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Kenn Smith

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Bio

My Bio

Kenn Smith has shared the stage with many great artists such as: Tower of Power, Wynton Marsalis and members of the Miles Davis Band. Born and raised in Chicago, he honed his musical skills as a freelance guitarist and bassist on Chicago's music scene and abroad. From theater and nightclubs to studio sessions and tours he quickly earned the reputation as one of the best in his field performing in various styles of music. As a solo artist, composer, instrumentalist, his music and impeccable technique are consistently described as a "soulful, organic experience". His style crosses all and any music boundaries. From Classical to Jazz, Funk to Progressive Rock and World Music.

To date he has four (4) releases, (1997) BLUE, (2002) TWO, (2002/2006) Short Stories and (2011) Samples. All are available for download at iTunes and other online music sites.

Styles Performed...........

Classical, Reggae, R&B, Soul, Jazz (BeBop/Straight Ahead/Smooth/Fusion), Gospel, Blues, Rock (Classic/Progressive Rock/Alternative Rock/Metal/Neo Classical), Ambient, World, Afro-Cuban, Pop, Top 40 :

With Who?..........

The Chicago Sinfonietta, Chi-Lites, Blues Great Valerie Wellington, Darryl Jones (Bassist for Rolling Stones), R. Kelly, Najee, Bernie Mac, Stanley Jordan, Leni Stern, Soul Vitaminz, Jazz Legends Peter Z, Johnny Frigo, Art Porter, Jodie Christian, Stanley Turrentine, Shirley Horn, Bucky Pizzarelli, Wynton Marsalis.....and many more...

Other Credits:Louis Armstrong Jazz AwardFeature in Bass Player Magazine, Bass Inside.com & Global Bass.com. Listed in the Europe Jazz Network.

Photos

Photos

TWO... - 2009

My First Release BLUE - 1997

Short Stories 2002..

Samples - 2010

On the road.

me and my paul.

On the road.jpg

Videos

Kenn Smith - Wait

Dancing in Swisterland

Kenn Smith - Sembo

Right-Left

Music

Latest Releases

To download just click on the CD or click this link.

Performances

LIVE... Performances

Bookings

Kenn Smith - Jazz EPK Video

Kenn is available for the following both national and international:Bass and Guitar ClinicsProduction and Composing Touring and sessions as a bassist or guitarist.For Bookings and other information contact: KSM Music.Kenn Smith is available for solo or group performances.The Kenn Smith Group - features Kenn on guitar with his band performing a cool mixture of Jazz, Blues covers and originals compositions.KSM - Kenn performs and leads this band as a bassist with a hip mixture of Ambient, Rock, Jazz and Funk.Undercover - Kenn's cover band performing old school sounds of Rock, Soul, Funk from the 1960's through 1980's.

Kenn Smith & UnderCover

Gradient

Interviews

Article 1

Six String Theories
Indie Artist Spotlight: Kenn Smithby FRED RHODESYou may not be familiar with Kenn Smith‘s name, but you’re probably familiar with his music. He’s shared his guitar and bass talents with legendary artists such as, Tower of Power, Wynton Marsalis, the Chi-Lites, Darryl Jones (bassist for the Rolling Stones), R. Kelly, Stanley Turrentine, Najee, Art Porter, and Valerie Wellington.In order to keep up with such diverse musicians, Smith has become somewhat of a chameleon. No musical genre his beyond his grasp. Smith credits his broad musical tastes to his family. His mother listened to everything from Little Richard to The Beatles and he learned the intricacies of gospel music by attending church with his grandmother.But his biggest musical influence was probably his father. The elder Smith was an avid jazz fan and a “happenin’ cat” in the Windy City from the 50’s through the 70’s.“When guys like Miles Davis and Kenny Burrell recognize your father, you sort of have some big shoes to fill,” said Smith.After many years of hard work, practice, and determination Smith may have finally filled those shoes. And despite his many talents, Smith remains grounded, humble, and thankful to be doing the thing he loves most – making music.Six String Theories: So Mr. Smith, when and why did you start playing the bass/guitar?Smith: I grew up on the west side of Chicago and at that time, there were a lot of young musicians. I started playing bass first. It was probably around ’74 or ’75. A few months later, I started playing guitar and I totally I sucked at it.Six String Theories: Now that you’re an experienced and accomplished musician, how do you continue to get better at your craft?Smith: [My talent] is a blessing from God. I consider myself to be one of the best because the best created me. So I think the way you show Him praise is to practice and keep your craft up as much as you can. Be a student at all times and keep your ear open to music. Don’t just listen to things you like; listen to things you can’t stand. The day that you think know everything is probably the day that you’re dead.Six String Theories: What’s your favorite aspect of being a musician?Smith: My favorite aspect is performing live. I love touring. I love being on stage. The bigger the stage the better. I love the feeling of a well-tuned band cranking out a song no matter what style it is. I like giving the people something to make ‘em smile, make ‘em jump, make ‘em dance, make ‘em feel good.Six String Theories: You have an extensive list of artists and bands you’ve collaborated with. Who haven’t you worked with and would like to? Why?Smith: I’d like to work with Sting (laughs). I’m still waiting for him to call me. I love his music. I’ve been a fan of The Police since they started. I guess the only reason we haven’t worked together yet is because we haven’t crossed paths.Six String Theories: You offer guitar lessons as a service. Do you have a pupil under your tutelage we should be on the lookout for in the future?Smith: One guy named Hamilton. He wants to be the next Jimi Hendrix. I constantly tell him to concentrate more on musicianship and music education rather than being the next rock star, but he’s got the will and the energy and the glow in him. I would say, give him another 5 or 6 years and he’ll really be something to check out. There are also quite a few bass students of mine that have started bands and toured and gotten some good record deals. But Hamilton is the latest.Six String Theories: How do you transition between different artists and bands?Smith: You have to respect the style. You can’t go in go with your “chops” so to speak. You gotta listen to what the artist is about and really try to study their style and understand where they’re coming from. I go into each gig trying to give the artist what they need as a guitarist or bassist and not what I think they need.Six String Theories: You have any pre-show rituals? If so what are they?Smith: I used to just stand in the corner and shake (laughs). Now I just chill. When I play bass, I practice a chromatic scale or old school bass lines like “Funky Broadway” or “I’ll Take You There” by the The Staples singers. Aside from music, I just take a deep breath, clear my mind and say a prayer. I might do some yoga stretches. I’m into martial arts so I might even do some wing chun exercises. Anything to loosen me up so I’m not stiff when I get out there.Six String Theories: Here’s a scenario: You’re on stage with a band and you’re about to get the cue for your solo. What’s going through your mind?Smith: Back in the beginning it would’ve been, “Don’t screw up, don’t screw up, don’t screw up!” But now, it’s “Don’t think” because the minute you think you’re dead. I just let the music kinda tell me where to go. It’s like I’m waiting to say something really important so you kinda throw the notes down and let what you feel come out. Let your heart take over. Some solos I just take off and go to another place and when its over, I come down. And if you make a mistake, an older cat told me, just sound like you meant to do it.Six String Theories: To date, you’ve released four solo albums: Blue (1997), Two (2002), Short Stories (2006) and Samples (2011). Tell me about your latest project.Smith: Samples is just me as a composer. It’s abstract and ambient. It’s me going to the extreme, stepping out of the box.Six String Theories: You have several credits and awards. What else would you like to accomplish in your musical career?Smith: Survive. Enjoy music. Make a little money so I can pay the bills and live good. I’m almost like a kid at Christmas, wondering what cool stuff God is gonna put in my head this next year for me to write down. I would like to do something with my wife cause she’s an excellent classical pianist. But the main thing is to support young people, passing on the information I’ve collected over the years. Other than that, I just want to jam until I can’t jam no more.* * * * *Frederick Rhodes, Jr. is a staff writer for Six String Theories. He lives in Houston, TX.

Article 2

Double Dipping - GlobalBass. com
Kenn Smith is a Chicago-based guitar/bass doubler whos been on the scene since 1989. It all began when he attended Proviso East High School and was honored with both the guitar and bass chair in the schools Jazz Band. He later studied classical guitar with Bruce Walters, and in his senior year Kenn was awarded the Louis Armstrong Jazz Award. Influenced by the likes of UK, RUSH, YES, BRAND X, Weather Report, Pat Metheny, John McLaughlin, Alan Holdworth and later John Scofield, Kenn has gone on to perform with the top R&B, Funk, and Rock groups in the nation, and abroad. After a few years of college and playing in a variety of bands, he decided to go back to school and study jazz composition. His career began as a freelance jazz guitarist, playing styles ranging from be-bop to alternative rock, and has since shared stages with Tower of Power, Stanley Turrentine, and Stanley Jordan.Though most of Kenns career to date has been focused upon the guitar and composition, he has found a more recent home as a fretless bassist, and he now features his melodic fretless lines on his solo discs. Kenns decision to play bass isnt as sudden as it appears, and he describes the process and resulting decision to feature the bass in this way,"Although most of my career has been devoted to guitar and composing, these days I find myself more devoted to the low end. The last five years have been spent in the woodshed with a bass. I've always played, but never felt like a complete bassist - especially in the area of jazz.As my composing and guitar skills grew my bass skills fell behind. So I recently decided to improve my skills as a bassist. I started with the 4 string working my way up to the 6 string fretless - as I've always been a big fretless fan. I never felt comfortable with a low B, but I love the idea of the high C. I finally settled on a fretless 5 string tuned E,A,D,G,C - after meeting Jazz Fusion Bassist Matthew Garrison, who came to town with John Scofield.I had a chance to sit and talk with him, and ask about his choice of basses, technique and all the benefits for his choice of tuning. As he began to explain, he took his bass from the stage for me to try. A nerve was stuck and the next day I changed my tuning! The experience turned out to be a true blessing."At the time of this interview, Kenn is in the midst of recording a disc that will heavily feature the fretless bass as the lead voice. He was also kind enough to send me a CDR of 5 of the tunes, and I admit, this is a bass heavy disc! Each of the tunes he sent displays the gorgeous sound of his fretless Karl Hoyt and Lakland 5-strings.I also greatly appreciate the fact that Kenn is more so bent toward the idea of writing tunes versus slamming a bunch of useless riffs into a 4-minute form, and calling it a "song". Heres what we chatted about BAJ: Talk to me, Kenn! How is the guitar world taking your recent decision, and how do you perform your tunes live? KS: Some of my guitar fans don't know yet. But, the ones who know think it's cool, and they are really looking forward to hearing me as a bassist. One reason I decided to do the "Bass CD/group" project, is because of requests from my students, friends, and also some of my newer fans. It's like God was speaking through them, and telling me what my next direction should be! It's also fun building a new fan base. I'm picking up new fans all the time from my clinics and master classes.As for performing and recording, I keep it pretty simple... I use the same instrumentation live that I use in the studio. For most sessions it's just me and a drummer, or some type of drum programming. I usually play the keyboard parts, using a midi guitar. On other occasions I may put a band together, and for the new disc I'm using a band. That way, I can concentrate more on the music and my bass playing. BAJ: I know weve talked about this before But, hip our readers to your life as a Black RUSH fan growing up in the Chicago area! Also, elaborate on the current state of the music scene in Chicago, and the inherent benefits and detriments of being a musician in that area. KS: It was cool really cool! I became a RUSH fan in high school and back then there was noblack and white, really just a bunch of kids who were into music. We listened to everything! We didn't see race in one another. Just guitars, basses, drums and the dream of becoming a star! Some people tripped, but not those who listen to them. RUSH RULES! BAJ: Man, I gotta tell ya After chatting with you a couple times, I pulled out Rushs "Signals", and listened to it again for the first time in years! It brought back so many memories! That era between "Permanent Waves" and "Grace Under Pressure", is still my personal favorite! Though, "Hemispheres", is one of the deadliest albums on my list. You know? I digress. Thanks to turning me on again, cat.Back to the interview It appears that you write from the standpoint of a sound you hear which, is a very organic (and often overlooked) approach to writing! How do you apply that idea and incorporate it into the concepts you learned in your studies of Jazz Composition? KS: Organic, that's a cool description, thanks. The music comes from me... first. Through my souls, sometimes, out of control imagination - a nightmare or a wonderful dream, for instance. I, then, use my composition skills to communicate that particular musical thought to others. When you'll a soulful, spiritual being, sometimes it's hard to communicate to others what you're feeling! You know? As you know, the tools of composition are key to articulating your intimate, personal self-expression. BAJ: What is your amplifier set-up like, now that youre carrying both guitar and bass rigs to live performances? Do the two systems interface, at all? KS: My main rig is a Ampeg B2R, with 2 Bag End 1-12 cabinets. When I need more power I rent an SWR 6-10 cabinet, and an SM-900 amplifier! BAJ: YIKES! Thats "power"! Your website features a couple shots with a gorgeous acoustic contra bass! Do you play the acoustic? KS: Yep, every chance I get. I'm more of an electric bassist but that will soon change. I'm focusing on my upright chops as we speak! I love the way the instrument feels. When you're playing a ballad, it's like dancing with a beautiful, voluptuous woman! When you're swinging, it's like hugging your best friend. The vibrations seem to go through your body straight to your soul. It's a very personal instrument. There will be some upright on the new CD! BAJ: Weve also been chatting about your idea of building an electric violoncello! Hows that going, and when will we get to hear that!? KS: Well, I'm still working on that idea... I got the idea while listening to my favorite cellist, Yo Yo Ma. Basically, it's a fretless 5 or 6-string tuned in 5th's. But, if possible, I would also like it to have some of the characteristics of an acoustic cello!I just thought it would be fun to play in a different tuning. It's been my experience that when you're learning, or experimenting with other instruments, it makes you that much better at what you do! It's like learning a new language, or studying a new culture new to ones self, anyway. I've been doing it all my life! While in the high school, being in most of the bands at my school, I had an all-excess pass to the instrument rooms. I tried to play everything: cello, sax, oboe, etc. It was a fun time. I'm working on design and exploring other ideas so it will be a while. BAJ: How do you facilitate doubling with your overall playing approach? Are there areas that cross-pollinate the playing of both instruments? Or, do you simply approach each instrument individually? KS: Individually. Ive never played both on a single gig which helps. One night it's bass the next, it's a guitar gig. Occasionally, I have had guitar and bass gigs in a single day! But, it's not like Genesis' Mike Rutherfords thing. I plan to have two bands: one, as guitarist, and the other, as bassist. That way, when I'm playing bass... I'm a bassist, and vice versa. Keeping the bands completely separate, in a sense.Being a guitarist does help me melodically and harmonically. But, in the same way, playing guitar helps anyone in the same way as a player who also sings, or plays piano. Players must learn to respect each instrument for what it is, first, then expand or compare it to the other instruments in the spectrum. When I'm in the studio doing my stuff, I'm able to switch mind-sets between the two instruments It's like having two brains! BAJ: Will you take the new project out for a small tour? KS: Yes, I plan to do a small club tour. I may take a keyboardist, instead of another guitarist, or both. We'll see... I have no problem playing with other guitarists. The only thing that matters to me is the kind of person, musically, the other musicians are! Where the hearts at and, are you cool! I don't want any bad vibes in the band! A few people have had more problems with me doing both guitar and bass. It's all music to me. A true gift! BAJ: What bassists are you listening to these days, and why? KS: Gary Willis, for his tone, tasteful melodic bass lines, and solos. Jaco, for his spirit. Alain Caron, because Ive never heard anyone play a fretless 6-String like that! The man is blessed. James Jamerson for what he gave to Motown, and to the rest of the world. Geddy Lee, because he is progressive rocks Bass King. Percy Jones for his feel, tone, and imagination. Ray Brown, Ron Carter, Percy Heath, and Rufus Reid for giving us the blessing called "Jazz Bass", and doing as much as they have to document the subject. BAJ: Well said, Kenn!How do you market your discs, and how does being a solo artist balance against also being a first-call sideman? KS: I market the discs by way of the internet, through www.soundclick.com and www.kennsmith.com, mailing list, clinics and other live performances. As for being an artist-sideman, it's always worked out. Its just a matter of keeping things in order schedule-wise. I'm working more towards being a full time artist/composer Ive been a freelance player for 15 years, so I just want to do my thing for a while. BAJ: Youve been teaching a series of clinics around the Chicago Metropolitan area. How can interested parties get information about your clinics? And, would you give our readers your contact information? Thanks! BAJ: What happening in the next year, Kenn? KS: Recording, clinics, playing some great bass, loving life and all it has to give. BAJ: Youve written a book, too! Tell us how to get that! KS: I'm working on two new method books for bass. "My First Bass Book" and "The Book of Grooves". Both are for beginners and intermediate players. Both books are due out this spring! You'll also be able to order them from my website, which is, once again: www.kennsmith.com . . . Also, check out Kenns Myspace page: myspace.com/kennsmithThanks for taking a few minutes to speak with us! Youre going to go far, and please remember to stop by Global Bass Magazine from time to time, and check in!

Article 3

The Bass Player and Networking, 4/01/2008
Meet Kenn SmithHello to you all, my name is Kenn Smith. For the past 4 to 5 years in doing clinics and writing articles it has been my goal to help the working musician by passing along what I feel is valuable information on how to survive in this business. Whether you are a freelancer or a member of a band, if you do this for a living there are some things I feel every working bassist should know. And FYI -- I base all of my information on 22 years as a professional.I like to start this article by answering that question that haunts every working person. How do I get gigs? First, to understand the answer to this question you must realize that there is no set way, no golden path. Just good old fashion hard work and determination. I know, this is not what you wanted to hear. But the truth of the matter is that "life is hard" speech your folks gave you back in the day is one of the keys to surviving in this business. You must also realize that this is a business. And in many cases you are the sole proprietor, an independent contractor hired to do a job. There will be lots of gigs you love and plenty you will hate. But you must take the good with the bad, do your job and earn your pay. So how do you get gigs? I'll tell you what always worked for me. "NETWORKING". Now having a website is a good idea but nothing beats meeting people face-to-face. Start off by getting some business cards. Nothing fancy or flashy -- just a plain, simple card with your contact information. Also make it a habit to keep a pen and a small pad with you. Now I know most of you have the fancy cell phones and what have you, but if you are like me those things never work when you need them to. And when an important person is giving you his or her information they don't have time to wait for you to figure out what's wrong with your gadget. Write it down and download it later. Try going to events and places where there are people in the business and just hang out. Bump some heads -- rub some shoulders. And here's an important note. Don't be all business all the time, relax and enjoy yourself. Some of my most important contacts have come from just having a glass of ale with a cat and talking about... nothing. Smile, lie back and be of good sprits. Most of the time you'll get hired for a gig just because of your wonderful personality.Well that's it for now... more on this subject in the next issue. See ya then.

Page 4

The Bass Player and Networking, 4/01/2008
Meet Kenn SmithHello to you all, my name is Kenn Smith. For the past 4 to 5 years in doing clinics and writing articles it has been my goal to help the working musician by passing along what I feel is valuable information on how to survive in this business. Whether you are a freelancer or a member of a band, if you do this for a living there are some things I feel every working bassist should know. And FYI -- I base all of my information on 22 years as a professional.I like to start this article by answering that question that haunts every working person. How do I get gigs? First, to understand the answer to this question you must realize that there is no set way, no golden path. Just good old fashion hard work and determination. I know, this is not what you wanted to hear. But the truth of the matter is that "life is hard" speech your folks gave you back in the day is one of the keys to surviving in this business. You must also realize that this is a business. And in many cases you are the sole proprietor, an independent contractor hired to do a job. There will be lots of gigs you love and plenty you will hate. But you must take the good with the bad, do your job and earn your pay. So how do you get gigs? I'll tell you what always worked for me. "NETWORKING". Now having a website is a good idea but nothing beats meeting people face-to-face. Start off by getting some business cards. Nothing fancy or flashy -- just a plain, simple card with your contact information. Also make it a habit to keep a pen and a small pad with you. Now I know most of you have the fancy cell phones and what have you, but if you are like me those things never work when you need them to. And when an important person is giving you his or her information they don't have time to wait for you to figure out what's wrong with your gadget. Write it down and download it later. Try going to events and places where there are people in the business and just hang out. Bump some heads -- rub some shoulders. And here's an important note. Don't be all business all the time, relax and enjoy yourself. Some of my most important contacts have come from just having a glass of ale with a cat and talking about... nothing. Smile, lie back and be of good sprits. Most of the time you'll get hired for a gig just because of your wonderful personality.Well that's it for now... more on this subject in the next issue. See ya then.

Page 5

The Bass Player and Networking, 4/01/2008
Meet Kenn SmithHello to you all, my name is Kenn Smith. For the past 4 to 5 years in doing clinics and writing articles it has been my goal to help the working musician by passing along what I feel is valuable information on how to survive in this business. Whether you are a freelancer or a member of a band, if you do this for a living there are some things I feel every working bassist should know. And FYI -- I base all of my information on 22 years as a professional.I like to start this article by answering that question that haunts every working person. How do I get gigs? First, to understand the answer to this question you must realize that there is no set way, no golden path. Just good old fashion hard work and determination. I know, this is not what you wanted to hear. But the truth of the matter is that "life is hard" speech your folks gave you back in the day is one of the keys to surviving in this business. You must also realize that this is a business. And in many cases you are the sole proprietor, an independent contractor hired to do a job. There will be lots of gigs you love and plenty you will hate. But you must take the good with the bad, do your job and earn your pay. So how do you get gigs? I'll tell you what always worked for me. "NETWORKING". Now having a website is a good idea but nothing beats meeting people face-to-face. Start off by getting some business cards. Nothing fancy or flashy -- just a plain, simple card with your contact information. Also make it a habit to keep a pen and a small pad with you. Now I know most of you have the fancy cell phones and what have you, but if you are like me those things never work when you need them to. And when an important person is giving you his or her information they don't have time to wait for you to figure out what's wrong with your gadget. Write it down and download it later. Try going to events and places where there are people in the business and just hang out. Bump some heads -- rub some shoulders. And here's an important note. Don't be all business all the time, relax and enjoy yourself. Some of my most important contacts have come from just having a glass of ale with a cat and talking about... nothing. Smile, lie back and be of good sprits. Most of the time you'll get hired for a gig just because of your wonderful personality.Well that's it for now... more on this subject in the next issue. See ya then.

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Contact

Contact

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Lessons

Career Consulting - Passing On the Knowle dge

I have helped many artist, all genres and styles. Solo artist, musicians, bands, young and old, find there true path in there career. Helping them to make decsions in business as well as in there personal lives.

Passing on my experince from 28 years being in the business.

Consultations can be done here at my studio or online by Yahoo or Skype at very reasonable rates. Contact me by email for information....

Private Lessons

For those who live in the Chicago and Northwest Indiana areas and wish to take lessons with me privately, feel free to contact me by email for more details.

Online Private Lessons

For those of you interested in taking lessons with me

but live in other cites, states or other part of the world. You can study with me online by way of SKYPE.

SKYPE is a software application that allows users to make voice and video calls and chats over the Internet. Calls to other users within the Skype service are free, while calls to both traditional landline telephones and mobile phones can be made for a fee using a debit-based user account system. Skype has also become popular for its additional features which include instant messaging, file transfer, and video conferencing .

It's free and downloads are available for both Mac and Windows .

After you have download the software contact me by email for more details.

Pushed - (c) 2012 kenn smith

Sembo - (c) 2011 kenn smith