Lorenzo Feliciati Talks “Groove First”: Crafting Bass Lines with 9 Drummers

It’s no secret that there’s a special bond between bass and drums. Finding just the right drummer to play with can unlock higher levels of music and deepen the pocket. Luckily for Lorenzo Feliciati, he’s found many of the right drummers. That’s part of the focus for his eighth solo album, aptly entitled Groove First.

Feliciati welcomed an extraordinary cast of drummers for the record, including Gergo Borlai, Maxx Furian, Daniele Chiantese, Gianluca Palmieri, Jason JT Thomas, Gianluca Pellerito, Roberto Gualdi, Niels Voskuil, and Pat Mastelotto. As such, the songs each have their own life and character that come together for a wide range of styles across the album. The intense music goes from fusion to progressive rock to funk and everything in between. Aside from the drummers, the album highlights Feliciati’s incredible compositions and bass work.

That’s why we reached out to Feliciati to find out more about the album, his writing, and his bass gear.

Groove First is streaming now on Apple Music, Amazon Music, and other platforms.

How did you come up with the idea to use different drummers on every song?

My fascination with drums started many years ago. My original idea was to play drums, and I even worked in a drum shop here in Rome before starting to gig professionally. So when I start to compose something, I NEED a real drum pattern or loop. Otherwise, if I just have a click track, most of the time nothing interesting happens.

When the new idea/sketch gets to 40 or 50% of the development, I ask myself who the right drummer is for the song. I contact him (I am friends with the best drummers!) and ask for a drum track on the music, not necessarily the final one, but something with their magic touch!

Did you write each song differently to match each drummer’s feel? There is a wide variety of styles and feels across the songs.

I start to compose having in mind a certain groove or approach, so I guess that even before realizing who’s the right drummer, I have someone in mind, his approach and style. But music is always the first brick, not the entire song but the idea, the seed is always the first step. And the bass track is, most of the time, the last thing I work on. I never composed a piece around a bass lick or bass line.

How did you communicate what you wanted from each drummer, and how much did you let them do their own thing?

Miles Davis said that a great leader is one that is able to bring out the best in other musicians. I have it clear in my mind what I don’t want, so besides that I trust them to add their magic touch. I have 100% trust in every musician that is featured in my music. I have been lucky to have the Little Starlight Records label as my partner for this album. They gave me complete creative freedom and did a great job on mixing and mastering the music.

How do you adjust your playing to working with different drummers?

I try to compose the bass line after having the final drum track or at least I record the bass track on it. So, I guess that being a bass player for 40 years makes me pretty quick in locking with the drummer, the other half of the rhythm section.

What basses and gear did you use?

I recorded with various basses, mostly my Cort GB Modern 5, my Maruszczyk Frog, my Camarota signature Silver Koi 5-string and my precious ‘72 Fender Jazz (just like the one that Geddy Lee has!). I always record through an Avalon U5 or a Trickfish Minnow DI preamp directly into Pro Tools through a RME Babyface Pro interface. Sometimes I put a BECOS compressor in the chain. All basses are equipped with IQS strings and I played my Killpick big triangle pick with the Koi logo.