Josh Werner on Jazz, Hip-Hop, and the Art of Improvised Bass

Bassist Josh Werner has spent his career exploring the deep intersections of groove, improvisation, and sonic texture. A student of jazz great Richard Davis, Werner’s approach to the instrument is both grounded in tradition and unbound by genre, leading him to work with a wide array of artists, from reggae legend Lee “Scratch” Perry to hip-hop icons Wu-Tang Clan to “freak folk” artists CocoRosie. Whether laying down thick, hypnotic basslines or pushing the boundaries of improvisation, Werner has cultivated a sound unmistakably his own.

His latest project finds him collaborating with saxophonist James Brandon Lewis and drummer Chad Taylor on the new album Apple Cores. This raw and spontaneous record embraces the spirit of improvisation. Written on the spot with no charts or overdubs, the album channels the energy of spiritual jazz while drawing inspiration from hip-hop’s deep rhythmic sensibilities. For Werner, the record is a bridge between musical worlds—a space where the bass acts as both a foundation and a guiding force in an ever-evolving conversation between instruments.

In this interview, Werner discusses the lessons he’s carried from his time with Richard Davis, the process behind Apple Cores, and the unspoken language of locking in with a drummer for the first time. He also gives us the lowdown on his incredible tone and the gear he used.

Apple Cores is out now on CD, vinyl, and as a digital download (Apple Music and Amazon Music).

Growing up, you studied with jazz bass great Richard Davis. What key lessons from him have stuck with you through the years?

Some key lessons I learned were always be yourself in the music, and play with confidence. He also taught me a lot about focus, preparation and technique, and to take no shortcuts with your work ethic. Also, share and pass on the wisdom that was shared with you.

What was the writing process like for Apple Cores?

We wrote these songs on the spot – except for the cover of “Broken Shadows” – in two improvisatory sessions with no more than two takes per song. There were no charts or discussions, just compositional improvising. In addition, no click track was used and there was no overdubbing from drums, bass, or sax. The mbira, guitar and percussion we added after.

Was there a vibe you were going for?

On tour James and I had been discussing various concepts, especially spiritual and circular music. We were particularly focused on certain records by Ornette Coleman and Don Cherry. This was my direction for the bass, to build a bridge to worlds of improvised spiritual music, and stay in the flow of James and Chad’s river of power.

We also discussed the records hip-hop sampled, and their importance to the genre respectively.

Which hip-hop albums did you discuss that sampled jazz? Do you have a favorite or one you see as most important?

Our collective focus was more on the musical movements which informed the the classic hip-hop era we revere, and less on specific records which were sampled. A few of the records we all discussed before recording Apple Cores were – Don Cherry’s Brown Rice, Ornette Coleman’s Science Fiction, Ravi Coltrane’s Mad 6, and Yusef Lateef’s The Doctor is In… and Out.

What correlations do you see between jazz and hip-hop bass lines?

Both are very directly related. At their best they require groove, feel, improvisation and an edge. The hip-hop lines i am drawn to are overwhelmingly sampling jazz bassists. Ron Carter guesting on Tribe Called Quest and MC Solaar tracks are great examples of hip-hop and jazz being two sides of the same coin.

This was your first time playing with Chad Taylor. What is your approach to locking in with a drummer for the first time?

With great drummers like Chad you are instantly aware of their consistency, feel, pocket, and I find wherever you feel it – it will work. A record like this Is about musical independence and unity. If someone at his level starts to go off on their own journey or wants to play free or fade out, you stay natural – feel it and flow. Chad and I both have a deeply personal groove and James has the best pocket of any horn player I’ve experienced, so the time is treated relatively. We are not forcing it, it’s not like a click that we are all bowing to, more like a universal clock we bow to.

How do you approach your improv differently when there is no chordal instrument?

I approach it with great respect for the space created, and I see that canvas clear for the resonance and inflection of the bass notes which can be heard and felt on a deeper level. The harmonic freedom is massive for the player and the audience. I was always a big fan of bassist Doug Watkins playing on Sonny Rollins trio masterpiece Saxophone Colossus. The bass sounds huge. He’s a freight train of feel and power, and Rollins has so much freedom to flow. Harmonically every note is valid and in play

Speaking of a huge sound, your tones on the album are amazing. Where did you record, and what gear did you use?

We recorded at Bill Laswell’s studio in West Orange, New Jersey. I used a ’66 P Bass with ancient flats that are at least 25 years old. I ran an Ampeg SVT with 8X0 with several pedals to pick from: Eventide Pitchfactor, Ampeg Liquifier, DOD Wah Filter, Electro-Harmonix Mel9, and a MXR Bass Chorus Deluxe.

What is working with Bill Laswell like?

It’s deep. I love working with Bill. I’ve learned so much about production and sound from him. While we were producing this record the Orange sound engineer James Dellatacoma (who has made hundreds of records with Laswell ) made us ask ourselves “What would Bill do here?” And it’s always the right thing because Laswell serves the music and that’s all. No label manager or artist could ever tame him, and he lived by that, and that’s why he’s the king in my book.

What’s coming next for you? Any more solo work?

I’m finishing a solo record with some very talented players involved. It’s a mix of styles I’ve been wanting to cook with for a long while. I’ve also played bass on a number of upcoming releases by some heavy pop and reggae artists. I’ve got a spring tour in Europe booked with the James Brandon Lewis trio for Apple Cores.

James Brandon Lewis European Tour Dates 2025: