com.
