Bass Players To Know: Mark Schatz
While it’s easy to get caught up in the world of blazing technique, gregarious stage personas, and highly amplified rock ’n’ rollers, let’s turn our attention to a genre that typically features acoustic instruments, bluegrass. This evolving amalgamation of American roots music sports unique instrumentation, virtuosic soloing, and melodic interpretation. In both style and culture, it shares more in common with jazz than almost any other form of music. Unfortunately, the role of the bass player is often over-simplified, minimized by the notion that it’s all “root-fifth” all the time. I can assure you that is not the case and, as with any genre, there are a few “best of the best” who play with such musicality, communication, and conviction that they deserve to be recognized. Mark Schatz is one of them. In addition to keeping company with the likes of Béla Fleck, Tony Rice, Nickel Creek, and many more, his exceptional tone, stellar aptitude for voice leading, and rhythmic feel make him the driving force you want to have in your ensemble. With countless recording credits, two solo projects, and a reputation for being quite the dancer and banjo player, Schatz has managed to have an eclectic career, all stemming from bluegrass music and folk culture.
Who Is Mark Schatz?
Schatz took to music at a young age, first playing cello and then transitioning to upright and electric bass. He received a degree in music theory and composition from Haverford College and spent a year studying at Berklee College of Music, all while playing bass and dabbling in guitar, mandolin, and banjo. Inspired by fiddle festivals, old-time music, and folk dancing, his musical path led to a fortuitous meeting with Béla Fleck in 1977. Schatz spent most of the next decade working and recording with Béla Fleck; he can be heard on Crossing the Tracks, Fiddle Tunes for Banjo, Natural Bridge, Daybreak, Drive, and many other records.
By 1983, he relocated to Nashville, Tennessee, and found himself further entrenched in the folk music community. Working with players like Jerry Douglas, Tony Rice, Bill Emerson, Doc Watson, Tim O’Brien, Mark O’Connor, and Stuart Duncan, Schatz’s resume ran the gamut of famed bluegrass instrumentalists. His ability to anchor the band as a bassist or switch roles and perform on banjo made him an asset to any acoustic ensemble.
In 1995, he was awarded “Bass Player of The Year” for the second time in a row by the International Bluegrass Music Association. He released his first solo record, Brand New Old Tyme Way, on Rounder Records and shortly thereafter, began working with Footworks Percussive Dance Ensemble as both musical director and road manager. An opportunity to combine his skills as an instrumentalist, bandleader, and dancer, Footworks served as an integral part of his artistic career.
All the while, Schatz continued to freelance as a recording and touring bassist and banjo player. In the mid-2000s, he joined Nickel Creek on tour and in the studio for their record, Why Should The Fire Die? and managed to release his second solo record, Steppin’ in the Boiler House, in 2006. His association with Nickel Creek blossomed into more studio work with Sean and Sara Watkins, Sarah Jarosz, Della Mae, and Claire Lynch, among others. This solidified him as someone who successfully bridged the gap between legends of the genre and the next generation of folk and bluegrass players.
Let’s Talk Style
Schatz is a whole-heartedly creative person who has managed to put talent, work ethic, and personal relationships together in order to pursue his passions. A modern-day renaissance man with an aptitude for bass and banjo, he has become highly sought after for anchoring an acoustic ensemble. The fact that he often works with banjo players is a testament to how well he understands accompaniment, the functioning of each instrument, and the traditions of the genre. His ability to marry complex rhythms with the natural movement of the body makes the music sound particularly organic and beautifully unquantized.
Within the acoustic ensemble, the rhythmic foundation of a song becomes the responsibility of many. Rather than a drummer taking on the dominant role, each string instrument brings something unique to the table. The bass provides the downbeats, the mandolin emphasizes the backbeat, and the acoustic guitar and banjo provide underlying subdivision and syncopation. Fiddle adds rhythmic emphasis and dobro introduces harmonic padding. Schatz understands this better than anyone and confidently glues the elements together. He discovers where the music feels best, listens for how each instrumentalist contributes to the collective “time,” and uses the duration of his notes to provide the underlying groove and musical momentum. Whether he’s playing a ballad, a mid-tempo waltz, or a barn-burner, Schatz plays to the rhythmic capabilities of the upright bass—lengthy root notes for smoothness, dead notes for percussive nuance, and slapping for emphasis and intensity.
From the harmonic standpoint, Schatz is the one responsible for staying true to form, literally. He knows when to stick to the root, when to implement voice leading, and how to negotiate movement when chords change rapidly. He creates a sturdy and foundational harmonic backdrop so that the soloists can freely roam and reinterpret the melody. As if he were the playground equipment that a group of children climb upon, his dedication to the form allows for fun to be had. All the while, he’s keenly aware of everything happening and prepared to engage in musical dialogue. By integrating chord inversions, contrapuntal movement, and phrase matching, he asserts himself just enough to enhance a musical moment.
Where Can I Hear Him?
“Jealous Of The Moon” (Nickel Creek: Why Should The Fire Die?)
Schatz’s ability to accompany an acoustic ensemble shines through on this record. He effortlessly supports the harmony of the song with sultry root notes, perfect voice leading, exquisite note duration, and dynamic matching. He plays with just the right amount of swing, allowing for a feeling of momentum even within the graceful pacing of the ballad. Every note carries a sense of purpose and integrity, sustaining the song the same way a deep breath sustains the body.
Listen: iTunes | Amazon MP3
“Up And Around The Bend” (Béla Fleck: Drive)
This record features a who’s who of bluegrass — Sam Bush, Jerry Douglas, Mark O’Connor, and Tony Rice—with Schatz rounding out the supergroup of instrumentalists. His function is clear: define the harmony, establish a rhythmic backbone, and have just the right amount of swagger while doing it. He locks in with the mandolin and acoustic guitar to create the rhythmic driving force, essentially creating a ‘four on the floor’ feel while the mandolin emphasizes the backbeat. He moves through the changes with finesse and provides a melodic counterpoint so smooth that it could easily go unnoticed.
Listen: iTunes | Amazon MP3
“Stogies” (Mark Schatz: Brand New Old Tyme Way)
A duet between two upright bass voices, this composition features Schatz’ deep swing, melodic aptitude, and technical mastery of the instrument. He implements a diverse range of rhythmic approaches, from lengthy glissandos, to subtle dead notes, to percussive slap-technique, and manages to reminds us of exactly how much music exists within the body of an upright bass.
Listen: iTunes | Amazon MP3
How about you? What’s your favorite tune or album with Mark Schatz?
Please share with us in the comments.
Ryan Madora is a professional bass player, author, and educator living in Nashville, TN. In addition to touring and session work, she teaches private lessons and masterclasses to students of all levels. Visit her website to learn more!
Mark made considerable contributions to the Claire Lynch Band. He recorded and toured with her for the better part of 12 years and several albums. Claire is highly underrated, as can be seen by the rather dismissive inclusion of her name by this author. That said, I confess my fondness for Claire. She’s my wife.
And I agree with you. Thanks Mickey Bieberfeld
Hi Ian, thanks for reading this column. Just so you know, I did mention Claire in the ‘who is’ section (please re-read the last paragraph). As with many great players, Mark has contributed to so many records that I do have to pick and choose certain names to include for the sake of the column. I spend a good deal of time researching and choosing names that are worthy of note–I very consciously included Claire Lynch in the hopes that people would see her name and perhaps go listen to her music (which I enjoy). After all, the goal of this column is to showcase bass players in an accessible way and hopefully inspire readers to go down their own musical rabbit hole to learn more. I hope you see that this was not an oversight nor dismissive and that you consider how challenging it is to sum up a persons career in just a few short paragraphs.
Also a member of Tim O’Brien and the O’Boys.
Love his work of 12 yrs with the claire lynch band! His addition to her superb renditions of ‘swing’ songs, that she does better than anyone, is a joy for listening. Dear sister album is my favorite of all time!
Mark was great with the Claire Lynch band too!
I met Mark when he played with the Clare Lynch band. Not only is he a delightful and talented musician, he is a wonderful person to converse with, approachable and down to earth.
Nickel Creek – A Dotted Line. Mark covers the full ground vom traditional bluegrass to contemporary & beyond. On some tracks he is paired with the great Matt Chamberlain on percussion. “Hayloft” is especially recommended!
It is great to see folks mentioning Mark’s work with Claire Lynch and Tim O’Brien, 2 of my favorite groups that he has worked with. Claire put Mark in the spotlight more so than other groups, which I thought was pretty darn cool.
Nice article! I need to check him out more. I did get to meet him a couple of years ago, in Asheville, NC….really nice guy.
Love Marks bass on the Claire Lynch bands version of Wabash Cannonball.
I made my way to Mark thirty years ago through banjoland; in addition to enjoying his work on Béla’s albums, I have purchased, scratched, and plain worn out three copies of “Brand New Old Time Way.” Now I am appreciating him all the more through my recent entry into bassland and listening to him all over again. If one can seem passionate and effortless at the same time, he’d be the guy. Plus, it always just looks like he’s having SO much fun! (Thanks for this, Ryan!)
Mark is a top shelf bass artist. He can do it all and at a very high level. Versatile and creative.