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Jazz Articles » Interview » Billy Mohler: Emotions and Groove
Courtesy Robbie Jeffers
For me, music resonates on an emotional level. That’s why I’m more interested in the personal and human aspects
of the musicians I listen to, the stories they tell through their instruments, rather than their technical or innovative
side. Innovation is always just a consequence of an artist’s expressive needs.
Billy Mohler, double bassist/composer
”
data-original-title=”” title=””>Billy Mohler, a bassist with diverse musical experiences, is becoming an increasingly prominent presence in the ever-evolving and vibrant Los Angeles jazz scene. With the release of his latest album and an upcoming European tour, we took the opportunity to discuss various aspects of his artistic journey.
All About Jazz: Let’s start with The Eternal (Contagious Music, 2025), your latest album. After three excellent records with your quartet featuring
”
data-original-title=”” title=””>Chris Speed,
”
data-original-title=”” title=””>Shane Endsley, and
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data-original-title=”” title=””>Nate Wood; you’ve completely changed the band. What led to this evolution?
Billy Mohler: When I compose, I always start with bass lines. But after the initial spark, I move to the guitar to develop the composition further. The guitar has always played a central role in my writing, and I was sure that, sooner or later, this would lead me to create a group with a guitarist.
”
data-original-title=”” title=””>Jeff Parker and I have been playing together for a few years in various projects, so it felt natural to invite him to record The Eternal. He’s incredibly creative and a fantastic group player.
”
data-original-title=”” title=””>Damion Reid and
Devin Daniels
saxophone, alto
”
data-original-title=”” title=””>Devin Daniels have also been playing with me for the past couple of years, and they contribute immensely to my music. Damion and I had been planning The Eternal for a while, so I’m thrilled we finally made it happen!
AAJ: Was the change in lineup influenced by the fact that all the new band members are based in Los Angeles, like you?
BM: Yes and no. From a logistical standpoint, having everyone in LA makes sense for performances and recording sessions. But the decision was more about the personal and musical connection I have with these musicians. We’ve crossed paths in various groups, and I was confident the chemistry would be right between us, even though we had never all played together until the recording session.
AAJ: In recent years, the Los Angeles jazz scene has become increasingly vibrant. How would you describe it to someone who has never been there?
BM: The scene in LA is stronger than ever. The influx of musicians from across the country has brought a great deal of variety and has encouraged clubs to support new music.
David Binney
saxophone, alto
b.1961
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data-original-title=”” title=””>David Binney and
”
data-original-title=”” title=””>Chris Speed were the first two to move from New York to LA, and since then, we’ve seen a steady stream of musicians relocating here. Chris and David have had a massive influence on me personally.
AAJ: Many musicians have moved from New York or Chicago to Los Angeles in recent years. Do you think the Los Angeles scene has defining characteristics that distinguish it from those cities?
BM: LA has a really exciting free/improvised music scene right now. Perhaps audiences are becoming more engaged because they recognize they’re witnessing an important moment in the evolution of this scene. I’m not exactly sure why, but I saw this shift firsthand at ETA, a venue that played a key role in this transformation. Initially, the bands playing there focused on standards or original compositions, and attendance was decent but not overwhelming. Then, when they started inviting groups that played more creativelysometimes even freethe scene exploded, and the audience grew exponentially. Eventually, ETA was packed every night. I’ve lived in LA my whole life, and I had never seen anything like it. It’s incredible.
AAJ: In your new band, the trumpet has been replaced by a harmonic instrument like the guitar. Has this changed your approach to composition and leading the band?
BM: Composition is still a mystery to me. I don’t have a specific formula other than staying open to inspiration when it arrives. Once I’ve written a piece, my producer, Dan Seeff, and I work to determine the best instrumentation and arrangement for it.
AAJ: You recorded the new album with engineer Pete Min. His studio, Lucy’s Meat Market, seems to be playing a crucial role in documenting forward-thinking bands in Los Angeles. What was it like working with him?
BM: Pete is fantastic! He’s very open and has created an incredibly comfortable environment at his studio, which explains why so many musicians want to work with him.
AAJ: You’ve had extensive experience in the pop and rock world, working with artists like Smashing Pumpkins, Ringo Starr, Macy Gray, Nile Rodgers, Mavis Staples, Dolly Parton, and Lady Gaga. What have you brought back to jazz from these various experiences?
BM: All of these artists are completely dedicated to their artistic vision. Being around people with such conviction and determination is incredibly inspiring… you can’t help but be affected by it.
AAJ: What do you remember most fondly from your time with The Calling and the success of “Wherever You Will Go?”
BM: The best part was traveling the world with my childhood best friend and drummer for The Calling,
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data-original-title=”” title=””>Nate Wood. We had dreamed of touring together since high school, so actually making it happen was the ultimate experience.
AAJ: Your passion for skateboarding led you to perform on Tony Hawk’s Boom Boom Huck Jam tour. Can you tell us about that experience?
BM: The Boom Boom Huck Jam was a surreal experience on so many levels. Pat Hawk, Tony’s sister, has been a longtime family friendshe was a background singer in my godfather’s band, The Righteous Brothers. I grew up watching Bones Brigade movies and was even a shop-sponsored skater in high school, so skate culture is in my DNA. Some unforgettable moments of the tour include rehearsing on an Air Force base, having our own tour bus, and walking into a different arena every night to see the mega ramp set up for top skateboarders. I’ve always felt that skateboarding and improvised music tap into the same part of the brain, both require adapting and creating in real-time, responding to obstacles or sounds in the moment.
AAJ: Among your various rolesproducer, composer, instrumentalist, bandleaderwhich gives you the greatest satisfaction?
BM: I love every aspect of being an artist and all the different roles involved in the creative process.
AAJ: You’ve mentioned that you compose starting from bass lines. Can you explain how this process works?
BM: I always start my compositions with a bass line, then I move to guitar to finish them. Occasionally, the melody arrives alongside the bass line. Songs usually emerge during practice sessionsI’ll stumble upon a bass line, and from there, it’s like following breadcrumbs down a path until I reach the final piece. It’s still a mystery to me how songs come to life.
AAJ: What are your main sources of inspiration when composing?
BM: Life experiences, trauma, loss, happiness, and joy they all inspire me.
AAJ: Who are the double bassists that have influenced you the most?
Wilbur Ware
bass, acoustic
1923 – 1979
”
data-original-title=”” title=””>Wilbur Ware,
Larry Gales
bass
1936 – 1995
”
data-original-title=”” title=””>Larry Gales,
”
data-original-title=”” title=””>Ron Carter,
”
data-original-title=”” title=””>Eric Revis,
”
data-original-title=”” title=””>Ben Street,
Jimmy Garrison
bass, acoustic
1934 – 1976
”
data-original-title=”” title=””>Jimmy Garrison,
”
data-original-title=”” title=””>Tim Lefebvre,
Darek Oleszkiewicz
bass, acoustic
b.1963
”
data-original-title=”” title=””>Darek Oleszkiewicz,
”
data-original-title=”” title=””>Joe Sanders, and
Larry Grenadier
bass, acoustic
b.1966
”
data-original-title=”” title=””>Larry Grenadier are just a few of my favorites.
AAJ: In today’s jazz scene, who do you think are the true innovators of the instrument?
BM: For me, music resonates on an emotional level. That’s why I’m more interested in the personal and human aspects of the musicians I listen to, the stories they tell through their instruments, rather than their technical or innovative side. Innovation is always just a consequence of an artist’s expressive needs.
AAJ: In April, you will embark on your first European tour. Have you written new material for the band? What are your expectations?
BM: Yes, I can’t wait for the tour! We’ll be performing music from my new album The Eternal, adapting it for the cordless quartet on tour, as well as material from my previous albums Focus! (MAKE Records, 2019) Anatomy (Contagious Music, 2022), and Ultraviolet (Contagious Music, 2023). I might even end up writing new music during the tour, inspired by our experiences. I’m really excited to perform in Italy and the Netherlands with this band! We’ll be playing some of the best Italian clubs and stages, in Ferrara, Florence, Bolzano, Naples, Marostica, Ascoli Piceno, and we’ll top it off playing one of the legendary European Clubs, the Bimhuis in Amsterdam. As I mentioned previously, Nate Wood and I have been making music together since we were kids, so for Nate to be on the tour (alongside Jeff Ballard for the first two shows) it’s a dream come true! And I am really looking forward to playing with two incredible players, with a distinctive sound and personality like
Hermon Mehari
trumpet
b.1987
”
data-original-title=”” title=””>Hermon Mehari on trumpet and
Francesco Bigoni
saxophone, tenor
b.1982
”
data-original-title=”” title=””>Francesco Bigoni on saxophone and clarinet.
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