Meshell Ndegeocello’s latest recording, Devil’s Halo, is just about ready to hit the streets (October, 6) and she is preparing for a short tour to support the record. In addition to a critically and commercially successful solo career, Ndegeocello has played on tracks with artists as divergent as Zap Mama, Raul Midon, Santana, and Alanis Morissette (and a herd of others). She plays a mildly Frankensteinish Fender Jazz bass -- a 64 neck on a 63. Like we said, only mildly Frankensteinish.

Tell me about your bass. Where and when did you get it, and how did it wind up with the 64 neck? Does that make any difference in playing or is it something only a collector would care about?

That's something only a collector would care about. I got it from Chelsea Guitars about ten years ago. The guy gave it to me with two magazines with Jaco Pastorious on the cover. One was an old Guitar Magazine (printed before there was Bass Player magazine) and he told me he really thought I should have it because it was rumored to be one of Jaco's practice basses (hence the destroyed and replaced neck -- apparently a typically Jaco destructive moment). I sat and played it at the shop every day for a couple weeks before I bought it. I was staying at the Chelsea Hotel at the time but I couldn't leave without it. It was my first and really only VERY expensive instrument purchase. I have a lot of basses, but that's really the priciest.

Tell me about what you like best about this bass. Why does it work for you?

I don't know how to say so, but I sound really good on it. I'm able to achieve what I hear in my head. It has no active electronics so it's very warm yet it can switch to a growling high-endy feeling in my hands. Because of its age, it sounds really woody, which is what I miss the most in modern basses. My bass sounds like a tree.

What, if anything, don't you like about it? What would you change?

It's heavy. Because of my size (I'm only 5'1") and because I play the bass really high, it's hard for me to tune. I would shrink it in scale (not that I have to tune it often -- it has incredible intonation).

Have you changed anything since you first got it? If so, what and why?

I has the same strings on it since I purchased it but someone else played it and popped my E string, so that's all that I've added. Otherwise, I'd never change it. There's only one guy I really like to work on it, Noric Renson. He's in LA.

I assume you have, at some point, played more recent versions of the Fender Jazz bass. How do they compare to yours?

I own a '74 as well that I like. But honestly, I love my bass. I play other basses on tour, I have other basses, but my '63 Jazz is just where it's at for me.

What amp do you play through and why? How does the amp compliment the tone of the bass?

I play with an Ampeg SVT. I prefer the Vintage series, or of course a truly vintage one or a B15. My sound is in my hands so I really prefer amps with fewer gizmos and less varying EQs. I prefer the Ampeg because it has a lot of power and still has a lot of warmth. I'm not an absolutist, but a bass player should sound like a bass player: warm and round. I've tried Edens but I sound too punchy and bright. I tried SWR but I sound like crap. I could go on about other amps but it's a personal thing. Other people love things I don't. The original SVT I had was made in the early 90's when the company was American-owned, but it was stolen out of a car in Brooklyn. I miss it terribly. Still, Ampeg has been good to me.

Tell me about what you are up to; shows, tours recording, etc.

I just recorded a new album called "Devil's Halo" that'll be released October 6. I play the ['63] Fender all the way through.

I recorded to tape, my bass direct through the Neve pre-amps in the console and reamped through an SVT (it was mixed by Bob Power). Altogether it makes the sound really warm and natural. Some people complain that I don't play enough bass onstage but I'm really inspired by my bass player Mark Kelley. He's a bass player that makes me want to sing. We're touring through the US in October and the musicians in the band are amazing: a great drummer and two bass players who are groove puppies.

The record was a return to live musicianship, recording what people really are playing and the tour will reflect that I hope. Not a lot of flash but a lot of skill and a lot of heart.

Photo credit ©2005 Michel Vonlanthen