photo by Dean Budnick

During a break between gigs on Jam Cruise this past January, George Porter Jr. sat down to survey his 50-plus years onstage, as well as his projects to come.

“I’m just looking forward to having a successful music year,” he says, gazing out over the ocean.

Below, the bass legend explores his feelings of responsibility toward the younger generations, his reign as New Orleans’ King of Oak and more.

You spend a lot of time in New Orleans playing big gigs with Zig [Modeliste] and the Foundation of Funk. Why do you enjoy doing those large shows in your home city? Is it nice to be among the people?

No, I think because it pays well. [Laughs] I have to split myself into two people, two players, because I still love Leo [Nocentelli], Leo is good people, but him and Zig just can’t be seen to meet in the same neighborhood. So, in order to play music with the people I love, I have to be able to put myself in two places at different times.

Is that a role you’re used to playing? The peacemaker?

I definitely do not want to be the peacemaker because eventually the guys who you’re trying to put together will both hate you. [Laughs]

You’re a regular at the Jam Cruise Jam Room, it’s something you’re known for. Do you think it’s a test of a good musician when people are thrown in the water like that?

The Jam Room is a jam room. I remember when they started adding a host to the room. Some of those hosts were calling rehearsals and stuff. I’ve never done a rehearsal for that, I’m a firm believer that a jam room is supposed to be a jam. A jam comes out of not necessarily finding common ground musically, but just playing off of each others’ energy. People were asking me if I was inviting anyone over there. I said, “I didn’t invite no one. At 2:30, I’m gonna walk up on stage—me and my bass—and we’re gonna start playing. Sooner or later, I’m gonna start hearing other people playing.” And that’s exactly what happened.

Is there anyone from this past jam that really impressed you?

The horn section at one point started pumping really well and Benny Bloom came up and he started organizing and arranging. Adam Deitch came up and started about 10-12 minutes into my set. I didn’t hear any cymbals, just a drum kit. I looked over my back and there was Adam just playing on the kit, no cymbals. [Laughs] Then a keyboard player came up and played, but I never got his name.

I feel like anybody could just walk up with a guitar.

That’s kinda the way I like doing the jam room and I’ve seen a lot of fun happen like that.

You mentioned that you don’t like rehearsing for the Jam Room. Are you one for rehearsals in general?

I know that when I go out and play with other people, I’m gonna have to do rehearsal.

What does rehearsing or practicing look like for you? Are you just sitting down with your bass and seeing what comes to you?

When I touch my bass I’m mostly in the studio working. If I’m practicing or just feel like playing, I’m usually playing a guitar, an acoustic guitar. I have two really nice acoustic guitars. Anders Osborne just gave me a beautiful Strat guitar. With these acoustic guitars, the necks are a little bigger and a little more comfortable for a bass player.

How do you think playing that acoustic guitar informs your bass playing? Do you think it allows you to stretch your muscles or use other parts of your brain?

That was my third instrument. The first instrument was violin and the second instrument was piano and then guitar. But guitar was the one that I actually took real lessons for. I started with a teacher for a few years. I was 8, 9 and 10.

Violin and piano didn’t really speak to you, but guitar did?

My dad didn’t want to hear violins in the house. [Laughs] That got ex’d. The piano lessons ended because it was Zig’s older brother who was the teacher and Zig was having trouble with the fact that his brother was spending more time with somebody else than him. So, his mom cut all of those lessons.

Did you still play violin or piano?

I don’t play violin at all. Piano, I still play.

Are there any other instruments that you’d like to stretch out into? Do you see yourself ever playing a George Porter piano set?

No, I don’t see that.

Do you have a piano in your house?

Yes, I have an electric piano up in the studio, I don’t have an acoustic piano. I’m using virtual instruments or digitized sounds, so I have piano controls in the house.

Do you ever play bass through the keyboard?

I’ve seen a lot of guys do that really well. I never got to the point of playing bass lines over a keyboard. Even when I’m playing the piano, I’m probably just playing chord formulas using nine fingers. The thumb on one hand seems to not control any part of a piano when I’m playing, but I use the thumb on the other hand.

When you play the keyboard using these electronic things—do you think there’s something to be said for the warmth of a wooden guitar? Is there something more beautiful about an organic instrument versus an electronic instrument?

I think it’s a mood thing for me. Usually when I’m playing the guitar, it’s usually playing chord formulas to write something. If I’m really relaxed, I’d play my acoustic guitar and within 30-40 minutes, I’m ready to go to bed. Maybe I’m just boring. [Laughs]

Do you find that as time goes on, while your original circle of players is getting smaller, your emotional bond gets closer? After losing people like Art [Neville]?

Our community is definitely smaller. The community that I grew up with is almost 80% depleted. It’s to the point where now people are considering me the senior citizen of our community because all of my teachers are pretty much gone. Well, George French is still living and hanging out. But Earl King and Professor Longhair, all the guys that I grew up with, they’re all gone. George was a musician and a sideman like I was. Those guys wrote the music and created the music and we as sidemen performed it. There are not too many of those guys around anymore, they’re gone.

Pages:Next Page »