Thoughts on Tapping

It started with a dream. Literally. A vivid dream in which a boy presented me with an instrument to tune. He asked me if I would try since I was a bassist and could probably figure it out. I had never held this sort of instrument before yet I knew how to tune it. I also found that I could play it and felt myself at home on the 10 stringed fretboard right away. I studied the the instrument's form closely and with great joy. I felt it become a part of me. The notes flowed from my creative fountain and cascaded from my hands unto this new and wondrous instrument. Then I awoke.

The next day I was watching Peter Gabriel's live concert video "Secret World." As the first chords of "Salisbury Hill" brushed against my attentive ears, I noticed bassist Tony Levin at center stage and to the right of Peter. What he held in his hands sent shivers up my spine. It was the instrument from my dream. I sat close to the screen. That "You'll go blind sitting too close to the TV!" close and stared in curious, mouth agape, silence. I had to get one. I had to get a Chapman Stick.

I have been playing bass for over 20 years now. I am an artist by profession and a musician by obsession. I have played as a professional, amateur, hobbyist, studio muso, and live. I have played with amazing veterans and fiery beginners. I have been tapping for just as long. My first contact with tapping was hearing Eddie Van Halen's "Eruption." I remember thinking to myself that I had to steal this cat's technique. I later learned about other tappers like Billy Sheehan, Stu Ham, Stanley Jordan, Jennifer BattenJeff Watson, Michael Manring, and a host of lesser known,but equally as talented, musicians. The amazing thing about tapping is the freedom it presents. And a quick listen to any of the above musicians is in attest to this. The freedom of expression. That un-equaled territory of pure personality being unleashed in such a way that it demands both hands to participate as "equal partners" just like Emmett Chapman himself stated. Like a relay race that depends on total commitment by the participants of the same team in order to secure the coveted glory and exaltation of the Winner's Circle.

Almost 10 years after my dream, I finally obtained my first Stick. A black, 1988, 10-string polycarbonate in near mint condition. I stayed up past my bedtime (I work nights) to listen for the UPS truck's deep growl and unmistakable brake squeaks ( a joyous sound indeed, especially around Christmas and birthdays). I spent the first 20 minutes staring at it just like in my dream. A quick adjustment of the strap and cool looking military-style belt and I tried it on. I pressed my fingers to the board and produced a less than flattering sound. I lightened up my touch. That's the ticket. I tried on a couple of familiar bass patterns. Easy now, this ain't your grandaddy's fiddle! The strange tuning in the bass threw me off. I knew that I had to dust of the keys to the ol' woodshed and get to work. I also knew that the technique was somewhat different than what I was used to on the bass. Brave New World...

I had heard a few Stickists (Tony Levin, Fergus Marsh, Trey Gunn) so I had somewhat of an idea about how the Stick should sound. I did not fully realize the broad scope of work that was available featuring Stickists in every style of music imaginable and every form of expression. I quickly dove in with reckless abandon and soaked up music by Greg Howard, Don Schiff, Steve Adelson, Diego Souto, Linda Cushma, Tony Levin Band, Trey Gunn, and others. I was overjoyed to learn that Bruce Cockburn's 1989 album "Live" had been re-released on CD and in glorious 24 bit audio. This amazing album features Fergus Jemison Marsh on Stick and Grid (Midi Stick) and is an excellent recording which showcases what a truly fine Stickist can accomplish within a group context. Marsh is featured on the 7th track "Tibetan Side of Town" in full 10 string glory. The rest of the album serves up plenty of low end growl and finely executed staccato attacks with plenty of slides and slurs. Tastey...

I have been treading the waters at an open mike night on Wednesday nights. My basses have accompanied me along with my Stick. I gravitate towards the bass for the 1st few numbers but the rest of the band chastises me for even bringing them. "Play the Stick....that's cool..." "Do a solo..." "Crank it up..." I have met other Stickists in the area and hope to collaborate with them. It's like starting over and continuing at the same time. It's euphoric. It's freedom...

Freedom.
That's the operative word.
Freedom to realize one's art in a practical way.
Freedom to communicate your ideas to others.
Freedom to express yourself.
Freedom to explore.
Freedom to be challenged.

I pick up my basses on the premise that it is familiar territory. It's an old friend. I pick up the Stick because I have to. It's new and fresh. I have a long journey ahead of me. An artistic venture into realms that my basses have not been able to provide but the Stick was made for. What tapping was "discovered" for...

Every Stickist understands this. We are in an elite category of musicians. A family of artist who share the same brush and share the same fire to create in a totally fresh way. Everyday we paint the canvas anew with hues and tones unique to our art. We are stuck. It is a part of us and the only way to quench the fire is to fan it. Fan it and feed it with the Oxygen of the Muse. Reach out and Touch someone indeed...

Juan R Leon
June, 2003