Raymond Grant, Wayne Williams, Glenn Prince, Alvin Ewen

Alvin's bass journey began accidentally when his trombonist father bought a bass that "ended up with me playing it".

He found it “the most natural thing”. Though he learned guitar first from his godfather, Brother Benjamin, at age eight or nine, the bass “stuck with me”. His secular inspirations include James Jameson and Bernard Edwards (Chic). He later pursued classical double bass training.

Glenn initially wanted to play guitar, influenced by various church guitarists. Brother Berry, seeing his interest in bass, encouraged him and lent him his “old top 20 bass”. Glenn naturally “eased over onto bass,” even picking out bass melodies on his acoustic guitar.

“Bass” (unnamed speaker) was drawn to the instrument after seeing someone play a “thing with four strings” at a church program, immediately thinking, “That’s what I want. I want to play bass”. He admired John Aldridge’s double bass playing and cited Wayne Williams’s “repetitive style of playing” as his primary influence. Reggae basslines from his Jamaican background also shaped him, followed by influences from Stanley Clarke and Jaco Pastorius.

Favourite church songs include Alvin’s “Fire, Fire, Fire,” which allowed him to “let go, let loose” while playing. Glenn’s mother’s favourite, “Jesus Hold My Hand, Precious Jesus,” and “Sound the Battle Cry,” a powerful convention song, hold deep meaning. “Bass” resonates with “How Great Thou Art” and “Amazing Grace,” noting its author was a former slave trader.

Regarding equipment, Alvin uses a Genz Benz 900 head with a Bergantino 15-inch speaker for a “warm sound”. Glenn, credited with introducing Trace Elliot to Birmingham, now prefers a portable Markbass amplifier with a single 15-inch speaker. “Bass” favours his custom-made old JD bass for its versatile tone and uses an Eden 800 rig for a modern, solid sound.

All speakers emphasise the profound impact of the Windrush generation. Alvin notes he “played to that generation”, while Glenn believes they “wouldn’t have had the musical chances, opportunities” without them. They acknowledge the immense suffering and racial struggles faced by this generation but highlight their determination to create better opportunities and the role of music in fostering community and resilience.