Drew Hall started playing electric bass in 1990 & has played in many different bands and situations, including ska, punk, metal, funk, wedding/top 40, blues and jam-band, among others. He has performed at festivals, weddings and frat parties, and still continues to play out regularly. His influences and inspirations range from jazz to funk, from pop to punk. He is able to play both 4 and 5 string basses, and is familiar with most scales, modes and theory applications. He is always looking for opportunities to branch out and perform with different types of acts or record with diverse musical talents.
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Drew's Bass Rig






It all started in 1990 when my dad gave me my first bass on my 15th birthday. Why a bass? Why not guitar? I was curious - Intrigued. At that time I didn't know anyone else who played the bass, and I wanted to know what it was all about. Guitar players were flashy and up front. Singers seemed to lead the band, and I knew what drummers were all about. Growing up in the eighties, there weren't many famous bass players emerging on the scene. My early influences were any pop rock that was out at the time, along with my first bass teacher Sean Lavalle. I traveled miles every week on my bike to attend his lessons. I learned basics such as scales, modes, and finger exercises to improve my dexterity (I have short fingers so I needed all I could get in this department!). If it wasn't for Sean making the instrument interesting and fun to learn, I may have given up on it. In my opinion, all teachers are underpaid and underappreciated. Sean L. - thank you! 

It was the mid '90s when I realized what the electric bass was really all about. Working at a music store in NYC, I befriended a few jazzheads who turned me on to serious bass players. Enter Jaco, Marcus, Wooten and Bailey into my musical inspirations. It was during this time that I also attended the Brooklyn Conservatory of Music, taking lessons from a gentleman named Ponzi, who has recorded with or performed with Patti Labelle among others. 

Jaco opened my eyes to not only the amazing tones and timbres that a bass made, but also a frenzied fluidity of notes that came from his fingers during his solos. The songs he wrote on the bass have inspired thousands, if not millions, of bass players around the world. I have his raw bootleg recordings done in bars and clubs, I have his performances at various festivals on DVD, and I have most of his studio recordings. In every single instance he has definitely been an inspiration to me and my playing. 

Marcus, Wooten and others have taught me that playing bass has just as much to do with how you play notes as what notes you play. That bass playing is just as much about rhythm and what you're NOT playing as is what scales, modes or notes you're putting over a particular composition. I have tried to incorporate this by letting the instruments breathe while performing and writing.

Equipment? Well... only Fender Basses for me. I dabbled a little with Lakland a few years ago - and while they're very well constructed, and they feel and sound great, I sold them to buy another Fender. I have an American V, as well as an American IV. Effects? I view effects kind of like spices: A little here and there, but too much can ruin a meal. Some songs I use them all the way through (not often), some songs I'll put them on to accent a solo or bass part in the song. On my last album I use chorus for the last tune only. I have 2 EQs going, one for a mid range tone and one for a boosted funk tone. Both give me slightly more level in case I have a solo or intro to play. I also have an octave pedal which I use sparingly and the chorus pedal. I have rack compression always on for a little bit of level and clear highs. My rig consists of a GK 1001 RB and an Avatar B12, rated at 1000 Watts. 

I have played in many types of bands. Ska/Punk, Pop, Wedding, Metal, Blues and Jamband are types of bands that I have been in. I enjoy playing all genres, or anything that gives me a challenge. I can step up and take a solo, or most of the time I lay back, lay it down and lock in. I try not to step on anyone, but compliment them, harmonize with them, outline what they're doing either musically or rhythmically on the bass. I help open doors, provide a bridge, or lay down a foundation with my instrument. My role in songwriting is usually writing a bridge, fixing an ending or composing an intro. I have continued to expand my horizons with this project as well. The trio has presented me with a unique chance to compose, improvise and improve soloing techniques through an array of styles, including Jazz, Rock, Reggae and World influences.

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