Hey guys, how's it going? Scott here from Scottspaceessons.com. I'm back with another episode of the SBL podcast. And today we've got somebody super, super special. Somebody I've been geeking out on for years. In fact, the first time I found out about him was from YouTube. Good old YouTube, right? His name is Jonathan Marron. He is a faculty member here at Scott's Bass Essence and has just released a brand new course.

You're going to learn all about it. And if you've not heard of Jonathan before, he was actually the bass player behind the bass line on Ascension by Maxwell.

If you've not heard that record, go check it out immediately after this podcast. It's one of the best bass lines ever written.

He's also played with Michelle Nien-Duncello. I never know how to pronounce her name. Tupac, Dave Douglas, Jewel, Indi Airy, Donnie McCaslin, Kurt Rosenwinkel. I'm sure you get the idea. So on that note, I'm going to pass it over to Nick and the awesome Jonathan Maron. Hey, guys, welcome back to another episode of the SBL podcast, joined today by the amazing Jonathan. How are you? Hey, good. How are you? Really good, man. We've just been enjoying your course that you've just released in the SBL course library, which is amazing on the science of of groove we've called it which is all about

groove playing which is what you're a master of that's yeah that well thank you it's true

you're a master of groove playing man and i've been listening to your stuff for years and it just blows

me away how you can just keep a track moving so effortlessly while just sticking with the same groove. What's your

approach to playing grooves? You know I kind of like to I'm always looking for a

place to really anchor things and I really want to I really want to make sure that

the machine is like moving nicely before I start to embellish too much.

I actually have this friend in New York, this great songwriter,

Orrin Blodow who said to me, it's actually like, it's in some, some, I've actually quoted him a million times.

His whole thing was just like, keep saying no to yourself until you really have to play something.

And I sort of like that approach, although sometimes I listen back to my whole thing was just like keep saying no to yourself until you really have to play something.

And I sort of like that approach, although sometimes I listen back to myself and I'm like, wow, that's a really boring track. I just play because I didn't add anything. But I really am

trying to get in there and kind of zone in on the stuff that's repetitive and circular before I start to build it out.

Right.

I mean, because the primary job is there has to be something that repeats, right?

Yeah.

But then the trick is how do you create the feeling and the comfort of like this repetitive

motion but also create interest and, like, how do you,

how do you interact with the other instruments without leaving sort of the shop untended?

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